paul secor

Not recent (or even close), but I remember a collection of Bill Traylor's paintings and drawings at the Hirschl & Adler Gallery (NYC) in late 1988 that was magical.

The Complete Lionel Hampton 1937-1941 (RCA Bluebird) - 4/26/37 & 8/16/37 sessions

It's still today here, so I hope that you have a great birthday tomorrow, OtL.

The Complete Lionel Hampton 1937-1941 (RCA Bluebird) - 2/8/37 & 4/14/37 sessions

I'm proud to say that I was one of the 52,000 who voted for him for Governor of New York.

Phil Spector put it best: "And this man was more than a songwriter. He was a poet, for I need not remind you that while he wrote 'Save the Last Dance for Me,' he never experienced the thrill or emotion of that wonderful feeling." - from Phil Spector's speech inducting Doc Pomus into the Rock and Roll Hall of Fame

Several years ago, Eddie told me that the band on that album was working with Hank Mobley and was set to record the album. Frank Wolff wanted to replace Eddie with Kenny Burrell, but Hank insisted that Eddie play on the date. Eddie called Hank a "true friend" who was willing to stand up for him.

When I was in college, I saw a neon sign above a bar. From a distance, I thought that the name of the bar was Ornette's. I thought, "damn, that's cool." Then, I got a little closer and saw that the name was Onetto's. Ah, well.

I guess this isn't the correct forum for this topic, but Eddie Diehl deserves to be better known, and this is as good a place as any. As zizala mentioned, Eddie lives in Poughkeepsie, NY, and makes his living repairing guitars and amps - John Sebastian is probably his best known customer. (An aside - when I met Sebastian at a Jesse Winchester concert in Woodstock a couple of years ago, I mentioned that I'd seen him at a restaurant/bar when Eddie Diehl was playing. He replied, in complete seriousness and sincerity, "He's my idol.") Eddie plays occasionally in the Poughkeepsie area, and I had the pleasure of having him play at my 60th birthday party a couple of months ago. At the age of 69, he's playing better than he did on the old records. His CD is a fine one, and Eddie is justifiably proud of it, but someone should record him playing live someday.

Bill Charlap used to live in the town where I work. I ran into him several times, and once I mentioned that I'd just seen Go, Johnny Go, a 1950's rock 'n roll movie which featured Sandy Stewart, his mother. He seemed happy that someone had seen her in the movie and knew that he was her son. It's kind of cool that the two of them have the opportunity to record together - hope the CD is a good one.

Funny, I don't have that feeling about Cannonball (at least pre-Capitol), but I feel exactly the same about Roland Kirk. Can't take most of the Rashaaan period at all - though I plan to give his Prestige side with McDuff a listen this afternoon).

A bit late to the discussion, but I'll add my bit. I guess I'm not as complex as some here, and I like to present things as simply as possible. I was twenty when "Mercy, Mercy, Mercy" came out, and I was somewhat familiar with Cannonball's playing through some of his Riversides, the "Chicago" recording with Trane, and some Miles sides. "Mercy" just sounded to me like an attempt to "cash in", and didn't interest me. I'd rather have listened (and still would) to someone like Junior Walker, who was recording popular sides around that time. There was a sense for me that Junior Walker was playing something real, whereas I didn't have that sense with "Mercy". I wouldn't presume to comment on whether it was real for Cannonball - it just didn't sound real for me. I know that others heard (and hear) it differently, and that's fine. I'm just giving my own reaction.

Wrap Your Troubles, R&R, and Me and You are probably Candid recordings taken from the Newport Rebels and The Jazz Life!. R&R: Eldridge; Eric Dolphy: as; Jimmy Knepper: tbn; Tommy Flanagan: pno; Charles Mingus: bs; Jo Jones: dms. Wrap Your Troubles and Me and You: Same as above, except omit Dolphy and Knepper. Roy Eldridge also recorded Wrap Your Troubles for Vogue and Verve. The Verve recording is with Oscar Peterson, Barney Kessel, Roy Brown, & J.C. Heard. The Vogue is with Zoot Sims, Dick Hyman, Pierre Michelot, and Eddie Shaughnessy. You'll have to listen to figure it out. Saturday Night Fish Fry may be from a 1951 recording done in Stockholm or from a 1962 recording produced by our own Chris Albertson. What instruments do you hear? If a guitar is present, it may be the Chris A. produced record with: Eldridge; Bud Freeman: ts; Ray Bryant; pno; Elmer Snowden: gtr; Tommy Bryant: bs; Jo Jones: dms. The Stockholm recording has: Eldridge; Lennart Sundewall: btp; Carl-Hendrik Norin: ts; Charles Normsn: pno; Thore Jederby: bs; Andrew Burman: dms. Body and Embraceable may be 40's big band sides recorded for Decca. Hope this helps.

I'd say R.I.P., but Wilson's probably tearing it up somewhere.

Any music I could find that moved me.

Damn! I must be REALLY getting old. I'd forgotten that I'd posted my age in this thread.

Hope that it was a good one, Mr. T.

You got that right. Without Manny behind him, Ortiz gets as many intentionals as Barry. No one in their right mind would pitch to him if they didn't have to. And without Manny hitting behind him, there's no need to give him the chance to beat you.

What a ridiculous comparison. Guidry pitched til he was 37, and his career ended due to his ineffectiveness. Koufax quit at 30, his best years ahead of him, and in his last five years, had gone 129-34. Guidry went 48-40 in his last five seasons. Guidry won one Cy Young and two ERA titles. Koufax won three Cy Youngs and five ERA titles. Guidry was awesome for one year, very good for two others (his other two 20 win seasons), and decent in a fourth year (18-8). That isn't anywhere near HoF calibre, and to compare it to Koufax is just nuts. A better comparison might be to El Tiante, who had four 20 win seasons and a lifetime ERA that was more than half a run better. Dan - Bill James, who is, or at least was, employed by your beloved Sox, made the comparison. I didn't. And neither he nor I made the claim that Guidry belongs in the Hall - please read my post. I believe that James was making the point that statistics aren't everything. I'm surprised that you would bring Tiant's name up as a possibility for the HoF. I seem to remember that he was another traitor/"Judas" who took the bucks and joined the Evil Empire.

Ron Guidry's my second all time favorite player, but I don't think he belongs in the Hall - even though Bill James once posted his lifetime stats and then posted Sandy Koufax's, and they were almost identical. Hey, maybe nobody deserves to go in this year. Just because there's an election doesn't mean that SOMEONE has to go in.

Here's hoping you have a great birthday, Nate!

Sidney Bechet's music is well worth the extra 5 bucks. You'll be enjoying that music for the rest of your life.

Just finished reading My Name Escapes Me by Alec Guinness - an eighteen month diary written by a thoughtful, intelligent, witty man. This afternoon I've been rereading some chapters from Nat Hentoff's Listen to the Stories, reminscences of musicians he's met, known, and listened to over the years of his life. I regard Nat Hentoff as an appreciator rather than a critic. Critics can point things out that are happening in music, while Hentoff (especially in this book) tells me why he loves music and reminds me why I love music. There's a time to read criticism, and there are times (like right now) when what Nat Hentoff writes is what I need to read.

Hope that this birthday is a great one, Marty!