JSngry

A http://mingusmingusmingus.com/main/news.htm turns up this tidbit regarding TONIGHT AT NOON: WTF?

[EDIT: Post deleted here & used to start new thread.]

Cedar plays accoustic on "Love Story" (which I kinda dig in this arrangement - nice groove changes, and superbly recorded Sam & Billy to boot), but is on electric on two other tunes, I think ("Sabia" & the "House" one). Agreed, however, on Charles Davis here. I still go to this one for Hank above all, but Davis is great throughout.

Ok, this link goes right to it for me: http://www.npr.org/dmg/dmg.php?getProgramS...tUnderwriting=1 Got it saved. Looking forward to some good listening!

Ok, went to this link: http://www.npr.org/audiohelp/progstream.html and clicked on the "Listen to the Program Stream" link, selected WMP, and then got a stream. But there's an easier way, right?

I got one!

NO! Not done, just walking the tightrope like you'll not hear anywhere else, at least on "official" recordings. Soon he would fall, yes. But here, he stays on.

Opinions tend to vary on this one. I like it very much myself, but be forwarned that Hank doesn't play on every cut. Sits out on 2. and on a third, his solo is relatively short. as per the arrangement. However, on the 3 that he DOES stretch out on...memerizing. Not pretty, necessarily, but emotionally gripping in the extreme. His "last gasp", so to speak, at least as a fully functional player, and pretty darn bloody in terms of the story he's telling. But that's just me. Like I say, opinions tend to vary.

Tonight's the 1932 Scarface, directed by Howard Hawks, starring Paul Muni. Never seen it. Sounds like a winner. Opinions?

FWIW, on 3/3, I got an promotional email from True Blue (as I'm sure many of us did) that was prefaced w/this message: So, it would would seem that something weird's still going on.

I'd listen to Webern instead. THAT war is over.

Yes, and they work even better if you have them on while you clean the record.

Well, the BFT reaction to "Rut" was very mixed, so proceed accordingly.

You realize, of course, that "Basra" is an anagram of "Arabs". No doubt, the music itself consists of coded messages, a la Webern in WWII: http://aulos.calarts.edu/pipermail/music-d...ber/021485.html Sending message to the enemy in times of war is a treasonous offense, punishable by death. Don't we have enough dead jazz musicians as it is? I think we should commend BN on their valiant efforts to spare Pete LaRocca's life, even if he is a traitor.

No, not at all. It's just that there for a while in the late 70s, Carla was a "critical darling" of sorts who could do no wrong. Then she came out w/HEAVY HEART, followed by NIGHT-GLO, one of which (can't remember) had a really hilarious "radio press kit" thing where she offered excerpts from the album and talked gushy about how she was now into making romanitc music that people could snuggle up to, how she wanted lots of people to like her music now, and stuff like that. It (the spiel) was obviously completely tongue-in-cheek, but all of a sudden, the critics were scratching their heads, as if they either didn't get the joke, weren't sure if it was a joke or not, or they got it, but they didn't think that it was funny. Those albums got decidedly mixed reviews, most of them of the "why is she doing THIS?" type. Suddenly, Carla Bley was no longer the critics fave. Well hey, whatever. Good is good, no matter, right? And I think that NIGHT-GLO is very good. If "Pretend You're In Love" sounds like it could almost be a Pat Williams-penned TV theme song, so be it. I don't care! And "Rut", well... we covered that in my BFT... That last sentence rings uncomfortably of Leonard Feather-ism, so I'll stop.

And with certain other people, it will get you your ass kicked!

So waht are you saying, that I should start calling everybody "Dave Frishberg"?

Escalator Over The Hill.

I'll disagree, but respectfully so. The editing and the mix/EQ-ing are piss-poor, however.

Anybody who can write a tune like "Ida Lupino" gets my eternal gratitude, just for that alone. But she's done so much more... I like all the "usaul suspects" amongst her recordings, but I have a soft spot in my heart (some would say head...) for NIGHT-GLO. Yeah, it's got a slick veneer. Yeah, it's an overtly (if subversively so) attempt at "commercialism. Yeah, it's got a good beat and you can dance to (most) of it. Yeah, yeah, yeah. But it's got a depth of texture, a breadth of melody, and a rightness of tempo to each piece that gets me every time I listen to it. If all "commercial" music had this much quality (of all types) to it, the world would be a better place.

{WARNING - Patented Organissimo Hard Left Thread Detour follows...) Now, this has me wondering. Is there any "familiar" generic term of address that a guy can use to a woman that doesn't seem disrespectful and/or comeon-ish? I mean, guys can call each other "dude" w/o anything more being taken from it than, hey, we're cool w/each other, check it outetc. "Dude-ette" is just too silly, "Babe" can easily raise hackles (understandably so), "m'am" is not even familiar (nor is "Miss"), "Lady" is cool if you're a cab driver (but I'm not)and "Ethel" only works if the person in question is actually named that. If it were up to me, "dude" would become a non-gender-specific term, but it ain't up to me. So what're the options here, anyway? I'm stumped!

The link just takes me to a web page. No stream happening. What's up?

They DO have that kind of look to them...

Hey, it WAS a swingout after all...

So she tells you... Seriously - I don't give a hoot one way or the other. indigo seems to be bright, open-minded, articulate, musically curious, and good-humored. A no-more-information-needed winning combination if you ask me!