JSngry

Well, that's an interesting point you raise there, because chord changes by themselves are not copyrightable. But Cecil (or more accurately, the rhythm section), maintain the "Love For Sale" changes and bar structure all the way through, and everybody's solos, even Cecil's, show an abidance to them. But since the melody is never explicity stated, they COULD have called it something else, but didn't. Cecil did take this tact on LOOKING AHEAD, where he played "Take The A Train" w/o any reference to the melody (follow the bass player and you can hear it) and called it "Excursion On A Wobbly Rail". Somebody probably wanted the Porter reference on the UA album in hopes of drawing in more listeners, that's my guess. You know, a shot for the "Well gee, I hear this Cecil Taylor guy is pretty far out, but, hey, look at this, he's playing "Love For Sale", so how far out can he REALLY be? I mean, I can follow Brubeck!" audience. But like I said, "Iapetus" ain't "Nature Boy", no matter how much it refers to it.

There's traces, sure, but the bottom line is that the song "Iapetus" has a melody, chord changes, and overall structure that are different from those of "Nature Boy". Consider it an "impression" of "Nature Boy" if you like. For all I know, maybe that's what it was intended to be, especially since I have no earthly idea what, if anything, the word "Iapetus" actully means. It may bear a resemblance, but in the ways that count, it is a different song. To a musician, to say it's not would be akin to telling an athlete that natural grass and artificial turf were the same thing. No matter how strong certain similarites may be, they are really quite different things whose only real commonality is that they prevent the players from having to play on dirt.

I know there's much work involved, but we should agree on some "discographical standard" for the track info besides the personal remarks/comments - which are essential to me, and in Jim's case I expected nothing less than the brilliant short essays he delivered - I suggest it should read like this: track title leader or group name Personnel (names, instruments) recording location and date LP or CD title label name and LP or CD number in the case of larger groups or doubles solo order would be nice All of course, as known or available - this could be helped by board members with more accurate information. This also makes for nice convenient tracklists or booklets to store with the CDs, just copy and paste ... I'll see what I can do. Some of this stuff is from LPs that don't give dates, location, etc., & some of the information that is given is wrong. For instance, I'm told that the Daley cut is actually studio, with phony live effects dubbed on/in. Apparently RCA didn't like the recording quality of the actual live stuff, although 1 cut on the album really is from the Newport gig. But the liners say it's from a rehearsal. Also, how much personnel do you guys want on the big band stuff? I can do full listings if you like. Might be interesting, especially for the Goodman band. It'll take longer to type, me being one of the world's worst AND slowest typists, but if y'all want it, I'll do my best.

The opening phrase of Caliman's melody IS lifted from "Nature Boy", but that's all. If you can't hear how it goes off after that first phrase, the only suggestion I might make is to try singing the rest of the melody of "Nature Boy" over what is being played on the record. It just doesn't fit. If that doesn't do the trick for you, then all I can say is, "Trust me".

Recommendation strongly seconded, but I myself find Getz' playing some of the most moving he ever did. The vulnerability is palpable.

Doesn't everybody?

I try to never click on anything in a pop up. You mean you can play htese games safely?

Oops, wrong thread.

Same.

ERNIE HENRY!!!!!!!!

Tony Scott on Carlton.

I do "Big", just as I file Little Richard under "Little". But Rich Little still goes under "L". I haven't heard all the Savoy stuff, but the few things I have heard are at least as good as this OKeh material. Not sure that it all is, though. I'd sure like the chance to find out.

Preliminary analysis of data reveals that

Or try a heavy immersion in THERE'S A RIOT GOING ON & any competent JB comp spanning, say, 68-71.

Did exactly that thanks to your post. Sincerest thanks!

Makes me more than happy - I never got the CDs, just the dual-cassette set.

Are you man enough to handle it? There were times when I wasn't sure I was... The last session is sad, but everything else is cause for goosebumps. And Mickey Baker is INSANE! Highly recommended for those still on the fence about Eric Clapton or Bonnie Raitt.

Lyrics only, right?

"Imitator" is way too strong a description if you ask me. He felt the power of Trane and confronted it head-on, rather than deny it, ignore it, or some other ignoble response. "Strongly influenced by" might be more accurate, I think, if for no other reason that Pepper was probably congenitally incapable of letting himself imitate anybody outright. The fact that he even allowed himself to be influenced might account for Pepper's description of himself as an "imitator". The man seems to have had more twists in his psyche than an O. Henry story encoded in a DNA strand stashed in a pretzel. Having said that, try THE TRIP.

Thanks, Brownie!

Heard it. Pretty nice stuff, and mostly worth having for Mitchell, imo. If you want a "star" rating, 3.75, 4 if the weather is good.

I did not even know the danish label had something to do with the Mingus/Roach one! Nor did I. I knew of the Fantasy issues of the Essen, Taylor & My Name Is Ayler sides w/the Debut imprint, but had no idea that there was a "real" connection. Just figured it was a business deal with the name (if that makes any sense). Anybody capable of elaborating?

Lots of people I know and love dig Harrell. I've tried, and haven't given up yet, so the "maybe in a few years I'll look back and agree" thing goes both ways, y'know? But all I get out of him so far is superior musicianship, imagination that is perhaps too "dry" for me to pick up on, and an emotional projection I don't connect with at all. But that's just been for the last 25 or so years. The next 25 may see a reversal of all that.