DukeCity

You may already have this info, but: In the 1970's Kenton started releasing albums on his own label, Creative World Records. Those have been reissued recently on CD and I found many of them here. Many of these albums are "Live at Whatever University", so you hear the band in action.

Kenny "The Snake" Stabler William "The Refridgerator" Perry Ed "Too Tall" Jones

I wonder if any of those Trane/Wayne tapes (listed as rejected) exist somewhere. Also, has anyone ever heard the 1962 Olympia, Paris tape? I'm assuming that the 1960 Showboat, Philly tapes are circulating somewhere...

Apparently $266.99 is the "realistic" price for that copy.

... and both the McClean "Alto Madness" album and the "Bird Feathers" sampler are available on emusic.com

I was just talking to a student about "Giant Steps" chord changes, and the question occurred to me (again):Other than the alternate takes from studio sessions, are there any recordings of Coltrane's group doing that tune on gigs. The same question would apply to "Countdown" and "26-2." There's the common belief that Coltrane wrote those tunes more as practice etudes, but after going to all the trouble to learn/work on/record them, did any of them ever make it into the rotation of live gig tunes? In the stack of books about Coltrane, is there any discussion about this?

Hmmmmmmmmmmmmmmmmmmmmmmmmmm.................... Yeah, kinda, sorta, for a little while, maybe.... But I'll take Clarence Sharpe for the block. So, maybe there's a continuum and Jackie Mac, Jenkins, Sharpe, and Mac Pherson are on one end; Phil and Quill somewhere in there; Ritchie Cole and Greg Abate at the other end? (Sadly, the first album with the title "Alto Madness" that I ever got was a Ritchie Cole record, when I was in high school. I liked that he could play fast 'n stuff, but I could tell something wasn't right... )

My copy of Alto Madness doesn't have Bird Feathers, but after some poking around I found that cut on a sampler called "Bird Feathers" that also has some material from Phil Woods and Gene Quill. So, listening to McClean/Jenkins and Phil/Quill back to back, it's interesting to hear Bird being filtered through different guys. Jim, (or anyone) would you include Phil/Quill in the list of guys who "got" Bird? They certainly have the vocabulary, but it's presented in a much more slick way than McClean/Jenkins. I dig 'em all, but there are definitely different things being offered by these guys.

Reminds me of the story about the guys hanging out in the prison yard. They'd all been there so long that they didn't even have to tell the jokes anymore, they just numbered them. Spike says, "38." and everyone starts to chuckle. Ace says, "63" and gets a good laugh from the guys. Bruno says, "97" and the place goes nuts. Then Dave says, "14" .... nothing. Spike leans over to Ace, "Some guys just don't know how to tell a joke."

In days of yore, Drew Phelps/Barney Fife. Drew + Dave = "Stereo Phelps" (the name of an early '80s band they had in Denton)

Just a couple of years ago, a new Taiwanese manufacturer started producing a line of saxophones called "P. Mauriat." Apparently, they simply liscenced the name to give the saxophones the illusion of being French (like the industry-standard Selmer).

This one will help you squeeze out those last few reps...

Hey, maybe it's Jan Garbarek on the Steve Allen show with Monk!

This is available on emusic, along with a bunch of other stuff from the RLR "label" (Trane at the Showboat, som live Bird, etc.). I just downloaded it and checked out the Steve Allen show stuff. I don't know Teo Macero's playing very well, but I have to say this doesn't really sound like Mobley to me. The lines don't sound like him, and on "Well You Needn't" the tenor player plays a couple of lines up in the altissimo register that I've never heard Mobley do. Indeed, the fidelity is horrible. It does sound about like a tape recorder mic in front of a TV speaker. At a couple of spots some voices can be heard, as though people in the living room are talking in the background. Here are some fragments of the recordings that include the short tenor solos: Well You Needn't Off Minor Whadaya think? Mobley, or no?

Put one of these on the tonearm. Should clear things right up!

This clip is quintessential Bruno. The whole thing is great, but I especially like the last couple of minutes when he's interviewing a designer about the fashion show he has just produced. With just a few leading questions, Bruno gets the guy to completely contradict himself time after time. Bruno's final question: "Do you think consistency is important?" Designer guy: "No." That explains it.

I think that Baron-Cohen's brain definitely works in some Kaufman-esque ways. I also think that, like Kaufman, he takes his acting and getting into character pretty seriously. I was checking out a DVD of "Da Ali G. Show", and in the commentary he talks about the fact that they have to plan ahead for each of his characters. He has to grow his hair and moustache out for a few months to properly cop the Borat look. He also talked about the fact that the suit he wears for that character has never been washed/cleaned, so it has some SERIOUS funk going on with it. When I see him invade others' personal space as that character, I often think about the olfactory assault the person is enduring. Another of my favorite characters of his is Bruno, the flamboyant über-fashionista who infiltrates the fashion world and the whole metro-sexual thing. As far as the Borat movie and the Jews, I agree that the outrageous, over-the-topness of the depictions is designed to illuminate the idiocy of that kind of bigotry. At the same time, however, I can understand how those scenes could push some uncomfortable buttons for Jews.

Art Carnie Carnie Wilson Wilson Pickett

You are correct! Very funny, and at times, the glimpses of "real" people in America are more than slightly scary.

I enjoy the Guinness here, even though it's not like having it in its homeland. A couple of places in town serve these: Quite tasty!

That's some pretty fancy footwork! Two questions: 1. That doesn't look like a B3. What kind of organ is it? 2. The bass sound on the pedals doesn't sound like most other organ pedal sounds. Is she just using different registration on the organ, or is she running the pedals through some kind of outboard thing?

True enough. As I was reading the thread, I was trying to remember that Pink Cadillac. Then when I clicked on the video I flashed back to doing time in the Bill Tillman band and slamming that one out in lotsa D/FW clubs, circa '89 '90. But you're right, the girl can definitely sing!

Every time I load an album into iTunes, I create a new playlist for that album. I type it myself, and use the artist/group name and then the album title. example: Bill Evans- Interplay Makes it easy to scroll thru the albums on my computer, and also easy to look thru on my iPod.

Hey, I bought a couple of the Black Lion Dexter sides from you several months ago! How soon they forget...

Wow! I hadn't heard about the "roll-out" grass field before. I'd be curious to see some footage of the process of bringing the field in and/or taking it out.