medjuck

Did you get it on cd or Lp? Maybe the first 1000 were for which version you didn't get.

Hey Jim: Last night while I was waiting for The Sopranos to begin I was cable surfing and on one of the many music channels my cable system offers (the Jazz one of course) there it was: A picture of the 3 of you with a cut from your latest release as soundtrack. While I watched the picture changed and brief pieces of information about each of your professional lives began to appear on the screen! Congratulations!

I expect they never filmed The Honourable Schoolboy because Smiley isn't central to it and he's sort of a villain in it. (As he is in The Spy Who Came In....). If they were to do more Smiley stories they might do Call from the Dead (which Sydney Lumet turned into a pretty good movie) or A Murder of Quality.

So who on this board got the highest numbered set?

For me, that is the best reason not to buy it. Studio chatter is interesting to listen to once, but I sure don't want to hear it over and over again when I can be listening to the music instead. I'd usually agree but this studio chatter has been part of my listening experience for nearly 50 years. It's become the verse or coda of some of these cuts for me.

Well mine was Tiny Parham before it got wiped out when Jim pushed the wrong button. Someday I'll figure out how to get it back.

Though if memory serves me well (it often doesn't) The Memphis Record has a different or edited take than the single (or at least the version on 30 No. 1 Hits): no horns and it's a minute shorter.

Is there enough Trane with Monk on Riverside to fill 2 cds?

I saw Sonny in the mid- sixties post Our Man but still under Trane's influence. I liked Our Man but was disappointed in him live. (I think he was accompanied by Grant Green-- is that possible?) Then I saw him a couple of years later right after he returned from a trip to Europe and he seemed to me to be a new super-charged version of his old self. (Though as I remember it that concert got a bad review in Coda.)

I saw Perkins at a club in Santa Barbara a few years ago and he seemed to have reconciled his 2 tendencies pretty well. (Did he die fairly recently?) Also the Kamuca I'm most familiar with is his playing on "Shelly Mann at The Black Hawk" where he's much more agressive than he is on this recording. That's why I was surprised by Allan's description of his work.

I recorded it on vhs then transferred it to audio tape. I have it in my computer now and can make cdrs if anyone wants them. Unfortunately my original radio reception of the program isn't great.

Didn't Marvin play a bass player? And IIRC doesn't he have a speech where he talks about having to pluck all evening after he had lost his bow? (Maybe it was another actor.) I've often wondered about that line. Did bass players in early bands often use their bows?

I admit it. I can't tell who's soloing when. The liner notes give some help but not much. (They point out that Perkins sometimes sounds like Cohn and Kamuca sometimes sounds like both of them!) Can anyone help? (Not that it really matters-- I'm enjoying it a lot without knowing which one I'm hearing.)

Mine was 4897. Will the last one shipped be 5000? Were there 2500 Lps? Does anyone really know?

I agree with all of the above and would add "The Memphis Album" for the best of his later work. There was a compilation cd of blues numbers called "Reconsider Baby" that actually credits the original recordings being covered. There's a great 6 minute long version of Charles Brown's "Merry Christmas Baby" and a take of "One Night" with the original lyrics. I'm not sure it's still available but it's worth looking for.

And Cinemascope. I hope you can get it in wide-screen. I say it's a classic.

I suspect that you are correct.

Though I think Peter Losin's discography says these performances are really from Feb 16 and 23 1957.

Saw this on the Jazzmatazz site: Gerry Mulligan - California High School (Back Up [Netherlands] 73125) Apr 25. I presumed that it was a concert from the 50's but when I clicked through to the CD Universe site it listed all cuts as "studio". I could not find this session in the comprehensive Mulligan on-line discography. Anyone know about it?

1) Sources: i.e. I've bought things listed in the FS thread. 2) Recommendations: If a lot of folks here (I'm not sure what the critical mass is) speak highly of a cd I don't own I'm inclined to give it a try. 3) Existence: I've bought things I didn't know even know existed until I first heard about them here (eg the alternate take of Shoeshine Boy).

I try not to read film reviews but it's been difficult to avoid reviews of this. (Besides it's not like they could give the plot away.) Virtually everything I've read or heard says this is a great film. Never-the-less I'll probably not see it right away just because I'm too chicken to put myself through the emotions I expect it will evoke if it is as good as they say. BTW it was the 3rd highest grossing film last night with the highest per-screen average.

PM sent re: Thornhill.

Me too! Actually I only bought 3 singles. Blue Trumbone was one of the first Jazz albums I owned. (got it form the Columbia record club when it was new. ) Curious to see what number I get. Unfortunately I'll be in LA next week when they arrive here in Santa Barbara, so I won't find out my number until next weekend.

I used to have the Time-Life Giants of Jazz Tesch. box set. He made so few recordings that to fill up a 3 record set they had to include cuts that they weren't sure he played on. (IIRC I sent the set to an Austrilian jazz fan who was desperate for it. Would never have done that with my Pee Wee box.)

I used to live next door to Jane Jacobs in Toronto. (We were in houses that were attached to each other but known as "semi-detached" houses in TO.) As you might expect she was a good neighbour.