jazzbo

Buy a Real Doll, body type 4, maybe one body type 7 as well if there's room, and hope the REAL Sadass doesn't find me.

I think of it as spirituality. Spirituality of its time, and timeless. . . . I think it is sincerely meant and about spiritual and metaphysical matters and ideas, and that makes it spiritual to me. Amazing orchestrations!

This is a fantastic session, been a favorite of mine from the first minutes I heard it! I love Svend's tenor violin (I think that is what it is) here and I have sought out others of his, and I really am a big fan of his playing. I'm not the hugest of Grapelli fans, but he turns out a great performance here. And Nance has always been a favorite, on violin, on voice, on trumpet---he was an amazing player so full of warm sound. From the recording I also get an impression that this was a project that Ellington was excited about as well. (I like the offshoot sessions he produced for Reprise, this, the Bud Powell, the Dollar Brand and the Benjamin). This is a great session and a highlight of the Reprise set---listen to it SOON Vibes! B)

It's clearly from the Half Note John, and different from the 10:49 version or so that is likely a Birdland performance (?) On this version from the tree (and also appearing an earlier tree product called "Sweet Potato Pie") Allan Grant clearly states that it is the Coltrane Quartet recording I Want to Talk About You live from the Half Note on Portraits in Jazz. . . . It's a clear stereo recording. Quite a good performance, without the squeaking on the shorter version you're familiar with.

John, there has been a recent tree that has circulated which included, among other material, the following: From 3/19/65 Chim Chim Cherre 19:39 Impressions 20:55 From 3/26/65 One Up, One Down 28:13 (inc) Afro Blue 12:40 (inc) From 4/2/65 Untitled Original 23:37 I Want to Talk About You 15:42 Afro Blue 6:21 (inc) From 5/7/65 Song of Praise 20:55 My Favorite Things 23:51 That is the first four discs of the tree; the rest includes Ayler and Coleman funeral music, two interviews (one in Tokyo and one by Kofsky in NYC), 8/1/65 from Comblain, Belgium, 7/2/65 from Newport Festival,7/27/65 from Juan les Pins, and 7/28/65 from Salle Pleyel, Paris, a Downbeat festival appearance and a track from the Penthouse.

Wow, you're not really that old dude, there was that time warp remember? Just outside of Waco late that one night, you drove through that glowing light and suddenly it wasn't 1982 anymore but 2002? I know in Texas it's hard to tell the difference sometimes. Many happy returns!

Yeah you can dare to say that about the Jones-Lewis. I'm inspired by your bravery to say. . . I love half this set, and could pretty much care less about the second half!

Pretty amazing stuff indeed. Wonder why we're all listening to it lately?

There are no Mosaics of any sort on my Xmas list. . . mainly because I am buying a pair of monoblock amps for my system and that is taking my cash. . . . But I wouldn't turn one down! Gotta get the Mulligan, Eldridge and the new Selects at some point!

Welcome and keep posting. Any friend of Jim's. . .

So many great ones. . . the Pops. . . the Capitol. . . the HRS. . . the Charlie Parker. . . the Herbie Nichols. . . and others. . . . Maybe I'd say the Parker or the Capitol. The former is just such a huge effort and so important. The Capitol has such a variety of great music in great sound that is hard or impossible to find on cd elsewhere. . .

Yeah, the Freshman. . . forgot about that set. . . it doesn't get played much. Don't dislike most of it, just don't play it much. . . . I LOVE the Shank set. It is both consummate West Coast, and it is not as well, to me. . . . Either way I think Shank is one of the best altoists period from this point on. . . he's still going at it!

I was very disappointed in the sound of the Turrentine set (or most of it) but the music is very good. Likewise the Morgan set has crappy sound; I've replaced most all of it with Japanese versions of the material. The Sarah Vaughn doesn't get much play.

I won't hold the fact that you share Sinatra's bday with hin against y'all. Many happy returns!

I know, sorry; that's the only size I have this digital picture in.

Amen!

My wife and I last spring at a University function. . . .

Yeah, funny, the Mosaic box comes out, then. . . . RRRR said Mad John Cash!

Oh I agree, it's best read aloud and I've been reading about F W for a long time. One day I'll dedicate the attention that I know it needs. . . but probably not til I retire, honestly!

I guess I'm one of those jazz persons who read Joyce too. . .but I'm saving F W for my retirement. . . I've dabbled in it. I've read everything else. Stephen Hero is a favorite! I recently read a collection of writings about Joyce by people who had known him. VERY interesting.

I'm more of a collector than I want to be, but I'm a lot less of a collector than I had been even a few years ago. Now I just want the music, in the best sound possible. If I get a version that superceded another version I don't keep a duplicate. I'm finding duplicates and moving them out of the collection. It feels good. But. . . I still have a huge storage problem. . .that isn't going to get better.

Or even before, I remember twenty years ago seeing him on film shouting at a music video director and cameraman to "Keep the camera ON THE MONEY"! I saw the performance. My big impression was typical Sting lyrics and a big bass synth emphasis. . . . Didn't even NOTICE the drummer.

For about three years now I have been tripping to some Salvadoran style tamales made by a great family that runs a little restaurant that is up the street from me (and Brandon Burke), Elsi's. They are about twice as wide as Mehicano tamales, wrapped in banana leaves, and also have some potato within ---they serve pork, poblano pepper and cheese (my favorite) and chicken tamales. They only offer them on the weekends as part of a breakfast special that has the tamale, two eggs anyway you want 'em (I have mine scrambled) and either their back beans or their refired beans (both are excellent, but I go for the refried because I have rarely ever had better).

I think you would likely enjoy it. Clearly there is a strong case to be made, and he tries hard to make it, for jazz as modernism during the first few decades of its recorded existence. And he has some amusing things to say about Pops and Fats and Duke and Pres and some others. When it gets MOST interesting for me is the few times when he relates his PERSONAL experiences seeing a few of the artists in performance. . . I'd like there to be more of that. Where he loses me somewhat is when he compares some paitings to some recordings and vice versa. . . well. . . sometimes I think the comparisons have merit, sometimes. . . well who knows.

I read all kinds of things. A lot of the stuff I've read in the last few years has come from www.daedalusbooks.com . . . I like their prices and choices. Mainly books from their "religious" and "history" sections. The last few years I've been rereading favorites by Henry Miller, PKD, Jim Thompson, Raymond Chandler, and others. . . . It's amazing how a book can move you and how you can have different experiences at a different point in your life. More and more though I read nonfiction. . . . Biographies, history, religious history, jazz history. . . .