JSngry

Adam West Larry Sides Liz Story

Oscar Emmy Tony

Is this a different (or more complete) session than the one reissued by BMG in 1995?

That pretty much sums up my feelings about Steve Allen in general.

Duck Dunn Bo Diddley Bocephus

And another.

Tony! Toni! Toné! Tone Loc The Troggs

Who do you think sounds good, historically, and what are the qualities that both appeal and repel you? The soprano, as a smaller instrument, has less (or, at least, more immediately obvious) tolerance of embouchure & breathing variances, just as alto has less than tenor. Some players work with this as a tool for expression, some exploit it "as is" and use it as their "natural" sound on the instrument, and some just don't give a damn, figuring that, hey, it's soprano, and that's all that counts.

Mr. Five by Five Emmett Smith The people at Ipecac Recordings

Like the man said...

A rose by any other name would still have the same thorns...

Daniela Krammer Franz Krommer Frederic Arnold Krummer

Celibacy's a bitch...

Those people DO have cultural merit; they reflect contemporary culture. MG Yep.

Bad Badtz Maru Manu Dubango Marilu Henner

Does being a Saxophone Vagina mean never having to play with a dry reed?

Pretty sure it was BB, sophomore year of high school (71-72). Heard it in summer of 71. Had already heard KOB and thought it was some of the weirdest shit I'd ever heard, such minimalist trumpet playing. BB, otoh, sounded almost normal to me. Go figure.

Leo the Lion Teddy the Toad Flip the Bird

Burleigh Grimes Gaylord Perry Dizzy Gillespie

Rachael Ray ELO Eno

Marion Barry Syd Straw Ray Bolger

Not with a judiciously placed comma, you didn't: http://www.abebooks.com/servlet/SearchResu...373094175&nsa=1

Haven't read this thread, but based on past experience, I imaginge that there's divided opion on this one. Just got mine in yeasterday, already played it 4x, and put me in the "pro" camp. I don't know if Grant's group sound has gotten enough credit over the years as being as distinctive as it is. The use of those massive rhythmic unisons (which often include all or part of the drum kit) to create the groove is different from the prevailing funk orthodoxy of the day, which relied on broken & cross rhythms. It's a very powerful effect, and I can't say that I can immediately think of anybody else of the time who approached groove exactly like this. Interestingly enough, I hear echoes of this approach in a lot of contemporary dance music, where the emphasis is wholly on stating and working the beat in a way not at all dissimilar to how Grant's groups of the time did it. I've no doubt that there is at least some influence there, and that gives what could be "merely" a really nice archeological find some true contemporary relevance to me.

My mention of Cadence is based on experiences of 25 or so years ago, so perhaps (hopefully) that is no longer their practice. And even if it still is, it's in no way meant to be a dis on what is an excellent & invaluable publication. Business is business, and all that.