JSngry

Denmark, 1968, bar none. "twas released on two Moon CDs.

King Solomon Solomon Burke John Birks Gillespie

Yeah, for real. Hopefully this is just a temporary situmation.

John Hicks, not Herbie. And Idris Muhammed. Pharoah plays freakin' great, as does everybody else.

Not too familiar with that stuff, but I'd say that it's the same thing translated to a lounge act format, without any loss of intensity, which is the cool/disturbing part. It's either the apex of show business or way beyond show business into some parallel universe of denial as survival tool. Either way, it's fucking me up, that's what it's doing. The Cabaret Theatre of Tony's Fish Market Restaurant? WTF kind of gig is that, and why are these guys working it so damn hard, especially in 1963-1964? Who was the market and what was the aim? If it was just to keep working by "putting on a good show", they're supremely overachieving. Cat's singing Cole Porter in a fucking fish house like it's the Copa in 1955 and he's on the verge of becoming King Of Show Biz. Then they do "Jambalaya" like it's the Apollo in 1952 and they're determined to stop the show and/or cause a riot. Then they do... All of this at the Cabaret Theatre of Tony's Fish Market Restaurant. In 1963-1964. Amazing, I tell you, just fucking amazing. If you care enough to read this thread, you'll want to get this album. Trust me.

Yes, I've already checked Mike Fitgerals's Art Davis page, but all is gives as location is New York City. I hear applause on some cuts, and the whole thing has a distant quality to it that suggests an amateur digital concert recording. And what's up with the bubbling/tremelo/whatever sound on his bass? Weird... No matter. Great side anyway. As always, thanks in advance!

Definitely something you'll dig. I think it's in Miami. Same thing, if you get my drift...

http://www.tuffcity.com/html/BluesJazz.asp...eAlbumList=2323 "Good eveing ladies and gentlemen. Welcome to the Cabaret Theatre of Tony's Fish Market Restaurant. Right now, presenting for the second appearance of the evening, those eight swingin' alcoholics, here we are, THE TRENIERS!" It gets better, if that's possible. You gotta hear it to believe it. It's often cheesey, yeah, and it's definitely the sound of a group living in a cultural and musical time warp, even then. But damn it, these motherfuckers are working their outmoded asses off, and damn it, these motherfuckers got CHOPS! Buddy Trenier is a great Eckstine-type singer, and everything on here just flat-out swings. HARD. You get your standards, your jump tunes, your "novelty" numbers, your occasional originals, your slightly blue material, and your occasional Tomming. It all kicks ass, sometimes in spite of itself. It's vegas, it's Chitlin' Circuit, it's Jazz, it's R&B, it's Superficial Vegas Schlock, it's A Secret Link to Hipness Past, it's mindless hokum, it's deeply provocative and raises questions that have no easy answers, it's all of that and more or less. One of the most purely entertaining programs I've heard in quite a while, as well as some of the most disturbing. It's impossible to defend some of this stuff, but it's equally impossible to dis it. Bottom line lesson for me - hard work overcomes obsolesence, planned or otherwise. No matter how hard they try to kill you, they can't do it if you outwork them. Here's proof. God bless 'em. HIGHLY recommended for fans of Louis Jordan, Louis Prima, Sammy Davis Jr., John Coltrane, Lou Donaldson, Malcolm X, and everything in between and beyond.

The difference is the presence or absence of the "t" sound.

Ralph Garr Mel Farr Jack Parr

Yes, that's very confusing (the board behaviour, not your post ) Doesn't seem to be the case in the Political Forum (at least it wasn't last night), but on something like the Sexiest Album Covers thread, it's perhaps going to present a problem. It's just kinda wack in general, I think. Is it a fixed property?

FWIW, "PATEch" is how I've almost always heard it. Occasionally hear "PAYch".

Terence Young Dean Torrence Jan Garbarek

Lowell Fulson Johnny Cash Karlheinz Stockhausen

That and "Croquet Ballet" are two Harper tunes I've transcribed and played in my own groups over the years. Both were always well received by players and audiences alike. Billy's tunes have all the elements needed to become standards, I think, except for one thing - players willing to tackle the structures, which are often, I guess you could say, "winding". But other than that, they're "catchy" (the melodies are almost always, as you noted, rife with "familiarity") and appealing, harmonically challenging yet not intimidating, in short, everything you're looking for. Someday, maybe, they'll break out into the mainstream.

Mack The Knife Lucy Brown Johnny Hart

Andy Williams Henry Mancini Glenn Miller

First paying gig was at 17 (how much truth I learned then is debatable...), second at 18, had some throughout college, but didn't o "full time" (and as a road dog at that) until I was 25. Other than a year to save money prior to having our first child, kept away from a regular, full-time straight job until two years ago, when LTB's job situation took a dramatic change and the need for me to pick up the slack fpr the sake of the family was unavoidable. It's good to meet your familial responsibilities and all that, but I still feel like I'm betraying something very fundamental. I feel dirty. Sometimes I feel like I'm doing time in the Cosmic Slammer for some "career mistakes" I might have made along the way. Just hope it don't end up being a life sentence...

This I Dig Of You gets played fairly often, I think. It's not "common" like, say, "On Green Dolphon Street", but it's not "obscure" either. Sorta in-between.

Downloaded/installed (probably redundantly) all the Java stuff, rebooted/etc. and get: Exception: javs.lang.NullPointerException followed by Laoding Java Applet Failed Any ideas?

Bent Fabric Serge Chaloff Cotton Mather

Wasn't the Dizzy/Max duet concert part of that series too?

Consider this - how many Broadway tunes have become standards relative to the overall output? Not that many,really. Off the top of my head, I can think of a whole bunch of Horace Silver tunes, several Herbie things, some by Joe Henderson, and lots lots of Wayne things that have become "standards". And let's not forget Monk, Timmons, & Benny Golson. A handful relative to the overall output, sure, but a pretty impressive legacy nevertheless. Plenty of "jazz originals" are good tunes and are fun to play. But that's not all it takes to become a standard. It takes something really distinctive in terms of how melody and changes hook up (melody is just as important in making a jazz standard as it is in pop, perhaps even moreso since there usually is melody and not just hooks), as well as something, usually, distinctive about the rhythm of the melody and/or the groove underneath it. It needs to be something that is "different" yet at the same time "familiar" for both players and listeners. It's an inexact set of criteria to be sure, but as somebody who's delved into the arcania of transcribing and playing un(der)played recorded songs, I can tell you that a lot of seemingly "intriguing" originals just don't stick for repeated performances, not because they're "bad" or anything, but just because they don't have that "thing", that undefinable quality that differentiates a "good tune" from a "standard". You play them a few times, have fun with them, and then it's like, "OK, that was fun, time to move on." I'm all for rediscovering obscure gems, of which there are many, but the collective consciousness will be what it will be, and no matter how good most of this material is, it'll never become standards. Doesn't meant that it's unworthy or anything, just means that it's always going to primarily be material for the cognosenti, of which I have no problem being a member of.

"Up Up & Away", with a Trane/Elvin feel. I'm serious. Great changes for blowing and a long, non-traditional form.

Les Nessman Benny More Bud Freeman