Shrdlu

If only football (and soccer) could be pre-empted, and obliterated! I'm sure Lon would agree.

Jim, it's a long time since that happened, but maybe the play made more than one word. I don't remember now.

Re the "not much less" time: it takes time to open and set Nero, copy the original onto the hard drive, then extract the original CD, put in the CDr, tell Nero to start burning, etc. etc. And, often, I have to edit the tracks to do such things as removing minor errors or unwanted, long blank spaces, before burning. So, by the time all that is done, the burn time that is saved (about 10 minutes or so) is not a very significant factor. If I were making several burns of one original, then a faster burn time might be worth considering. The other point is that I expected there to be errors at the high speed, and I lost a blank when I made an experimental burn, so, having no real need for the high speed, I decided to stay with the tried and true. As the locomotive driver on "Back To The Future III" said to Marty and Doc, "Why in tarnation would anyone want to go at 90 mph?"

I didn't like Braith at first - sounded like a comb and paper, I thought - but I have gotten the hang of his sound, and am now a fan. I think "Blue John" made it click for me. After hearing that a few times, I went back to the BN 2 CD set (which I purchased out of a sense of obligation after they stuck their necks out and issued it in response to a lot of requests) and enjoyed that. If you don't have that, I'd recommend it. Of course, there are always the TOCJs, and there are no extra tracks on the domestic.

That's fine with me. The ax that Wes played could definitely be regarded as a baritone guitar. The point is that it was played as a guitar, and not as a bass, just as Sam Jones (it seemed to me) played the cello as a kind of higher bass, and not as a cello. I never liked Sam on that, nor did I like the sound that Wes got on that low guitar. Wes was just too good on the regular guitar.

I always burn at 4X, which is plenty fast enough for me, using Nero and an internal LG burner. It produces consistently perfect results. My son got a brand new computer that burns at 48X, or something like that. The total real time consumed in making an 80 min CDr is not much less than with the 4X burn. I only tried it once, and the resulting CDr had errors in it: the starts and ends of the (music) tracks were messed up. So, ...

I heard that Freeman was not with Dorsey much - mainly just for that one recording session that porduced those two hits.

Frivolously? Why do you say that? Well, hell is real, and awful, and not to be joked about, or used as an album or song title, unless the aim is to show people how to avoid going there. I heard yersterday about an evangelist called Carl Hatch. Before he was saved, he had a buddy who was killed when his small airplane crashed. The aircraft burst into flames on the ground and Carl heard his buddy screaming horribly. Later, he asked to see the body at the funeral home. "I wouldn't advise that", said the undertaker (the coffin was closed). But Carl insisted, so the undertaker opened the lid. He was so deeply shocked that he got saved a few days later, and is now said to be a very persuasive witness for the Lord Jesus Christ. I hope that you will also trust Jesus as Saviour. Speaking of fires, I just heard that Red Adair died. If he wasn't saved, he is now in a fire that he can't put out. As he was a Texan, he sure had the opportunity to get saved. I hope he was.

I know you are kidding, 7/4, but I'm still going to state that no place on earth is like the real hell. Have a look at Luke, Chapter 16 for starters. I guess a rough idea could be gained from one of those documentaries that show the top of an active volcano. What kind of friend would I be if I didn't warn about a place like that?

My late Dad once managed to get a word with the Q in it, hitting both a triple word score and a triple letter score - the Q was on thatta one!! I forget the score, but it was huge.

Well, that's a good question for all you posters! Certainly not a question to be considered frivolously, as the "Reverend" seems to be doing. My answer is: Heaven, and I'm not boasting, because God did all the saving and I did nothing - that's why a person can be sure about this. (If it was up to me, I would have blown it long ago.)

Thanks for posting the long discography, EKE. It would be great to hear all these, and also the airshot of "Castle Rock" with Rabbit - no doubt Trane runs rings around Al Sears (who soloed on the famous Verve original of this, for those who don't know this piece). It sounds as if we have a mini Mosaic in the making.

This might seem a corny suggestion, but make sure that you get the TD session with the famous "Marie" and "Song of India". Pop items these were, but I have heard them tons of times and they still sound fresh. (I grew up with them!) The personnel is graced by the presence of Bud Freeman - not a Dorsey regular, I think. Bud can even be heard briefly, sounding like late Trane. The symphony conductor Arturo Toscanini is said to have scolded a trombone section and told them to try to sound as good as Tommy.

Perhaps some of these recordings are covered by the above posts, but are these reasonably easily available? I've never seen them anywhere, although I have come across the Rhino set (but didn't get it as I have all but the two early tracks).

I'm pretty sure that he played only tenor with Hodges. And, frustratingly, few recordings exist with that lineup: about two tracks for Verve with no Trane solos, and I really can't even detect him in the mix.

No, this was not just a flash in the pan. Jack was one of the real giants of the trombone (and of the whole of jazz), and was superb throughout his career. One of those special guys that added greatly to any session in which he participated. You can buy any of his recordings with complete confidence. I am always glad to see his name listed in the personnel. Of course, Jack was very highly regarded by his fellow musicians. Happily, he was also very popular with the public, and in an era when there was no sharp dividing line between jazz and popular music.

I prefer Wendy's.

Haven't heard the Shearing, but the Clayton and Clark/Green collections are absolutely superb. Actually, I haven't heard the Mosaic version of the Clark/Green, but you can get everything on it separately, the lion's share being in the 2 CD set. The Clayton was my first Mosaic. I nearly missed it, because I phoned after it had last-chanced, but the ever-obliging Scott Wenzel was able to sell me everything except CD 3, and I got a burn of that from a friend. I sure am glad that I didn't miss it. As soon as you drop in CD 1 and hear that rhythm section start up, you will know that you're onto something good! When I hear that section, I find myself wishing that it was on every session!

The main problem is looking around at the BMW and landscaped gardens outside, and the huge, fancy aquarium in the waiting area, and realizing that you are paying for it. I was at one about a year ago, and he needs to get a more discreet receptionist. While I was waiting, she was blabbing loudly on the phone to a friend and mentioned that her boss goes overseas for a vacation every month. In his case, the BMW was actually an Alfa-Romeo. I also found out that he's a Freemason. I went back to my previous one next time, even though he's a lot further away.

Aha! You DID get some JRVGs, Hans!

Congratulations! Looks great. I'd love to have a go on it. Milt Jackson has always been my favorite, and I would want a set like his if I were a vibes player.

Here's your opportunity to replace all those muddy sounding TOCJs, Hans!

I think the distinction is a bit like that between a "bass guitar" and an electric bass. You may recall that Wes recorded with a bass guitar, and the name was literally true, as it was handled like a low guitar, rather than a bass. Simlarly, Sam Jones and, now, Percy, seem to be playing a cello-like instrument (and maybe just a real cello), but played as a higher bass, and definitely tuned in fourths. (I don't like the sound that Sam got - I didn't like the tone, and the intonation was a bit dodgy.) Harry Lookofsky's "tenor violin", which appeared on the Gil Evans Verve recordings, is a similar phenomenon, but that instrument is genuinely different from anything else. There was a thread about that on the old Blue Note board. A bass-player friend of mine used to have a blond Kay bass (full-size). He was very fond of it. -------------------------------------------------------------------------------------------- Getting back to the real reason for the thread, it's great to hear that all three Heaths are still performing. I got to see them in Victoria, British Columbia, in about 1982, and they were fantastic. They played "On The Trail", which has been in Jimmy's repertoire for many years, and Jimmy really got stuck into those changes, which are very tasty for horn players. He called it "The Marlboro Song". I still remember the first time I heard Percy. Someone lent me the "Modern Jazz Giants" LP with the two versions of "Bags' Groove". Percy's tone there is really rich, and is a big factor in keeping those marathon performances interesting. Someone recently said that Percy has the best ever tone of all jazz bassists. I'm not sure whether I would say that, but it's something to think about.

Why not grab some records with Paul Chambers? Listen to the bass only, and hum along with him. He plays nice, clear, melodic lines, and you'll learn a lot from listening to him. I'm a sax player, but I often follow the bass on a piece, and I have learned to think bass lines to most pieces that I know. (I don't think I could improvise on a piece if I could not also think out some bass lines for it.) We could use some "electronic manuscript paper" on this board. If this facility existed, I could write out a few choruses for you - say a blues in B flat. (I'm sure that many other posters could also do that.) Ron Carter would be another one to listen in to. He has several favorite licks and they sound great. Before going into a walking bass line, make sure that you can play a basic 2/2 line, where the notes are mostly tonic and dominant. Try it on some real slow items and get it drilled into you. This raises the thought that a musician should know at least a little about the instruments that the other guys in the group play. When I was starting out, a friend lent me a book by an old English arranger called Lewis Stone, which had a section on each instrument in a swing band: its range, how you write for it, whether it transposes, etc. It was very interesting, and the info was tremendously useful over the years.

After recently re-watching "Tinker Tailor", I think it's too bad that Alec Guinness is no longer with us to narrate this forthcoming series. "There are three of them: Van Gelder, McMaster and Addey. Now which one will Poliakov contact?"