robertoart

Funny, I don't remember that line. Was that in the director's cut

Ditto that. This was my first introduction to him.... Santa Clause Is Coming To Town The Thelonious Monk of Pan-Delta guitar

Hank Mobley $2,125 with two hours bidding to go. My link

I always thought it was some kind of ticket or pass on the cover. I was actually glad to find out it was a sandwich. A good piece of Jazz scholarship that was I love Lou's surly reminiscences about being ostracised for not 'using' back in the day. I've also read him say that he thought all the so-called reformed users were still secretly getting high. "If they're still making it, they're still taking it" I love his alto playing. I also wish I could afford the three hundred dollars the near mint first pressing of Here Tis just sold for on ebay yesterday. My link BTW that man on the cover looks like he could use a bigger sandwich than that.

Not exactly as 'conceptual' as 'Street Priest' and 'Barbeque Dog', but still a decoded album title nevertheless. JW: How did Alligator Bogaloo get its name? LD: It was my title. I’m a golfer and had been playing down in Florida. One day I hit my ball and it went in a ditch. I started to go in to get it and the caddy stopped me and said, “Don’t do that.” Then he told me why. When I stuck my club down in the ditch with all the foliage, an alligator lifted up his head [laughs]. I liked the way the word "alligator" sounded with "bogaloo," which was a new hot dance then. from the Lou Donaldson interview here My link

and nobody can hold a candle to Teri Garr Yes. It's true. I don't hate you today

On a thread entitled 'Stupidest Comedy Movie Ever', that's a good thing, isn't it? Although I admit, after seeing Silent Movie on DVD, I'd give Brooks an honorable mention. In the theater, it was hilarious; watching it alone was one big bore. You're right! I like thinking about all the good comedies i've seen, I've forgotten what the thread is actually about. BTW, Evil Roy Slade is definitely a 'good' comedy. Kind of an embryonic template for some of the 'dumb and dumber' style comedies being discussed on this thread. That's if you haven't seen it all ready

here's the Bobby Rose interview I was thinking of. My link Interviews with overlooked greats abound on this site

Nothing was ever as well done, funny, and anarchistic as the Marx Brothers. There's not enough Gene Wilder and Mel Brooks love on this thread And what about this one?

I was going to link his Sonny Stitt story as told on Cavett - for the context and the laugh. Indeed I laughed my head off when I first saw that. But I watched again yesterday and I didn;t laugh at all. Maybe it really wasn't that funny

Look forward to this. We'll Be Together Again, another duet album with Gil Goldstein, is one of my all time favourites. I imagine this will be of the same quality. Hope Martino has more tapes from the past he will release. I've also read online somewhere an interesting recollection from Bobby Rose about how he met Martino and their subsequent collaborations. It's out there somewhere. A good read.

Man On The Moon was my introduction to Andy Kauffman, so I have an attachment to the movie because I wasn't just reliving Kauffman's best routines as impersonated by Carey, but seeing the 'act' for the first time. Now that I am familiar with the 'actual' Kauffman routines I have a better grasp on just how well Carey filled out the role. Sure he should have got an Oscar...why not? Who got it anyway, Dustin Hoffman? BTW, every time I read criticism of Kauffman that directs me to routines meant to illustrate how inconsiderate of his audience he was - I am inevitably hooked and proceed to laugh my ass off.

Meatyard had a unique vision. And a unique name And he grew up in Normal, Illinois.

Meatyard had a unique vision. And a unique name

You don't think Cosby is funny. Not even sometimes?

Completely agree. Twombly's a total plonker. I don't know why museums keep pushing his stuff. He is one of a few contemporary artists I really hate -- him and Dan Flavin. Well the amount of young artists that work with flouro's suggest Flavin is a big influence on young contemporary artists. Although considering how fast the worm turns these days, maybe he is already a boring old fart. Twombley I have only seen in reproduction, but I usually enjoy the aestheticization of graffiti - so I like to ponder Twombley when I come across an article. One thing I remember reading about Twombley, was from the English visual art writer Matthew Collings. I think he was writing a few years ago about a Twombley retrospective. He said basically, that when Twombley gets it right, his paintings are truly great, but when they don't work - they really don't work. So there is no middle ground between his great work and aesthetic failure. I don't know about that, but I guess you could say the same thing about lots of painters that rely on grasping the gesture and chance. I would still like an opportunity to spend a few hours in a room full of Twombley's - to try and discover which ones were great and which ones weren't. Maybe I couldn't tell the difference anyway. I guess it would be harder to get a feel for that amongst Turner and Monet as well. It's obviously all about taste, but I can't imagine I would be impressed by any artist inspired by Flavin. I simply don't consider light emanating from tubes to be "art." Twombley rubs me the wrong way every single time. It's like he's intentionally rubbing it in the face of all the middle-brow heathens who say "but my kid could do that." But live by the sword, die by the sword; 99 times out of 100, I would consider a child's scribbles to be of more interest than Twombley's. I'm just impressed you've even heard of these guys And if you don't have some significant connection to the Contemporary artworld then I'll settle for just being flabbergasted But there is definitely much more to Twombley than rubbing the 'everyman's' nose in it. If he wanted to do that - in this day and age - he wouldn't waste time and effort bothering with oil on canvas.

Completely agree. Twombly's a total plonker. I don't know why museums keep pushing his stuff. He is one of a few contemporary artists I really hate -- him and Dan Flavin. Well the amount of young artists that work with flouro's suggest Flavin is a big influence on young contemporary artists. Although considering how fast the worm turns these days, maybe he is already a boring old fart. Twombley I have only seen in reproduction, but I usually enjoy the aestheticization of graffiti - so I like to ponder Twombley when I come across an article. One thing I remember reading about Twombley, was from the English visual art writer Matthew Collings. I think he was writing a few years ago about a Twombley retrospective. He said basically, that when Twombley gets it right, his paintings are truly great, but when they don't work - they really don't work. So there is no middle ground between his great work and aesthetic failure. I don't know about that, but I guess you could say the same thing about lots of painters that rely on grasping the gesture and chance. I would still like an opportunity to spend a few hours in a room full of Twombley's - to try and discover which ones were great and which ones weren't. Maybe I couldn't tell the difference anyway. I guess it would be harder to get a feel for that amongst Turner and Monet as well.

They're my favourites. I always begin to feel strangely peaceful when I hear these go off. If only for a fleeting moment

Good to see Foley has 'seen the light' and gone 'Harmolodic'

Ronnie Cuber was simply a monster player on those Benson sessions. Just an unbelievable virtuoso. I have a recent interview with Benson where he recalls that band and says something like Cuber was 'one of the greatest musicians he could have played with, and makes special mention of him knowing 'the blues' too. I think the obvious response is simply that Larry Young was just a bit deep and advanced conceptually for Benson at that time. The interviews I have heard recently with Benson and Lonnie Smith paint the picture that they were just a couple of young lions out to have fun and play their asses off to the people. Which they did. The basic fallback they had re-material for relying on nascent boogaloo beats and frenetic Blues structures just doesn't match the vision and experience Larry Young had around the same time. The closest he got to that, was the Grant Green sessions he did, but they were way deeper in concept than the younger Benson/Smith band. Benson really matured in his feeling and 'edge' after the Miles Smiles session I think. His playing got a lot deeper in feeling then. It may seem an absurdity to say this, but the early CTI playing he did on Sugar and Beyond The Blue Horizon is really harder and more challenging in some ways than the earlier more 'pure' stuff and it's at this point I could imagine him doing something awesome and 'really' connecting with Larry Young. Even on the Love and Peace session, he still seems like he is stretching to be 'out there' a bit and fit in (though it's one of my favourites). There's an early seventies recording of Lonnie Smith and George Benson doing Impressions that is pretty phenomenal too.

thanks. the term frank wright recording excites the heck out of me. i'm so glad that some others feel the same way. I listened to the clip again after posting this. It sounded even better than I remembered it. This is a hugely important release in the general scheme of archival releases I think. Although I suppose it will be appreciated by 'the faithful' and gradually disappear into the miasma of itunes/digital land. I wonder if it was released back in the day what kind of iconic and legendary status it might now have here's a snippet of one less than impressed listener; His band on Blues for Albert Ayler, recorded in 1974 at the club Ali’s Alley, run by drummer Rashied Ali, includes guitarist James “Blood” Ulmer, a player whose work has almost always left me cold, and frequently been actively annoying; bassist Benny Wilson, with whom I’m not familiar; and Ali on drums. To be 'actively annoying' is better than indifference I suppose When I get the whole thing I might listen to it and compare with this recording as well Ulmer and Ali from 73, but the Frank Wright/Ayler sounds more fluid and intense from the sample.

I listened to the youtube previews a while ago. And look forward to hearing the whole thing now it's out. From the clip, It sounds like a fiery and relentless performance Personally I love hearing Blood Ulmer's guitar teamed with tenor playing like this. So the release came as a nice surprise. An important release that adds to these players discographies.

I was wondering too- who and what that represented?

and re- the Annette Funicello picture - all I can say is this;