DukeCity

Carl Fontana Dan Tanna Robert Urich

Charlie Weaver Wally Cox Paul Lynde

I think that if he just gets a different free Yahoo/HotMail, etc. email address, he could sign up with a different identity.

This definitely "pickled" my interest: From MySpace.com: "I am from the Austrian village of Braunau, ... One day, around 1958, I heard a very interesting piece of music that turned out to be a jazz pianist named Thelonious Monk. It pickled my interest because it was very different from anything I had ever heard. Although his music fascinated me, I had very mixed feelings. On the one hand, Mr. Monk had obvious talents, but on the other hand, his piano playing was very messy, and his songs had many funny notes and rhythms. ... I have grown to the conclusion that his songs would be much better, and much more popular, if many of the dissonances, or "wrong notes," were removed. With my new CD, "Hans Groiner Plays Monk," I have done just that. I think music fans from all over will agree that this new interpretation brings Monk's music to a much prettier, much more relaxing place. So, please enjoy these brief samples from my CD, which I am planning to release worldwide, very, very soon! All the best, Hans Groiner" Here are sound clips (Beware!) Hans Groiner Plays Monk

Happy Birthday, and thanks for keeping this place up and running!

Jim.S, (or anyone else) If you decide to contact Ron, be sure to let us know what he tells you.

I don't have any of his recordings, but I know that in flute circles Robert Dick is considered to be a master and innovator of "extended techniques". He's able to make all kinds of sounds on the flute that completely confound more traditional players.

I don't know what the "norm" is, but two things occured to me: 1. my copy of the recent Ron Blake CD came packaged with a 2nd disc that had some remixes of a couple of the tunes (multiple remixes by different DJs). I have to assume that Ron had approval/instigated that. 2. Reading Michael Henderson's comments in the liner notes of the Miles Cellar Door box, Henderson talks about Marvin Gaye and says, "...Marvin would experiment a lot (in the studio) with many different musicians. He would cut songs one way, cut them sideways six or seven different ways until he got the sound he really wanted." He goes on to say that this method was similar to how Miles and Richard Pryor worked. So, how different is the process of "remixing" vs. "pre-mixing", a la Marvin recording different versions and picking the one he liked best?

Distiny's Child Beyoncé Bublé

Shooter McGavin Clay, James Pigeon, Walter

Back in '78 I was still in high school, and as a member of the Columbia House Record Club, Dexter's "Great Encounters" was sent to me as the jazz selection of the month. It had two cuts from that Carnegie Hall date, and was my introduction to Dexter (and Johnny Griffin), so I have frond memories of many spins of that LP. I need to grab a copy of that Carnegie CD.

Burrell's numbers fell? What the hell? That's no so swell...

Saw him with the Mingus Big Band several years ago, and he played a bunch of good sounding lead, as well as taking some solos. I liked his lines: not quite in; not quite out. But as you say, Jim, I'm unsure as to how Sipiagin's playing would hold up over an entire set, or a whole evening.

very cool. I guess they were using all of their calculatin' know-how on that commercial, instead of finding accurate fuel economy figures for the Civic Hybrid. (missed by almost 50%!!!)

Rick Ocasek Casey Casem K.C. (and the Sunshine Band)

Can't find the Miles Davis Radio Project available for download, but it looks like someone has made CD-R copies of the cassettes, and is selling the 9-disc sets here on ebay for $45.

Just a couple of nights ago a friend of mine was telling me about hearing a pre-rasp interview online somewhere. I'll check with him and see if I can find it.

"There's a Lull in my Life" also performed by: BENNETT TONY COLE N K/SHEARING G QUINTET ELLINGTON D GETZ S HORNE L SHEARING G QUINTET

one version from 1961:

Nat King Cole, Ella, Teddy Wilson, Chet Baker

Info from the Classic Movie Musicals website: "Wake Up and Live" 20th Century-Fox, 1937, B/W, 91 minutes A comedy based on the well-known, real-life feud between columnist Walter Winchell and bandleader Ben Bernie (both playing themselves). Singers Eddie Kane (Jack Haley) and Jean Roberts (Grace Bradley) manage to get an audition with Winchell, but things definitely go amiss when Kane faints from stage fright. Later, Eddie lands a job as tour guide at the radio station, where he meets "Wake Up and Live" advice program host Alice Huntley (Alice Faye). Learning of Eddie's botched audition, Alice suggests that he practice his act in an empty studio with a "dead" microphone. So, he does that, but unbeknownst to him the microphone is actually on, and his voice is broadcast live to the entire nation. Everyone loves the voice, now dubbed "The Phantom Troubadour," and the hunt is on to find out just who this guy is! Loads of laughs and plenty of music. Producer: Kenneth MacGowan Director: Sidney Lanfield Screenplay: Harry Tugend and Jack Yellen (based on an original story by Curtis Kenyon and the book by Dorothea Brande) Music Director: Louis Silvers Song Score: Harry Revel and Mack Gordon Choreography: Jack Haskell Art Director: Mark-Lee Kirk

Johnson & Johnson Vera Wang Phillip K. Dick

Original New York Blue Note LP's were pressed by a company named Plastilyte. The ear symbol on the runoff groove area indicates that this is a Plastilyte pressing. And I've always assumed that the thing that looks kinda like an ear is actually a curved, stylized "P".

I dig the unusual-for-an-African-American mullet. All business in the front, all party in the back.

mmmmm.....spaghetti I agree, Jim (S.). I haven't checked out the music samples from the artist/website in question, but the issue of having too much of your thing being comprised of copping stuff from the past is certainly something to be wrestled with. And the question immediately following that acknowledgement is "Yeah, but how much is too much?" I don't know. Different strokes, I suppose. Do you go for roots with a twist, as GregN alluded to, or do you go for a new thing with a dash of roots for credibility? And as far as Pop music goes, I think the retro-styles are best left to the guys who did it in the first place. I played a casino show the other night, backing up Frankie Avalon, Fabian and Bobby Rydel, billing themselves as "The Golden Boys". I'm a little young to have that be the "music of my youth" so it's not that meaningful to me, but the crowd was sure digging it, and there was a vibe of real appreciation and love and nostalgia in the room. I don't want to hear anybody else trying to cop a Frankie Avalon thing, and I certainly don't want to hear Frankie Avalon trying to get into a new bag ("Hey, here's something for the kids..."). But for those guys who did it originally, and for the audience that was/is drawn to them, that night we had the right guys for the right job.