RDK

John Abercrombie & Fitch Sandy Duncan's Eye (isn't that a real band?) Jackalope Pastorious Ed Zeppelin Man Or Astor-Piazzolla Man Pharoah's Sandals Camper Van Stockhausen Dinah Shore Jr.

Great stuff! R.J. Screwdriver Pütz Satan Kenton (!) The Petrified Sea Men ABBA Cadaver Mott The Stupid E. Coli & The Bunnycraps Yanni Difranco Gary Debussy Sexy Jesus

Ah, I miss Monterey; I'm envious of you guys who were there. The problem is, my wife has a legal conference that takes place in Monterey every couple of years... but it takes place like two weeks before the festival, long enough to make "hanging around" or returning so soon impractical. I was there for the festival in '86 or '87 I think it was, with backstage/media creds while working on a PBS music show. It was great as we got access everywhere, with highlights being backstage for both MJQ and Ray Charles. Also fondly remember the Clark Terry and Red Mitchell duo, seeing Billy Higgins in person for the first time (damn, do I miss him!), and Bobby Shew (iirc) leading an incredible big band of young Japanese musicians doing mostly dixieland tunes.

I just thought it was poorly/sloppily written...

Found 'em on emusic a while back - truly funky stuff!

When we named our daughter "Dinah," the name didn't appear on the national list of top 1000 names.

A buddy of mine named his kid "Buster" - bout five years ago now.

Good timing. For anyone else interested, check out dimeadozen.org.

"banjo jokes?" That's redundant.

You have to ask?

A bit off-topic, but I don't want to start a new thread for it - Why aren't Jarrett's compositions covered more by other artists? I was recently listening to My Song, and especially tunes like "My Song" and "Country" seem like they should be jazz standards. And yet, after a quick search at AMG, it seems that no one's covered them. In fact, I can't think of any Jarrett covers off the top of my head.

Man, have you got some catching up to do! (Welcome back)

Despite popular belief, an editor isn't the only one responsible for the editing of a motion picture. I don't recall the specific circumstances of Ambersons - it's been years since I've seen it - but while Wise may have been the "editor" of record (one of three actually), he undoubtedly took his orders from either Welles or the studio. To blame Wise for what happened to Ambersons is simply wrong.

Hopefully they didn't use much/any NR on it - it'd be disappointing if they did. I recently A-B'd (something I rarely do) the XRCD and a Jpn mini-LP of "Sunday" and I was really surprised by the difference in tonalities. A lot of EQ'ing and one (I think it was the XRCD) inserted a second or two of silence between tracks instead of the audience ambience edits of the other version.

I also have a live boot where Charlie Haden introduces Paul as "motion."

I think I added it up a week or two ago and it came out to about 160 minutes with the new material. But given the track lengths it couldn't be split onto just two CDs.

All I know is that I've never really liked or gotten into Plugged Nickel.

If I didn't listen to jazz artists - especially 1970s-era jazz artists - because of their hairdos, well I'd be missing out on a lot. What must you think of Sonny's mohawk period? As to Radiance, this one hasn't really grabbed me yet. I can understand someone finding it a bit "boring." But Koln and some of the others (the Sun Bear box, for example) are anything but boring. You should give Koln a try...

Simply my favorite Jarrett solo performance. This one is very special to me.

Not much of a fan of West Side Story, but he made enough other great films to make up for that clinker. Met him once years ago, and yes indeed he was a lovely gentleman. He will be missed. R.I.P.

Hmm. Can we really quibble about Corea, DeFranco, Hubbard, and Brookmeyer not being "jazz masters?" That's not a bad list. And they're all still breathing. They may not be cutting edge artists, but they ain't chopped liver. I'm not sure I'm following Chuck's rather negative comment either. They do have a history of awarding to some of the "edgier" artists, and it's not like Wynton's on the list...

no, but either way the point is the same... http://www.jazzdisco.org/evans/dis/c/#800901

Perhaps, Mike, but I guess the question would then be why did Alfa release it that way? It just seems weird to me.

From what I'm reading - and proven by an on-line discography - The Last Waltz box set consists of the Bill Evans Trio's first sets at the Keystone Korner while Consecration contains all of his second sets over a week of performances. But why the hell did Milestone release them this way, which makes for far greater repetition of tunes? Wouldn't it make more sense - and be more desirable - to have the first and second sets together on the same boxes? Was there ever any explanation for this?

So who's won in the past and who would we nominate (or award) now? Are previous recipients eligible?