jazzbo

Mine was spinning for the first time the Marvin Gaye track "(I'm Afraid) The Masquerade is Over" from "The Soulful Moods of Marvin Gaye." (Also appears on the new six cd set of Motown singles, Volume One). The piano intro is. . . a theme from Monk's "Round Midnight." Wasn't expecting it, was so happy to hear it!

Sergio Mendes, "Equinox." Wasn't going to pay full price for this one!

Nothing was really bonus that I can remember about on that two cd "My Funny Valentine" . . . maybe an announcement? Apparently the box set extra material for these two lps is NOT included on the single disc reissues. It doesn't really surprise me. . . they have to have something exclusive to the box set, or they generally do. I really like the box set, and haven't gotten any of the single releases or plan to get them in the future. (Possibly because I have Japanese minilp cds of them? )

This show came on the year we went to Africa. . . I was so excited to see the first few episodes. . . and then whammo. . . . didn't get to see any til about six years later in reruns. It wasn't the same. That eleven year old excited kiddo wasn't around any more! Where did this picture come from! It's a fake. . . right?

REALLY good on vinyl.

Hope it's a great day! If I could afford it I'd send you a ticket for you and your mom to visit the Tower!

It's easy to suggest going to easytree. . . it's harder to actually register as they are "full" every time I've tried and won't accept a registry!

I do go with what works. . . that's the story of my success in all walks of my life! I don't know how to make the distinction between the jazz thing and the Brazilian thing. I really think that our viewpoint outside the culture makes it hard to guage the relative standing of these artists from that foreign country. For example: something on that site may have been a popularization of a Jobim tune for example by someone who is obscure to us, but may have been a big pop hit that made the tune and style popular. I don't know and can't tell. And I do know people who are into jazz to whom for some time Anita O'Day and Dinah Washington were obscure persons they never heard anything of. They had all the Classic Quartet Coltrane material, but no Anita or Dinah, which I found surprising at first, but not so much any longer; they came up a different route, and maybe the "important" stuff did hit them first. This all falls into my gut feeling that "it's all a matter of perspective" or that there are many roads to many destinations. . . . Man I love how different everything and everyone is. If you're bored in this world, there's something the matter!

I don't believe that Wingy and Wanky are one and the same. I could be wrong. I don't believe that he posts here. . . don't believe that Danny CAN post here.

I was using "stoopid" in the couw terminology of meaning not serious music, but music that has value none-the-less. I have had a (luckily decreasing) very visible position at work where I am allowed to very quietly play music, and where the music is noticed, mainly because it is different. When people get interested in jazz and ask me about it I usually give them a mix of both "important" recommendations such as Coltrane or Miles, but I include things like Dinah Washington, Lou Rawls with Les McCann, soul jazz by Lou Donaldson or Lonnie Smith, some dixieland by Condonites, some Ramsey Lewis Argo, etc. . . . I try to mix in the "important" with more fun material, and almost without fail the more fun, in my opinion more accessible material hooks the iniate first, and then they begin to listen to the more serious material. Last time I did this I made someone a cdr with some material from "Someday My Prince Will Come" by Miles, "Wise One" from Crescent, a track from Lou Donaldson ("Ode to Billy Joe"), a few tracks from "Dinah '63", a few tracks from "The Far East Suite," and a track from Grant Green, Stan Getz and a few others. The guy kept telling me how much he dug the Lou track and kept playing it. Then he told me that he really liked the Dinah cuts. Then he told me he didn't quite know what to make of the Miles track, but he liked the piano and the way Miles' horn sounded. He keeps growing into the music on the cd, and it was the Lou that snagged him first. I gave him an extra copy of Midnight Creeper I had around. I'll check back with him later. . . I think he'll be ready for Coltrane soon. I don't consider "Mr. Shing-a-Ling" to be an IMPORTANT jazz album. But that one track got this guy interested. . . . And oddly enough it was my playing "Mercy, Mercy, Mercy" by Cannonball that got him to ask me about jazz. . . . So that's what I'm talking about. Seems an effective way for ME. Other mileage undoubetedly DOES vary.

A couple of Annie Ross cds.

Jarrett's a strange egg at least from what he manages to say to the waiting press. . . . Yeah, that is going to be a great box set! Jarrett really could do the electric thing with his own "panache." I really like his work with Miles (with or without Corea as a keyboard partner). I really like his electronic piano work on the album with Gary Burton for Atlantic too!

Yes, I know French fairly well, and it's a "cedille" to me! I'm just of a little diverging philosophy in that I think that getting people started on only the "most important" work is not that effective. (I've tried that with jazz). Getting people started with a mix of stuff, (important, fun, "stoopid," pop) is both more fun for the initiator and the initiated. . . in my experience. Everyone's mileage does vary! I still think that "In the Mood" is something else!

It's hero worship of Blue Note and object worship of the record itself. It's disgusting. Shame on ME.

Congratulations on old geezer status!

You're welcome John. I was going to mail you what I had, but between my post and Cary's, it's all there and then some (my paperwork did not include many of the titles identified).

Got the title wrong from memory: Pra Balancar (don't know how to make the "cedille"). I've listened to all the complete albums he has up and am working my way through the separate selections. Of course the Milton Banana and Deodata lps are great (know those from before as do yo) but the others are fun too. The Elza Soares is very interesting! There's quite a stomping version of In the Mood on there! I don't like everything under the sun by any means. I do like to have fun with new music sometimes. I like the sort of cheezy fun pop elements on a lot of these more than the smooth fusiony aspect of some later Brazilian music. And I'm trying to be less and less snobby about music because I find that the snobbery in jazz really bugs me more and more as time goes by and I'm trying not to participate. It's easier to extend this inclusive mood into newer genres of exploration. This guy has an impressive collection! I'd like to hear a lot of the albums I haven't.

I have a small one I bought in Ethiopia in 1968. It's not of the greatest qaulity, but the wood is amazing! It's fun to pluck now and then.

The RCA/Buddha cd is a good place to start I think. I can't imagine having no Fats! I need him in my life!

Well, it's more like you have space issues if you ask me. . . . I think that the Pra Barancado is a pretty good album! Nice drumming and piano!

I guess at the time the mediocre commercial material seemed less mediocre on Borbaletta Guy; I agree it's dated now but I was able to buy this when it came out and really groove to it (with some help from partying materials). I still really like it; I think maybe I have sentimentality stirred in there that makes parts seem not mediocre to me.

Swing is overall disappointing. . . for me it has all the worst most noodlesome aspects that the personnel sometims bring to dates, and Santana is really not doing HIS thing and it just is boring. When it first came out I spun it and spun it and spun it on cassette trying to like it. Then I bought it and cd and rinsed and repeated. Still don't really like it.

Shoot. I ordered the Shepp, Rudd and Shorter. I'm so broke all the king's men wil have one big job ahead of them.

I usually get a few hours (sometimes as much as three) of listening in before my wife wakes up and "Sunday" on CBS is turned on. This year I have had a tradition of playing Marvin Gaye's "What's Going On" (one of three versions, original, Detroit mix, or the live version, all found on the Deluxe Edition) as my sort of ersatz Sunday Service. It's really beginning to mean something to me. Otherwise I just try to get caught up on listening; I usually get a few more hours in later int he day.

Well, we're not all as picky as you are Jim!