Shrdlu

Deux liasons pour Miles? Naughty boy! Les accents sont inclus avec Windows. Voir Control Panel --> "Regional and Language Options" --> "Languages" --> Details". (Possiblement en français pour toi.) J'ai les accents etc. pour français, allemand et espagnol. Pas de problème!

I see your point, but most sessions are released on their own. I think the 2/17 session deserves special focus, as it is so beautiful. Just joking here, but when I unraveled the sessions from the LPs, I just put them onto a humble audio cassette, as I didn't want to go to all the hassle of transferring them to digital with Musicmatch. (I have to drag my turntable to the computer to do that.) I have both sessions on the same cassette. But on opposite sides! Yes, I am inconsistent! Stay cool!

Je préfère la musique du film. C'est fantastique. Pour moi, le film n'est pas très intéressant.

Put me down for Blue Serge, too. Fabulous album! Serge was one of the finest ever baritones. But I'm also a big Mulligan fan. Dry? Whatcha talking about? We can enjoy both.

Well said, JS! We can get too academic and too technical, and too demanding. The guy's charts sound great, to me. We are not talking Gil Evans, but it's still terrific stuff. (And I also switched off Blumenthal many RVGs ago.) I wouldn't issue the 2/17/67 and 6/23/67 sessions together. They aren't related, and the sessions have different vibes. Why be tied down now by the rather arbitrary mixing of parts of these sessions on the original double LP? That LP had items from several sessions, and samples of these 1967 sessions were included as a way of getting them out for the first time. Then, the later single LP was put out in order to release the balance of the two 67 sessions. Now, years later, there is no longer a need to do that, and it makes sense to me to issue the sessions separately. Also, there are some rather dull tracks on the 6/23 session that were done as part of the "Sidewinder syndrome" - you know, let's do some things with a pop beat. Those get real tedious, for me. The 2/17 session has nothing like that.

Doesn't that steam you! Arrogant bullying by Mr Viacom. YouTube is real cool, and totally harmless in my opinion. Lots of friendly people there, and it's a lot of fun. I doubt that Viacom is losing anything because of YouTube. YouTube is a kind of online version of having friends over, or hanging with them in the street. I bet the whole thing gets thrown out of court. I would, if I were de Judge. Watch out, soon it will be an offense to have some people over to listen to some sounds.

Well there never was a title for this 2/17/67 session, as half of it was on one LP, and half on another, both mixed with tracks from the session on 6/23/67. The forthcoming CD will be the first issue gathering the entire Febuary session together in one place. Obviously, the June 23 session would make another CD (or could be included with the Feb session as a 2 CD set, as you say). Of the Pearson-arranged Turrentine sessions, these two are the only ones left that have been issued before and are not yet out on CDs. So this may be the end of the road. There are other sessions (1967, I think) that have never been issued at all. Maybe they didn't jell, and so maybe they will never be released. I know Duke was very fussy about the quality of the performances he produced. The discography shows many sessions that were abandoned, and the tunes re-made at later sessions. And look at some of the take numbers! They seem to have made a huge number of attempts at some of the selections.

After what Clementine said the other day, you sure you want to pick an Andrew Hill? No problem as far as I'm concerned, though I still prefer the 1964-66 sessions.

Vielen Dank, Kyo! I didn't know about that upcoming release. I hope they get the sound right. It's excellent on the LPs, which are the later BN LPs with the dark blue label. This is a wonderful session and is certain to be enjoyed. I wouldn't have picked that title, though. The session has a lot of Brasilian stuff, and the blues is not the most important track. (One thing is clear, from this and other Pearson sessions: Duke had a copy of the Warner Bros LP "The Wonderful World of Antonio Carlos Jobim".) After making my post, I put this session on again in the car. Boy, Bucky Pizzarelli really gets that Jobim feel on the guitar. Mwah! Love that kind of guitar playing! All the guys were really on top of the bossa that day! "Night Song" would make a good album title. That's a stunning performance. Chuck, have you heard this session? Duke's arranging isn't always stunning, I agree, but he really does a fine job here, and with a fairly small number of instruments.

Pretty much all Duke is good. Never heard a bad one. For a sextet, try "Little Johnny C" (Johnny Coles). That goes down smooth. If you can find the LPs, there's a superb Turrentine session from 1967: Donald Byrd (tp) Julian Priester (tb) Jerry Dodgion (as, fl) Stanley Turrentine (ts) Joe Farrell (ts, fl) Pepper Adams (bars, cl) Kenny Barron (p) Bucky Pizzarelli (g) Ron Carter (b) Mickey Roker (d) Duke Pearson (arr) Rudy Van Gelder Studio, Englewood Cliffs, NJ, February 17, 1967 She's A Carioca BN-LA 394-H2 Samba Do Aviao - Manha De Carnaval LT 993 What Now, My Love? - Night Song BN-LA 394-H2 Here's That Rainy Day LT 993 Blues For Del - * "Stanley Turrentine" (Blue Note BN-LA 394-H2) * Stanley Turrentine "New Time Shuffle" (Blue Note LT 993) That's a very tight, intimate session, with a lot of good blowing by Stanley. I think it's my favorite Pearson now, and it's certainly one of Stanley's best. The LPs are easy to find on eBay. I transferred the tracks to put them in order. (They are mixed with tracks from a later session.) This would make a great CD.

They finally figured it out! You don't buy a Chevy because a stunning babe sits on the hood in the ad. But they still make the ads like that anyway. Here's another deep revelation that I found out as a teenager: girls don't really care about your aftershave. And I was not influenced one little bit by girls' perfumes, jewelry or makeup. But don't tell the ad agencies. It might give them a complex or something, or maybe Wall Street would crash. Ho hum.

Pre digital: about 10 channels, lots of good stuff to watch. Digital: about 1000 channels, diddly worth watching, turn TV off and put on some sounds.

Nice, Jim! Thanks for the link.

MG, the LP is probably better than the TOCJ. The thing about the TOCJs is that they are taken from the LP masters. As this LP wasn't released in the 60s, I imagine that Ron McMaster did the LP, and is in the chain leading to the TOCJ CD. But the TOCJ CD craps all over the U.S. CD from a dizzy height. No idea why.

Don't you just love those loooong tracks? Al Lion was really hip to allow those. That Trompeta track is a masterpiece of sustained mood. I love it when Tommy Flanagan solos after the horns - calm but very deep. Maybe it was the Jimmy Smith influence that made Lion go for long tracks by other guys.

I was slow to warm to Kenny, because at first all I had was the airshots he did with Bird, and they are great, but the sound is not excellent, and Bird overshadows everyone else. (And I was a lot younger then, and less appreciative.) But the Blue Notes are awesome - all listed above - and so are the other albums they list. You have some great listening ahead of you! He and Joe Henderson make a fantastic blend! Jazz at its finest.

So, how do they sound, Jazz Kat? Is that your place, or "Manny's in Midtown"?

Just in case you missed it, George is on John Patton's "Blue John". That's a real groove, and is my favorite album with Braith, though I love his own BNs. On the opening track, someone is yelling in the background to egg them on, and the vibe is fantastic. (I wonder whose voice that is - maybe Tommy Turrentine, who does not play trumpet on the track.) The sound is good on the TOCJ of that album.

You like football? You like nachos? Then let's get some nachos and watch some football!

What you smoking, Clementine? Far out! Gets me off the hook for my Albam gaffes, ha! FWIW, I'm clean, too! There was this film with Glenda Jackson living in an apartment building with a hooker friend, and Glenda was cooking some Italian stuff and ran out of an ingredient. She ran upstairs and banged on her friend's door and said "Do you have any oregano?" You can finish the dialog ...

I don't think he had any eyes whatsoever for anything other than what he did. Well, I'm glad that he [George] did what he did. --------------------------------------------------------------------------- After some remarks since my last post, I'm going to go back a little on what I said. I still like Albam a lot, without apology, and I think he was one of the top arrangers. His stuff goes down smooth. One of his strong points was to leave lots of space for solos. All the top players dug him, and wouldn't have worked with him if they didn't care for his charts. In the notes for the Lonehill 2 CD set, Bobby Brookmeyer speaks with great affection about him and his work. But let's get back to George. I still haven't heard many of his recordings, e.g. the Riversides. Let's have some comments about his late 50s and 60s records.

O.K., no more refs to Manny Albam. I was just thinking aloud, really. An album like "Space Age" is very experimental, and nothing like "mainstream" arranging, but the NY album has portions that are very similar to more standard big band stuff. Russell could have done some more of that, if he had wanted to. Some guys like to get into a variety of styles. I do. I'm mainly into what you might call late hardbop, but sometimes I like to get into a Pres or Zoot groove, or do some swing era riffs, and so on.

Sad stories! But "Common Touch" and "Jazz Goes To Jr College" show up regularly on eBay. As the Turrentine is a later LP, you don't need $2000 for a copy! The (U.S.) CD of that sounds pretty good, as it happens.

Well, I trust in God, and don't have to see it on a coin to bolster my confidence. Its disappearance from money isn't going to bring the walls tumbling down. What kind of preacher is going to make a dumbell statement like that? I guess the kind who hates just about everyone he comes across because of the things they do.

You're called Elis and you ask who's on piano? (Hope you get that!)