DukeCity

Should that be Art Pepper? I'm not a Pepper Adams historian, but he was born/raised in Detroit and most of the recordings I have are recorded in NY. I would put Art Pepper in a list of West Coast (geographically) players who aren't excessively "cool".

There's an organization called the Western Jazz Presenters Network. Their website is: http://wjpn.org The mission on thier site says: "The Western Jazz Presenters Network (WJPN) is a coalition of jazz presenters in the western region of North America. The Network is dedicated to mutual support through networking, collective block-booking of touring jazz artists, professional development and advancement of the full diversity of the jazz field." Here in Albuquerque, the Outpost Performance Space, booked by Tom Guralnick, is a member of WJPN. If you can get in touch with him or one of the other members, maybe that could be a starting place. Good Luck! Hope you make it out this way.

I didn't start until 1984. Funny, they displayed the title of the tune (Fanfare for the Common Man) as "Come On Man". Hehehe. Also mis-identified Bob Belden as "James Bolden"!

I like the GM/CB quartet stuff (as I also like the quartet with GM and Desmond "Two of a Mind"). As was mentioned on this and the other thread, these guys have a great sense of counterpoint, and give and take in their playing. The fact that they are both really "making the changes" helps that counterpoint sound almost pre-composed. I also like GM's arrangments. A few years ago I did a concert of some of these arrangements, and gained even more respect for GM's writing by digging in and transcribing what he wrote. One thing I have to be careful of: If I start actually paying attention to the rhythm section while listening, it kinda drives me nuts that there is so little interaction between the soloing horn(s) and the rhythm section. That definitely contributes to the chug-chug-chugging that was mentioned earlier. Also, the fact that the drummer never(?) goes from brushes to sticks is at once endearing but a little frustrating. It keeps the lid on the energy a little too tightly. But of course, that's all by design, so there's no point in carping about what something like this is, when it is so good at being exactly what it is.

Sadly, not very close. It was a huge hotel ballroom for some kind of big charity event. She was pretty much surrounded at all times, but we did try to meander over to her corner of the room for a closer look. You know, real cool like...

Playing a private party gig at a hotel ballroom, and we take a break. In the outer room, where the cocktails and hors d'oeurves had been served, there's Dom DeLouise picking over the leftovers (sounds like a cliche, but there you are). We chatted with him and he was friendly, and pretty subdued; definitely not "on". Other gigs: Kris Kristofferson, Morgan Fairchild (back in the day ), Timothy Leary, Paul Schaffer, Willie Nelson, Carol Burnett, Florence Henderson. (Man, that list would make an excellent dinner party!)

Saw the Javon Jackson group that he's calling the "Superband", featuring Nat Reeves on bass, George Cables and Jimmy Cobb. A nice set with tons of swingin'. Great to hear GC and JC!!!

Good News, Greg!!!

Any of those dates Fantasy/Prestige dates from the '50s is good. For more recent stuff, I have Silk Road, and remember it as being nice, but not essential. There are a couple of Jazztet sides with Benny Golson, but they are more recent ones. Anybody know anything about those?

That, and because she was so cultured.

BM, I think what clem was pointing out is that some folks might take offense to using the word "gypped" (that being a reference to gypsies), and that using the term would be like using the offensive "jewing..." Other than that, I never know what the hell clem's talking about.

Thanks, everyone! It was a pretty good day: A little teaching, a little golf, then dinner with my lovely fiancé and checking out some local music. Cheers!

And because musicians are oh-so-busy, the term is usually shortened to just "shedding". As in, "So man, like, what kinda stuff have you been shedding lately?" or "Man, like, I gotta go shed that a little."

I know that John Park was a Texan, coming from Houston and eventually moving to the Dallas area for the last few years of his life (died in '79). He toured and recorded with the Stan Kenton band in the early '70s. Beautiful alto sound. Maybe some of the other Texans on the board (Sangrey?) can shed some light on what JP did around town.

John Philip Sousa Philip Seymour Hoffman Lou Diamond Phillips

Sebastian Cabot Mrs. Livingston Hop Sing

Who's going to write it? Billy Byers.

Nino Rota Max Steiner Jerry Goldsmith

That Charlie Parker break on the Dial is indeed amazing. I think that's one of the things that made me kinda dig my "gulty pleasure" Chaka Khan version: Herbie Hancock is playing on it (lots of synth bass, etc) and they use a recorded sample of Bird's break with Herbie doubling it on synth. Pretty slick, and it was damn impresssive to my then 17-year old ears.

Excellent company, indeed! What's the deal with Kevin Eubanks? Does he use a Leslie?

Aw, HAY-ul yeah!

I was in school with the trumpeter Magnus Broo. He sounded great back then (way into a Woody Shaw thing), so I'm sure he still does. Looking forward to checking it out.

Monk's Stream?

Some tenor guys: Ben Webster- Live at Ronnie Scot's 1964 Dexter Gordon- Our Man in Paris Don Byas- A Night In Tunisia Some "Latin" versions: Mario Bauza- 944 Columbus Poncho Sanchez- A Night at Kimball's East Cal Tjader- Latino! Big Band versions: Michel Legrand- Legrand Jazz Guilty Pleasure: Chaka Khan- What 'Cha Gonna Do For Me

Eminem Barbara Hershey Veronica Mars