T.D.

Only recording I have is the Karajan (going back to the days when I paid attention to Gramophone, the Penguin Guide and the like ) which I never cared for. If I were to pursue more recordings (which is unlikely in the near future), I'd consider Mackerras (great Mozartean conductor, don't know about the cast) on Telarc, used copies cheap at Amazon. Would also consider period instrument versions, but no names jump to mind (I never fully bought in to the Gardiner mystique, for instance).

Larry, it's all vague. p.10: "...I met ...Woody Shaw and we began a relationship. In 1978...[Woody III] was born...Woody Shaw and I lived together for a short time, but things didn't work out between us and we ended our relationship in 1983. Things had changed for Dexter around his [60th] birthday [2/23/83] that year [1983] when we had a big party at the Village Vanguard. We agreed to end the business relationship, live together, and as he again put it, try to have a 'normal life'." The later chapter Homecoming is promised to elaborate on "...how I met Dexter and how we planned his return together, opened an office, and began a life together", but furnishes few personal details. There is ample evidence that Dexter and Shaw had a good relationship at least through 1980: "Woody Shaw was the one who got the interest in Dexter's return going" (1975? 1976? p.170); "That was when Woody Shaw stepped in. He told Dexter not to worry; he would get a band for him...Woody and I started a relationship...and were living together by the time Dexter came back in 1976" (p.173); account of Dexter recording Sophisticated Giant with Shaw (1977; p. 183); Woody III born (10/12/78; p. 185); account of Dexter recording Gotham City with Shaw (1980; p. 186); reprise of the 2/23/83 birthday party decision (p. 188). Basically nothing on how/why the Shaw relationship ended and how the Dexter relationship moved from business to personal. Maxine must have moved in with Dexter very shortly after ending the relationship with Shaw, so I am inclined to agree with you that there's a story to be told. But Sophisticated Giant doesn't tell that particular story...I still like the book, though.

[1] Not that I recall, and I recently completed the book. I'll look again when I get home from work. [2] Quite possible, but I don't know enough to say more than "that story remains to be written". As mentioned above, Woody III wrote the afterword, which is highly complimentary to Maxine.

Big-name baseball free agency is one of the best illustrations of the behavioral economics concept of "The Winner's Curse". I can't fathom how Harper's career stats justify the numbers being quoted (yeah, Scott Boras is his agent, but still), and Machado seems to have deal-breaking character flaws. And even in the best case, the clubs will be eating serious money in the late years of the contracts. I should do a post-mortem analysis of the Albert Pujols contract...too lazy, but I suspect he's been on the high end of value among premium free agent signings. Still, his pay of $28, $29 and $30 million for 2019 through 2021 is far from appetizing. On the plus side, his sterling character has never been in question (unlike Machado).

Found this interesting passage in the Dexter bio Sophisticated Giant (p.125): Torben Ulrich, the Danish writer, musician, filmmaker, painter, director, performer, and former champion professional tennis player, was also there at Jazzhus Montmartre on Dexter's first night in Copenhagen...Ulrich and Dexter became very good friends, and Torben asked Dexter to be godfather to his son, Lars Ulrich, who grew up to become one of the founding members of the heavy metal band Metallica.

[Hawes, Blues for Bud] It really is. My favorite Hawes recording, gets frequent air time.

"Fine Art America" site shows this in stock Disclaimer: I know nothing about the vendor, with whom I have no connection.

Discs 4 and 5 (#s 6-9) Otmar Suitner cond. Staatskapelle Berlin - no label on front of cheapo box.

Hate to say "I told you so", but I said back on 21 Nov. that I expected this to happen because of a history of voters opposed to relief pitchers' induction.

I broke down and bought Sophisticated Giant. Just over 100 pages in. Much exceeding expectations, highly recommended!

Haydn complete piano sonatas, Walter Olbertz

Sun Ra, Artyard in a Box

Iron Foundry!

I know Carmen Fanzone (ex Chicago Cub) has been discussed on this forum. Jazz trumpeter, one could assume he was a fan. Former NBA player Wayman Tisdale was a smooth jazz bassist.

I don't consider chess players athletes, but GM Levon Aronian seems to be a major jazz fan. There's a lengthy interview at this Russian site but I'll quote: - Comparing your chess style with jazz, who would you be? I guess Magnus Carlsen is somewhat like Thelonius Monk – simple but yet very complex! (CiT) I’ll respond using too many words, but please bear in mind the mitigating circumstance that I’ve got a maniacal affection for jazz. Given that Thelonius had fame and recognition only among his colleagues, while the critics had difficulty understanding his ideas, he’s probably better reflected in the chess world by Michael Adams, while Magnus himself is more likely Tony Williams – a prodigy and trendsetter. It’s a difficult task for me to compare myself to anyone. My natural modesty means it’s hard for me to name Joe Henderson or Booker Little. So as not to disappoint you, I’ll give a short list of other comparisons. Let’s start with one close to my heart. Vassily Ivanchuk, in my opinion, is Ornette Coleman – that same universality and great influence on other players. Bent Larsen is somehow similar to Roland Kirk. A great melodist (positional player), whose play was extravagant. Vasily Smyslov could very well be represented by Grant Green. A harmonious manner of play and wonderful technique. I associate Tigran Petrosian with Warne Marsh. A unique style of play which, it seemed, was too calm and dull, while in reality it was deep and cunning. - Have you ever played a game as smooth as Kind of Blue? (CiT) To be honest, I’ve never particularly liked “Kind of Blue”. Due to the fact that I heard it for the first time only after listening to many of the great albums of a later period it didn’t make the proper impression on me. Of course I do, however, recognise its enormous significance for the following era. So let’s designate the “perfectly smooth” album as “The Next Step” by Kurt Rosenwinkel

I recall a flurry of interviews in 2006, readily found via Google, but they have that nebulous quality: NYT JazzTimes AAJ

Discs 5 and 6 (Mendelssohn, Bruch, Wienawski, Tchaikovsky) Discs 1 and 6 (North American Ballads and The People United...) Maybe more later.

Thanks, but I don't have broadcast TV, just a set I use for DVDs (don't want to pay for cable or dish). Unfortunately, I couldn't find this on Netflix DVD or Youtube so it may not be possible to watch.

! I have a much later live recording on Philips.