medjuck

I was disappointed to to learn that they don't use "The Madison" in the musical version of Hairspray. I loved it in the original and always like to see Jazz musicians getting some royalties.

I found his Diabeli Variations in the classical section of Border's. Didn't know anything about him so was surprised when I got to some stride piano variations. I like it.

Someone posted that The Sonny Rollins site was selling downloads of the bootleg Sonny in London cds. The Monk Zone is offering downloads of grey market European releases including the Classics series offerings. Some of them contains Bluenote material and others have the Mintons/Monroes material that is probably not even Monk.

How did they get the camera on the ground before they got out? Was it on one of the legs of the spacecraft?

There are a bunch of Maian McPartland's Piano Jazz cds that usually have some duets on them. (I've only got the one with Bill Evans and the one with Benny Carter. For obvious reasons the latter doesn't count.)

I was 25 and watching it with Zal Yanofsky. His very yong daughter was there and I remember commenting that this would be common place for her. Shows how smart I am. BTW How many men have walked on the moon?

You're right, of course, but if Mosaic gets around to do the Decca stuff as well, this is really going to rock the house. Musically, the Victor's are on a much higher level, but the Decca's are the birth of R&B. Lionel Hampton's Decca sides certainly did play a part in the birth of R&B, but don't forget Louis Jordan, whose first sides appeared in 1938, and Big Joe Turner, whose first (pre-Atlantic) recordings were also made in the 1930s. There were several others too who contributed to the rise of R&B (Buddy Johnson, Lucky Millinder, etc.) There's a pretty good Decca two disc set with about 45 cuts: includes Mingus Fingus and Flying Home IIRC.

Brownie: Where did you find this? Aren't you in France? This edition of the Independent just came out yesterday. Though my son had been over to Woodard's house the night before and Woodard had told him about the incident. When Stanley Clarke and Chick Corea announced they were Scientologists I used to joke that Kieth Jarett wasn't but he should be.

Wasn't the flips side My Blue Heaven? IIRC it also got a lot of airplay.

I'd recorded the documentary and watched it last night. Noticed that it's directed by Bruce Ricker who also directed Last of the Blue Devils and the Monk documentary Straight No Chaser.

Where he made an Lp with Stan Kenton.

Yeah, I'm so old I bought it new. Liners by Stanley Dance. I wonder if he held the record for the most liner notes written by one critic? They're good liners, but I'd bet the Mosaic will be at least as good, possibly better. It would be cool to reprint them, but that's not Mosaic's style. Nice idea for a set, though. Didn't Teddy Wilson lead a similar series (without Billie Holiday as well as with her) for the Columbia labels during a similar period? I have an old Columbia two-fer with some of those. IIRC there was a twofer Wilson set that was only released in Canada. Great idea for a box or a select (I don't know how many sides he cut). they could leave out the Holidays since probably everyone who would buy such a set would already have them.

In the late '60s the Buffalo ABC station played a movie before the Cavett show so it didn't begin until 1:am. Nevertheless in Toronto (where all the US stations on cable were from Buffalo) we used to stay up late to see it . We forget how difficult it was to see counter-culture things on main-stream media in those days. One night Abbie Hoffman was supposed to be on and we all stayed up to watch it. But whenever he was on camera the screen went blank. In two-shots with Cavett half the screen would be blank. But at about 2am his arm broke in to Cavett's part of the screen and we all realized that he was wearing a flag shirt! Our phone started ringing off the hook with calls from friends who had figured out the same thing. The next day I had a class with Marshall Mcluhan. We had a geat time discussing it. I claimed it was the greatest thing ever shown on tv.

I can't tell whether your claim of enjoyment of poems about "knives twisting in the bellies of Jews" is meant to be ironic or not. And if you'd read all of the posts you'd know that the lyrics aren't by a black composer. AND am I not supposed to be offended by Mein Kampf just because it was written before even I was born? (Actually I've never read Mein Kampf so I don't really know if I'd be offended-- but if it talked about "knives twisting in the bellies of Jews" I would be.) And I don't think that it's any "shame" for Tranemonk as an African-American not to be where you are when it comes to what he percieves as racism.

Why did Berigan post this? What's it got to do with Muslims or France?

Whooooopie! I've been waiting for this one.

My admittedly not good memory is that the performance in the film matches your father's description.

Meanwhile the only African-American to post on this topic was offended. Seems like a lot of people want to invalidate his reaction.

The lyrics did offend me, but knowing that Clarence Williams wrote them sort of mitigates it. This issue is complex: I love the Will Bradley-Ray Mckinley version of "Down the Road Apiece" but am bothered that the singers seem to be doing a black-faced shuck and jive. But the Amos Milburn version is very similar-- right down to the mention of Freddy Slack (IIRC) and I guess I'm less bothered because he's Black. I'm pretty sure that the white guys recorded it first. I don't know the race of the song writer. As I said, I think the issue is fairly complex (or at least my emotions about it are). However I think there's nothing wrong with liner notes pointing it out and putting it in context. I remember when I taught film and showed Birth of a Nation without discussing its racism just because it seemed so obvious to me. Then some students (black and white) quite reasonably pointed out that I should have said something about it. Hoagy Carmichael and even Bing Crosby interest me in the same way. Are they imitating Blacks or just Southerners in general with some of their records. Did they refer to members of the Whiteman (just noticed the irony of the name) band as "boys"? The whole era is hard for me to get my head around. I'm old, but not that old.

We spend a lot of time complaining about how some sets are packaged (Hell we spend a lot of time complaining about everything-- jazz fans are a cranky bunch), but what kind of packaging do we like? I just pulled out the Ornette "Beauty is a Rare Thing" box and was struck by how much I liked the way it was packaged: Nice looking, easy to access and informative notes. Anyone else got favorites.

Yeah. I could have lived with just a single 'best of Johnny Mercer" disc. It's interesting comparing the live and studio versions on the Ellington disc. They each have their virtues but I admit I have the entire live 2 cd set and find it tiresome. I do like the Cohen et al sets. I think it's possible that Larry and Garth's aversion to them is because this kind of music and these players seemed ubiquitous at the time. I felt the same way about The Jazz Messengers and "funk" in general when I started listening to jazz in the early '60s. You start to like anything that breaks the mold (like the Jazz Workshop series). Now that no-one plays like that anymore (I know some try to, but where they gonna find a rhythm guitarist like Freddie Green?) this seems pretty fresh to me. As do a lot of Blakey recordings from the early '60s.

I've just purchased "Ornette Coleman Quintet-Complete Live at the Hillcrest Club" and I'm really liking it. Sound is ok (piano off mike a lot) and packaging nice. However what they call "Ramblin'" is not, though Rambin does appear titled "When Will the Blues Leave". So can anyone who's heard this tell me what is the song they call Ramblin? "When will the Blues Leave?" maybe? Also is there a good bio of Ornette? I've always thought that he played at the Hillcrest before recording for Contemporary but what I've found on-line makes me think he had already recorded before meeeting Paul Bley and the gang. Am I wrong? Certainly his first Contemporary recordings were made a few months before this recording from the Hillcrest.

I tried Safari for Win. What's the point? I'm happy with FireFox, I don't know why Mac even created a copy of Safari for Win. The latest Beta release is much more stable (no more crashing when accessing bookmarks, etc.) but it's still got major flaws (font display on Win, ...). No matter what, if you don't bloat it with extensions, it's the fastest rendering machine out there. I'm a Firefox user and have been ever since version 0.something, but I enjoy having Safari on board, simply because it allows me to test the rendering of web pages with that browser on my Win machine. So, for web developers, having Safari is a great thing. You guys are talking about using Safari on a Windows operating system right? I haven't had any of those problems on a Mac.,

And the original EKE still loves you madly!! Happy B'day.!

Shouldn't "After solos you like" be a choice? BTW Audiences get pleasure out of applauding. I've been at screenings of jazz films and seen the audience applaud after great solos.