Shrdlu

I wonder if the Hutcherson album is anything like "Lift Every Voice". If so, I won't be needing it. I wish that the voices on the Hill were overdubbed, and that the tape without the voices still existed, as there are some good instrumental bits. That tape could then be issued (remastered by RVG of course ) with the title "Lift Every".

Thanks, Hans, for regularly posting these lists. With these Japanese CDs, you have to move quickly. If you blink, they are OOP.

If Kerry gets in, he will ban all semi-automatic burning over 4X.

Mark, I get these emails all the time about eBay and Paypal. They look very realistic. Pass them on to spoof@ebay.com or spoof@paypal.com NEVER respond to such an email and give personal details. [The problem is, what happens if eBay sends a legitimate message? I automatically delete all of these emails.] But, my eBay ID has been stolen twice! Each time, I have contacted them through their "chat room" facility, that is, you get a real person dealing with you. After a few questions, they have re-set my account, and all is well. They usually ask me to give a new email address when they reinstate me, so be ready in advance with one.

Great news! Can't have too much Joe. But who wrote this lousy prose? One of the most significant improvisers to emerge from the 1960s and a major innovator on tenor saxophone until his death, at 64, in 2001, Joe Henderson possessed a uniquely slithering, squiggling attack, a parched tone that synthesized the epochal sounds of Rollins and Coltrane, and a conception that was equally comfortable in the realms of hard bop, modality, and free jazz. Parched? Uniquely slithering? (Well, he was on "The Sidewinder"!) Squiggling attack?

I say, look here old bean!

I have a friend who was in Tampa until last Wednesday, and then drove up to Pensacola (in case you don't know, that's in the panhandle, near the toe of Alabama). He sent us a message to say that he is now in the year 1885 and the De Lorean is buried in a mineshaft.

Anyone know what will be included in the Hill Mosaic Select box?

Boring.

It will be interesting to hear the trio session. Some of the horn sessions do flag at times, and there won't be that problem. I am very fond of the "Smoke Stack" album, even though "Wailing Wall" is a bit gruesome. Let's hope that Malcolm Addey is given the remastering job. (Not wishing to drag that discussion on again!)

You play a C melody? It must be an old model, as I don't think they even make them anymore. What's it like? (I play regular B flat tenor.)

There is a song for female vocalists that goes "I danced with a man, who danced with a girl, who danced with the Prince of Wales." I once met a man who played with Bix. But Lloyd-George didn't know my father.

I was, at one distant time, Headley Stott, an obvious put-on, but assumed to be real. What does real really mean? On the greatly missed Verve board, which was sizzlingly exciting, I used Lancaster Bronx, but I can't remember if there was a period or an underscore. Lon was Lon there. Anyone recall Ka Ka Ka Carne, or however it was spelled? It was purged by Tomato at BN eventually, but the name itself was stunning. I don't remember anything that he/she/it posted.

Gary McFarland's "America The Beautiful" is a very interesting album. It's a big band date, with a lot of the usual suspects, and not to be feared by those who don't like Gary's vocalese. There is a very cheap, but good-sounding, U.S. CD version (DCC Classics). It is perpetually available on eBay for peanuts, usually in tandem with another McFarland album, "Does The Sun Really Shine On The Moon", which I also like a lot. The Japanese CD will no doubt sound even better. "Today" has not been out on CD before, as far as I know, though LPs are easy to find. I'm looking forward to hearing that one.

And when did the sandwiches arrive? (See liner notes for "Bluesy Burrell".) Ethan, Blue Note makes lots of typos and other errors on their CD reissues.

Hi, Fent! There's not a lot there, and I deeply share your dislike for U.K. "trad" I hasten to add that I do like the original, that is, Louis and all. Try to get to Ralph's and Kakoo's restaurant, though. Their crawfish gumbo and crawfish étoufée is awesome. It's easier to get to their restaurant in Baton Rouge, but I wonder whether you will get over that way.

In a situation with a finite number of outcomes, you calculate the probability of a particular kind of outcome by the general formula P = (number of outcomes of that particular kind)/(total number of outcomes), where the / means "divided by". (Sorry, I have no access to mathematical symbols here.) In the case of the three spades, drawn randomly without replacement, there are 13 x 12 x 11 outcomes with three spades, and 52 x 51 x 50 outcomes in all (that is, any three cards). So, we have P = (13 x 12 x 11)/(52 x 51 x 50), as was said above. If you have any questions about this, grab any book on Introductory Probability and Statistics. A lot of the freshman "Calculus and Analytic Geometry" books have a chapter on this, too.

Just made up a custom CDr of that album, and it was a great listen. For me, it's all I want from their output. I'm not a big fan of blaring big bands (don't even like 60s Basie), as a lot of them lack that spark that makes jazz interesting for me, but this album is special. There are several reasons for this. Mainly, it's a matter of who's on it: Thad (of course), Pepper Adams, Richard Davis (what a difference HE makes!), Mel (of course), Bob Brookmeyer and Hank Jones. All the arrangements and compositions are good, but the two by Brookmeyer are outstanding. They link this album with the Gerry Mulligan Concert Jazz Band nicely. In fact, the arrangement of "Willow, Weep For Me" was made for Mulligan, and you can spot that it was designed for that band's special clarinet and bass clarinet combo. That is not a favorite tune of mine, as it can get tedious, but Brookmeyer did a fine job of turning a sow's ear into a silk purse. The Mosaic notes claim that the Jones-Lewis band was superior to Mulligan's. Now that the new Mulligan Mosaic is to hand, as well as the other CDs of their work, I strongly disagree. I think Mulligan's band offers a much more interesting set of arrangements, solos and performances.

Ah, the old deck of cards problems in probability! There would be little in those courses if you took those out. I wish I had a penny for the number of times I have taught that! A friend of mine had a great pun on this stuff: "One man's mean is another man's Poisson!" By the way, I agree with ejp626's answer.

This is really only one error: he gets the name wrong and writes the wrong name down twice. An error tends to perpetuate itself, as in the Jobim example below. That's a very interesting post, Bertrand. I still maintain that that long modal track on "Straight No Filter" sounds like a soft version of "Impressions". It's much softer than Trane's, as is Hank's sound. Another wrong title is "Amor Em Paz" on the Jobim "Composer Plays" LP, which was incorrectly labeled "O Morro". This error lived on when Gary McFarland recorded the tune for his "Does The Sun Really Shine On The Moon" album.

Click here to download the Waffle House menu

At last! A current example that finally proves that evolution is true!

Well that settles that, no question. Correction noted!

Merci bien!

I don't doubt that, Mike. It is thought that Duke Pearson registered the tunes wrongly at the time - they were very busy, and an error like that was bound to occur from time to time. I think they also got "Googa Mooga" wrong on Freddie Roach's "Mo' Greens, Please". But, I am certain that the one labeled "Chain Reaction" was really "Soft Impressions". It is almost the same as "Impressions", and was probably intended as a tribute to Trane. And McCoy Tyner is on it. So, one of the two other tracks has to be wrongly labeled, too. There is a slight chance that McCoy could solve this, but he would probably have forgotten by now.