Spontooneous

Another reason to be afraid... link

That's written by a friend of mine. St. Louis is lucky to have someone with ears and taste as good as his writing about jazz for the newspaper.

Thanks, guys. I feel better now. I'd like to recommend 6-16-74 to any and all. Don't be put off by the iffy sound in the first set. This was one of the great jamming nights.

There seemed to be a surge in Nimbus activities after Horace Tapscott died. I think they're new pressings.

Go easy on the birthday cake, Paul, or you'll end up smiling like Ishmon Bracey...

And the arch is just a few minutes away from another landmark human endeavor, the world's largest ketchup bottle.

Wasn't there a Barney Bigard date in this series too?

Surely I'm not the only one here who's heard Hanna's claim, am I?

Hanna claimed to have written the tune. He said this, with several hundred witnesses, during his last concert in Kansas City. The tune seems to stand apart from Thad's other writings, and it seems closer in style to Hanna's writing. I tend to believe him. Hanna said it started as a piano interlude he'd play between numbers with the Thad/Mel band. Thad liked it, wrote the arrangement -- then told him, "It's my tune now." If it is indeed Hanna's, he may have been a Christmas connection in mind. Consider that other piano interlude he played with Thad and Mel, which he called "Bible Story."

The Mosaic site is 10% evil, 90% good. The Dusty Groove site is 39% evil, 61% good.

This is too much fun, I can't let go... The Declaration of Independence: 43% evil, 57% good. The preamble to the U.S. Constitution: 56% evil, 44% good.

My most recent byline measures 65% evil, 35% good. Maybe there's something to this after all.

That's not Olive Oyl, is it?

A few results, for comparison: Organissimo forums: 30% evil, 70% good www.senate.gov: 33% evil, 67% good www.whitehouse.gov: 35% evil, 65% good

From what I've heard, yep. Tolerable in small doses. Catch him bursting through the Don Redman arrangement on Basie's "Five O'Clock Whistle," on Columbia, '41 or thereabouts.

I heard the 8-27-72 "Field Trip" for the first time the other day. Yes, it does seem overrated. The best of it is very good, though. Today my perspective is being altered by 6/27/69, with Bobby on a Buck Owens trip.

OK, here's the info on the Stoltman "Ebony," as given on his "The Essential Clarinet" CD, RCA/BMG 09026-61360-2, copyright 1992: The Thundering Herd: Frank Tiberi, Dave Riekenberg, Jerry Pinter, Mike Brignola, reeds; Roger Ingram, Diane White, Greg Gisbert, Ron Stout, Bill Byrne, trumpets; John Fedchock, Paul McKee, Joe Barati, trombones; Joel Weiskopf, keyboards (that's what it says); Dave Carpenter, bass; Dave Miller, percussion; with Alex Brofsky, french horn; Sarah Voinow, harp; Howard Alden, guitar; Richard Stoltzman, conductor. May 11 & 12, 1987, RCA Studio A, NYC. Can't find the personnel for the Stravinsky/Goodman "Ebony" after all. Sorry. I promise to atone for this thread hijack by hauling out "City of Glass" ASAP.

Paul and Mike: The Stoltzman/Herd "Ebony" was reissued in another collection with the personnel listing. (I remember this because I saw Paul's name there.) Will post it when I get back home. Larry: I think I have the personnel for the Stravinsky/Goodman "Ebony" too. Will check when I get home. That's the version I grew up with. I played the "Octet" on that LP to death.

I think he means this. Homemade tryout recordings, from the looks of things. Apparently the earliest Parker on disc. Not sure it foretells what was to come, though.

Can't beat the original, though the version on "Ellington Uptown" kicks my ass too. One of the rules I've set for myself after years of club-hopping in Kansas City: There's no point sticking around after somebody calls " 'A' Train."

That's how I ended up with DEEP's mailing address, long after his departure from the board.

I want to live long enough to see the day when this sort of story is no longer news and the news media do not treat it as such.

Soulfinger?

To the poster who didn't like "Hoedown": Listen again! The way it sets you up for something corny, then smacks you in the face with things that are definitely NOT corny, is masterly. And the finely controlled rage of the tenor solo is amazing. (Check what Sangrey said about swinging by not swinging.)

Now Tommy, just because Jimmy and Chucky and Pauly have jumped off the cliff, do you jump off the cliff too? (My second-grade teacher was fond of saying this.)