medjuck

Whatever you think of the USPS, trust me the Canadian postal service is much worse. Having lived in Canada most of my life I'm actually really impressed by the USPS. And it's got Saturday deliveries. People here (I'm in Canada right now) have told me that Netflix failed in Canada because of the postal system. (I know that's just hearsay but I don't know how to confirm it.)

I thought so too but I'm away from my books and can't confirm it. I think he was in the band but not sure he ever recorded with it.

Sorry. My bad! I meant to write that Duke "was never happy". I'm pretty sure that Happy-Go-Lucky pre-dates Night Train.

Duke Ellington was never unhappy that Forrest stole the tune from the Happy-Go-Lucky-Local part of The Deep South Suite.

There's a more recent cd by Amram with that title. It's from a concert where he included "Pull My Daisy" as a vocal. One of the women in the film is the late Delphine Seyrig who went on to star in Last Year at Mariendbad and India Song. She appears here under another name.

I'm pretty sure it's a song by Raffi. If your kids were young in the early '80s you probably owned a tape of it.

In his autobiography, Al Kooper's explanation of how this record came to be is pretty funny. The whole book (of which he's done 3 editions) is pretty interesting. I can't remember the title and I'm out of town.

I enjoy the show but this year they seem to be trying to protect George Bush's honour! The AFrican country they want to invade is made to sound a bit like Iraq and they defend the use of torture every chance they get. (In one of the previous year they at least had Jack torture someone who turned out to be innocent.

You're right. With strings in '52.

Miles recorded this at the same May '58 session where he first recorded On Green Dolphin Street. Both of course then became jazz standards but was he the first to do jazz versions of them? Did Ahmad Jamal do them first? If they were the first jazz versions where did Miles hear them? IIRC Red Garland often introduced obscure songs to the group but he wasn't present at this session. (And they're both themes from movies.)

Happy B'day! And many more!!

Since I started this thread a couple of years ago I should report that I got my old sub-woofer repaired (I think it cost over $100) and it works just fine. Found a strange place in downtown LA tht advertised that they fixed sub-woofers. Looked like an overfilled pawn shop and had to spend a lot of time listening to the owner explain why vinyl was better than cds but he did the job very much to my satisfaction.

Happy B'day! And many more.

I really liked this one, too, with its fine Shorty Baker solo. I received the record when I joined the Columbia Record Club back in high school days, many years ago. I notice that the current reissue has an alternate take of Willow. I'm tempted. That's exactly my story! BTW That Lp meant so much to me that I recently got the nicely packaged Spanish "import" that contains all alternate takes as well as 2 tunes omitted from the Lp for a total of 19 tracks. Unfortunately most of the alternates are not in stereo.

Hey I just got the November issue of Coda (I guess it takes a while to get from Toronto to Santa Barbara) and there's a very nice review there too.

I've always liked the Ellington Indigos version. Probably because that was the first one I ever heard and I was 15 years old.

IIRC a few years ago Rhapsody did a special sale of songs at 49 cents. They sold way more than twice as many as usual-- presumably with no added costs. (I may have all these numbers wrong, but you get the point.) I think iTunes is going to sell a lot of songs at 69 cents, not so many at $1.29. The record labels pressured Apple for so long because the only answer they ever have to their problems is to raise prices.

Chauncey (Like Clem) seems to dislike anyone with an actual paying gig writing about Jazz. However he may be right. I don't read the NY Times much but I was shocked to see Ratliff recommending a Miles bootleg that consisted of 3 cuts available on Prestige and one cut that doesn't even have Miles on it-- which Ratliff couldn't tell. (This is discussed in a thread under "Discography" but I don't know how to link to threads.) And in defense of Chris there's also a thread here about how influential he was on music people as a dj. (It's in this, the Jazz in Print forum.)

I used to see this in remainder bins in the '70s and didn't know enough to buy it at the time. Glad it's back in print.

In Sunday's NY Times Ben Ratliff discusses this cd. Does anyone know the dates of these broadcasts. I thought I had most of them but Ratliff mentions a set with Nat Adderly. Peter Losin's great discography doesn't list any sessions with Nat.

35! A mere child! Happy B'day young man.

Chuck: please tell us the price so we can order via pay-pal. ( I don't think you need to apologize for the "intrusion".)

Great! Thanks. In a Mizz and It Can't be Love are the same song. I think the official title is in a Mizz, but "It can't be love..." is the opening line of the song. This citation is not in Meeker's book. I met him once and he told me he was sending all of his information to the Library of Congress even though he was about to retire from the British Film Institute. I think he didn't trust the BFI to do the job. But I've never known how to access the data base before. I guess I should have just googled his name. Thanks again.

Kane puts on a beach party and the scene opens with a Black man singing a song that haunted me for years. I didn't know what it was and neither did any of the film scholars I asked. Then I bought The Chronogical Duke Ellington 1939 vol 2 and the first cut was Ivie Anderson singing that very song: In a Mizz. So now I'm trying to figure out who sings it in the film. IMDB lists what seems like a 100 small parts from Kane (did you know that Nat Cole is the off screen piano player in one scene?) but doesn't list the name of the singer of In a Mizz (or perhaps identifies him in a way so I couldn't tell). Anyone recognize him?

The Parker books are quite different from the rest of his ouvre. (You could believe that Richard Stark and Donald Westlake were different people.) I don't know what the accepted canon is but my favorite Westlake books are Dancing Aztecs and Help I am Being Held Prisoner. Of his Dortmunder books I especially like Good Behavior. BTW Those who appreciate Richard Stark would probably like Thomas Perry's The Butcher's Boy.