marcello

It looks like Pam Grier

I picked this up today in a dusty old electronics store for $5. Why not?

Some Marcello trivia: My ex-wife's great - grandfather, Joseph LaCalle, wrote "Amapola". Some of his children lived off his royalties for all of their lives. "A popular recorded version was made later by the Jimmy Dorsey Orchestra with vocalists Helen O'Connell and Bob Eberly; this was released by Decca Records and arrived on the Billboard charts on March 14, 1941, where it stayed for 14 weeks and reached #1. "

I'm not sure it's Mel (white drummer with glasses and all), and when I thought I saw Daniels, I guess I was in a Thad & Mel spell.

Happy Birthday, Tom!!

Thad Jones! That's Mel Lewis on drums and is that Eddie Daniels on tenor?

"To Bird With Love" was more of a coffee table book with photos and text: http://www.amazon.com/To-Bird-love-Chan-Parker/dp/2903577005

I've heard several of these performers live over the last few years. I really dig Liane Carroll, and of course Pete King, Stan Tracey and Norma Winstone are not to be missed. I must say though, that Emprical and Soweto Kinch leave me cold and less interested.

Yes "Bird" is more than disappointing! In the book, she really fawns over Eastwood.

Thanks for posting. I quite enjoyed that. It's always nice to read about the influences that root a artist. Here's one of my photos of Barry when he was with the Braxton Trio:

No worries BBS, I'm just a music fan. I'm going back a re-read Jim Sangry's posts on Jay McNeely for equanimity.

20 years later those buffoons in the tee shirts were telling their kids that were really "hep" in back in the day, but they never smoked dope. Their kids were thinking "Maybe you should have".

Happy Birthday, David!

It gave the record companies a way not only to fill up that space on the back of a LP, but to also give potential reviews a little piece of work. A little hand washing, so to speak. Nothing so lofty as you suggest!

Happy & Brittle? Who the hell knows? Let you imagination run wild!

HAPPY BIRTHDAY,Clifford!! It's always a pleasure.

I believe it was more of a problem with his medications than anything else.

It could mean that Mobley was a more "melodic" instrumentalist, but like you say, I don't really know what that means/implies either. I'll always love "This I Dig of You".

I've mentioned this before as a really great recording: Carmen Mcrae - Carmen Mcrae At The Great American Music Hall

I sincerely hope that there is not one single tenor saxophonist. That would be novel. A heartfelt lovefest would be nice.

I really have no idea to all of the questions about content and players. When I get more information. I'll post it here. George Cables? George can lift anything he wants, IMHO. He's new recording, "My Muse", is very good. Like I said, the participation of George as Musical Director ( just having one is a good sign) and the very capable Maxine Gordon, give this program higher hopes than usual. Usually, I stay away for slap dash tribute programs like the plague.

Sometimes you may know a little about it from the word of mouth. Sometime the same players or organization have done them before and you know from past experiences whether it's worthwhile to give a listen. The Blue Note has done many with McCoy and others that I wouldn't go to, for example. All of these factors can give you a idea if the program is going to be worthwhile, or if it's going to be a thrown together set of players picking tunes on stage, playing with little real energy. There's going to be a Dexter Gordon Tribute coming up soon. Dexter's widow and manager Maxine Gordon is fully involved, and the musical director is George Cables. Sounds good.

The thought, planning and conception makes all the difference, and I'm sure that Tommy Smith, who may be a genius, provided the same framework and exception for his concert(s) That kind of recreation not what Hardbop or I have mentioned. It's the slap-dash, thrown together combinations that we are talking about. By the way, have you heard Tommy Smith's "Rhapsody In Blue" recording? Now there is performance that makes a old piece of work, and maybe a tired one, new and exciting again.

Jim's right. This kind of programing, usually with no rehearsal, brings a certain customer in the door. And because there is little thought, planning or conception, beyond the "tribute' hook, it's boring like Tom says.

Well Jim, I know I'm in the minority here about this, but I would like to not only hear the direction that this band spends most of their time in, but also I'd like to hear a little ( or a lot ) of fire. For me, I especially would like to hear more variety in tempo and rhythm. I think a drummer like Johnathan Blake would be a better drummer, who can play with a lot of color and can lay it down. Clarence Penn would be great for the same reasons. Terreon Gully would be tremendous. I've never been a fan of Perez. He's a fine musician but he is not a complete pianist for me and I get bored of pianistic tricks after a while, and he can go on an and on with that. Geoffrey Keezer would be the ultimate pianist for Wayne's ( or anyone's ) group. He can take the music anywhere while keeping it interesting ( and deep) and he also can put a little needed ass ( in a rhythmic sense). David Budway would be more than interesting also. No problems with Patitucci, for me. I have to admit that all of the musicians I've suggested are friends of mine but they also fit the bill as complete musicians for the band. Frankly, there is a lot of time that passes where it seems that that the band is going in in different directions and not playing as a unit or at least coming together and serving the music, if you know what I mean. When I'm listening to this band I find myself cherry picking points of interest in the fog.