Free For All

Ouch. Well, just so you know. When I went to see Control Room, I was the only brown face in there and these guys kept talking LOUDLY during the previews. This woman in front of me kept giving them the evil eye. Finally I leaned forward and in my loudest stage whisper said to her "Do you suppose those two will EVER stop talking?" They stopped for a nanosecond and kept going until the feature started. See, it ain't just us in the movie making noise. I wasn't referring to specific ethnicity, Rainy. I was just using all the "disgruntled" smilies. I am not one who generalizes such things. There are just two groups of people as far as I'm concerned- jerks and non-jerks. The "theatre talkers" come in all colors and ages! EDIT: By the way, regarding your signature, I think it's B-E-N-E-S. There was an episode where someone spelled her name. Good trivia question. B-)

Wow, that's a great site! I just checked it out and ended up ordering a bunch of stuff.

People who can't handle talking on the cell and driving at the same time. Speed up, slow down, change lanes w/o signalling. Pretty much anyone who feels they need to own a Humvee in the city. Hope I'm not offending anyone here, but it's JUST NOT NECESSARY! Checkout clerks who do the transaction w/o ever looking at you. They're usually talking to someone else, and they just hold out their hand for the money. People who drive pickups with dogs in the back should be shot. I've seen accidents. Kids who kick the back of your seat repeatedly on the plane. Salespersons who don't know ANYTHING about their business. And they don't care. The last thing they want to do is help you. Loud talkers in movie theatres. I could go on and on and on.............

I've always really liked the arrangement John Carisi did of his tune Israel for Mulligan's CJB. The trumpet section plays Miles' solo from BOTC as a unison passage. Just read your post, 'toon. Have you heard this version? EDIT: Regarding Darn That Dream, I've long felt that Dexter had the definitive version of that one (from the recently RVG'd One Flight Up)

And that's Bird looking over his shoulder, right?

He's back!

I heard he was in deep depression about some package he never received......

Actually, that's what I did like about it. The blend of the similar timbres worked for me- it kind of reminded me of a modern version of George Shearing's sound. I thought it was nice to hear something without a horn player for once, too. We've all got different ears!

Really nice photos Mark!

I clicked on the link and got the site which seems to be functioning OK. Am I missing something?

I'll keep an eye out for that one.

.....seriously, wesbed, you mean you really don't have the Mulligan set? Man oh man, that's my absolute FAVORITE of all of 'em. I'm so disappointed............

"Just when I think I've got 'em all they keep PULLING....ME....BACK....IN!!!"

Welcome to the forum, mlm. And quite a catchy name you've chosen for yourself, I might add! Yes, I do like this release. I think there is always a danger in these all-star sessions of there being a lack of chemistry/fire, but these guys seem to have enough mutual history that this is not a problem. I really like the texture that this instrumentation creates. Man, Roy Haynes can fit into just about any situation, can't he? Tell us what YOU like about this, please! Since it's your first thread and all.

Whew. That's better. Sorry I blew up! Barak, there's a somewhat obscure recording featuring a group called "Bobby Knight's Great American Trombone Company", and I believe the side is called "Cream of the Crop". It's an LA trombone ensemble and some of the arrangements are quite corny, BUT...... Carl and Frank are both on it, and get quite a bit of space. There are some great moments worth checking out. The CD release also has some extra cuts. I'm not sure if it's still in release, but it's worth getting. John Tapscott, do you have this one...?

Is that it? No one's interested in this? Is Carl just not on anyone's radar? Too bad!

Or, in the case of this set, a "119". Plus shipping.

Happy birthday Eichenduch!

Barak was gracious enough to invite me to select the next AOTW. After much thought, I decided on this one. I wanted to pick one of what I consider to be my "desert island" recordings, and this has long been a favorite Mingus title for me. I still get a rush/chill when I put it on. One reason I chose this is because I, as someone who does a fair bit of arranging, really admire Sy Johnson's work on this one (and also Alan Raph, who also did some orchestration). IMHO, he deserves as much credit as does Mingus. There is some really beautiful orchestration and some excellent organization/development of motivic material. It obviously is a product of the studio, with edits and sound effects mixed in here and there. There is less of an emphasis on extended solos (compared to other Mingus smaller group recs) but the improvisation is woven in seamlessly to the more structured ensemble passages. I had the opportunity to meet Mr. Johnson and play on some of the pieces from this recording. I asked him how much initial infomation he received from Mr. Mingus, and he said that (and this is in the liner notes to the CD) it was VERY minimal- basic ideas, tapes of recent performances. I love this side. I think there are many moments reminiscent of some of Gil Evans' work. I hope you guys enjoy it, and I'm very interested to hear your comments.

Woody Shaw Anyone visited this site? There is some nice stuff to check out. Thanks Miles 251!

Doesn't he have a sister named Dawn?

So if I agree with what you said, and I was born in 1958, will I be dead soon?

Yes, these sessions leave much to be desired, although there is an admirable use of space in the solos. And the rhythm section comping/accompaniment is very sparse. But the studio smells a little stanky. B-)