Pete C

I can't remember if I ever read whether Tadd was happy about Bill Evans playing on The Magic Touch album. I think, IIRC, he did denigrate his own "arranger's piano" style somewhat, but I don't remember whether the decision to use another pianist was Keepnews' or Tadd's. I love the way he used the underrated John Collins as a featured soloist on the Capitol recordings and Royal Roost engagement, especially on the April in Paris chart originally recorded by Hawkins.

I bought the U.S. release Columbia LP when it first came out. It's almost as if he tried an approach that he didn't really revisit in a big way until those Philharmonic Hall recordings with the George Coleman edition.

I much prefer Mile's mellower, more "Mileslike" playing on the Dameron Royal Roost airchecks to his more flamboyant playing in Paris. Maybe his cuffs were longer at the Roost.

Jean Stapleton Jean-Marie Le Pen Edward Scissorhands

Please folks, don't use images from static.rateyourmusic.com

Harold Pinter Allan Quartermain Wildman Steve Gallon

It's another one from rateyourmusic, which only the original poster can see, I believe.

In my day it was Peanuts books and facsimiles of the Declaration of Independence.

The one time I saw Crimson (North Sea, 1997, I think) the temperamental difference between the guitarists was so evident: Belew up front, in the spotlight, hamming it up and playing the rock star, Fripp off to the side, in shadow, with a minimum of movement.

Apologies to Horace.

My heart is strong enough for sexual activity as well as the second quintet, but I'm not sure I could handle the excitement of both at the same time.

The Koch brothers and Dick Armey have that covered.

John Yoo Tomas de Torquemada Monty Python

I stick it in the middle of the case. My shelf is solid, so it keeps the booklet from falling to the ground. When it's not on the shelf I keep it in close proximity to the case and never take my eyes off it, lest it should walk off.

He may not have the opportunity when he's 46.

I don't know about mostly live. It was the label for both live and studio sessions by Ella Fitzgerald, Sarah Vaughan, Joe Pass (Granz made Pass huge), Oscar Peterson, Dizzy, Duke and Basie, among others. Pretty much Granz signed his favorite old friends and colleagues going back to the Verve years and from his concert promotions. Plus first releases of archival recordings from tours he promoted when he didn't have a label (like the Coltrane stuff). http://www.jazzdisco.org/pablo-records/discography-1973-1976/