medjuck

Played it in my car on the way into LA today. Surprised (pleasantly) by the non-greazy slower numbers. Whole cd made the trip very enjoyable.

Many years ago when I decided not to ship my 400 or so Lps from Toronto to LA I had John Norris of Coda Magazinze and Sackville Records auction them off through his mailing list. Even after John took a 40% commission, IIRC I got a couple of thousand dollars which was certainly more than I paid for the records. John gave the unsold ones to a University library. My name was on most of the jackets and every so often I'd hear from people who had either bought an Lp or seen one at the library. Aren't there still a couple of of places that hold auctions of Jazz recordings? Not on e-bay but from their own sites?

It has arrived!! BTW what y were you song of the day?

I got a gentle rocking but you could tell it was a quake. But I'm a long way away.

When there's a Republican administration oil prices tend to go down as elections approach.

I know him mostly for his work with Gil Evans though I once saw him leading his own group in LA. He always seemed so young and full of life. The last note on his blog is quite remarkable: he's more concerned about the other people in his ward -- including the staff-- than he is about himself.

When it comes to Monk tunes, I assume the composer's changes as the correct ones, period, no questions asked. This is still not a "universal" practice by any means, but it is becoming more of one. Having said that, though, the Miles bridge is still more commonly played in these parts than is the Monk, unlike Miles' "cheating" bridge to "Well, You Needn't". Sort of like Miles' bridge (or lack thereof) to When Lights are Low.

Just ordered them from CD Universe (cheaper than Amazon in this case even adding shipping). Of course I used the "Search Music" button at the top of this page.

Just as I read this I was listening to Dizzy Gillespie talking about his version of Round Midnight on Piano Jazz!

Me too! I WANT MY Groovadelphia!

I was under the impression that places like Atomic Records in Burbank, and presumably our friends at Dusty Groves, still pay for collections.

I've now had a chance to listen to The Big Heist and as far as I can tell it's a different take or a different part of a take than what's used (with overdubs) in the film.

Wow!> Glad you're ok. Hope your Mom recovers quickly.

James Lee Burke: "The Tin Roof Blowdown". Dave Robicheaux after Katrina. I keep reading the Robicheaux books even though I find them too poetic and too violent. (It's not as contradictory as it sounds.)

Good luck, man.

There was a great film at the Toronto film festival called Heavy Metal in Bagdad. I think it's on DVD now. Worth seeing and I don't even like Heavy Metal.

Saw it this afternoon. I liked it but my advice would be to wait and see it in Imax if possible. (There is no Imax theater here in Santa Barbara so I'll probably see it at one in LA. That I'm willing to see it twice is a pretty good indication of how much I liked it.)

Came across the following on the Variety website: How much power can an email have? Quite a bit, especially when it affects the livelihood of a jazz musician, Henry Grimes and his wife Margaret Davis Grimes are learning. The music community, and it probably extends to all arts, want to see the overlooked and undercompensated given a fair shake and treated properly. We saw it play out internationally with John Lee Hooker and dozens of other musicians on smaller scales. The re-emergence of the great jazz bassist Henry Grimes, 70, is nothing short of miraculous. In the last five years, this legend of 1960s free jazz has gone from living in a one-room apartment in Los Angeles far removed from music to an in-demand player based in New York. His return, sprung from the gift of a double bass from William Parker, has led to a string of activity, much of it on the East Coast and in Europe. He has been performing with Marc Ribot, Dave Douglas, Rosewell Rudd and others. What Devendra Banhart did for Vashti Bunyan, William Parker has done for Henry Grimes, who has a record being released this week, “Going to the Ritual” on Porter Records. Grimes' wife sent out an email alerting fans to two upcoming gigs with the Symphony for Improvisers Double Quartet (Dave Douglas w/ J.D. Allen, Henry Grimes, and Andrew Cyrille; and Roy Campbell, Jr. w/ Mixashawn, Hilliard Greene, and Hamid Drake) performing Aug. 24 in Saalfelden, Austria, and Cagliari, Sardinia, Italy,on Aug. 28. She included a PS mentioning the re-release of "The Call," noting that Grimes was paid $10 for the recording and has not received a cent from Stollman or ESP since. Henry, she wrote, is owed 40 years of royalties. She's hoping attorneys who are fans will help her with her cause and that fans, she wrote, "if you feel you must buy this re-release, please contact musicmargaret@earthlink.net to arrange to send Henry Grimes some money for your purchase." ESP has sprung into action. The label's general manager, Tom Abbs, contacted Ms. Grimes, telling her Henry would receive everything he is owed. They will have to move quickly to remove the scars of the last 40 years, but a few checks to Grimes and other musicians from Stollman would go a long way toward patching up the label's problematic past. "Just in case there is actually something new under the sun, I'm discussing things with Tom at ESP now, and this may or may not lead to something good for Henry," she writes. "The Call" was recorded by ESP and released in 1965. It is a beauty, a trio recording rich with a multitude of colors and moods. Listen to it and you want more, especially if your tastes run toward Albert Ayler or Don Cherry, two other artists who recorded for ESP. Grimes is actively looking for bookings and residencies. He has continued to lead several of his own groups, and has played, toured, and/or recorded with Rashied Ali, Marshall Allen, Fred Anderson, Marilyn Crispell, Ted Curson, Andrew Cyrille, David Murray, Cecil Taylor and others. In addition, he has published a book of his poetry, "Signs Along the Road."

Harry James: I Had the Craziest Dream.

I bought some cheap device a few years ago that I've used on unplayable cds. Worked fine though the surface of the disc looks different.

While checking out the New Yorker website to see what kind of shit they were getting for their latest cover I noticed a story called "The Spirit of Eric Dolphy". It's a review of a David Murray/Mal Waldron duet cd done in 2001. Makes it definitely sound worth getting.

Saw him a couple of times playing around LA. Always happy I did.

Me too. And I think it would have been interesting.