Shawn

Yep, I was denied as well. But I called a local independent jazz record store (yep, there's actually 1 still in the area) and he's holding a copy for me.

Tyner does it as well, but I never noticed it on the recordings. I saw him in Chicago and basically had a table on the stage right beside him...that was the first time I heard it.

The great thing about KC is they don't rest on past glories, they have continued to evolve. They almost never play any of their older material live, focusing primarily on whatever the current album is. Their last studio album "The Power To Believe" was one of their best in years and show there is still lots of creative juice left in Fripp, Belew & company.

What IS your fucking problem anyway Clem? Take some Klonopin, will ya?

Simple. They need to sell tickets. Pop & Rock acts sell tickets. Jazz acts...well, we all know the unfortunate reality of that.

Mame?

Oh well, that's what the "Pause Track" is for.

Check out the version of Wahoo in the Stanley Turrentine box (from Mr. Natural). Listen to the tempo at the head of the tune, then check out how it becomes almost twice as fast by the time they get to re-stating the theme at the end. But ya know what...it doesn't matter. They pick up so much steam during the solos that I can live with it. (although I'm guessing this had something to do with it not being released at the time). and the drummer is Elvin Jones on that one!

I'm in complete agreement! Sangrey turned me onto The Feeling Is Mutual and started me on my Helen Merrill fanaticism.

Was listening to some Bernard Herrmann this evening and was struck by how beautiful the score to "Marnie" is. Elegantly romantic without being the slightest bit cloying.

Bobby Timmons as well, you can really hear it on the Jazz Icons DVD.

It shouldn't make any difference.

Guess he needs to use a "comb filter".

They are too long for regular cases by a good couple inches (it's the "fin" on the top that makes it so long). It actually doesn't fit exactly in the gig bag I have (the zipper won't close all the way) because mine is an E2 which is evidently just a tad longer. Thanks for the explanation of the baritone scale length. So that Yamaha is somewhere in-between. I can get my guitar to stay in tune but only as low as "C" and that requires me to use heavier gauge strings than I normally like. I actually buy those hybrid string sets with a heavier gauge string for just the low E.

Well, my Explorer isn't exactly "easy" to find a case for! All I have is a specially made gig bag, never found a hard shell case it would fit comfortably in (at least not an affordable one). So this would actually qualify as a baritone guitar?

If my memory serves correctly The Feeling Is Mutual & A Shade Of Difference were released by Milestone, but Merrill owns the rights to them.

Sorry if this has been posted already, but I couldn't find any mention of it. Mosaic Singles The Helen Merrill- Dick Katz Sessions In the mid '60s Helen Merrill and Dick Katz collaborated on two magnificent albums, "The Feeling Is Mutual" and "A Shade Of Difference", both originally issued on the Milestone label. These were the greatest example of Merrill's artistry since her collaborations with Gil Evans and Clifford Brown. The repertoire fits her like a glove and sidemen include Thad Jones, Gary Bartz, Jim Hall, Katz, Ron Carter and Elvin Jones. Both albums are on one CD for the first time. Helen Merrill – Casa Forte This 1980 album beautifully orchestrated by Merrill's husband Torrie Zito features her in a variety of settings interpreting mostly the great Brazilian songwriters (Jobim, Caymmi, Nascimento etc). The exceptional supporting cast includes Sal Nistico, Bucky Pizzarelli, George Mraz, Grady Tate and Dom Um Romao. http://www.mosaicrecords.com/genres.asp?dept=50

One of these days I'm going to get one of these, I've seen a few show up online used for around $500. I'm not sure if I want the drop 6 model, there is also a standard model which might be preferable. The Drop 6 version is designed to stay in tune even if you tune down as far as B or A. (I tend to use Drop C# tuning usually) RGXTTD6 Ty Tabor Signature Guitar/Drop 6 The RGXTTD6 boasts the same features as the RGXTT Ty Tabor Signature guitar, with the addition of Yamaha's new proprietary design known as Drop 6. This slightly longer scale length of 26 1/4" is perfect for players that demand ultra low tuning.

AGREED!!!! He has no sense of time whatsoever...I'm amazed he can even walk.

Now for sale.... MUMBLIN' REMOVER 9000 - Guaranteed to remove all unwanted grunts, groans and other bodily noises from your favorite jazz recordings! (Warning: Don't use this around Clark Terry or he may be transported to another dimension) coming soon... SQUEAK REMOVER 9000 - This breakthrough device will remove squeaky high-hats and as a special bonus will rectify squeaky chairs from Miles Davis recordings.

I think it's funny because the vocalization thing really doesn't bother me at all. (Jarrett himself bothers me, but not the mumbling). Mose Allison does it alot but it's usually not audible on the recordings. One exception is V8 Ford Blues where Mose mentions in the liner notes that the engineer forgot to turn off the vocal mic when he wasn't singing, so it's quite loud on that album...but to me, it just adds to the hipness because even Mose's mumbling is "in the pocket".

Yes this is happening. I did not expect this to sound as critical as it did. Didn't realize it until after it was posted. I apologize, I just thought it might have a good point of conversation somewhere. I'll keep listening, but won't post how I felt about the rest of it. No need to apologize for anything! I was just sharing an opinion about my own tolerances for critical listening. Share any opinions you have.

Another big band job. I don't have that one - weren't the arrangements by Oliver Nelson? MG Yes. I need to dig this one out and listen to it again, it's an interesting date...although not as successful as Latin Shadows.

Shirley Scott also recorded For Dancers Only on the album Roll 'Em.

I don't know if I can HANDLE that! *faint*