Joe

Interesting to see how much traction this story has gotten in The Media. Seems to me that Spirit's legal advisors are leaning heavily on the circumstantial evidence here: the touring together, the theremin thing, the previous borrowings of "Fresh Garbage" etc. Such evidence makes for a good story, but I wonder how much of a factor it would actually play in court proceedings. My gues is little to none (would it even be admissible?). Then again, John Fogerty was once tried for basically plagiarizing himself (he both won and lost)... http://www.theguardian.com/culture/2000/jul/11/artsfeatures3 Jimmy Page didn't get rich by being scrupulously naive as to how the music biz works. Before Zeppelin was even a band, he made sure to get his publishing figured out (Superhype Music); he understood the value of having a Peter Grant as his manager; he is the Led Wallet. As much as I love and admire Spirit's music, they and Lou Adler made some poor choices the consequences of which always seem to become compounded by bad luck. Turning down an invitation to perform at Woodstock; "1984" being, for all intents and purposes, suppressed; simply being from LA in the ROLLING STONE "everything from LA is plastic and yucky" era, etc. All said, I'd much rather Randy California be remembered for his prodigal guitar playing -- what a tone! Josh Homme from Kyuss and Queens of the Stone Age seems to be one of the few contemporary guitarists to understand the power of Randy's idiosyncratic use of the fuzz box -- and his final act of heroism than the plaintiff in this case.

There's also this fine release: http://www.worldcat.org/title/string-quartet-no-1-1947/oclc/15507931 Note the series heading here.

Only boots. But just about every Zeppelin show can be had via taper trees and such. PS - Jay Ferguson did indeed pen the theme music to the American version of THE OFFICE. He has also written for one of the NCIS franchises. But in rockier times... http://www.youtube.com/watch?v=-KoqgALsa_I Joe Walsh handled the guitar solo on the studio version.

Ask Jake Holmes.

Smart, regardless of how much this is "really Sonny" or his management (?). Either way, Sonny Rollins is rapidly building a social media empire. At 83 (nearly 84) years of age. He just needs to do a Reddit AMA next... assuming he hasn't.

RIP indeed. What a wonderful musician; about as tasteful -- but never over-polite -- a trumpet player as I can ever recall hearing. His Savoy record (with that amazing version of "Cherokee" is justly celebrated, but later recordings for the Evening Star label are absolutely worth checking out. http://www.lpb.com/eveningstar/index.htm http://www.youtube.com/watch?v=VgnJdgjGvL0

The DVD for the aforementioned McFarland documentary seems to be on the horizon. http://thisisgarymcfarland.com/Gary-McFarland_film http://www.youtube.com/watch?v=he2VGXRgI6U

Also fun to browse Sonny's bookshelves... I noticed copies of (I think) Dance's WORLD OF EARL HINES and Chilton's SONG OF THE HAWK.

I watched / listened in its entirety. Not sure if this was 100% engineered or a matter of self-selection (how many older folks in the "jazz fan" demographic ore really tuning into Google Hangouts on a regular basis), but most of the questions for Sonny came from young people... I mean, young musicians averaging 15 years of age. Not that they had bad questions; not at all. Just sort of surprising. But a real kick to see Sonny interacting with actual kids. Probably the most interesting question-as-question came from a tap dancer who wanted Sonny's thoughts on the relationship between his medium / metier and jazz (a word I feel comfortable using here because Sonny used it consistently in his responses). Sonny dropped some wisdom, of course, preaching practice, patience (in life, not just on the bandstand), advocating for universal musical education. He dished out a few anecdotes, too... I'd never heard him talk about Lockjaw Davis before... I wouldn't call it essential viewing, no. But how often do you get to spend an hour just hanging out with Sonny Rollins?

One of those guys who always played with a lot of character, regardless of the setting / circumstances or whichever instrument he happened to be playing. Most fond of his baritone sax work... but his solos on this record are uniformly "Whoa? Who? What?" in tone, phrasing (such snap!) and conception. Shihab was not one to keep slow company, either.

I'd like to ask him about the conception and recording of FREEDOM SUITE and if there's not some way we might ensure that he lives forever.

Share some virtual time with Newk! https://www.youtube.com/watch?v=9_BJktYamh4 http://news.allaboutjazz.com/sonny-rollins-meets-his-fans-google-hangout-session-set-for-may-5-at-1200-noon-edt.php

OMG, how could I have forgotten this one... Wonderful stuff, and really fascinating listening in the context of Giuffre's Pena / Atlas and Hall trios.

In a similar vein, Zo-Ko-Ma: http://www.discogs.com/Attila-Zoller-Lee-Konitz-Albert-Mangelsdorff-Zo-Ko-Ma/release/1860151 Zo-Ko-Ma is a great record but there is the fact of Stu Martin's drumming that would probably keep it out of contention for the OP... There's also this "in a similar vein" date:

Also, the Anthony Davis / Abdul Wadud / James Newton trio.

Glenn Ferris' trios on Enja: trombone, cello and bass.

Will look for that Saft / Pride / Morris disc as well. Still rather taken with Saft's playing on Chris Speed's IFFY. Not sure why this date is not better known. http://www.youtube.com/watch?v=8LJxnU4bazQ

Yes, it does. Been wondering what Saft has been up to.

THE HUB OF HUBBARD is the one to get, IMO. Though I do like the collaboration with Mimaroğlu (SING ME A SONG OF SONGMY).

Sad news. Lost the thread with him sometime after THE UNDERGROUND RAILROAD TO MY HEART. Recommendations as to where to start with his later recordings are most welcome.

Not sure if it's "over the top," but I've always loved the exaggerations to which Sonny Rollins, Don Cherry, Bob Cranshaw and Billy Higgins subjected "Dearly Beloved" (Kern / Mercer). http://www.youtube.com/watch?v=KnrmxAHVOk0

Wayne Shorter, Cullen Theater, Houston TX. Been waiting a long time for an opportunity to see Wayne perform.

I've always been fond of the Smithsonian CLASSIC JAZZ PIANO box. The selection and sequencing of material by Martin Williams is very good, as are the notes provided by Williams, Dick Katz and Francis Davis. I also seem to recall that it include some tracks that were otherwise not easy to track down, e.g., Avery Parrish's "After Hours." I certainly would never have known about Herbie Nichols' music if not for this set. Looks like it has since gone out of print, but that relatively cheap copies are available second-hand via Amazon. I think this set has been mentioned on this board before... Fewer household names here, but, as a document, plenty enjoyable and increasingly significant, I think. Finally, not all of these tracks come off, but the ones that do (Konitz "meets" Zorn) are quite memorable.