JSngry

Exactly, David, and thanks for noticing! Well, not exactly - "fool", no. I mean, if I came across it for sale and didn't know any better, I'd buy it too. But "chump", well, yeah. Truthfully, if not for an increased awareness of things Internet-ish spurred on by constant contact w/people more younger and savvier than myself (many of them right here on O-Board '05), I'd not have a clue as to what's really going on, what's out there, and how to go about getting it. I',m getting "older" (49.5 and gaining), and this whole computer/Internet is not something I came/come by naturally, if you know what I mean. This bit-torrent thing, still haven't delved into that, and don't know if I really want to, but I know people who are and who have, and if you're a nice guy and/or a good citizen, they're willing to share/trade/etc. And none of it, the actual accquisition or the exchanging of trades, costs anything more than postage. I don't know how much FD payed for his Sanders Savoy boot, but whatever it was, it was too much! Isolation and aging very often go hand-in-hand, but it doesn't have to be that way.

This should probably be moved to Discogrpahy for better focus, but is that the only listing for that performance? It hasn't been issued anywhere, legitimately or otherwise? Hmmmm....You might have something there, Gregg....

Don't get me wrong - I love the bootlegs too, and share the sentiment that they quite often provide invaluable insight and documentation not available elsewhere. It's just that today, the need to buy them has become significantly lesser than it used to be, thanks to Internet trading. As for Balliett, I enjoy him for linguistic purposes above all else, not unlike Don Menza's tenor technique.

Neither are new. But both are recent, within the last 5 or so years. I liked Chamberlain's book quite well, but this one is something altogether different. I really can't tell if I'm supposed to approach it as entirely fiction, as a work of fiction wrapped around a deeply historical construct, or just what. But being written in the first person as it is, there's an element of "immediacy" that Chamberlain's book lacks which is as probably it should be. Both would be required reading for "deep" Warne Marsh fans, I'd think.

And I'll poke your beady-ass bird eyes out with a fukkin' number two pencil. Guddam grackle.

Mine is parallel.

The glass eye on sis album covers is pretty creepy.

Willie Shoemaker Gepetto Wayne Shorter

Vasco da Gama Paul Zindel Raloh Kramden

Eugene McDaniels Les McCann Cole Porter

A rip (EVERYTHING on that label is a rip) from BYG/Actuel. But since they weren't exactly "clean" themselves, I don't know that there is a morally "kegit" release...

John Hammond?

Just finished reading this fascinating, compelling, and, at times, deeply moving work by Marcus M. Cornelius, and I don't know what to say (or think). What Mr. Cornelius has apparently done is to combine historical research with the impressions of many of Warne's accquaintances over the years, and combined them into a mix of biography and novel. It's not quite like any other "jazz book" I've ever read, and I mean that in a wholly positive way. Although there are many "literary devices" on display throughout the book, many times blatantly so, the amazing thing is that with only one or two exceptions, I never lose the illusion that this is actually Warne Marsh speaking, telling his life's story "from beyond", and entirely in his own voice. This is a risky assumption to make, because I never knew Warne Marsh. NEver even got to see him perform, But I know his music intimately, and to the extent that anybody can ever "know" anybody through thier music, I feel as if I "know" Warne Marsh. And I tell you - the Warne Marsh that Mr. Cornelius crafts in this novel is very, very much like the Warne Marsh I "know". From the recounting of his ancestry, to the detatched ambivalence of his childhood, to the variuos reasons why he did or did not do certain things in his life (personal and career-related), very little rings false when placed up against waht I know about Warne through his music, his "real" biography, and the comments others have made about him through the years. The author really seems to have captured the "voice" of his subject. But I don't know if he has, or if he just wrote a really good piece of fiction. I'd be interested in hearing opinions from those who would know better than I. But either way, it's a damn good book.

Well hell, they sell pulpy orange juice, why not Pulpy Lime Coke? Fibah, Flayvah, Fun!

Tony Bennett Harvey Milk John Couwenberg

This is one of those sets where if you dig the music, really dig it, you'll do what you gotta do to get it. An amazing document.

Connectivity issues do indeed persist.

There have been a few sets along the way that I really wanted, but couldn't get for financial reasons at the time. Otherwise, I became a CarpeDiemist a looooong time ago. Once anything becomes "rare", it's always easier to get rid of it than it is to find it.

A fine choice!

Dom Perignon Wilson Pickett Kathy Baker

LeeAnn Rimes Arthur Rhames Claude Williamson

That went out the door when Dick Hyman and Dick Wellstood played a duet on "Cherry".

So, the section rehearsals are or are not on the Mosaic? I'm thinking not?

Tom Landry Lance Rentzell Paul Reubens