ghost of miles

Among the Big Three, this is the only board where one may post links to the other two, or simply mention them, without fear of deletion, reprimands, and other forms of policing.

Pretty sure that Joe Christmas is still posting over at JC--and yep, he's Navy too.

Arrgghhh... not budgeted to get this for at least another month or so. I'll just have to live vicariously through your guys' posts.

I have the EN CONCERT AVEC EUROPE1 CDs... have the Ronnie Scott's LPs from the same year (1969) ever been reissued on CD? The CBBB just gets better and better as I listen to them.

"Perfectly Frank" is now archived.

Are you hearing bad advance notices? I like Linklater a lot... hope he does a good job with it.

My vote too!

Anita want a whole lotta love?

There's a bohemian classic for you... and one that gets overshadowed by Orwell's other books. Finally finished The Magnificent Ambersons and am giving Conrad's The Secret Agent another go. Also perusing Gene Lees' Arranging the Score.

I just finished reading THE MAGNIFICENT AMBERSONS, and ironically enough, it sounds as if the original film version somewhat altered the ending. The book ends in George's hospital room, on a note of reconciliation and hope. By focusing on Fanny's plight instead, Welles somewhat darkened Tarkington's conclusion. I think we may have the original script for the film here in the library--there's a ton of Welles material deposited in the Lilly collection (including part of his proposed treatment for Ellington's JUMP FOR JOY). Indiana mystery writer Terence Faherty wrote a book, COME BACK DEAD, which is a fictional speculation about Welles coming to Indiana in 1955 and attempting to re-shoot the film. He had to change names for legal reasons--the film, for instance, is called THE IMPERIAL ANDERSONS.

James Dean was slated to star in that when he died... it was one of several roles that Newman inherited from him. (He also beat out Newman for the part of Cal in EAST OF EDEN.)

Yanks won again today, but so did the Bosox... so the lead remains at 1. And they're tied w/Cleveland for the wild-card. Tom Gordon actually got a save... first in 8 chances.

I find this statement to be troubling, and perhaps even outright bullshit. ← Well, WTF is Gopnik doing writing about jazz for the New Yorker? My apologies if he's a secret jazz expert... but shouldn't he stick to his occasional notes from Paris?

I think it was actually on ON GREEN DOLPHIN STREET, which is otherwise an Evans/Paul Chambers/Philly Joe Jones date from 1959.

Thanks again--looks like everything made it onto the new CD. Maybe it was a different alternate take of one of the numbers on the 2002 version? I just seem to remember Chuck or somebody else mentioning that something hadn't carried over... I plan to post a link, btw, to the comic when I put up info for the Money Jungle Night Lights program in a couple of weeks.

Thanks for posting those notes, couw. "Rumored friction and disagreement?" I'm sure the stories have been somewhat embellished over the years, but Duke himself said that Mingus walked out and said he couldn't play with Roach. Duke talked him into coming back, and said that everything went happily after that... but Mercer is quoted in REMINSCING as saying that they had a two-album contract with UA, and that the second album never came off in part because of the "rumored friction."

You know, I don't think Starbucks carries MONEY JUNGLE anymore... maybe Aric could send the new Herbie instead?

Thanks, Couw. One of the better things I've found so far is a two-page section from REMINISCING IN TEMPO (pg. 334-336) for anybody else who is interested in the background to this album.

He's riding again. Or making his last stand.

Hey all, I'm looking for articles/info about Ellington's MONEY JUNGLE session... I have both Mingus bios and some Ellington material, and am hoping to find more. Does the new re-mastered edition include any sort of historical essay? (I have only the 1987 CD.) And no, posts regarding the long-running BN/Org. Money Jungle epic do not count!

It was a longstanding disappointment with Frank Sinatra's fans that he didn't do more small-group jazz recordings. This week on Night Lights we present some of the ones that he did do, including rare broadcasts from his 1953-55 radio program To Be Perfectly Frank, some late-1940s sides for Columbia, an all-star gathering with Nat King Cole, Coleman Hawkins, and others on "Sweet Lorraine," a Nelson Riddle arrangement from the LP In the Wee Small Hours of the Morning, and a live date in 1959 with Red Norvo's combo. "Perfectly Frank" airs Saturday, September 17 on WFIU at 11:05 p.m.; it also airs on WNIN-Evansville at 10 p.m. as well. (Two hours earlier on the West Coast, one hour later on the East Coast.) The program will be archived Monday afternoon. Next week: "The James Dean Story." Music performed by Chet Baker and Bud Shank and dialogue from the 1957 Robert Altman documentary, in commemoration of the 50th anniversary of Dean's death (9/30).

As a Hoosier, he was much-admired here by movie buffs. THE DAY THE EARTH STOOD STILL remains one of my favorite sci-fi flicks of all-time. RIP Mr. Wise.

It's great to see the media FINALLY waking up to what an AWOL airhead our "commander-in-chief" really is. Too bad it took 'em one of the most devastating natural disasters in American history to get a clue. And no, I'm not referring to Dowd's column--I'm referring to the generally much sharper and more objective coverage that CNN and others have offered, instead of routinely buying the puff & spin of the White House image-makers.

A bit late, but with best wishes... enjoy that Andrew Hill Mosaic Select!

You're 40?! As Chuck Nessa would say... "Pretty darned impressive." I'm right on your heels, my friend.