JSngry

One was a soundtrack to some Ted Kennedy, Jr. movie ("A Special Friendship" or some such), the other was a sampler of some sort. Teo or not... I figured I can live w/o them, and if I can't, hey - five bucks if I can find a third one to go with it. I'd probably go for this one: Listening to the sound samples, I learned that touching your partner increases the feeling of intimacy. Who knew?

So what you think - does he make a move on Tony or not?

15 Teo Macero CDs @ $5 each! Fortunately, I was able to narrow it down to 13. Haven't heard any of them, but at that price...

So what's the deal w/Sam Thomas? Sounds like a pretty interesting player.

Wasn't that a Chicago song? You know, the one with the flautist?

Actually, I think that EXPRESSION is a cruelly overlooked album. There's a lyrical mellowness in there that is quite poignant, at least to me.

In the true jazz tradition, somebody should collate all my "nuggets" (if that's what they in fact are, I myself remain skeptical...), publish them as their own, and loudly sing my praises as an inspiration while all the while never sending me a penny. Hey - it's the jazz thing to do!

Admittedly I've only seen a few, but every photograph of Edwards I've seen has him wearing headphones. Maybe that's where the "Boawb" thing comes from...

The Holiday thing has been getting airplay on KNTU, and what I've heard of it could best be classified as "exhibitionistic", which is always a "danger" w/Carter, bless his heart, but here it just seems over the top.

Getting all the "official" stuff is often hard, but seldom impossible, not with CDRs and the Internet. It's discovering and pursuing the live and otherwise "unofficial" stuff that's where the REAL fun/problem begins.

There's always the "if you have to ask..." tact.

Rashied is wrong!

Liebman & Steve Grossman were THE saxophone gurus amongst the college set when I was that age, and they remained so for quite a while, but I was never particulary bit by that bug. His/their playing seemed to me then to be a bit too mathematical/theoretical in nature, and the "intensity" too often seemed "forced", or at least a little superficial. Other player and other bags reached me a lot deeper. But I've mellowed on them and their approach over the years. I never had less than total respect for their abilities and sincerity, and have come to develop a bit more affinity to where they're coming from emotionally. Same for Beirach - an excellent player with a deeply personal approach, but the emotional connection has never really hit me where I live. But again, it's gotten closer as the years have passed. That's a bit of a lukewarm recommendation, I know, and I feel a bit bad about that, because I've met Dave a few times, and he sat in with Quartet Out once while in Dallas, and he's a GREAT guy - prototypical "New York hipster" on the outside, heart of gold and true lover/fan of music on the inside, and somebody who will give you the kind of moral support you really need when you really need it. He gave us his personal contacts to several labels, and insited that we contact them using his name as a reference. INSISTED! None of them panned out, but that's business. And he's a tremendous educator, one of the best I've ever witnessed in action. I attended an Aebersold clinc in the late 70s where he was a clinician, and I learned more in theweek there than I had in my previous four years at North Texas, much more. All of which kind of makes me feel bad about not responding to him musically any stronger than I do. What can I say? I really developed a new level of respect for him when he put down the tenor for over a decade(?) because he felt that he was not developing an individual voice by playing the instrument - he felt that he could not shake the Trane influence like he knew he needed to. So he played soprano almost exclusively (maybe a little flute here and there), and really DID develop a more personal voice. It takes guts to make a move like that, and it speaks highly of his musical and personal integrety.

Shook! If I win my $3.50, and I know I will , I'm gonna buy me a McGriddle with DOUBLE sassage! Whacha' gonna buy if you win?

Just picked this one up, and it's fine indeed. Chuck commented elsewhere about how great Wilbur Campbell is on this record, and I have to agree - for me, he's the highlight of the record. What struck me was how Booker Ervin-esque Klemmer sounds at times. Who knew? I'll never hear BAREFOOT BALLET the same way again! One question - why the hell did they reverse Sides One & Two from what the original album liners show? Was the LP like that too, or was somebody just not paying attention? But yeah, a good record, and some GREAT Wilbur Campbell!

Oh, I'm sure he'll get wacked (or else have a heart attack or some such), but believe me - he makes a move on Tony's gig before (or most likely because)he does. Treefitty?

I'm hearing that the cuts w/Aretha aren't making the final cut due to divafications, but I can't confirm this.

Dippin' huh? Please elucidate. Please. It's all of Hank rolled into one, and the band is rolled in there with him.

Whatever the hell it feels like being!

Same here, but at a fin a pop, I think I'll dive in head first, caution be damned!

Of course, the possibility exists, unlikely as it is, that, following in the footsteps of the Liebman/Beirach Select, there will be unissued material (live, perhaps?) courtesy of the artist's estates. We can dream, can't we?

If I was forced to live the rest of my life with only one recording of Hank Mobley, leader or sideman, this would be it, and it would take me less than a second to make the call.

Just want to make sure I got the names right - I'm talking about the Robert Loggia character. It takes me a while to learn new character names. I'm slow that way. But if that's the guy, you're on! I'll bet treefitty, with a decimal after tree, so's it stays friendly.

What do you mean , "the top"? He's just another made guy. Nothing more, nothing less. He's after Tony's gig.