JSngry

Yes, Cecil was extremely cordial, which resulted in some extaordinarily flowery praise for the host which showed that the Ellington influence extends into his verbal as well as pianistic expressions. It would be easy to think of it as a put-on, and although I don't think it was, I've gotta be thinking that the motivation was at least as much gratitude for the exposure as it was musical appreciation. The duets reminded me of a middle aged spinster getting her first hint of a taste of Wild Monkey Love. If this had been an altogether different (in every aspect) milieu, I do believe that Cecil could have turned Marion out. She was just all giggly and flusterated and Cecil was all "you like that, huh? Well, then...". If you know what I mean. Actually, I enjoyed the Costello show, as the emphasis was on songs and songwriting. I know that's not the usual and/or stated purpose of the show, but it's an area in which Marian has no little expertise/affinity, and I felt that they did a good show on that theme. Costello is no slouch as a songwriter of either rock songs or more traditional pre-rock type popular songs, and I thought they both gave good show and presented an excellent selection of material.

Don't know too much more about her other than I've very much enjoyed all of her work that I've heard, and that Dusty Groove seems to be on top of handling her releases.

Thanks to this thread for sending me off on a three day saturation listening to this album. It does ramble in spots, but such a glorious ramble it is. What I was most struck by this time around was how much detail and activity there was on the inside of the music. Not in the horns, mind you, but in the other inside - the rhythm section and the various "odd" instruments like the harp and the violin. Seems like there's all these details going on that just add to the overall color and density. It served to remind me yet again that the Evens of the 70s & beyond, which was often all about color, density, and interior detail from the non-horn parts of the band, was not a sudden dereliction of duty, but a natural conceptual evolution. And "The Barbara Song" still takes me to a place that no other music does. It was this one and "Bilbao" from Out Of The Cool that prompted me to check out Lotte Lenya's Weil readings (the Columbia sessions). To hear the originals is an ear-opener itself, but to hear how thoroughly Gil reimagined them is even more of one. If you're not at all familiar with these songs in their original form, you're missing out on both ends, I tell you.

Cecil Taylor. The interview portions could easily pass as parody.

Pebbles Flintstone Linus Pauling Jane Pauley

Whitte, iirc.

John Handy Herbie Mann Tim "The Tool Man" Taylor

http://www.musicaconcarne.com/rant_ken_pat.html#

Just to clarify, it wasn't me who started that ol' crazy Asian war. But, yes, it's true - I shot a man in Reno just to watch him die. No regrets.

Sebastian Cabot John Sebastian Willie Dixon

Tom Jones Poll-Parrot Tod Irzyck

I'm biased when it comes to '60s Newk. Loved the 2nd album as well as the 1st. Yep.

It was listed on the LP label and insert sheet as the last song on Side One, following "Africa Talks to You "The Asphalt Jungle"". But there's no song. I always took it as a conceptual thing, saying that there's no time left, timber, all fall down, watch out, etc..

Yes, & Essra Mohawk was/is actually Sandy Hurvitz, whose Verve album Sandy's Album Is Here At Last was produced by Ian Underwood and featured Jeremy Steig, Jim Pepper, Eddie Gomex, & Donald MacDonald. You'd think that with a lineup like that it would be really good, but it's not. At least I didn't care for it in 1971, when I found it in a Woolco cutout bin in Mobile, Alabama, next to the Ramada Inn our high school band was staying at on the way home from a trip to Pensacola, Florida. Of course, the Ramada's lobby "hi-fi" was an old console piece of furniture type thing with a tone arm that probably had a 5 lb. tracking force and a needle that hadn't been changed since 1961, but even at that, I didn't dig the side. So no, Suzy Creamcheese and Sandy are not the same. But both are pieces of Zappa lore nonetheless. I welcome Suzy, and wonder how she came to know the Captain

Judge Parker Sam Driver Neddy

The Cd or your third eye?

Rhino Handmade's got a Complete WB set: http://www.allmusic.com/cg/amg.dll?p=amg&t...10:mze997bskrdt Yeah, Sly was the shit.

Sandy's album is here at last.

Paul Bunyan Damon Runyon Pearl Onion

I've yet to meet a tired standard that Darlene Edwards couldn't revitalize.

Sirhan Sirhan Mandrake The Magician Guy Laffite

Joe used an old Selmer hard rubber, the "short" one (they later lengthned the shank and screwed it all up).Think it was a D*, a little more open than what would be considered a "classical" setup, but still more closed than most modern jazz players use. Not sure, but I think he might also of had the bore opened up just a little bit for a more open low end. As for Lovano, I think he's a fine player. I hear him as a cross between Joe & Dewey, although he continues to carve his own niche, little by little. Like Chuck, I don't connect with too much of his stuff. But I give the guy highest props - he's a helluva player, and he tells no lies. More than that, what can you reasonably expect and/or ask for?

Ok, I'm surfing the dial and hear that damn NaNaNaNaHeyHeyGoodbye song for the umpteenjillionth time, and, as always, listen with the usual perversely morbid glee at the drumming. It's not so wack on the first chorus, but on the second, the cat just goes nuts, playing fills where no fill has ever been played before. And not jsut any fills, mind you, but the worst garage band type fillage imaginable. You can go years without noticing it, but once you do, you'll be forever hooked by the sheer naive wrongness of it all, as well as the desperate attempts to mask it by incessant, mixed to the fore tamborinage. But I digress... I've been wanting to find out just who that poor sap was, this drummer whose joyous spirit valiantly conquered any and all attempts by good taste and borderline professional musical standards to stifle his moment of glory. And where better to go that AMG? (a rhetorical question, to be sure...). Well, I still don't know who this drummer was, but what I found out about the saga of this song, and the group under whose name it was issued, is a veritable Classic Of American Music Business Legend. Truly, i stand in awe. AMG on Steam Proof yet again that you can't win if you don't play, and that even if you do win, you can still lose more than if you didn't. Gotta love Show Biz!