JSngry

That only leaves one possibilty - that you are Phil Spector. So, like, uh, taken any target practice lately, Phil?

The energy (in the music and the round-robin vocals alike) and the over-the-legal-limit FUN that overflows from that track were like a slap upside your head, especially "GET UP! GET UP...AND DANCE...TO THE MUSIC" and "ALL THE SQUARES GO HOME". That, the beat, and the still cooler-than-shit a capella vocal breaks made it clear that THIS was a party like none other, and that it was NEVER going to end. And when the sequel (in every sense of the word) "M'Lady" came out, THAT sealed the deal. The first time I saw the group "live" (actually lip-synching) was on one ofthose weekday afternoon teen dance shows like "Where The Action Is", or something like that. GOOD GOD A'MIGHTY! They did "Life" IIRC, and I'd never seen ANYBODY like that before. The rock bands were always either teeniebop or hippie in their vibe, and the R&B acts were either Motown-slick or from that gloriously mysteriously unknown parallel universe that black music inhabited to an interested but still mostly socially segregated white kid like me. But THESE guys! Whites, blacks, a short haired female black trumpet player side by side with a long haired male white sax player, fros a mile wide, and EVERYBODY laughing and dancing thier asses off, hell - I saw the future and lo, it was GOOD! I still get goosebumps playing that GREATEST HITS album, because I still remember it, and I still HEAR it. Sly could have ruled the world, moreso than the Beatles, I think. That was not to be, obviously, but for a few years, "Sly" & "turn the radio up ALL the way" were synonymous in my world, and, I suspect, LOTS of other folks'.

That wasn't me. I logged on as myself, not as me. Apologies to all!

Yeah, let me tell you 'bout the time I stuffed 15 Thai chickies while doing lines off their backs. Damn funny story, especially the part where their moms walk in and join the fun!

From the Conn Watch to the Con Watch in about a decade. Who says jazz is dead?

What if your drivers license and the image in the mirror are you but you're not? You gotta consider ALL the possibilities these days.

Because there's already enough ugly men?

I say we invade Mars to insure a steady supply of cheap candy!

I could never be a puppet. Think of where the hand goes. Only the doctor and the missus get that action. Although, between those two, maybe I AM a puppet...

Or telescopes!

How' it compare to IT SERVE YOU RIGHT TO SUFFER, another one w/jazz players in the mix? That one comes off ok, imo.

Slide's more than good. Plus you get chartage. FINE chartage. Oliver still in the mix? Time for some more attention to be paid to this cat, if you ask me. Any truth to the rumors that Jackie's been scouting real estate amongst the mountain greenery? Until later, Gladys Kravitz

No man, DEEP's you too.

Yeah, I think you do.

Agree w/everything you say Harold. I've ehard different stories about who plays on the album, but agreed, the bass sounds very un-Graham-like to me. But the guitar sounds like Freddy, and the drumming (where there is a real drummer) could easily be Errico, especially on the funky parts of "Running Away'). This album is such a landmark, and such a formidable musical accomplishment, that I'll join with the calls for a new issue of it, complete with extensive liner notes, interviews, as much documentation as possible, etc. But realistically, I don't see that happening. Columbia seems to be content with putting out various anthologies, which hardly does justice to Sly's formidable, if short-lived legacy. Again, damn near EVERY one of his songs contains a musical gambit that betrays a pop genius at the peak of his powers. ALL of the hits do, at least all of the ones from the RIOT album back. Where were YOU the first time you heard "Dance To The Music", and did you think that The Rapture had just begun?

Further back in the thread, last month maybe.

Actually, quite a few pieces of poop that said "Blue Note" on the side were sold in the 1970s...

Every Saturday night, at a VFW hall near you...

Love this one myself, but I'm predisposed to liking electric Miles anyway. What this album DOES document is the literal end of the core "Lost Quintet" of Miles, Wayne (whose quote of "Never On Sunday" is a real hoot once you realize that this was his last gig w/Miles, and that it was on a Saturday night), Chick, Dave, and Jack, a group whose legacy has yet to be documented in an "official" manner, and the evolution of which (including the addition of Airto) gives the music heard here a quality of "logical-ness" in terms of "where it came from" that the "official" recordings don't. Hopefully this is just the tip of the iceberg & Columbia will get around to assembling the better-sounding of the various bootlegs of that band and release them in a set (or three), This was an AMAZING band that walked the tightrope between conventional "tune" jazz and free improvisation very carelessly, and when it fell, it was usually to the side of the free. You have to hear it to believe it, I'll say.

Yeah, that and Moe always poking his fingers in your eyes... You: HEY MOE! HOW MANY CHORUSES DO I GET? Moe (holding out his right hand): Pick two. You (picking the first and second fingers): One, two. Moe's Sound Effect (poking those two fingers in your eyes): BOOP!!! Moe: There you go, you chowderhead, play two. And get it with right the first one! The boss likes to edit! Of such things are greatness made.

Jackie McLean? Oliver Nelson charts?

BOB KEESHAN Born in New York City, New York, U.S.A., 27 June 1927. Attended Fordham University, 1946-49. Served in United States Marine Corps Reserve, 1945-46. Married: Anne Jeanne Laurie, 1950; children: Michael Derek, Laurie Margaret, and Maeve Jeanne. Began career as Clarabell for NBC-TV's Howdy Doody Show, 1947-52; appeared as Corny the Clown (ABC-TV), 1953-55, and Tinker the Toymaker (ABC-TV), 1954-55; starred as Captain Kangaroo (CBS-TV), 1955-85; president of Robert Keeshan Associates, from 1955; appeared as Mr. Mayor and the Town Clown (CBS-TV), 1964-65; president, Suffolk County Hearing and Speech Center, 1966-71; director of Marvin Josephson Associates, Inc, New York., 1969-77; director of Bank of Babylon, New York, 1973-79; chair, board of trustees, College of New Rochelle, New York, 1974-80; director of Anchor Savings Bank, 1976-91; chair, Council of Governing Boards, 1979-80; commentator, CBS-Radio, 1980-82; television commentator, 1981-82. Member: Board of Education, West Islip, New York, 1953-58; board of directors, Good Samaritan Hospital, West Islip, New York, 1969-78. Honorary Degrees: D. of Pedagogy, Rhode Island College, 1969; D.H.L. Alfred University, 1969; D.F.A., Fordham University, 1975; Litt.D., Indiana State University, 1978; L.L.D., Elmira (New York) University, 1980; D.L., Marquette University, 1983; D.P.S., Central Michigan University, 1984; D.H.L., St. Joseph College, 1987. Honorary Fellow: American Academy of Pediatrics. Recipient: Sylvania Award, 1956; Peabody Award, 1958, 1972, 1979; American Education Award, Education Industries Association, 1978; Distinguished Achievement Award, Georgia Radio and TV Institute-Pi Gamma Kappa, 1978; Emmy Awards,1978, 1981, 1982, 1983, 1984; TV Father of the Year, 1980; James E. Allen Memorial Award, 1981; Distinguished Service to Children Award, 1981; National Education Award, 1982; American Heart Association National Public Affairs Recognition Award, 1987; Frances Holleman Breathitt Award for Excellence, Kennedy Center for the Performing Arts, 1987; Clown Hall of Fame, 1990; AMA Distinguished Service Award, 1991. TELEVISION SERIES 1947-52 The Howdy Doody Show 1953-55 Time for Fun 1954-55 Tinker's Workshop (also produced) 1955-85 Captain Kangaroo (also produced) 1964-65 Mr. Mayor (also producer) 1981-82 Up to the Minute, CBS News (commentator) 1982 CBS Morning News (commentator) Bob Keeshan is the actor and producer responsible for the success of the long-running children's program, Captain Kangaroo. As the easy-going Captain with his big pockets and his bushy mustache, Keeshan lured children into close engagement with literature, science, and especially music, adopting an approach which mixed pleasure and pedagogy. Children learned most easily, he argued, when information and knowledge became a source of delight. Keeshan's approach represented a rejection of pressures towards the increased commercialization of children's programming as well as a toning-down of the high volume, slapstick style associated with earlier kid show hosts, such as Pinky Lee, Soupy Sales and Howdy Doody's Buffalo Bob. Keeshan was working as a receptionist at NBC-Radio's Manhattan office when Bob Smith started offering him small acting parts on his NBC-TV show, Triple B Ranch, and then, subsequently, hired him as a special assistant for The Howdy Doody Show. Though Keeshan's initial responsibilities involved supervising props and talking to the children who were to be program guests, he was soon pulled on camera, bringing out prizes. After appearing in clown garb on one episode to immense response, he took on the regular role of Clarabell, the mute clown who communicated by honking a horn. Leaving the series in 1952, he played a succession of other clown characters, such as Corny, the host of WABC-TV's Time For Fun, a noontime cartoon program, where he exerted pressure to remove from airplay cartoons he felt were too violent or perpetuated racial stereotyping. While at WABC-TV, he played an Alpine toymaker on Tinker's Workshop, an early morning program, which served as the prototype for Captain Kangaroo. The CBS network was searching for innovative new approaches to children's programming and approved the Kangaroo series submitted by Keeshan and long-time friend Jack Miller. The series first aired in October 1955 and continued until 1985, making it the longest running children's series in network history. Keeshan not only vividly embodied the Captain, the friendly host of the Treasure House, but also played a central creative role on the daily series, supervising and actively contributing to the scripts and insuring the program's conformity to his conceptions of appropriate children's entertainment. Through encounters with Mr. Green Jeans and his menagerie of domestic animals, with the poetry-creating Grandfather Clock, the greedy Bunny Rabbit, the punning trickster Mr. Moose, and the musically-inclined Dancing Bear, the Captain opened several generations of children to the pleasures of learning. Unlike many other children's programs, Captain Kangaroo was not filmed before a studio audience and did not include children in its cast. Keeshan wanted nothing that would come between him and the children in his television audience and so spoke directly to the camera. He also personally supervised which commercials could air on the program, and promoted products, such as Play-Dough and Etch-a-Sketch, which he saw as facilitating creative play, while avoiding those he felt purely exploitative. As his program's popularity grew, Keeshan took on an increasingly public role as an advocate for children, writing a regular column about children and television for McCall's and occasional articles for Good Housekeeping, Parade, and other publications. Keeshan wrote original children's books (as well as those tied to the Kangaroo program) and recorded a series of records designed to introduce children to classical and jazz music. He appeared at "tiny tot" concerts given by symphony orchestras in more than 50 cities, offering playful introductions to the musical instruments and the pleasure of good listening. Upon his retirement, Keeshan became an active lobbyist on behalf of children's issues and in favor of tighter controls over the tobacco industry. A sharp critic of contemporary children's television, Keeshan is currently making efforts to get a new version of Captain Kangaroo onto the air, but since he does not own the rights to the character, there is some possibility that the captain may be recast. -Henry Jenkins http://www.angelfire.com/hi/luckypuppy2840/oddfacts.html This was a good man. R.I.P.

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