MartyJazz

Original host for Hollywood Squares: Peter Marshall

"Now watch this drive".

Great seeing all this commentary. Would love to add to it. But thus far, I've yet to receive my disc. What's up?

Well, I guess I'm not the demographic they're looking to please (in my late '50s). Took my wife and 12 year old daughter and wound up begging out within the first 45 mins. (Took in the first hour of "The Terminal" within the multiplex before my wife buzzed me to meet them outside). Don't know where to begin with the reasons I hated Spidey 2. SPOILERS I'm willing to suspend disbelief but don't tell me early on that an office has to order pizza from a pizzeria 44 blocks away in a crowded city. What is that about? Or that PP has to scrounge for bucks with the super powers he's got. I mean can't he find a way to make some bucks legally utilizing that advantage, shouldn't be too difficult. Or that KD's character, a successful actress in what appears to be a Broadway production, has her heart set on this vacillating nerd of a delivery man. How about Doc Ock whipping around an 80+ year old woman who survives this heart attack-inducing frenzy simply because she avoids being slammed into a building? Why is Molina's Doc Ock suddenly evil because he can't control his invention? Finally, how can normally intelligent people watch this shit at length? As for Roger Ebert''s 4 star rating and two thumbs up, someone ought to break his thumbs already.

Picked up a DVD of "One-Eyed Jacks" just the other day. Will check it out today. (It's one of my brother's favorite westerns).

The Bean's unaccopanied solos in one place would be something to burn. I know about two of them: Picasso Hawk Variation, Pt. 1&2 Are there any more? I still have to get the rainbow Mist CD on Delmark. Any on there? That relation of Dolphy to Bean was observed by Eric Miller in his liner notes to the Dolphy Prestige box set: where he was melodically and Harmonically very advanced, his rhythmic phrasing was pretty much like Hawk's.

Well I for one have the LP and I can state with absolute certainty that if the Gilmore solos were restored on the CD, I'd buy it. Otherwise, since the session by no means is in the league of the earlier Blue Notes, I'll pass.

Three points shot, MartyJazz!!! I have it in a different CD, but that´s it. (Sssshhhh, don´t tell anybody) B) I had to search for that link because I only have that cut and an alternate take(!) on LP.

Here's further clarification for track #8. It is the 4th cut on this.

Here's your clarification. I'm sticking with Chu Berry on tenor, add Roy Eldridge on trumpet, and here's an educated guess, Big Sid Catlett on drums since I know all three played together on a late '30s Commodore date. It's the idiot savant in me. Now you tell me if I'm right.

My turn doesn't come up until the first Hillary administration but it sounds like a good idea to me.

OK, just sped through bonus disc, here are a few thoughts and guesses: 1) This sound is too "old timey'' for my taste. Regret that I've never really been able to get into this period of jazz except when star improvisers are involved. 2) Well, it's the old standard "Figure and Spirit" as Konitz liked to call it. Sounds like Paul Gonsalves on tenor to me. Don't know who the others are. 4) Hawkins? 5) "Wonderful! Wonderful!". Only have this by Rollins in his great NEWK'S TIME session, but this of course is an alto. Could be Gary Bartz, I'm guessing. 6) Obviously Dizzy on his composition "Alga Bueno" or "Woody'n You" (one and the same) and I would think it's late period Diz, i.e., sometime in the '70s 7) That big "rubber band" sound on bass gave the bassist away. And I believe it's his composition in honor of a fallen Cuban revolutionary figure. The rest of the group is too easy - O.C., D.R. and probably E.B. 8) This sounds like a variation on "Sweet Georgia Brown". Tenor could be Chu Berry. 11) This is like #1 in terms of its ancientness (is that a word?). No guess, but I really don't like this sound.

Looking now at Randy's answers and mine, I can only believe that one of our discs has been mislabeled. We are definitely listening to two different discs that are both labeled Disc 1. In fact as I now listened to the beginning of a couple of tracks that Randy has ID'd, those are definitely on what is labeled "Bonus Disc" for me.

OK, received the discs yesterday, but have just found time to listen to Disc 1 only today. 1) Obviously, a live female vocal of Duke's "Cottontail". Don't know who. 4) Recognized this famous trumpet player immediately. (Clue to one and all - that's two BFTs in a row he has appeared). This is track #4 (master take) on this. 6) live piano Tatum-esque solo of "Hallelujah" 8) "Lester Leaps In" Recognized these two tenors immediately although I do not have or know the album this is from. Anyway their identity I believe can be found here. 9) Bessie Smith? I'm not too keen on this period of jazz but it sure sounds like her. 11) "Valse Hot" but I don't know the tenor or trumpet player. 13) "Things We Did Last Summer". Don't have much of this vocalist but I'm pretty sure it is her. 14) "Tuxedo Junction". Very famous recording that is far superior to the Glenn Miller recording. Know this very well, because everytime I hear Miles' 1956 Prestige version of "The Theme" he quotes from the trumpeter's (Dud Bascomb) solo on this record. The bandleader can be found here. OK, have to listen some more to ID further tracks and get to the Bonus Disc.

When was the last time you listened to "Jinrikisha" from PAGE ONE? That's Joe at his best right from the git go, or "Page One". The way he develops tension and resolves it in that piece always makes that particular track a tremendous joy for me every time I hear it.

And then there's track 15. Come on now, guys!! Who are playing? Brownie is on to something; I'd dare to say that they are among the most well known on their respective instruments - all of them!!! It's too much of a goof on the original arrangement of this piece to spot who these "well known" musicians are. The "Dark Eyes" arrangement they seem to be spoofing is that of the Gene Krupa Trio with Charlie Ventura and Marty Napoleon. Can't even hazard a guess as to who these guys are.

As a result of this thread, I took out the LP form the "archives" this AM and enjoyed it thoroughly with my breakfast. Wayne was indeed sounding quite playful ("June Night") and unique (particularly enjoyed his original "Mama "G""). Thanks for turning me on to a side that's been languishing on the shelf too long a time.

According to Bruyninckx he's only on that one track, if you know better, can you please post details, for my Lucky Disco? Thanks. I have an original Limelight gatefold of "Soul Finger". Haven't listened to it in years altho I too am a Lucky fan. Played it through and as all of you have confirmed, Lucky indeed only plays on one selection, "Spot Session", and on soprano only. Shame that there's no Lucky on tenor on this LP. Thanks to all of you who pointed out the presence of Bartz on alto. Relistening to this LP after many a year, it is indeed quite apparent that Bartz is indeed on the date. Curious as to why there is no mention of him in the personnel. Liner notes only mention Bartz as one of many Jazz Messenger members over the years but fail to point out his contributions to this album.

I tried posting a jpg file from my computer following the instructions given in the 2nd post of this thread back on page 1, and nothing doing. When I browse on my PC and locate the file, I click "open" but neither the location nor the actual photo appears in my post, either at that moment or when I preview the post before submittance. Help!

There's a good review of the group by Ben Ratliff of the NY Times. Sounds like the group performs a variety of ballads and variations based on standard tunes. So it shouldn't sound "out" to your lady friend. At one month shy of his 86th birthday, I doubt Hank would delving into the avant garde at this stage of his career. Anyway the review can be found (free subscription to the Times online is required) here.

Jet fan here (please don't laugh). Season ticket holder since '67 and I retain the rights even though I moved to southeast Florida (Dolphin country) at the end of '93. So do we have a chance this year? Or will it be the Pats again with the hated Fins in the chase? This is the must cut it or get cut year for Terry Bradway (GM) who was nearly fatally scalped by the Redskins' management (am I being politically correct? Guess not) last year when they signed away Laverneus Coles, Randy Thomas, Chad Morton, and John Hall. Also, if our clock management skills don't improve considerably, we'll be in the outhouse again. With so much parity, the difference between a win or a loss often comes down to game management tactics in the last two minutes of the half and the game. An aside: Glad to see Vinny go and hope he does well in whatever capacity Parcells decides in Big D. Class act but long since outlived his usefulness in green.

Eric Alterman: What Liberal Media?

Hey, it can happen. You managed to misspell "misspell"

While I would give the edge to the Blue Note box in terms of overall musical quality, the Verve box contains some great performances. It has the added advantage of wonderful liner notes in terms of expert musical analysis by Barry Harris (Bud's biggest disciple) and another terrific, though less known, pianist, my good friend, Michael Weiss. If it's at a good price as you say, grab it.

I was 13 years old back in '58 when my father brought home two LPs, one by Benny Goodman, the other by Artie Shaw. I was hooked, especially on Shaw whom I still love to this very day. Stopped listening to Elvis et al, although I did a brief stop with doo wop R&B. (Wish I still had those original label '45s, they go for a mint). Anyway, by my late teens, I was stretching out into Bird, Miles, Monk (the latter I caught at the Newport JF in '64 when they allowed we teens back then to camp out on the beach). Soon thereafter, some pressure to leave home as my dad couldn't really take bebop and "modern" sounds as he was into the pop music of his day, i.e., swing. He never was able to see, or more properly, hear, the connection between swing and bop, the evolution of it all having totally escaped him. So I guess that makes 40+ years. One question, how do I take my collection with me? Tempus does fugit. B)