marcello

The best pizza i ever had was in Boston at Regina Pizzeria. The real thing.

I agree, although I've recently heard new, fresh and complementry versions of Summertime, Round Midnight and All The Things You Are. What is really unpleasant is when those time worn tunes are changed just for the sake of change and the new arrangements do not enhance the original song. There should be some kind of demerit system for those song crimes. The last Bobby Watson record is evidence in point.

You know I happened to see that. Chick at his worst, IMHO. One of his better later bands had Bob Berg on tenor and Gary Novak on drums but the music on the BET show was a lot of electric fluff. They used to play this: Blues For Bela

This is really fine: Jimmy Rowles - Subtle Legend, Vol. 1 1.Devastating Cherub 2. Limehouse Blues 3. Now That You're Gone 4. Some Other Spring 5. Jitterbug Waltz 6. Tell It Like It Is 7. (Do You Know) Why Stars Come Out at Night 8. Looking at You 9. Sweet Lorraine 10. Devil's Island 11. Humoresque 12. Isfahan 13. Ballad of Thelonious Monk

I believe it's a hybrid, as are 1001 & 1002 (& I suppose 1004). ← I stand corrected. I just now, reviewed the box.

CD Universe has everything as a Japanese import ( expensive). I have Mo' Greens Please on vinyl.

I just found this fairly recent photo of Bootsy Barnes for you:

I have this one: TKGV-1003 - Eddie Higgins With Strings - Moonlight Becomes You - 2003 It is not SACD.

You all probally know that Carl Perkins played with his right arm parallel to the keyboard.

I worked at Duffy's ( Duffy's Backstage ) during this time as a busboy. I remember this gig and another one of Miles that followed the next year, very well. I the gig with Jack DeJohnette was his first with the band. On each occasion Miles was there for a week at a time. I even remember what he was paid; $5500.00. I don't remember if it was this gig or the following one when a photographer came up to take photos of him in the club duing the daytime while I was cleaning up. Those photos are on the back and front cover of Jack Johnson, the back cover has Miles smiling with his trumpet. They threw me out of there after a while. Miles had a very fey "valet" who fussed after him all of the time. I havn't heard this but someone is sending me this one. 5) 7/25/69, Juan Les Pins: Directions/Miles Runs the Voodoo Down/Milestones/Footprints/'Round Midnight/It's About That Time/Sanctuary/The Theme [According to Losin, this is the final live recording of Milestones.] I do,have this and it is very good indeed.

I've enjoyed your selections, Paul; and many of the others too. Carmen McRae - At The Great American Music Hall

Helen Oakley?

It's very good, Skid. With David Williams on Bass and Joe Farnsworth on Drums. The only dud, to me because of the material, is the Beatles 'Yesterday". He does a uptempo version of "A House is Not a Home" that is very, hip and slick. Williams and Fransworth are very tasty here and the recording is perfect. Fransworth is sounding more and more like Billy Higgins, which is not a bad thing at all. Hazeltine has a real gift for re-working standard songs.

Tommy Flanagan - Jazz Poet

This is the one that, on the title track, Tony Williams plays a relenless Hi Hat beat, that is pretty amazing, chops wise.

Dave Dexter?

This is the feeling of muscians that I knew at the time. I love Lee as a player but he may have been not so well liked as a person when he was sick and it was said that Helen Morgan put up with a lot of grief for many years.

This is better, Jim: Cindy Blackman And she's a BAD player too!

You should check out another master of the pie-tins: Gary Novak Listen to him on Joe Locke and 4 Walls of Freedom's cds "4 Walls Of Freedom" (with Bob Berg) and "Dear Life" (with Tommy Smith). You'll cream your jeans ( with a whoosh ).

Cliford Jordan - Glass Bead Games

I understand you, Jim. One of my favorite current drummers is Jeff "Tain" Watts, who has a "whoosh" that has so many levels that he is creating a whole new language for cymbals.

You have strong feelings FOR and I feel the opposite. I always HATED Gladden's cymbal work; if fact I used to avoid him like the plague. I tried, having heard him not only on recordings, but seeing him many times in person. I always thought that "whoosh" was just either bad equipment or sloppy playing or both. I't been a while; maybe time to re-listen.

Modern Standards David Hazeltine

Woody Shaw - The Moontrane

I came across this today and thought I would share with the Board: K-State professor, Topeka lawyer collaborate on book about legendary jazz guitarist By media release May 17, 2005 MANHATTAN — It's incredible sometimes how the stars and moon align and things just fall into place. Dr. Wayne Goins Wayne Goins, a Kansas State University associate professor of music and director of jazz ensembles, was in Manhattan wanting to do a book on legendary jazz guitarist Charlie Christian, who had played throughout the Midwest in the 1930s. Christian is probably the best known of the early electric jazz guitarists and probably the one about whom the least is known with regard to his early years before joining the Benny Goodman Orchestra. Unbeknownst to him, Craig McKinney, an estate attorney, was just down Interstate 70 in Topeka, who had been sitting on a gold mine of information about Christian for more than 25 years. Included in his collection are rare interviews with one of Christian's older brothers, Clarence. Through an amazing stroke of luck the two came together. Craig McKinney Upon their initial meeting, Goins could sense McKinney was as passionate about the subject matter as he was. McKinney was convinced Goins was the person he had been waiting for all that time. "I told him 'if you give me your material I'll realize your dream of having a book written on Charlie Christian,'" Goins said. The resulting collaboration is what Goins refers to as "by far the most thorough, comprehensive collection of research on Christian," who played with the "The King of Swing," Benny Goodman, in his orchestra. Christian was one of the pioneers of bebop guitar. According to David H. Rosenthal's book, "Hard Bop," bebop was "characterized by fast tempos, complex harmonies, intricate melodies, and rhythm sections that laid down a steady beat only on the bass and the drummer's ride cymbal. Bebop tunes were often labyrinthine, full of surprising twists and turns. All these factors -- plus the predominance of small combos in bebop -- set the music apart from the swing bands of the 1930s." "Charlie is known as probably one of the most important people -- if not the most important person -- to play bebop before bebop was even called bebop" Goins said of Christian. "Bebop 'officially' started in 1945 generally speaking in terms of historical jazz eras, but Charlie Christian was playing the bebop style as early as 1939 in Oklahoma City, where he was discovered by Columbia Records producer John Hammond." According to Goins, by 1941 Christian’s guitar style had reached an even more advanced stage. After a four-year period Goins has coined the 'pre-bop' era, the bebop era was in full swing when jazz greats Kenny Clarke, Charlie Parker, Dizzy Gillespie, Thelonious Monk and others "started doing their thing and the jam sessions were caught on wax" at the legendary New York jazz club, Minton's Playhouse. During that time, Christian would play with Goodman during the day and evenings, but would go down to Minton's late at night to "blow off steam." "It was all recorded illegally, but that's how we know the music actually happened," Goins said. "Jerry Newman captured the tunes on acetate discs in 1941 and now they're on CDs." The book, "Charlie Christian, Jazz Guitar's King of Swing," is scheduled to be released this summer. It also includes portions of rare interviews with Christian's recently deceased daughter, Billie Jean Christian Johnson, as well as her mother, Margretta Christian Downey. "That's really like the big three," Goins said of Christian's family members, "so between the two of us we had it covered. Up to that point Billie Jean or Margretta had not done a lot of talking to anyone. They opened up to me big time and Clarence opened up to Craig years ago. " The research took Goins and McKinney to Christian's hometown of Oklahoma City, Kansas City and New York, conducting interviews, digging through archives, private collections and harvesting a goldmine of research and rare artifacts. "Part of what makes this book great is that (McKinney) has material that nobody had seen before," Goins said. "I could sense innately it was out there somewhere but I didn't know where it was." According to Goins, others have tried to tell the story of Christian but have been unable to do so because of several gaps scattered throughout Christian's timeline. In this labor of love, Goins and McKinney were able to piece together a detailed account of Christian's whereabouts, along with intimate details regarding the guitarist's personal andprivate life. Goins admits that he could have done the book without having found McKinney, but the final product would not have been nearly as good. "It's just an incredible story the way the two of us met," Goins said. "The project would have been hard to do and quite incomplete without the knowledge and expertise he brought to the table. But then again, if Craig McKinney hadn't met me, he might still be sitting on all that great stuff. Together we make a great team." © Copyright 2002-2005 by North Texas e-News, llc