JSngry

James Black Amy Tan Guy Fantasy

Yep. Again.

Ben Webster Emanuel Lewis Sylvia Kristel

That's because you only die once.

I have the LP, and I gotta tell you - it's for completists only, imo. Mingus during his "medicated" period, and nothing really special happens.

Tony Williams Andy Williams Billy Dee Williams

Ann Peebles Gwen McRae Laura Lee

http://www.adhurl.com/2006/04/and_the_gold...or_the_mos.html

How much wood would a woodchuck chuck if a woodchuck couldn't chuck wood but gave it his all anyway, bless his little heart?

WTF?

Give it to Pixar and have Ralph Bakshi direct it. Then we could have some fun.

Helen Merill.

How many birthday threads should one look for in a reasonably well-tailored birthday suit?

Yeah, the two cuts w/Mike Deasy are dispensible. No doubt. But the rest of it ranges from good to great, I think. Mostly great, if you ask me. There's likely to be more and/or unedited material. Same, only moreso. with the aforementioned The {rice You Got To Pay To Be Free, which is another one that deserves to be heard.

Cicely Tyson!

Did they call her Petrie because she was such a dish?

I still think you got Griff on there.

That one is a magnificent little composition for orchestra that loses something essential when reduced to a blowing vehicle. It also helps none that almost everybody plays it just a little faster than Duke did. But Duke's tempo really allowed for the inner sax voicings (which are really pretty off-the-wall - and Gonsalves is playing lead!) to speak, and if you don't have those in there, why bother? Or so they seem to think...

Haven't heard that one (but certainly would like to!), but have come across a Konnex side from 1982 called Alpharian that is certainly worthy. Gaynair's conception (& technique) had fully matured by this point, and the results are not to be trifled with.

No doubt. Exactly the feelings I had when I got the album... Maybe that's cause its one of the seminal mid-50s original hard bop dates, not a retread of a tiring formula? Dan shoots and scores!

The tunes on those 70s sides are where most of the interest lies for me. Horace's writing kept growing & deepening. Not at all a retread of his "hit" sound, these tunes are meatier than the more famous stuff. They still got the Silver "flavor", but the forms and chords are expanded far beyond what had come before, usually. Meatier doesn't necessarily mean better, but you gotta recognize that the although the trappings might've looked "commercial", the tunes themselves were anything but!

Are you sure? Seriously, that one's kinda tripping me out, becasue I hear a very strong personality at work, and it's Johnny Griffin's! The beginning sounds like Shepp's articulations, but not for long. Plus, there's a few moments where the lines threaten to go off into Warne-land, but again, not for long. The whole thing sounds like a really mellow (and/or old) Johnny Griffin, and I'm at a loss to think of who else's personality I'm hearing. The thing is, the guy sounds really well-seasoned (the whole band does, really, the pianist's voice leadings are exquisite), and the vibrato is that of a Chicago player (as is the sound of the upper register). The tone's not Von Freeman's (nor is the phraseology), and if it's not Griff, well... That note at 2:38... the phrasing from 3:08-3:13...and 3:37-3:40...6:46-6:54... Are you sure that's not Griff? I'm perplexed!

Well, uh, yeah!

I'm ready for Famous For Ribs.