Cornelius

Thanks, bluesForBartok. I printed it out and will listen to it.

"He had some drug problems, which perhaps influenced his playing [...]" [che] Influenced in what way?

Is there an association longer than Carney's with Ellington?

Thanks, sidewinder!

Hubbard is more abstract.

JSngry, My initial points were that this is a lousy album and that it would be unfortunate for someone not familiar with Mobley's better work to think that this album represents what he's all about, by which I mean that this album is a terribly poor example of Mobley's art. As I understand, you believe that, while the album does not necessarily show Mobley at his artistic best, the album is what Mobley is, in a psychological sense, all about as an artist. "I use the terms "passive" & "agressive" here in a non-clinical sense." [JSngry] Fair enough, but as well as describing musical characteristics as passive aggressive, you contend that Mobley is passive-aggressive in a deep psychological way and that the passive-aggressive musical characteristics are the very artistic expression of the man's psychological passive-aggressiveness. This seems to me to be over-psychologizing - extrapolating from much too little information about the man as well as relying much too much on a quite tenuous analogy between musical characteristics and (supposed) psychological ones. Mobley is one of at least a few jazz artists, even hard bop players, to create tensions through holding back and other contrasts (though, Mobley does have his own very personal and wonderful way of doing this). It's not required to explain those artistic preferences in terms of passive-aggressiveness, as well as a good explanation would have to show not just a coincidental correlation but a causal one. I don't agree that "[...] the very nature of Hard Bop was aggressiveness of some form or fashion. It was an "in your face" music." Aside from 'hard bop' being in need of a good definition in jazz literature, so much of what does fall under the rubric of hard bop is not too aggressive, even at medium and fast tempo. Sometimes hard bop is even less aggressive than bebop. While I can see that one might think of this music as being "in your face," it usually doesn't feel that way to me, since it is to me warm, inviting, available, while assertive, often energetic and passionate, but not incursive. Granted, 'assertive' and 'aggressive' do overlap, so my point is not to nitpick about words, but rather to explain how my perception of the music is likely, in this respect, different from yours. You mention stubbornness as indicative of passive-aggressiveness. But I suspect that compliance, not stubbornness, is more characteristic of such a personality, as one would comply but use that compliance and whatever its results as bases for a grudge (the old "I did what you asked me to do and look how it turned out. But fine, we'll keep doing it your way" shtick). "Larry Kart's observation as to the importance of hearing every note with the Hank of this period plays to this too, imo. If you just listen "generally", you'll miss the finer details,." I think Kart overstates his argument there. The delicious suggestion of tentativeness in Mobley's playing is a notable aspect of his style, but, for me, doesn't require an urgency to behold each point of note-decision very much more urgent than for just about any jazz improviser of that era. "Agression delivered in a passive manner, if you will, or at least through a sound that blunted the initial impact of the agression. [...] and those details are where the agression is [...]" Since I don't buy into Kart's argument (as I hope not to misstate it) that details are very much more important to observe in Mobley than most any other player of that era, I surely don't buy that the argument leads to characterizing Mobley's playing as passive-aggressive in a psychological sense. "I do hear a potentially high level of drunkeness [...]" Mobley does sound like he very well could be drunk on this session. That, to me, is a much simpler explanation for the poor playing than your psychological one, which seems pretty convoluted, as well as suffering the more fundamental problems I mentioned above. There are a lot of possible reasons for the session turning out the way it did. On a different day around the same time, perhaps Mobley would have sounded just fine. We just don't know. I find it much too great a stretch, from such thin biographical and circumstantial information, to extrapolate that the session is some kind of culmination-as-meltdown of artistic and personal impulses that were lurking within Mobley's very constitution. That's a lot of psychology and some quite tenuous connection-making to have to swallow just to explain a bad record date. (I don't deny, of course, that Mobley was in bad shape personally at that time; only that many artists - some whose work is loud and heavy and even violent and others whose work is soft and light - fall apart in all kinds of ways that aren't necessarily so very literally analogized in their work as you think of this album as analogizing.) So, I find Mobley's playing to be lousy on this record (and the record suffers a lot other problems too). And the playing is not just lousy, but it does not even hint at the wonderful virtues of so many other recordings he made. And I think the passive-aggressive theory is quite a bit of reading into limited information, so that I think the album is not a good example of Mobley as an artist and is merely one artifact, not a summation, of the inner man. "[...] it's not "just" a "oh well, shit happens" date." I don't think it is. Some tracks seem to trail off, and some seem not to have gotten off the ground, but on some tracks I hear a lot of energy, passion, and earnestness from Mobley. Some of this might be the most passionate he's ever been recorded. "[...] I listen to music first and foremost as a story being told, and as such, pondering the pshychology of that story is inevitable for me, figuring out the whats and whys of how this stroy is being told in this way. The musical and the psychological are inseparatible for me, at least when something involves me in its story as deeply as Hank Mobley's playing usually does. When I shift to a "purely musical" POV, it's either to study the music technically, or because the music has much to admire in terms of craft, but not as much in content." I enjoy a lot of things when I listen, at different times - not necessarily in order of importance: 1) Just how good the music sounds. The lines, the shapes and colors of the notes, the rhythm, the groove, and all of that. 2) The musical performance as a story onto itself. The story told in a very general way - with a beginning, middle, and end, as an abstraction in sound and as conveying emotion and humor and the human experience. 3) The interplay of the musicians. 4) My own personal emotional and spiritual responses. 5) Visual imagery in my mind's eye. 6) Technical things like changes and form. 7) The musical pesonalities of the players. And I listen for the history of the music too. Sometimes I do listen with reference to the personal biographies of the musicians, but not often. I don't often listen to Hank Mobley as I wonder about the personal details of his life, including whether he was high at the time of the recording or whether he was a passive-aggressive person. For example, I don't listen to Miles Davis while trying to explain his music in terms of his beating Cicely Tyson. Biography is important to an overall understanding of the art, but I usually abstract from the musician's life when I'm in a general listening mode. In this regard, a challenge to your explanation of Breakthrough would be to invoke the "blindfold principle." What if you didn't know it was Mobley (suppose you couldn't detect his sound or, hypothetically, you hadn't heard him before)? Would you really hear the album as a remarkably deep statement? Or, perhaps you'd just remark that the guy seems to have a background in jazz, and is blowing with a lot of passion, but, for whatever reason, possibly drunkenness, he sounds like crap on this album. NOTE: Based on one of your posts, I retract my suggestion that your theory on Breakthrough is perhaps a rationalization. "You can, maybe, let your attention wander in spots of, say, SOUL STATION (why you would, is beyond me, but you could...). Something like DIPPIN', otoh, just grabs you by the nads and refuses to let go." I find Soul Station much more compelling than Dippin', and, for the kind of album Dippin' is, I find A Caddy For Daddy much better in that vein. "I find it hard to believe that anyone (as Cornelius does -- and, please, I'm not trying to start a fight here) could take "Breakthrough" as "downright ugly" (hard though it may be for some to take) and then more or less stop right there -- as though "downright ugly" meant "merely downright ugly" or some kind of accident or abberation -- like a record someone made while dead-drunk or gravely ill." [Larry Kart] By downright ugly I mean that it's plain ugly without benefit of being an expressive effect as, say, Ben Webster sometimes plays with that extremely hoarse and overblown effect he developed for special occasions, or as, say, Archie Shepp, so often plays with a sound that is the opposite of what we usually think of as a beautiful tenor saxophone tone. Anyway, Larry, you mention that you reject that the record could be an accident of drunkenness, but JSngry later posted that he does suspect that Mobley might have been drunk. So I don't see what is so outrageous in thinking that it might have been just a bad record date, with little to recommend it, rather than revering it (I think, reading into it) as a triumphant manifestation of an artist tormented with passive-aggressiveness. "[...] my nomination for best (which in the end is no more than personal favourite, anyway) Mobley album is "Soul Station". I never really "got" "Roll Call" so far... don't ask why, I don't know... I'm a big Mobley fan!" [king ubu] I don't really hold that there is one best Mobley album. But I do think Roll Call is great and one of a kind. I find Roll Call to be his most passionate album - other than Breakthrough. But Roll Call, unlike Breakthrough, has everything else going for it too.

"If at some point a new thread needs to refer to a locked thread, that can be done with a link." [Michael Fitzgerald] That's not too bad as long as there is also a link in the old thread to the new thread that is the continuation. Otherwise, when a reader gets to the end of a locked thread, he might not know that there followup posts in another thread.

Of course I agree that there is a passive quality in his playing and that his held-back style creates a wonderful tension. But I don't hear this as passive-aggressive. Nevertheless, your analysis is interesting and touches on some things I've been thinking about too. A good biography of Mobley would include insight into his music as it stands as music onto itself, but would also at least suggest that his personal behavior requires explanation. I understand that his addiction is not one easily overcome. And it's been remarked that among under-recognized jazz artists, especially Mobley suffered certain disappointments. But professionally, for a while, he seems to have been doing pretty well. A continual stream of albums for a prestigious label like Blue Note would be envied by many musicians. And many of his peers got even less recognition than he did, while it was clear that he had the admiration of many of those peers (though we can guess that he was hurt by Miles Davis) and especially of Alfred Lion. So I sincerely wonder what was so specially painful for Hank Mobley? We need to find out more about the tangible personal and professional circumstances, but one also must be led, as you are, to speculate as to what it is about his personality that caused him to face those circumstances as despairingly and self-destructively as he did. I don't see enough evidence, at least so far, that Mobley was passive-aggressive. It's a good question for those who knew him intimately. Also, as you describe his state as worsening, you say that he became even more entrenched in his musical passivity. I see what you mean, but this was also a time when he decided to make his sound harder and bigger. That's not consistent with passivity, and that decision seems to me the most salient difference (other than adapting to modal, whole-tone, boogaloo, and other trends) from his earlier work Then you say that in Breakthrough he gives us a "fuck you" as his usual defenses have failed him so that, as I understand you, he lets his music get ugly. Downright ugly, I would say. But, again, while that's a fascinating take on the album, I don't see enough evidence for it, as well as my own listening is primarily musical, not as psychological as yours. I also wonder if yours is not so much an explanation but rather a rationalization for bad music played by one of our musical heroes. And even if your psychological explanation were correct, it wouldn't make the music that much more valuable for me as music (especially as an example of the Hank Mobley I love), though I do see that with your explanation one would find a tremendous amount of drama and pathos in the album.

Chuck Nessa, if you were to mention but a single thing that contributes to your view that I'm an idiot, then your own post above would itself be that less idiotic.

"[...] a poster might choose to delete their thread after it has served it's limited purpose (i.e., offering and looking for, announcement of a specific show, etc.) [...]" [jazzshrink] Perhaps for purely functional or administrative threads it might be okay for posters to delete them. But, 1) There's no harm in allowing such threads to remain, so why even mess with it? And, 2) Such threads sometimes keep going with conversation anyway, and I think that those conversations don't need to be deleted but instead deserve to remain available. "in the matter before us now, i believe someone who originates a thread has the right to end it when things get terribly out of hand." 1) Why should the thread originator have sole discretion to determine what is "terribly out of hand"? A thread originator isn't an administrator nor moderator, nor should thread originators be given such power. 2) If things get "terribly out of hand" (whatever that means for each person), then I think it's better to it let go. Let people post what they want (within legal and other very carefully described limits such as spam, copyright violation, illegal threats, libel, etc.) and if you don't like what they post, then post back at them or ignore them and keep posting whatever you would have if the so-called "disruption" weren't present. 3) I did not read the thread in question, but from what's been described of it, even as the originator stated his reason for deleting it, I don't see that it was "terribly out of hand" anyway. "What does deleting a thread that has gotten out of control do that couldn't be done by locking the thread?" [Michael Fitzgerald] That's a good point. But I go further by advocating that threads not even be locked. One of the great things about these forums is that there is no "last word". Everyone is free to come back for yet another retort. Locking a thread defeats that. And for coherence and fairness it may be important that a reply be in the original thread so that the reply is in full context and so that it is immediately visible for readers who have read the posts leading up to it. As well as future visitors to the forum should be allowed to add their two cents at any future date, as long as it is technologically and economically feasible for the threads to remain open.

Do you mean Hank Mobley's playing evinces passive-aggressiveness or that my question does?

Come on, Aric, you damn well know that Roll Call is Mobley's best album.

Posters should not be enabled to delete one of their own threads after a single other poster has posted in it.

JSngry, what clues do you hear in, say, the Horace Silver And The Jazz Messengers sessions or, say, Hank Mobley Quartet that suggest the way Mobley plays on Breakthrough? Getting back to Dippin', it's not a bad album and it does not disservice Mobley, but there is so much richer Mobley in so many earlier sessions. When we get to Breakthrough, though, for whatever passion and pathos we find there, he sounds desperate to sound different from himself. Like he wants to be full-fledged member of the club of really hard toned tenors. But that's just not him. True, his sound got a little harder (or at least, less "feathery") when he came back in '63 or right after that, and progressively harder through the mid and late '60s. And the result is okay, even if not as beautiful as '50s and early '60s Mobley. But with Breakthrough the makeover has gone really bad.

"If you're a Mobley nut..you probably already own it...if you're becoming a Mobley nut...you'll kick yourself in the head if you don't get it...if you're a casual Mobley listener...you can most likely live without it..." [shawn] If I didn't need it for reference, this Mobley nut would have no reason to keep it. Most of all, I'd hate to think of anyone getting this as their first Mobley record and thinking that this is what Mobley is all about.

It's bogus to start a thread then delete it just because you don't like what gets posted in it. Memorial thread or not, people can post their opinions. An artists dies, so there's some required waiting period during which no one should give a negative assessment? I don't think so.

Someone mentioned that the Billie Holidayisms sometimes sound affected. Not to my ears.

The sound is harsh, but I guess if you want the detail, you have to bear with the harshness.

It's lousy.

Not a single damn tune here worth playing. A bunch of lousy songs. [Titles are without definite and indefinite articles, special punctuation, and parentheticals]: 720 IN THE BOOKS AC-CENT-TCHU-ATE THE POSITIVE AFTER I SAY I'M SORRY AFTER SUNDOWN AFTER YOU'VE GONE AIN'T MISBEHAVIN AIN'T SHE SWEET AIN'T WE GOT FUN ALABAMY BOUND ALEXANDER'S RAGTIME BAND ALICE IN WONDERLAND ALL ALONE ALL AT ONCE YOU LOVE HER ALL BY MYSELF ALL GOD'S CHILLUN GOT RHYTHM ALL MY TOMORROWS ALL OF ME ALL OF YOU ALL OR NOTHING AT ALL ALL THE THINGS YOU ARE ALL THE WAY ALL THROUGH THE NIGHT ALL TOO SOON ALMOST LIKE BEING IN LOVE ALONE TOGETHER ALWAYS AM I BLUE AMONG MY SOUVENIRS AND THE ANGELS SING ANGEL EYES ANYTHING GOES APRIL IN PARIS APRIL IN PORTUGAL APRIL SHOWERS AS LONG AS I LIVE AS TIME GOES BY AT LAST AT LONG LAST LOVE AT SUNDOWN A-TISKET A-TASKET AUTUMN IN NEW YORK AUTUMN LEAVES AUTUMN SERENADE AVALON BABY WON'T YOU PLEASE COME HOME BACK IN YOUR OWN BACKYARD BALI HAI BALLAD OF THE SAD YOUNG MEN BALLIN THE JACK BALTIMORE ORIOLE BASIN STREET BLUES BAUBLES, BANGLES, AND BEADS BE MY LOVE BEALE STREET BLUES BEAUTIFUL FRIENDSHIP BEAUTIFUL LOVE BEGIN THE BEGUINE BESAME MUCHO BESS YOU IS MY WOMAN BEST IS YET TO COME BEST THINGS IN LIFE ARE FREE BETTER THAN ANYTHING BETWEEN THE DEVIL AND THE DEEP BLUE SEA BEWITCHED BEYOND THE BLUE HORIZON BIDIN MY TIME BILBAO SONG BILL BILL BAILEY WON'T YOU PLEASE COME HOME BIRTH OF THE BLUES BLACK COFFEE BLAME IT ON MY YOUTH BLUE AND SENTIMENTAL BLUE CHAMPAGNE BLUE LOU BLUE MOON BLUE ROOM BLUE SKIES BLUES IN THE NIGHT BODY AND SOUL BORN TO BE BLUE BOULEVARD OF BROKEN DREAMS BOY NEXT DOOR BRAZIL BREEZIN ALONG WITH THE BREEZE BROADWAY BROKEN HEARTED BUGLE CALL RAG BUT BEAUTIFUL BUT NOT FOR ME BUTTON UP YOUR OVERCOAT BY THE LIGHT OF THE SILVERY MOON BYE BYE BLACKBIRD CALIFORNIA HERE I COME CALL ME IRRESPONSIBLE CANADIAN SUNSET CANDY CAN'T HELP LOVIN DAT MAN CAN'T WE BE FRIENDS CARELESS LOVE CAROLINA IN THE MORNING CHARLESTON CHATANOOGA CHOO CHOO CHEEK TO CHEEK CHEERFUL LITTLE EARFUL CHEROKEE CHERRY CHINA BOY CHINATOWN MY CHINATOWN CHLOE CHRISTMAS SONG CLAP HANDS HERE COMES CHARLIE CLAP YOU HANDS CLOSE YOUR EYES COCKTAILS FOR TWO COME RAIN OR COME SHINE COMES LOVE CONFESSIN THE BLUES CONTINENTAL COPENHAGEN COQUETTE CORCOVADO COTTAGE FOR SALE COUNT YOUR BLESSINGS CRAZY RHYTHM CRAZY, HE CALLS ME CRY ME A RIVER DANCING IN THE DARK DANCING ON THE CEILING DARDANELLA DARKTOWN STRUTTER'S BALL DARN THAT DREAM DAY BY DAY DAY IN - DAY OUT DAYS OF WINE AND ROSES DEAR OLD SOUTHLAND DEARLY BELOVED DEDICATED TO YOU DEED I DO DEEP FOREST DEEP IN A DREAM DEEP NIGHT DEEP PURPLE DELILAH DESAFINADO DETOUR AHEAD DEVIL MAY CARE DIGA DIGA DOO DINAH DINDI DO I LOVE YOU BECAUSE YOU'RE BEAUTIFUL DO IT AGAIN DO NOTHIN TILL YOU HEAR FROM ME DON'T BE THAT WAY DON'T BLAME ME DON'T EXPLAIN DON'T GET AROUND MUCH ANYMORE DON'T SIT UNDER THE APPLE TREE DON'T TAKE YOUR LOVE FROM ME DON'T WORRY BOUT ME DOWN AMONG THE SHELTERING PINES DREAM DREAM A LITTLE DREAM OF ME DREAM DANCING EARLY AUTUMN EAST OF THE SUN EASY LIVING EASY TO LOVE EBB TIDE EMALINE EMBRACEABLE YOU END OF A LOVE AFFAIR EVERY TIME WE SAY GOODBYE EVERYTHING HAPPENS TO ME EXACTLY LIKE YOU FALLING IN LOVE WITH LOVE FASCINATING RHYTHM FASCINATION FEELIN' GOOD FINE AND DANDY FINE AND MELLOW FINE ROMANCE FIVE FOOT TWO EYES OF BLUE FLAMINGO FLY ME TO THE MOON FOGGY DAY FOLKS WHO LIVE ON THE HILL FOOLS RUSH IN FOR ALL WE KNOW FOR HEAVEN'S SAKE FOR SENTIMENTAL REASONS FRIM FRAM SAUCE FROM THIS MOMENT ON FULL MOON AND EMPTY ARMS GARDEN IN THE RAIN GEE BABY AIN'T I GOOD TO YOU GEORGIA ON MY MIND GET HAPPY GHOST OF A CHANCE GIRL FROM IPANEMA GIRL OF MY DREAMS GIRL TALK GLAD TO BE UNHAPPY GLOOMY SUNDAY GLOW WORM GOD BLESS THE CHILD GONE WITH THE WIND GOOD BYE GOOD LIFE GOOD MAN IS HARD TO FIND GOODY-GOODY GUESS I'LL HANG MY TEARS OUT TO DRY GUILTY HALLELUJAH HANDS ACROSS THE TABLE HAPPY FEET HARD HEARTED HANNAH HARLEM NOCTURNE HAUNTED HEART HAVE YOU MET MISS JONES HAWAIIAN WAR CHANT HEART AND SOUL HEAT WAVE HEAVEN CAN WAIT HELLO YOUNG LOVERS HERE'S THAT RAINY DAY HONEYSUCKLE ROSE HOW ARE THINGS IN GLOCCA MORRA HOW COME YOU DO ME LIKE YOU DO HOW DEEP IS THE OCEAN HOW HIGH THE MOON HOW INSENSITIVE HUNDRED YEARS FROM TODAY I AIN'T GOT NOBODY I BELIEVE IN YOU I CAN DREAM CAN'T I I CAN'T BELIEVE THAT YOU'RE IN LOVE WITH ME I CAN'T GET STARTED I CAN'T GIVE YOU ANYTHING BUT LOVE I CONCENTRATE ON YOU I COULD HAVE DANCED ALL NIGHT I COULD WRITE A BOOK I COVER THE WATERFRONT I CRIED FOR YOU I DIDN'T KNOW WHAT TIME IT WAS I DON'T KNOW WHY I FALL IN LOVE TOO EASILY I FEEL A SONG COMIN ON I GET A KICK OUT OF YOU I GET ALONG WITHOUT YOU VERY WELL I GOT IT BAD I GOT PLENTY O NUTTIN I GOT RHYTHM I GOTTA RIGHT TO SING THE BLUES I GUESS I'LL HAVE TO CHANGE MY PLAN I HAD THE CRAZIEST DREAM I HADN'T ANYONE TILL YOU I HEAR A RHAPSODY I HEAR MUSIC I KNOW THAT YOU KNOW I LEFT MY HEART IN SAN FRANCISCO I LET A SONG GO OUT OF MY HEART I LOVE PARIS I LOVE YOU I LOVES YOU PORGY I NEVER KNEW I REMEMBER YOU I SEE YOUR FACE BEFORE ME I SHOULD CARE I SURRENDER DEAR I THOUGHT ABOUT YOU I WANNA BE AROUND I WANNA BE LOVED BY YOU I WANT A GIRL I WANT TO BE HAPPY I WISH I COULD SHIMMY LIKE MY SISTER KATE I WISH I KNEW I WISH I WERE IN LOVE AGAIN I WISHED ON THE MOON I WON'T DANCE IDA IDAHO IF I HAD YOU IF I LOVE AGAIN IF I SHOULD LOSE YOU IF I WERE A BELL IF THIS ISN'T LOVE IF YOU COULD SEE ME NOW IF YOU KNEW SUSIE I'LL BE AROUND I'll BE SEEING YOU I'LL BUILD A STAIRWAY TO PARADISE I'LL GET BY I'LL NEVER BE THE SAME I'LL NEVER SMILE AGAIN I'LL REMEMBER APRIL I'LL SEE YOU IN MY DREAMS I'LL STRING ALONG WITH YOU I'LL TAKE ROMANCE ILL WIND I'M A DREAMER AREN'T WE ALL I'M A FOOL TO WANT YOU I'M AN OLD COWHAND I'M BEGINNING TO SEE THE LIGHT I'M COMING VIRGINIA I'M CONFESSIN I'M FOREVER BLOWING BUBBLES I'M GETTING SENTIMENTAL OVER YOU I'M GLAD THERE IS YOU I'M GONNA SIT RIGHT DOWN AND WRITE MYSELF A LETTER I'M IN THE MOOD FOR LOVE I'M JUST A LUCKY SO AND SO I'M JUST WILD ABOUT HARRY I'M LOOKING OVER A FOUR-LEAF CLOVER I'M OLD FASHIONED I'M SITTING ON TOP OF THE WORLD I'M THRU WITH LOVE IMAGINATION IN A LITTLE SPANISH TOWN IN A SENTIMENTAL MOOD IN THE CHAPEL IN THE MOONLIGHT IN THE COOL COOL COOL OF THE EVENING IN THE STILL OF THE NIGHT IN THE WEE SMALL HOURS OF THE MORNING INCHWORM INDIAN LOVE CALL INDIAN SUMMER INDIANA INVITATION ISN'T IT ROMANTIC ISN'T THIS A LOVELY DAY IT AIN'T NECESARRILY SO IT ALL DEPENDS ON YOU IT COULD HAPPEN TO YOU IT DON'T MEAN A THING IT HAD TO BE YOU IT HAPPENED IN MONTEREY IT MIGHT AS WELL BE SPRING IT NEVER ENTERED MY MIND IT'S A LONESOME OLD TOWN IT'S ALL IN THE GAME IT'S ALL RIGHT WITH ME IT'S D'LOVELY IT'S EASY TO REMEMBER IT'S MAGIC IT'S ONLY A PAPER MOON IT'S THE TALK OF THE TOWN IT'S YOU OR NO ONE I'VE FOUND A NEW BABY I'VE GOT A CRUSH ON YOU I'VE GOT A FEELING I'M FALLING I'VE GOT A RIGHT TO SING THE BLUES I'VE GOT MY LOVE TO KEEP ME WARM I'VE GOT THE WORLD ON A STRING I'VE GOT YOU UNDER MY SKIN I'VE GROWN ACCUSTOMED TO HER FACE I'VE TOLD EV'RY LITTLE STAR JA-DA JALOUSIE JAPANESE SANDMAN JEALOUS JEEPERS CREEPERS JERSEY BOUNCE JOHNNY ONE NOTE JUNE IN JANUARY JUNE IS BUSTIN OUT ALL OVER JUST A GIGOLO JUST A-SITTIN AND A- ROCKIN JUST FRIENDS JUST IN TIME JUST ONE MORE CHANCE JUST ONE OF THOSE THINGS JUST SQUEEZE ME JUST YOU JUST ME KISS AND RUN KISS TO BUILD A DREAM ON LADY IS A TRAMP LADY'S IN LOVE WITH YOU LAMPLIGHTER'S SERENADE LAST NIGHT WHEN WE WERE YOUNG LAST TIME I SAW PARIS LAUGH CLOWN LAUGH LAURA LAZY AFTERNOON LAZY RIVER LAZYBONES LEARNIN THE BLUES LEFT ALONE LET'S CALL THE WHOLE THING OFF LET'S DANCE LET'S DO IT LET'S FACE THE MUSIC AND DANCE LET'S GET AWAY FROM IT ALL LIFE IS JUST A BOWL OF CHERRIES LIKE A LOVER LIKE SOMEONE IN LOVE LIMEHOUSE BLUES LINGER AWHILE LITTLE GIRL BLUE LITTLE OLD LADY LIZA LONELY TOWN LONG AGO AND FAR AWAY LOUISE LOUISIANA HAYRIDE LOVE FOR SALE LOVE IS A MANY SPLENDORED THING LOVE LETTERS LOVE LOCKED OUT LOVE ME OR LEAVE ME LOVE WALKED IN LOVELESS LOVE LOVELY TO LOOK AT LOVELY WAY TO SPEND AN EVENING LOVER LOVER COME BACK TO ME LOVER MAN LULLABY OF BROADWAY LULLABY OF THE LEAVES LULU'S BACK IN TOWN LUSH LIFE MA MACK THE KNIVE MAHNA DE CARNIVAL MAKIN' WHOOPEE MAM'SELLE MAN I LOVE MAN THAT GOT AWAY MANDY MAKE UP YOUR MIND MANHATTAN MANHATTAN SERENADE MARGIE MARIA MARIE MASQUERADE IS OVER MEAN TO ME MEDITATION MEET ME TONIGHT IN DREAMLAND MEMORIES OF YOU MEMPHIS BLUES MIDNIGHT SUN MIMI MISTY MOANIN LOW MONA LISA MOOD INDIGO MOON IS LOW MOON OF MANAKOORA MOON OVER MIAMI MOON RAY MOON RIVER MOON SONG MOONGLOW MOONLIGHT AND SHADOWS MOONLIGHT BECOMES YOU MOONLIGHT IN VERMONT MOONLIGHT ON THE GANGES MOONLIGHT SERANADE MORE MORE I SEE YOU MORE THAN YOU KNOW MOST BEAUTIFUL GIRL IN THE WORLD MOUNTAIN GREENERY MUSKRAT RAMBLE MY BABY JUST CARES FOR ME MY BEST GIRL MY BLUE HEAVEN MY BUDDY MY FAVORITE THINGS MY FOOLISH HEART MY FUNNY VALENTINE MY GAL SAL MY HEART BELONGS TO DADDY MY HEART STOOD STILL MY IDEAL MY LAST AFFAIR MY LITTLE BROWN BOOK MY MAN MY MAN'S GONE NOW MY MELANCHOLY BABY MY OLD FLAME MY ONE AND ONLY LOVE MY REVERIE MY ROMANCE MY SHINING HOUR MY SHIP MY SIN NAGASAKI NAMELY YOU NANCY NATURE BOY NEARNESS OF YOU NEVER LET ME GO NEVER NEVER LAND NEVER WILL I MARRY NEVERTHELESS NICE WORK IF YOU CAN GET IT NIGHT AND DAY NIGHT HAS A THOUSAND EYES NIGHT WE CALLED IT A DAY NIGHTINGALE SANG IN BERKLEY SQUARE NOBODY ELSE BUT ME NOBODY KNOWS YOU WHEN YOU'RE DOWN AND OUT NOBODY'S HEART NOBODY'S SWEETHEART O GRANDE AMOR OFF SHORE OH LADY BE GOOD OH WHAT A BEAUTIFUL MORNING OH YOU CRAZY MOON OL MAN RIVER OLD DEVIL MOON OLD FASHIONED LOVE OLD FOLKS OLD MASTER PAINTER OLE BUTTERMILK SKY ON A CLEAR DAY ON A LITTLE STREET IN SINGAPORE ON A SLOW BOAT TO CHINA ON GREEN DOLPHIN STREET ON THE ALAMO ON THE STREET WHERE YOU LIVE ON THE SUNNY SIDE OF THE STREET ON THE TRAIL ONCE IN A WHILE ONE FOR MY BABY ONE HOUR WITH YOU ONE I LOVE BELONGS TO SOMEBODY ELSE ONE NOTE SAMBA ONCE UPON A SUMMERTIME ONLY THE LONELY ORANGE COLORED SKY OUR LOVE IS HERE TO STAY OUT OF NOWHERE OUT OF THIS WORLD OVER THE RAINBOW P.S. I LOVE YOU PALESTEENA PAPER DOLL PARTY'S OVER PEG O MY HEART PENNIES FROM HEAVEN PENTHOUSE SERENADE PEOPLE WILL SAY WE'RE IN LOVE PERSONALITY PICK YOURSELF UP PLEASE PLEASE BE KIND PLEASE DON'T TALK ABOUT ME WHEN I'M GONE POINCIANA POLKA DOTS AND MOONBEANS POOR BUTTERFLY PORTRAIT OF JENNIE PRELUDE TO A KISS PRISONER OF LOVE RED SAILS IN THE SUNSET REMEMBER RIDIN HIGH ROCKIN CHAIR ROSE OF THE RIO GRANDE ROSE ROOM ROSES OF PICARDY ROSETTA ROUND MIDNIGHT ROUTE 66 RUBY RUSSIAN LULLABY SATIN DOLL SAVE YOUR LOVE FOR ME SAY IT ISN'T SO SAY IT WITH MUSIC SECRET LOVE SEEMS LIKE OLD TIMES SENTIMENTAL JOURNEY SEPTEMBER IN THE RAIN SEPTEMBER SONG SERENADE IN BLUE SHADOW OF YOUR SMILE SHADOW WALTZ SHEIK OF ARABY SHE'S FUNNY THAT WAY SHINE SHINE ON HARVEST MOON SHIP WITHOUT A SAIL SIDE BY SIDE SIDEWALKS OF NEW YORK SILK STOCKINGS SINCE I FELL FOR YOU SINGIN IN THE RAIN SINGIN THE BLUES SKYLARK SLAUGHTER ON 10TH AVENUE SLEEPIN BEE SLEEPY TIME GAL SMALL FRY SMILE SMILES SMOKE GETS IN YOUR EYES SMOKE RINGS SO BEATS MY HEART FOR YOU SO NEAR AND YET SO FAR SOFT LIGHTS AND SWEET MUSIC SOFTLY AS IN A MORNING SUNRISE SOLITUDE SOME ENCHANTED EVENING SOME OF THESE DAYS SOME OTHER SPRING SOMEBODY LOVES ME SOMEBODY STOLE MY GAL SOMEDAY MY PRINCE WILL COME SOMEDAY SWEETHEART SOMEONE TO WATCH OVER ME SOMETHING I DREAMED LAST NIGHT SOMETHING TO LIVE FOR SOMETHING TO REMEMBER YOU BY SOMETHING'S COMING SOMETHING'S GOTTA GIVE SOMETIMES I'M HAPPY SOMEWHERE SONG IS ENDED SONG IS YOU SONNY BOY SOON SOPHISTICATED LADY SPEAK LOW SPOSIN SPRING CAN REALLY HANG YOU UP THE MOST SPRING IS HERE SPRING WILL BE A LITTLE LATE THIS YEAR SQUEEZE ME ST. LOUIS BLUES STAIRWAY TO THE STARS STAR DUST STAR EYES STARS FELL ON ALABAMA STAY AS SWEET AS YOU ARE STELLA BY STARLIGHT STOMPIN AT THE SAVOY STORMY WEATHER STRANGER IN PARADISE STREET OF DREAMS STRIKE UP THE BAND STUMBLING SUGAR SUMMERTIME SUNDAY SUNDAY KIND OF LOVE SUNNY SIDE UP SUNRISE, SUNSET SURREY WITH THE FRINGE ON TOP SWEET AND LOVELY SWEET GEORGIA BROWN SWEET LORRAINE SWEET SUE - JUST YOU SWEETHEART OF SIGMA CHI SWINGIN DOWN THE LANE SWINGING ON A STAR SWONDERFUL TAINT NOBODY'S BIZ-NESS IF I DO TAIN'T SO HONEY TAINT WHAT YOU DO TAKING A CHANCE ON LOVE TANGERINE TEA FOR TWO TEACH ME TONIGHT TENDER TRAP TENDERLY THANKS FOR THE MEMORY THAT OLD BLACK MAGIC THAT OLD FEELING THAT'S A PLENTY THAT'S ALL THAT'S HIM THEM THERE EYES THEN I'LL BE TIRED OF YOU THERE ARE SUCH THINGS THERE IS NO GREATER LOVE THERE WILL NEVER BE ANOTHER YOU THERE'LL BE SOME CHANGES MADE THERE'S A BOAT DAT'S LEAVIN FOR NEW YORK THERE'S A SMALL HOTEL THERE'S NO YOU THESE FOOLISH THINGS THEY ALL LAUGHED THEY CAN'T TAKE THAT AWAY FROM ME THEY DIDN'T BELIEVE ME THEY SAY IT'S WONDERFUL THINGS WE DID LAST SUMMER THIS CAN'T BE LOVE THIS IS NEW THIS LOVE OF MINE THIS TIME THE DREAM'S ON ME THIS YEAR'S KISSES THOU SWELL THREE COINS IN A FOUNTAIN THREE LITTLE WORDS THREE O'CLOCK IN THE MORNING THRILL IS GONE TILL THE CLOUDS ROLL BY TILL WE MEET AGAIN TIME AFTER TIME TIME ON MY HANDS TIS AUTUMN TO KEEP MY LOVE ALIVE TONIGHT TOO CLOSE FOR COMFORT TOO DARN HOT TOO MARVELOUS FOR WORDS TOO YOUNG TOO YOUNG TO GO STEADY TOOT TOOT TOOTSIE TOUCH OF YOUR LIPS TRAV'LIN LIGHT TROLLEY SONG TROUBLE IN MIND TRY A LITTLE TENDERNESS TWO SLEEPY PEOPLE UNDECIDED UNDER A BLANKET OF BLUE UNFORGETABLE UNTIL THE REAL THING COMES ALONG VERY THOUGHT OF YOU VILIA VIOLETS FOR YOUR FURS WAIT TILL YOU SEE HER WALKIN MY BABY BACK HOME WATCH WHAT HAPPENS WATCHING THE CLOUDS ROLL BY WAVE WAY DOWN YONDER IN NEW ORLEANS WAY YOU LOOK TONIGHT WE KISS IN A SHADOW WEAVER OF DREAMS WE'LL BE TOGETHER AGAIN WHAT A DIFFERENCE A DAY MADE WHAT A LITTLE MOONLIGHT CAN DO WHAT ARE YOU DOING THE REST OF YOUR LIFE WHAT IS THERE TO SAY WHAT IS THIS THING CALLED LOVE WHAT KIND OF FOOL AM I WHAT WILL I TELL MY HEART WHATEVER LOLA WANTS WHAT'S NEW WHAT'S YOUR STORY MORNING GLORY WHEN A WOMAN LOVES A MAN WHEN BUDDAH SMILES WHEN DAY IS DONE WHEN I FALL IN LOVE WHEN I GROW TOO OLD TO DREAM WHEN I TAKE MY SUGAR TO TEA WHEN IT'S SLEEPY TIME DOWN SOUTH WHEN IT'S SPRINGTIME IN THE ROCKIES WHEN MY SUGAR WALKS DOWN THE STREET WHEN SUNNY GETS BLUE WHEN THE RED RED ROBIN COMES BOB-BOB BOBIN ALONG WHEN YOU WISH UPON A STAR WHEN YOUR LOVER HAS GONE WHEN YOU'RE SMILING WHERE ARE YOU WHERE OR WHEN WHISPER NOT WHISPERING WHO WHO'S SORRY NOW WHY DO I LOVE YOU WHY WAS I BORN WILL YOU STILL BE MINE WILLOW WEEP FOR ME WITCHCRAFT WITH A SONG IN MY HEART WITHOUT A SONG WONDER WHY WORLD IS WAITING FOR THE SUNRISE WOULDN'T IT BE LOVERLY WRAP YOUR TROUBLES IN DREAMS YES SIR THAT'S MY BABY YESTERDAY YESTERDAYS YOU AND THE NIGHT AND THE MUSIC YOU ARE MY SUNSHINE YOU ARE TOO BEAUTIFUL YOU BROUGHT A NEW KIND OF LOVE TO ME YOU CALL IT MADNESS YOU CAN DEPEND ON ME YOU COULDN'T BE CUTER YOU DO SOMETHING TO ME YOU DON'T KNOW WHAT LOVE IS YOU GO TO MY HEAD YOU KEEP COMING BACK LIKE A SONG YOU LEAVE ME BREATHLESS YOU MAKE ME FEEL SO YOUNG YOU MUST HAVE BEEN A BEAUTIFUL BABY YOU RASCAL YOU YOU SAY YOU CARE YOU STEPPED OUT OF A DREAM YOU TOOK ADVANTAGE OF ME YOU TURNED THE TABLES ON ME YOU WERE MEANT FOR ME YOU WERE NEVER LOVELIER YOU'D BE SO NICE TO COME HOME TO YOUNGER THAN SPRINGTIME YOU'RE A BUILDER UPPER YOU'RE AN OLD SMOOTHIE YOU'RE BLASE YOU'RE DRIVING ME CRAZY YOU'RE GETTING TO BE A HABIT WITH ME YOU'RE MINE YOU YOU'RE MY EVERYTHING YOU'RE MY THRILL YOU'RE THE CREAM IN MY COFFEE YOU'RE THE TOP YOURS IS MY HEART ALONE YOU'VE CHANGED ZING WENT THE STRINGS OF MY HEART

I don't know how I can help you, but I am interested in what you think is especially mid-rangey. Would you mention what you think is among the worst tracks and the minutes-seconds that are especially bad?

The Jumpin' Blues is the best one, for me.

By the way, your [Chuck Nessa's] next to last post has three instances of 'I' (two of them are tacit as you left yourself off as the subject of sentences in which you are the subject) and only one mention of Hawkins and one of me. So, by your logic, that post is all about you. And your last post is nothing but three pictures of yourself laughing. Again, by your logic, another post all about you.

Your point is silly. The post was about my personal experience, so I would use personal pronouns several times. The post doesn't represent itself as being about Coleman Hawkins himself. I make plenty of posts about jazz subjects themselves including tributes (in which personal pronouns may not appear at all) to musicians and I make posts about my own feelings about jazz. Lots of people do that, and it's foolish of you to twist that into "it's all about me." For that matter, this post has instances of personal pronouns, since it is in response to YOU having made ME a subject of comment.

Chuck Nessa: NOW you have to be joking. You're claiming that I'm too self-involved just because I shared my immediate personal reaction to learning of the death of one of my heroes. Another poster shared his own experience meeting Hawkins and some of the meaning he took from that experience with the impending death of the great man. I never met Hawkins, but I love his music deeply, so, in the spirit of the other poster's intimacy, I shared my own experience, be it ever so humble. I did not even hint that my personal response was more important than the man. On the contrary, I suggested that Hawkins was so great that I felt that at least a day of my own petty life was made meaningless by the loss of the man. Nor did I suggest that my reaction is more important than anyone elses's. It's a false inference, seemingly harbored by some other hostility, therefore, to claim that I am trying to make the death of Hawkins "all about me." Two other posters spoke of their own reactions to deaths of great jazz musicians. I don't think that shows them to have a narcissistic personality disorder, or whatever it is your joke was supposed to insinuate. You know, I don't mind people having a jaundiced view, but it's sad that one cannot express the importance an artist has on one's own life without having that distorted into making it "all about me."