JSngry

Thanks for that clasrification, Tony. It indeed sounded out of character for Dickerson (although stranger things have happened!). As for Frey, I supposed in theory he's innocent-until-proven-guilty, but it's such a long tradition that the fact that his name shows up is evidence enough for me, and any burden of proof otherwise lies on him (or whoever remains to tell the tale). We got a saying in these parts - "Fool me once, shame on you. Fool me TWICE? Shame on ME!"

Most likely.

Dmitry, did Walt make mention of this date at all when you talked to him? The charges that he co-opted some composer royalties are not trivial, and I'd like to hear his side.

Here's actual prison photographs (seriously!) of Aminia paying that bebt: The leaded life she lead before the tragic killing of Williams can perhaps be explained by the fact that she was born with a tail, and kept it well into adulthood: Only through a bout of "rough sex" with Jan Garbarek outside the ECM studios was the tail removed. Apparently the appendage had become frozen (Garbarek was notorious in those days for his kinky, some say compulsive, attraction, some say addiction, to subzero sex, even mentioning it at length in his forward to the Nynorsk translation of "Tropic Of Cancer"). A particularly forceful thrust by Garbarek snapped the bothersome mutation off, cleanly, bloodlessly, never to haunt her again. Whether or not this occured during a Goulet/Branson session has not been officailly documented, but given the timing of those dates and Longet's subsequent series of high-profile tailless public appearances, it seems likely. Fortunately, an unnamed photographer heard the screams and moans coming from outside the studio, and rushed to see what all the ruccus was. This photograph captures Longet and Garbarek returning from their tryst, the look of physchosexual triumph visibly evident on both their faces. That's the stump of Aminia's tail that she's holding in her right hand.

Or was that from "Fondled Frankly" by Frankie Copafelia? Those two sides came out so close together I can never remember which was which.

...from the album "Fondly Fondled" by Frank Fondell and the Feelups, no doubt...

A sidenote: in the liners to "Coming Home Jamaica ", the AEC thanks the Odwalla Juice Co. for "a funding grant" and "ardent support". So, DRINK ODEALLA!!!

That Claudine was fond of fondling, wasn't she? At least until she found God and changed her name to Aminia. She also founded the Longet Symphonette Society and pioneered box sets. No Longet, no Mosaic. Simple as that. So here's to Aminia Claudine Longet, a TRUE patron of the recorded arts!

Ooops, yeah, the Hamilton might go OOP before the Tristano. The Hamilton would be a good buy too, but my thing with the Hamilton PJ stuff is that after Collette & Hall were replaced by Horn & Pisano, the music took a pretty steep dive from being a truly original and provocative "new sound" into being sterotypically ""West Coast", "foo-foo" clichedom. Just my opinion, but I can listen to the original Hamilton Quintet seemingly forever, whereas the later PJ units (excluding the Dolphy one found on ORIGINAL ELLINGTON SUITE) have me gritting my teeth in a matter of seconds. OTOH, the Mosaic includes a shitload of live material by that original unit, so that's a plus, and a big one at that. Too bad the concept couldn't have been stretched to include Hamilton's PJ TRIO album w/George Duvivier and, on different cuts, Hall or Howard Roberts. That one is even more original and startling than the best Quintet stuff, and shows Hamilton's innovative side at its very highest level. It's on my short "hype whenever possible" list, along w/Hadley Calliman's IAPETUS (hmmm...another California thing...) and a few other undeserverdly neglected (and unreissued) idiosyncratic gems. Requests to Cuscuna to get it out SOMEHOW stateside always come back with "not likely", so the Mosaic would have been the ideal spot for it. But no. Too bad indeed. Too damn bad... All said though, I'd still go w/the Tristano, just because I think it's much more consistent, holds a greater continuing historical relevance to the music (the Tristano trip has slowly but surely been finding its way into the jazz mainstream over the last decade or so, quiet as its kept) and, ultimately, because Kenny's got a radio show and the world needs to hear all the Warne Marsh it can.

It's all about revenge and the bling-bling, baby, and Bert be the reelafizzle shnazznittlewhizzle. Yall really should pay attention to Lezza Gibbons....

Bert, being the crafty buisinessman that he is, had a setup for a sequel built into the ad.

Then the NyQuil hype (not yet available for public screening, sorry, I tried)

Oh ye of little faith!

BAP-TIZUM is a live set recorded (I think) at the Ann Arbor Blues & Jazz Fest and is crackling with vim, vigor , and vitality. Anybody who digs the AEC should have this one, at least in my opinion.

Excellent. Purely excellent.

This is just SO tabloideque. Y'all make me sick. I guess I'm the only one here who pays attention to Leeza Gibbons for anything longer than a quick wank. SO typically male, that is... Anyway, here's the REAL inside skinny: That picture of Bert is from the new NyQuil commercial that he filmed last week. The spot is scheduled to run in October, and it'll show a depth, a RANGE to Bert that the CTW folks have kept under wraps all these years. The cat REALLY convinces you that he's got the worst freakin' cold in the history of the world. The buzz on the street is that a Clio is a lock and that Bert's going to use the juice to get CTW out from umder the wings of PBS, since he figure that Bush & Co. got it in for that crew anyways. Besides, there's bad blood between Vicks and PBS going back to the Ford administration and the whole Nixon pardon bizness. Vicks wanted to underwrite some investigative reporting shit, but PBS put the kibosh on it and handed the gig to the MacArthur foundation. Bert, up until the pardon a loyal (and lifelong) Republican and significant Richardson-Vicks stockholder (this was before the P&G takeover, remember), smelled something rotten in the deal and vowed to bring PBS to its knees when the time was right. Well, it looks like that time is FINALLY here. Bert's a player, baby. He's got it goin' on on the shure 'nuff fer real side, and all this trash talkin qin't nuthin but some tired sadass bullshit. Y'all aint got ANY kind of a clue.... Now, Forgetful Jones, THERE'S some dirt for yer ass!

Tristano - it's an older set, most likely the 1st on the list to go OOP, and if you dig Konitz but don't have any Warne, then you've put on a pair of really nice shoes just to sit around in a recliner. A comfortable recliner, sure, but as long as you dropped the dough on the shoes and bothered with putting them on, why not go for a walk? And Lennie, btw, is the shoestrings.

Opie be deep, man, Opie be deep.

Ok, I'm driving to see my Mom a few Sundays ago, get out of range of Dallas radio, and switch to East Texas Radio Survival Mode, which means looking for the least barfy oldies station of the moment (used to be a really good Soul station, KZEY-AM, in Tyler, but they've long since turned into a really BAD hip-hop station. Besides, even the best hip-hop ain't made for AM). Anyway, I found one that seemed to not rely too heavily on the cliches. Commercial break comes up, and the DJ says "When we come back, something by The Rascals. But first, this..." "Oh shit," I think, "it'll be either "Groovin' (great song, great record, but WAAAAYYYY overexposed for me after hearing it for 36 years) or "Good Lovin'" (never cared all that much for it. Nice enough, but...)" So I did a quick scan, found nothing of interest, and came back just at the end of the break. To my surprise, they very next record they played was "A Girl Like You", one that I haven't heard in a good long time. Well, tell you what. I had forgotten jsut how good that record sounded. And especially how good it FELT. Not really pop, nor rock, nor R&B, none of the above, it actually swings like a jazz side, but of course it's not jazz. It's just a joyous little slab of music that sounds great on the radio and sticks with you in an equally joyous manner for quite a while afterwards. Hell yeah. So I got to thinking about all the other Rascals hits that were similarly sui generis, and there were quite a few, actually. Good songs, good records, a mighty impressive Top 40 musical legacy. Then it dawned on me that you really only hear just a handful of that legacy on a regular basis today, and that's just not right. When was the last time YOU heard something like "A Girl Like You" or "It's Wonderful" on the radio? AMG call this one "Arguably the greatest greatest-hits album of the '60s", and I'll not quibble with that. So, here's to the Rascals. They done good and deserve better. Check'em out.

Plotting the Bay of Pigs?

The news is indeed sad. The legacy, however, is anything but. So long, and thanks.

I remember those Robert Goulet/Charles Branson ECM sides very well, especially the one where the Eicher invited Claudine Longet in and she "serviced" the band on the ski slopes outside the studio. Philly Joe Johnson talked about it in Beat Down magazine. He though that she was being paid, but he found out later that she was just a big Goulet/Branson fan. Well, most of America was! Anybody got CDs of those for sale? My old LPs are shot to hell.

Saw the title of this thread and thought I'd somehow linked to a different kind of a swinging site... BTW - how IS that "Kind of Blue" album anyway? Seems like that's one I've nver gotten around to checking out.