ghost of miles

Sonny is the man.

Yanks are in the playoffs!

Alice Coltrane, A MONASTIC TRIO. Tony Williams/Lifetime, EMERGENCY. Harold Land, EASTWORD HO! Louis Armstrong, LOUIS UNDER THE STARS/I'VE GOT THE WORLD ON A STRING.

Interesting question for me, Dan, as our jazz director and I wanted to pick BOTH of these titles for our primary fund-drive thank-you gift this year. However, we've been told that we can choose only one... and we're having a hard time deciding.

Yanks better win today... I know Schilling has been less than spectacular, but Mussina has been even more less (?!) than spectacular.

What a weekend... start of October, great baseball, some new jazz CDs in hand, and Larry Kart's posting again on Organissimo.

Composer and film scorer Victor Young received more than 20 Oscar nominations for his film work (he scored films such as Shane and Written On the Wind), and he authored some of the most frequently heard melodies in the jazz canon. Nearly 50 years after his death, he remains largely unknown. Tonight's edition of Night Lights offers interpretations of his work from Miles Davis (“Stella By Starlight”), Lennie Tristano (“Ghost of a Chance”), Billie Holiday (“You’ve Changed”), Frank Sinatra (“Around the World in 80 Days”), Betty Roche (“When I Fall in Love”) and more. “The Victor Young Songbook” airs Saturday, October 1 at 11:05 p.m. (9:05 California time, 12:05 a.m. NYC time) on WFIU. You can listen live, or wait until Monday afternoon, when the program will be archived. For more about Victor Young, see his biography at the Spage Age Pop website. Next week: "Ellington: Money Jungle."

Tonight on The Big Bands it’s “October’s in the Air.” We’ll celebrate the advent of autumn’s most spectacular month with music from Bobby Hackett, Dizzy Gillespie, Charlie Parker, Duke Ellington, and a triad of Indiana big-band leaders: Claude Thornhill, Bobby Sherwood, and Al Cobine. “October’s in the Air” airs this evening at 9 p.m. (7 p.m. California time, 10 p.m. NYC time) on WFIU; it will be archived next Monday afternoon.

Ironically enough, when you & I were little kids--WAY little--I think the Mets won the East with an 82-80 record (!?) and then nearly knocked off the Reds in the NLCS. I'm thinkin' 1973, because the Reds got beat by the A's in the WS that year. ← Close, but it was even more (less?) impressive: The 1973 New York Mets went 82-79 to win the East, beat the Reds 3-2 to win the pennant and took the world champion A's to seven games before losing. ← You're right, Dan... my memory got a bit mixed up. I do remember watching this little scene unfold during the NLCS: A mild dispute, I believe, between a Mr. Rose and a Mr. Harrelson concerning on-field right-of-way and safe passage therein.

Ironically enough, when you & I were little kids--WAY little--I think the Mets won the East with an 82-80 record (!?) and then nearly knocked off the Reds in the NLCS. I'm thinkin' 1973, because the Reds got beat by the A's in the WS that year.

Big article in DownBeat too. ← and Jason Bivins' excellent overview in Signal To Noise ← I'll look for that... Jason used to live here in B-town. Check out his group, The Unstable Ensemble, if you're into improv.

Up in memory of 9/30/55.

I made an allusion to that in the Night Lights show, actually, because Chet Baker was on the jazz version of the soundtrack, and was sometimes marketed (to his annoyance, I think) after Dean's death as "the James Dean of jazz." I commented that Baker, unlike Dean, left no illusions whatsoever of eternal youth.

And this is the "You can't go home again" shot I referred to earlier:

This is one of the most famous photos that Stock took of Dean in Fairmount... Dean went into the back of a store where coffins were sold and climbed into one:

Some more shots from Dean and Stock's Feb. 1955 Fairmount visit:

7/4 already answered the question... it came out of a whole series of photographs that Stock took of Dean just before East of Eden opened in March of 1955. If you've ever seen the Fairmount, IN farm shots, including the famous "You can't go home again" photo (where Dean is standing in front of his uncle's house, looking to his left while his dog turns to the right), those come from the same series. Stock just published a book of those photos: Stock, by the way, did a book of jazz photography called JAZZ STREET. I devoted last week's Night Lights episode to Dean and Robert Altman's 1957 documentary The James Dean Story. I actually thought about driving up to Fairmount today... I was up there with my mom once before, when I was about 19, and we went to the gravesite. There were thousands of people up there last weekend for the annual Museum Days; Dean still exerts a powerful pull, evidently.

I love this period of Lee and wish there were more.

Up. AMG's guide, as usual, provides little insight... I'm leaning towards picking it up, though. Even not-so-great Nelson is still enjoyable to these ears. ← I'm not a big fan of this recording (or much post Prestige Nelson), but isn't this supposed to be included in a future Mosaic Select? ← The Mosaic Select will include both Verve and Impulse, but only the studio sessions.

Up. AMG's guide, as usual, provides little insight... I'm leaning towards picking it up, though. Even not-so-great Nelson is still enjoyable to these ears.

aka Tomeatbluenote. ← Oh, Tomatbluenote! Great to see him here. ← Naw... I was making a bad joke re: Hardbop's constant use of the word "tome."

How is the Nelson LIVE FROM LOS ANGELES date?

I didn't realize that there was film footage of the 1966 "Judas!" exchange. Did most of that '66 material come from Pennebaker (I'd still like to see an unedited Eat the Document some day). You nailed it re: the reporters, Mike. I think the way Scorsese strung together those press conferences gave a good sense of the weariness Dylan was beginning to feel by late '65/early '66 (whereas in Don't Look Back he still seems more playful as he's skewering his journalistic interrogators).

"... and like Martin Luther King I shall overcome."