Shrdlu

Awesome! Spelling far out. The couple look cool anyway.

Das ist ausgezeichnet! Choice, baby! The voice is deffo Kenny. He was from TX and no doubt knew at least un poco español.

Sad news indeed. I loved him in The Equalizer, and I have all the episodes on tape. The ones where Stewart Copeland did the music were the best ones. Stewart is a genius. I found a CD of Stewart's Equalizer music in Huntsville, Alabama in 1997. Mega rare, I guess. It's a pity he hasn't recorded more. He's so original.

Oooh, I love Dave's albums with Bill Smith. Check out "The Riddle" (Coumbia).

Philly Joe would have been better, musically, but I guess his "issues" got the better of him too often, and he wasn't Prestige's (nor Blue Note's) preferred session drummer, alas. Blue Note's Al Lion loved Philly Joe, and used him a lot. But he wasn't popular at Prestige.

I have the same problem with my USB memory stick. The stick, and its contents, are fine, but sometimes the pcs I use it on refuse to recognize all the files. It's just the pc's time of the month.

They did that with Miroslav's "Infinite Search"/"Mountain in the Clouds" album too. Bad production.

I never liked the stock Selmer plastic mouthpieces (and Joe did fabulously with his). I just use the Link gold metal ones on soprano, alto and tenor, and they do fine.

Mundo wasn't all that bad, and they have an extensive range. But I don't buy a lot of Japanese CDs.

Thanks for the tip about this one. Can't have too much Fats. I'd love to have heard Elvin Jones with him (no, really), plus a better bass player.

Bill was definitely an influence on Herbie, and so, at least second-hand, Nat Cole must have been. As Herbie is so versatile, you don't always hear it.

Le dernier cri!!

I wonder why he changed from it. I also saw it on TV without much lacquer (Zoot's was the same), but he could have had it relacquered. Also, he used the crummy black plastic mouthpice that comes with the Selmer, yet produced that awesome sound. You'd think he would have gone for the Otto Link. I wonder why he changed from it. I also saw it on TV without much lacquer (Zoot's was the same), but he could have had it relacquered. Also, he used the crummy black plastic mouthpiece that comes with the Selmer, yet produced that awesome sound. You'd think he would have gone for the Otto Link.

Sad to see that go. I recommend Mundo though. They give very quick and friendly service. As a backup, there is also hmv.co.jp - kinda pricey however.

There was a CD of Whistleman a few years back. A very tasty set!

Well it sure didn't last.

I ignore myself all the time - not just on websites.

If you are going to pay 50 bucks for a pair of name-brand undies, then you need to have your pants down low. Must be very uncomfortable. My son's friends manage to do it though. (For the record, for me, it's $7 at the Market of Wal for a 6 pack of undies.)

I agree texting while driving is dangerous, but banning just talking is just more bullshit from the "peace and safety" crowd. It sure is a nice money-maker for the Man in the UK, where the cops are now just tax collectors for the government. Next, they will make it illegal to adjust the speed on the heater fan.

Bill had already left Miles' group before Kind of Blue was recorded. Miles brought him in for that because of the nature of the tunes. Wynton Kelly wasn't right for them. Bill left the sextet partly because black audiences didn't take too well to Miles having a white pianist. I don't think Herbie was in any way influenced by Oscar Peterson. Never even heard that suggested before.

The "Super 80" isn't a patch on the Mk VI. I had to sell my Mk VI soprano in Canada for a car upgrade years ago. Regretted it ever since. I now have a Super Action soprano and the layout of the right hand side keys sucks. But it is playable.

Zweitausendeins had the Evans Riverside set for about $20 a few years back. That was a genuine deal and I picked up a copy. I'd already heard a lot of it years ago, but there was some new stuff too.

You have not heard the album simply called "Coltrane", Impulse AS 21? It's a masterpice! Get it asap. It was derived from these sessions: John Coltrane Quartet John Coltrane (ss, ts) McCoy Tyner (p) Jimmy Garrison (b) Elvin Jones (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, April 11, 1962 10873 Soul Eyes unissued 10874 The Inch Worm Impulse AS 21 10875 Big Nick Impulse 314 589 567-2 June 19, 1962 10979 Not Yet unissued 10980 Out Of This World Impulse AS 21 10981 Soul Eyes Impulse AS 21 10982 Excerpt unissued June 20, 1962 10983 Not Yet Impulse 314 589 567-2 10984 Miles' Mode (The Red Planet) Impulse AS 21 10985 Two, Three, Four unissued 10986 Excerpt unissued Miles' Mode Impulse 314 589 567-2 Tunji - - - - - - - Impressions - - - June 29, 1962 10992 Tunji Impulse AS 21 10993 Out Of This World unissued The album Impulse 314 589 567-2 is the "Deluxe" 2 CD set that I mentioned in my earlier post.

Also got the first of the recent 5 CD LP facsimile Impulse box sets. The sound is excellent on these. The "Coltrane" album came over really well on the headphones. So did the first Village Vanguard album, which is probably my favorite Trane. A neighbor brought the LP around in 1963, and it just blew me away, even though to this day I don't really like "Chasin' the Trane". I'd never heard any of the 5 musicians before (possibly Trane on "Kind of Blue", but I'm not sure). The combination of soprano and bass clarinet was, at the time, very unusual, and there was this pianist playing these strange new chord voicings, plus a very original new drummer. It took me awhile, doodling on the piano, to figure out what McCoy was doing - voicings in fourths.* "Spiritual" is a masterpiece, with its seesawing alternating chords of Cm and G7 in 3/4. Elvin makes it swing like crazy. I also love "Softly, As In A Morning Sunrise". What a cooker! I wish they had recorded more standards like that at the gig - I find some of the material, like "India", rather tedious, and I'm really tired of "Impressions" after hearing and playing it myself so many times. (The sixties were an odd time for Trane fans who did not get to hear him live, because you would get the above album, then "Bags and Trane", then "Ascension", then a Prestige date from 1958, all fired at you, with very different styles.) ________________________________________________ * For the newcomer to music, here's an example of McCoy Tyner's trademark fourth chord voicings. Starting with the G below middle C, play G, C, F, A. This has an ambiguous sound, and can be played with more than one root note in the bass. The intervals from G to C, and from C to F are known as fourths. The basic major and minor chords, such as C, E, G, are in thirds, not fourths, and sound a lot plainer.

Been spinning "Not Yet", from June 62 quite a lot. Recorded at the sessions that produced the LP "Coltrane", this track was not released until the "Deluxe" 2 CD set of "Coltrane" came out a few years ago. "Coltrane" is a superb album, and I think they selected the right tracks for it, but it's a shame that "Not Yet" had to wait so long to be heard. Give it a spin and see what you think. If ever there was a single selection that encapsulated the work of the quartet with McCoy, Jimmy and Elvin, this is it! It's all there: the hammering fourth chords and octaves in the treble by McCoy, the strong walking bass of Jimmy, and Elvin's ride cymbal with triplets on the snare, plus a strong tenor solo. A very tasty track, it swings like crazy. Although I also like Trane's later work, I prefer it when his group swings - gotta agree with McCoy and Elvin there. Two other less well-known tracks from that period that I love are the quartet's versions of "Big Nick" and "Vilia". These were issued in the LP era, but only on the rather obscure "Definitive Jazz Scene" anthologies, and so they were missed by many Trane fans. They are also tasty examples of the quartet's work. "Vilia" is the only track that has been released from the session at which it was recorded; it cooks so much that I'd love to hear the rest of the music recorded that day. (A different version of "Big Nick" appears on the album with Duke Ellington.)