Dan Gould

My reaction was more along the lines of, "good, maybe the odds are catching up and a Darwin Award is in his immediate future."

then how come the AP reported that $300,000 had been deposited and the bank had confirmed the full amount being available?

I have no idea who the hell Jesse Belvin is, but I take even greater comfort in the fact that even Jim thought it was Johnny Mathis.

I got the DVD set of Season 2 of SNL - does anyone recall a lengthy skit covering Don Pardo's "career"? As the voice over guy, he's invisible in every scene he's supposed to be in. A pretty good skit. As for Don's career and reaching the age of 90, hey, a big from me, but the fact is that if he came into the VO biz now with that pukey announcer thing, he'd never have gotten his career off the ground. His signature sound was perfect for a bygone era.

Well then, let's go back to a compliment that actually sounded like one: http://www.organissimo.org/forum/index.php...st&p=171891 Of course, given how your views have evolved since that post was written, I can understand if the pendulum has gone backward on Hamilton for you.

That would put his harmonica playing at the ages of 14-16. As I noted above, the tunes Bouchard mentioned in his review of their gig (sorry I wasn't specific that it was the Blue Flames he saw) were "Laura" "Green Dolphin Street" and "Riptides". Very sorry to hear this and I hope the damage isn't as catastrophic as you fear. And yes, I can send you some samples of Hamilton ballads, if you'll PM your address. Very well, and I view him much as I do Scott: an artist moved for whatever personal reasons to work in a style of long ago and one who has created their own sound and conception within that style.

I remember reading this book when it was new (well, reading the sections on the tunes I particularly like while standing around at a Barnes & Noble in Tallahassee), and that at the time Jonny King had a couple of CDs out. I recall enjoying the book a little more than the CDs.

Two more words: Stop whining!

If it can be found, Shades of Grey on Ray Charles' Tangerine label is highly recommended. Sweets, Lock, Vi Redd, Grover Mitchell and Sonny Payne are in the band. Among the best of the non-Ray Charles Tangerine releases.

In the "Wynton's Sheet Music" thread Larry posted something that struck me as very difficult to understand, leading to the following series of posts: To which I replied: And Larry explained: and then we had this exchange: Now I've taken some time to go back over some of Scott's recordings, and because I continue to disagree strongly with Larry, I thought it might be interesting to bring all of this out on its own thread so that others may comment. Before I get into that I'd like to note that I can find no reference in the liner notes of Scott's albums to a background in "R&B bar bands". In fact, in the liner notes to Close Up which was about his fourth or fifth recording, Fred Bouchard makes note that in 1975, he reviewed a gig Scott had in Providence for Jazz NewEngland. The tunes he mentions the group played were "Green Dolphin Street" "Laura" and "Rifftide" - not tunes I'd think "R&B bar bands" typically play. I don't know what the significance is, if any, but the impression I get is of Scott pursuing his jazz muse from an early age, and I would directly dispute the claim that Scott "came out of an R&B bar band and then got curious about some of the sources of the kind of big-toned, rhythmically rugged, overtly exciting sax playing that prevailed in the R&B bar-band realm (emphasis mine)." To me, "overtly exciting sax playing" means a lot of honking and shouting and when I think of Scott's uptempo work I do not think of that kind of playing at all, or at least I do not agree that it forms the major portion of his playing at up-tempo. As for my close listening to some of Scott's ballad playing, I started with The Grand Appearance which I believe was Scott's first or second appearance on record, pre-dating his Concord signing. He takes on "Body and Soul" and while he hardly comes close to Hawk, I hear nothing of what Larry describes. He stays close to the melody and if anything, as many players do, ups the tempo after the statement of the theme. But jump phrases slowed down? I don't hear a one. Next up was Tenor Shoes and "I Should Care" (a favorite ever since I heard Mobley's version) and "The Nearness of You". Great performance (particularly on the former) and to my ears, extremely rhapsodic and moving. Finally, from Race Point, "Chelsea Bridge", as associated with Webster as "Body and Soul" is with Hawkins. And again I have absolutely no clue why Larry hears what he hears. Now, about 15 years ago I bought a number of Scott's recordings that fell in between The Grand Appearance and Tenor Shoes but have not transferred them to CDR and therefore have not taken the time to check those out. I'm comfortable saying that Larry hears something completely different from what I hear, however. So, I'm interested to hear from Larry if he wishes to revisit this or anyone else who wishes to comment about our difference of opinion. That is, if any of y'all are still listening to jazz.

Reportedly, there is photographic evidence of Clemens' presence at the Canseco party: http://www.nydailynews.com/sports/baseball...d_prove_da.html Of course, it has to be taken with a grain of salt since the source appears to be McNamee's lawyer and no one has seen the photo yet. But its somewhat reminiscent of O.J.'s civil trial in which photos of him in the Bruno Magli shoes were introduced. I always wondered what might have happened if the prosecution had access to them.

I always thought it meant if you wear coveralls or jeans on stage, you were considered 'authentic' to that crowd, but if you dressed in a suit like B.B., you weren't.

Could you update these links through the Organissimo search box so Jim and the guys get their little cut? The Getz has him teamed up with Mulligan and Sweets, so if you don't mind OP in the piano chair, I heartily recommend it.

Was that Traveler's Lounge Live or perhaps O.D. - Out Dere? I picked up both of those here in south Florida, can't find them at the moment but iirc, the Traveler's Lounge thing was recorded here and because of that, you could still find a lot of copies down here long after it was released. I am very strongly with MG on this, I feel Al Grey's playing much more than JJ or Curtis, as much as I enjoy them too. Al's trombone was so full of life and just so darn fun to hear. The Chiaruscoro and Argo recommendations are spot-on.

It seems silly to me too - like you said with the guys in the booths - is there a rule against keeping someone with a pair of binoculars trained on the guy giving the signals? There's no difference in the result - figuring out what defense is being called. I hope though that people keep bitching about it - maybe it will give them the same "F-you" attitude they had last season only this time it will carry them all the way through to 19-0.

As I've mentioned before, the main thrust of my listening of late has been blues and I think that the interest satisfies two separate desires, the second of which has only recently really occurred to me: A need for the life affirming "it doesn't matter how bad it is" feeling I get from the blues (the blues as a music has never gotten me down, put it that way) A desire to go back to vocal-based music. I've always laughed derisively when people like Noj mention that their friends/family members always say "where are the lyrics?" but it occurs to me that as great a singer as Joe Williams or Ella Fitzgerald were, it may be easier for my rock-trained ears to really appreciate a heartfelt blues vocal, and that it was that style of storytelling that I got away from during my jazz journeys. Maybe it helps that I am listening so much to a true master, Junior Parker. Its interesting to note that my desire to add "more, more, more" to my collection was, if anything, reinvigorated when I started into the blues field. I couldn't just enjoy what I had, I had to find others just like it while expanding in other directions, too. I guess that collector's bug really is genetic and I had only managed to suppress it in jazz after indulging it for nearly 20 years.

I don't think I'll be changing hairstyles, to Horace or anyone else's, very soon. But I do like my man Steve's work so much that ever since we moved to Palm Beach county I haven't hesitated to drive forty minutes to keep using him.

Its definitely been longer than that, and no I'm not thrilled by the idea of a recent B.B. King concert document. But if someone got it for me I wouldn't be unhappy. Actually there's a recent DVD available on Amazon that is a 1990 or so concert and apparently a pretty good one. I'd put that up as an option except that I am sure its not in stock at this Borders.

My PC has two sound cards, or the ability to play while recording simultaneously. I run Goldwave when I play these concerts and then split the tracks, save as wav files and burn CDs. The sound is usually quite decent though I learned not to use IE while the concert streams. The audible "click" on a link uses the same part of the soundcard playing the music and it gets recorded. I've also done this on the 25 free plays on Rhapsody. I figure if a company is willing to stream at a decent bitrate, they've got to be aware that people can record simultaneously so why not? No different than recording off the radio in days gone by.

This reminds me of an episode of Frasier in which Martin gets too much money out of the ATM and has a helluva time trying to return the cash to the bank. Ultimately he ends up with a big check as "apology" for their "mistake" and then Daphne asks if she can sign up for an account.

There is a Borders located right next to my barber, where I have a haircut appointment for Saturday morning (my monthly haircut is really the only time I stop at that Borders). So, with the 30% off coupon in hand, I figure to buy one, and only one disc while I am down in Fort Lauderdale. Which shall it be? These are the top items I've had my eye on, and I am presuming that all will be in stock. I'm guessing that the Horace will be a runaway favorite, though I have had my eye on the Person disc since it came out last year.

I think TCM is running West Side Story this month ... interesting though to notice some changes in the lyrics from Broadway to film (I guess Hollywood censors objected to "shmuck" and ordered the change to the "job-slob" couplet in the last verse). Anyway, as far as the topic of the thread goes, it seems to me he's got a malpractice claim against his lawyer. Anyone worth his salt would have moved to have the case dismissed rather than allow his client to plead out. But once he did plead, the issue of the validity of the statute's application became moot.

While I'm not a fan of downloads, this is my ultimate hope for some of these to be made available. The problem is that even if EMI ever sees the light, they'll probably take forever before they get at these sorts of unreleased recordings.

Larry, thanks for the explanation. I'm going to pull out some of the earliest Hamilton recordings I have and listen to a few ballads to see if I can hear what you say is there. In the meantime, a few observations: I think you mis-state the relationship between Concord/the jazz parties and Hamilton/Vache's development. Doesn't Hamilton have to develop beyond his presumed R&B bar band background before he becomes attractive to Carl Jefferson, et. al.? You seem to be suggesting that Hamilton did it in anticipation of finding an audience, whereas I'd argue that his development was far more organic than that. Furthermore, I don't recall a lot of mention of a "R&B bar band" background in the liner notes to those early Concord albums but it is certainly possible that Jefferson wanted to emphasize his following his Father's love of swing era jazz. Lastly on this point, did anyone of his age pre-date him in signing with Concord? I don't believe so, and would suggest that the reality was that Carl Jefferson started his label to record his favorites who had fallen out of favor in the wake of Coltrane and the rise of fusion. Thus you have a label very much like Pablo was for Norman Granz. When someone young came along who "fit" into what Carl was recording, he naturally jumped at the chance to support a young player in that As for the comparison to Webster - a lot of other critics of the time made this connection (its said that in one concert, Scott started playing a ballad and someone in the audience yelled out "Ben Webster!" and Scott smiled through his reed and kept playing). Did all of them simply notice the surface similarities (slow, breathy tone) and never catch on to the apparent fact that his phrases themselves were inappropriate? Last observation I'll make is that, presuming that Scott is indeed doing what you say he is doing, its at least somewhat ironic that someone who got criticized for recreating the past played ballads in a different way, and gets criticized for not knowing the style he's emulating well enough.

I know the topic is Wynton but I have to admit to being both surprised and annoyed about Larry's comments about Scott Hamilton and Warren Vache. I mean, I've certainly heard Scott called a "slavish imitator" but I've never heard him called a piss-poor one. Therefore I would love to see Larry offer specific musical examples of his tweed jacket + candy-striped pants. Otherwise, its nothing more than another one of Larry's nicely turned phrases.