jazzbo

I love Alice. I even have a cassette of spiritual music from her Ashram or something that I really love. We need another release.

I was a bit disappointed in the sound, but it's pretty good none-the-less. Previous discussion on this thread:

There have been several other releases as well.

Duke. But I'd probably make a play for the gun, fatal mistake that may be.

Mike, have many many happy happy returns! Hope all is continuing well!

I know, I have many 'seventies Ra discs, but I've avoided many and removed a number from my collection that I just am not interested in. And I'm not surprised others like the Henderson-Ellington material, but it does nothing for me. At all.

Yes Dan, try him again. He's a real force! I'm interested in this set. Lots of interesting box sets coming out soon.

I don't know. . . I confess I never got into the Fletcher Henderson-swing stuff Sun Ra material at all. I take it off the bit stream every time I start one. And a lot of the 'seventies noisey freak out material is just treading water going nowhere sounding to me. There's so much Sun Ra to collect, and I keep collecting it, that I skip those blocks of recordings. Hans, the two Delmark cds. . . I think you'd really like them, and you should also like the sound. They're two of the last Sun Ra recordings I'd keep if I had to give away most all my Ra.

I can dig it too. I really enjoyed the movie, but can see why someone wouldn't. I mean it's Captain America. Been around nearly seventy years. Created in a different time. I thought the tone was just right myself, but if the tone weren't just right for someone, I think it would be a bore.

I voted Love Call. I actually really like them all. I wish there were RVG remasters of Love Call and New York Is Now, I'd love to hear what RVG does to those (not his recordings originally).

Many happy happy returns!

Amazing news Allen! Congrats!

I'm with you Flurin. I like their stuff as well, and their packaging doesn't upset me.

Good luck with that. I'll pass on this one, I think I have all that's likely in there.

$26.99 (longbox, not metal spine)

I am sure they knew each other, and that Waller probably was a help in the earliest years in NYC. "Friends" . . . rivals. . . both?

Red Hot Jazz is a great resource. Here's what it says about Durante: http://www.redhotjazz.com/jdurante.html Before Jimmy Durante became one of the most famous and lovable entertainers of the Twentieth Century, he was a hot piano player and bandleader. Durante was greatly influenced by Scott Joplin and had his first success in show business as a Ragtime piano player starting around 1911. He was billed as "Ragtime Jimmy" and played in New York City and Coney Island. Durante was part of the same wild crowd of early White jazz musicians as the Original Dixieland Jazz Band and Johnny Stein. When the New Orleans Jazz style swept New York by storm in 1917 with the arrival of the Original Dixieland Jazz Band Durante was part of the audience at Reisenweber's on Columbus Circle. Durante was very impressed with the band and invited them to play at a club called the Alamo in Harlem where Jimmy played piano. The band was soon the hottest thing in show business and Durante had his friend Johnny Stein assemble a group of like-minded New Orleans musicians to accompany his act at the Alamo. They billed themselves as "Durante's Jazz and Novelty Band". In late 1918 they recorded two sides for Okeh under the name of the New Orleans Jazz Band, they re-did the same two numbers a couple of months later for Gennett under the name of Original New Orleans Jazz Band, and in 1920 the same group recorded again for Gennett as Jimmy Durante's Jazz Band. In 1921, Durante collaborated with an African-American songwriter by the name of Chris Smith on the songs "Let's Agree To Disagree" and "Daddy, Your Mama Is Lonesome For You" which were recorded by Mamie Smith. Durante went on to record with several White Jazz bands in the early 1920s including The Original Memphis Five, Ladd's Black Aces, Bailey's Lucky Seven and Lanin's Southern Serenaders. Jimmy was a solid Ragtime and Jazz piano player, but soon gravitated towards vaudeville as the 1920s wore on. He became part of a comedy music team called "Clayton, Jackson and Durante". By the end of the decade the team was very popular on Broadway and Durante got a role in a play called "Jumbo" which made him a star. In the early 1930s he started to get roles in movies, and became popular on radio and eventually became one of the most popular entertainers in America. On his radio show he joked that he was working on a symphony, but he wouldn't call it "Rhapsody In Blue" or anything like that. He would call it "Inka Dinka Do". In 1934 he recorded a novelty song with this title and it became his signature tune. Jimmy's popularity never really faded and he became one of the first stars of television. In his later years he was often cast as a lovable relic of the Roaring 20s, but few remembered him as one of the first Jazz recording artists. New Orleans Jazz Band Jimmy Durante's Jazz Band Original New Orleans Jazz Band Whiteway Jazz Band Clayton, Jackson, and Durante The Syncopating Skeeters Title Recording Date Recording Location Company Inka Dinka Do (Ben Ryan / Jimmy Durante) 2-13-1934 New York, New York Brunswick 6774 Hot Patatta (Jimmy Durante) 2-13-1934 New York, New York Brunswick 6774 Title Director Year Roadhouse Nights Hobart Henley 1930 The New Adventures of Get-Rich-Quick Wallingford Sam Wood 1931 Cuban Love Song W.S. Van Dyke 1931 The Christmas Party Charles Reisner 1931 Wet Parade Vicctor Fleming 1932 Speak Easily Edward Sedgwick 1932 Le Plombier amoureux Claude Autant-Lara and Edward Sedgwick 1932 The Phantom President Norman Taurog 1932 The Passionate Plumber Edward Sedgwick 1932 Blondie of the Follies Edmund Goulding 1932 What! No Beer? Edward Sedgwick 1933 Meet the Baron Walter Lang 1933 Hell Below Jack Conway 1933 Broadway to Hollywood Willard Mack 1933 Student Tour Charles Reisner 1934 Strictly Dynamite Elliott Nugent 1934 Palooka Benjamin Stoloff 1934 George White's Scandals 1934 Hollywood Party 1934 Carnival Walter Lang 1935 Land Without Music Walter Forde 1936 Little Miss Broadway Irving Cummings 1938 Start Cheering Albert S. Rogell 1938 Sally, Irene and Mary William A. Seiter 1938 Melody Ranch Joseph Santley 1940 You're in the Army Now Lewis Seiler 1941 The Man Who Came to Dinner William Keighley 1941 Two Girls and a Sailor Richard Thorpe 1944 Music for Millions Henry Koster 1944 Two Sisters from Boston Henry Koster 1946 It Happened in Brooklyn Richard Whorf 1947 This Time for Keeps Richard Thorpe 1947 On an Island with You Richard Thorpe 1948 The Milkman Charles Barton 1950 The Great Rupert Irving Pichel 1950 Beau James Melville Shavelson 1957 Pepe George Sidney 1960 Il Giudizio universale Vittorio De Sica 1962 Billy Rose's Jumbo Charles Walters 1962 It's a Mad Mad Mad Mad World Stanley Kramer 1963 Jimmy Durante; His Show Business Career by David Bakish, McFarland & Company, Inc., 1995 Schnozzola; The Story of Jimmy Durante by Gene Fowler, The Viking Press, 1951

Well, that's a start. I'm not a Christian, but I was brought up as one, and the first step for forgiveness is asking for it. Whether or not this is something that I could personally forgive is another matter. It always amazes me what is learnt as "Christianity." I certainly never was taught that "asking for it" is the first step. I was taught to forgive without being asked for forgiveness. Anyway, this is a very hard thing for a human being to forgive. I'm afraid to examine and really feel the scope of this. I really can feel deeply for all the victims of course, and can feel despair that anyone could initiate something like this.

Absolutely James. Remorse, regret, reparations. And if there's a maker, making peace with that being. All sorts of things enter into this forgiveness realm. I agree with what Allen wrote above as well. I can only say that in in my own life forgiveness has been a powerful force, both forgiving AND being forgiven. And I've seen it in play in the lives of others as well, I've seen it change the course of a life. Face, thanks for sharing your thoughts and feelings.

That's your thought. There's forgiveness asked of us if you read the New Testament, recite the Lord's Prayer, etc. I fall way short on that, I admit.

Listen, I grapple with a lot of issues with organized religion. But forgiveness is a cornerstone of Christianity, you can't just say "we'll forgive this but not that." And it's not just forgiving and then washing your hands. It's forgiving and helping on all sides of the sin-issue. It doesn't matter I guess because agnostics are free to pick and choose, and even "Christians" who make a lot of noise aobut holiness are full of hatred and venom and the last thing they really do is forgive. I'm just putting it out there. I believe it is best for all concerned to struggle to forgive. I just didn't feel that castigating Face the Bass for harboring the love of friendship and brotherhood in his heart was something that can be just lying there. I applaud Face's statement. This isn't easy at all. This is a broad community and I'm sure we might be very shocked to see hard investigative results of the private lives and doings of many here. I'm not sure what we should be saying and talking here but it seems so far we're reasonably certain that Bill Barton is involved in the investigation of these crimes as a possible perpetrator. And really, that's all we know, if we know that. I'll say no more other than I wish the best for all involved in this as victims and any who may be falsely accused.

Just consider the Lord's prayer, that has it right there.

Many many happy returns Mark!

No, apparently no threads.

Personally, I love the Chicago, Philadelphia, and early NYC periods, and I'm very picky beyond that. After the 'seventies I hardly ever really get into the music I'm afraid. There are really good reviews here. There are also a few other threads in this bulletin board that are good wells to draw Sun Ra information from.