medjuck

Django!

What was his record label? Also did he one time sell discographies?

And has anyone ever heard of the Lp the label claims the single is from: "Shadow of the Blues"?

Isn't it possible that the discography and Living Blues were mistaken? The Don Wilkerson in the article seems to have his own history.

Wow! Thank you. I thought this was great. BTW I've never read one of those NY Times interactive stories before and when I tried to download the mp3s at the end they would play but not download. Is that because I have a Mac?

Saw him at an event during Oscar season. He was talking to Emma Thompson and Sean Penn and he looked pretty good.

But reportedly it will be Stephen Colbert rather than "Stephan Colbert". Too bad.

I've been listening to Alan Lowe's excellent "Really the Blues?" compilation and several of the cuts are nearly 5 minutes long. I presume that these were originally 12 inch 78s. How common were they and what was their maximum playing time?

I always blame poor service to Canada on the Canadian Post Office. And I hear the Conservatives are dealing with it by doing away with home delivery. That we're letting them get away with it just shows that we are a docile bunch.

Somewhere on this board I once mentioned that the piano sounds almost like an electric piano. One response was that that was the result of the "dryness" the Steely Dan guys liked.

Isn't Teo really responsible for "It's About That Times" as Miles played it in concerts? Listening to the original studio version on the In A Silent Way box set it appears that what Miles might have originally thought of as the theme sounds a bit like Chuck Mangione. Teo completely jettisoned that part and pulled out what we now think of as the theme from one of Miles's solos. BTW George Avakian also created a lot of classic cuts using scissors, though nothing quite as creative as Teo.

Happy B'day and many more.

Boy this is tough going. I've started this one as well for reading at my parents where I can be interrupted at any moment, moment after moment. How's "Spade and Archer"?

I hate channel swapping! It is like seeing yourself the right way round in a mirror. How do you feel about the way Chick moves from the right ot the left channel just before Paraphernalia segues to Footprints then after a few minutes swings back again? And I like the bonus material so much that I think I may have to get Black Beauty. Also it's great to be able to compare how the group sounded with and without Keith.

But the rights to the alternate takes from the Jones-Smith Inc. session are owned by Sony. They should be able to release the alternate takes just the way they did with the alternate to Shoe Shine Boy. And I still think the broadcasts could be legally streamed.

Somewhere I read a story about Roland Kirk and Coltrane discussing a club in Chicago where neither of them were ever booked. Kirk says it was because it was a dining room where you were expected to play only ballads for the first set to which Trane replies :"I can play ballads". (Anyone know where I might have rad this and what the actual quote was?)

Well I've read them both: Teachout sucks and has almost no new information whereas the Crouch is full of new information about Bird, despite the author's style and whatever someone may have overheard him saying about Bill Evans.

Only listened to one track so far. Really liked especially after I pumped up the volume. As the credits say, Keith is in the right channel, chic in the left. But in all the photos they show from the gig it's the opposite. So it's like being in the band facing the audience. Fun to think of it that way.

In answer to the question posed by the title of this thread: Yes I have some thoughts-- I've read this book and it sucks.

I once heard a an editor of a jazz magazine put down Evans by saying that he played in a style he didn't like but if he had to listen to it he'd rather listen to Chick Corea. I couldn't see what they had in common except that they were both white. I'm not nuts about all of Evans's post LaFaro music either. (Saw him a couple of times with Gary Peacock and was sort of bored though I also saw him record a CBC-TV program with Eddie Gomez that was terrific-- unfortunately it does not seem to be in the CBC archives.) However, imagine if the first Bill Evans we ever heard was one of those lesser later records. It would probably seem like magic.

Jelly Roll Morton Benny Morton Bennie Moten

Ooops you're right! Lon and I did that. I just reported that mine arrived today from Amazon US.

I have a vague memory of "All the Things You Are" being chosen as the most beautiful song of the 20th Century (or something like that) a couple of decades ago. I can't remember by whom. I tried googling it and it does have an interesting Wikipedia entry but nothing about what I remember.

Mine arrived from Amazon US today.

The EMI recoding of Showboat is indeed terrific. 3 cds and a large booklet with every known piece ever written for Showboat including the songs written for the 1936 film version with Irene Dunn, Helen Morgan and Paul Robinson. (I recommend that highly too.) Does anyone know if the McGlinn version was used in the last big Broadway production produced by the notorious Garth Drabinsky? Both were controversial because, as with the original, the show opens with the chorus singing "Niggers all work on de Mississippi".