#nat b peterson

[ohnoballoons]

Made a little video with my favorite moments from the dancers and the band ♡

[thisisyourdriverspeaking]

Summer break and I'm kinda sorta missing F1 so here are the UK number one songs when drivers got their first Grand Prix win. Enjoy 😊

Giuseppe Farina (1950 British GP - 13th May), Juan Manuel Fangio (1950 Monaco GP - 21st May) & Johnnie Parsons (1950 Indy 500 - 30th May) - Billy Eckstine - My Foolish Heart

Lee Wallard (1951 Indy 500 - 30th May) - Les Paul & Mary Ford - Mockin' Bird Hill

Luigi Fagioli (1951 French GP - 1st July) & Jose Froilan Gonzalez (1951 British GP - 14th July) - Nelson Eddy & Jo Stafford - With These Hands

Alberto Ascari (1951 German GP - 29th July) - Hoagy Carmichael - My Resistance Is Low

Piero Taruffi (1952 Swiss GP - 18th May) - Nat 'King' Cole - Unforgettable

Troy Ruttman (1952 Indy 500 - 30th May) - Jo Stafford - Ay-Round The Corner

Bill Vukovich (1953 Indy 500 - 30th May) & Mike Hawthorn (1953 French GP - 5th July) - Frankie Laine - I Believe

Maurice Trintignant (1955 Monaco GP - 22nd May) - Tony Bennett - Stranger In Paradise

Bob Sweikert (1955 Indy 500 - 30th May) - Eddie Calvert - Cherry Pink And Apple Blossom White

Stirling Moss (1955 British GP - 16th July) - Alma Cogan - Dreamboat

Luigi Musso (1956 Argentine GP - 22nd January) - Tennessee Ernie Ford - Sixteen Tons

Pat Flaherty (1956 Indy 500 - 30th May) & Peter Collins (1956 Belgian GP - 3rd June) - Ronnie Hilton - No Other Love

Sam Hanks (1957 Indy 500 - 30th May) - Andy Williams - Butterfly

Tony Brooks (1957 British GP - 20th July) - Elvis Presley - All Shook Up

Jimmy Bryan (1958 Indy 500 - 30th May) - Connie Francis - Who's Sorry Now

Jack Brabham (1959 Monaco GP - 10th May) - Buddy Holly - It Doesn't Matter Anymore

Rodger Ward (1959 Indy 500 - 30th May) & Jo Bonnier (1959 Dutch GP - 31st May) - Elvis Presley - A Fool Such As I

Bruce McLaren (1959 US GP - 12th December) - Adam Faith - What Do You Want?

Jim Rathmann (1960 Indy 500 - 30th May) - The Everly Brothers - Cathy's Clown

Phil Hill (1960 Italian GP - 4th September) - The Shadows - Apache

Wolfgang Von Trips (1961 Dutch GP - 22nd May) - Floyd Cramer - On The Rebound

Giancarlo Baghetti (1961 French GP - 2nd July) - Del Shannon - Runaway

Innes Ireland (1961 US GP - 8th October) - The Shadows - Kon-Tiki

Graham Hill (1962 Dutch GP - 20th May) - B Bumble & The Stingers - Nut Rocker

Jim Clark (1962 Belgian GP - 17th June) - Elvis Presley - Good Luck Charm

Dan Gurney (1962 French GP - 8th July) - Mike Sarne & Wendy Richard - Come Outside

John Surtees (1963 German GP - 4th August) - Elvis Presley - Devil In Disguise

Lorenzo Bandini (1964 Austrian GP - 23rd August) - Manfred Man - Do Wah Diddy Diddy

Jackie Stewart (1965 Italian GP - 12th September) - The Rolling Stones - (I Can't Get No) Satisfaction

Richie Ginther (1965 Mexican GP - 24th October) - Ken Dodd - Tears

Ludovico Scarfiotti (1966 Italian GP - 4th September) - The Beatles - Yellow Submarine

Pedro Rodriguez (1967 South African GP - 2nd January) - Tom Jones - Green Green Grass Of Home

Denny Hulme (1967 Monaco GP - 7th May) - Sandie Shaw - Puppet On A String

Jacky Ickx (1968 French GP - 7th July) & Jo Siffert (1968 British GP - 20th July) - Equals - Baby Come Back

Jochen Rindt (1969 US GP - 5th October) - Jane Birkin & Serge Gainsbourg - Je T'aime... Mon Non Plus

Clay Regazzoni (1970 Italian GP - 6th September) - Smokey Robinson & The Miracles - Tears Of A Clown

Emerson Fittipaldi (1970 US GP - 4th October) - Freda Payne - Band Of Gold

Mario Andretti (1971 South African GP - 6th March) - Mungo Jerry - Baby Jump

Peter Gethin (1971 Italian GP - 5th September) - Diana Ross - I'm Still Waiting

Francois Cevert (1971 US GP - 3rd October) - Rod Stewart - Maggie May

Jean-Pierre Beltoise (1972 Monaco GP - 14th May) - T-Rex - Metal Guru

Ronnie Peterson (1973 French GP - 1st July) - Donny Osmond - Young Love

Peter Revson (1973 British GP - 14th July) - Slade - Skweeze Me Pleeze Me

Carlos Reutemann (1974 South African GP - 30th March) - Paper Lace - Billy Don't Be A Hero

Niki Lauda (1974 Spanish GP - 28th April) - Abba - Waterloo

Jody Scheckter (1974 Swedish GP - 9th June) - Ray Stevens - The Streak

Jose Carlos Pace (1975 Brazilian GP - 26th January) - Pilot - January

Jochen Mass - (1975 Spanish GP - 27th April) - Mud - Oh Boy

James Hunt (1975 Dutch GP - 22nd June) - 10CC - I'm Not In Love

Vittorio Brambilla (1975 Austrian GP - 17th August) - The Stylistics - I Can't Give You Anything (But My Love)

John Watson (1976 Austrian GP - 15th August) - Elton John & Kiki Dee - Don't Go Breaking My Heart

Gunnar Nilsson (1977 Belgian GP - 5th June) - Rod Stewart - I Don't Want To Talk About It

Jacques Laffite (1977 Swedish GP - 19th June) - The Jacksons - Show You The Way To Go

Alan Jones (1977 Austrian GP - 14th August) - Brotherhood Of Man - Angelo

Patrick Depailler (1978 Monaco GP - 7th May) - Boney M - Rivers Of Babylon

Gilles Villeneuve (1978 Canadian GP - 8th October) - John Travolta & Olivia Newton-John - Summer Nights

Jean-Pierre Jabouille (1979 French GP - 1st July) - Tubeway Army - Are 'Friends' Electric?

Rene Arnoux (1980 Brazilian GP - 27th January) - The Specials - Too Much Too Young

Nelson Piquet (1980 US GP - March 30) - The Jam - Going Underground

Didier Pironi (1980 Belgian GP - 4th May) - Dexy's Midnight Runners - Geno

Alain Prost (1981 French GP - 5th July) - The Specials - Ghost Town

Riccardo Patrese (1982 Monaco GP - 23rd May) - Madness - House Of Fun

Patrick Tambay (1982 German GP - 8th August) & Elio De Angelis (1982 Austrian GP) - Dexy's Midnight Runners - Come On Eileen

Keke Rosberg (1982 Swiss GP - 29th August) & Michele Alboreto (1982 Caesers Palace GP) - Survivor - Eye Of The Tiger

Ayrton Senna (1985 Portuguese GP - 21st April) - USA For Africa - We Are The World

Nigel Mansell (1985 European GP - 6th October) - Jennifer Rush - The Power Of Love

Gerhard Berger (1986 Mexican GP - 12th October) - Nick Berry - Every Loser Wins

Thierry Boutsen (1989 Canadian GP - 18th June) - Soul II Soul - Back To Life (However Do You Want Me)

Alessandro Nannini (1989 Japanese GP - 22nd October) - Jive Bunny & The Mastermixers - That's What I Like

Michael Schumacher (1992 Belgian GP - 30th August) - Snap! - Rhythm Is A Dancer

Damon Hill (1993 Hungarian GP - 15th August) - Freddie Mercury - Living On My Own

Jean Alesi (1995 Canadian GP - 11th June) - Robson & Jerome - Unchained Melody

Johnny Herbert (1995 British GP - 16th July) - Outhere Brothers - Boom Boom Boom

David Coulthard (1995 Portuguese GP - 24th September) - Simply Red - Fairground

Olivier Panis (1996 Monaco GP - 19th May) - Gina G - Ooh Ahh... Just A Little Bit

Jacques Villeneuve (1996 European GP - 28th April) - George Michael - Fastlove

Heinz-Harald Frentzen (1997 San Marino GP) - Michael Jackson - Blood On The Dance Floor

Mika Hakkinen (1997 European GP - 26th October) - Aqua - Barbie Girl

Eddie Irvine (1999 Australian GP - 7th March) - Boyzone - When The Going Gets Tough

Ruben Barrichello (2000 German GP - 30th July) - Craig David - 7 Days

Ralf Schumacher (2001 San Marino GP - 15th April) - Emma Bunton - What Took You So Long?

Juan Pablo Montoya (2001 Italian GP - 16th September) - DJ Otzi - Hey Baby

Kimi Raikkonen (2003 Malaysian GP - 23rd March) - Gareth Gates ft The Kumars - Spirit In The Sky

Giancarlo Fisichella (2003 Brazilian GP - 6th April) - Room 5 ft Oliver Cheatham - Make Luv

Fernando Alonso (2003 Hungarian GP - 24th August) - Blu Cantrell ft Sean Paul - Breathe

Jarno Trulli (2004 Monaco GP - 23rd May) - Frankee - F.U.R.B (F U Right Back

Jenson Button (2006 Hungarian GP - 6th August) - Shakira ft Wyclef Jean - Hips Don't Lie

Felipe Massa (2006 Turkish GP - 27th August) - Beyonce ft Jay-Z - Deja Vu

Lewis Hamilton (2007 Canadian GP - 10th June) - Rihanna ft Jay-Z - Umbrella

Robert Kubica (2008 Canadian GP - 8th June) - Mint Royale - Singin' In The Rain

Heikki Kovalainen (2008 Hungarian GP - 3rd August) - Dizzee Rascal ft Calvin Harris & Chrome - Dance Wiv Me

Sebastian Vettel (2008 Italian GP - 14th September) - Kings Of Leon - Sex On Fire

Mark Webber (2009 German GP - 12th July) - Cascada - Evacuate The Dancefloor

Nico Rosberg (2012 Chinese GP - 15th April) - Carly Rae Jepsen - Call Me Maybe

Pastor Maldonado (2012 Spanish GP - 13th May) - Rita Ora ft Tinie Tempah - R.I.P.

Daniel Ricciardo (2014 Canadian GP - 8th June) - Ed Sheeran - Sing

Max Verstappen (2016 Spanish GP - 15th May) - Drake ft Wizkid & Kyla - One Dance

Valtteri Bottas (2017 Russian GP - 30th April) - Clean Bandit ft Zara Larsson - Symphony

Charles Leclerc (2019 Belgian GP - 1st September) - Ed Sheeran ft Stormzy - Take Me Back To London

Pierre Gasly (2020 Italian GP - 6th September) - Cardi B ft Megan Thee Stallion - WAP

Sergio Perez (2020 Sakhir GP - 6th December) - Ariana Grande - Positions

Esteban Ocon (2021 Hungarian GP - 1st August) - Ed Sheeran - Bad Habits

Carlos Sainz Jr (2022 British GP - 3rd July) - Kate Bush - Running Up That Hill

George Russell (2022 Brazilian GP - 13th November) - Taylor Swift - Anti-Hero

Lando Norris (2024 Miami GP - 5th May) & Oscar Piastri (2024 Hungarian GP - 21st July) - Sabrina Carpenter - Espresso

And yes, I've created a Spotify playlist for these tunes 😊😊

[csolarstorm]

Thoughts on She-Hulk - S1 Finale

This was a memorable ride. The highs, the lows. The retreat episode, the wedding episode. The quality was all over the place, the controversy was plentiful, and I'm pretty sure they sacrificed the plot of the finale for an epic fourth wall gag.

So yes, the finale DID stay true to the show. It was the Jen show, with Nat and Pug in the B-plot. It was meta, it was funny, and it was also kind of a disaster - so every aspect of the show together. It was a fitting finale.

One plot development I liked that honestly caught me off guard but makes so much sense is Blonsky acting like a Jordan Peterson-type figure. He takes this therapeutic philosophy that does honest good and monetizes it by mixing it with things young men want to hear. And the most accurate part is, it's just a job. It's a gig, just like so many of these manosphere figures.

The twist doesn't really go anywhere except putting Blonksky back in jail, but I appreciated the concept. And look at that face on Abomination while he was doing his gig! Are those special effects even done? That looks so funny.

She-Hulk's conversation with K.E.V.I.N was brilliant. Jen literally arguing with the algorithm that makes Marvel content is the best path the writers could have taken with that scene - except if it was Kevin Feige himself. (I hope Marvel names their algorithm K.E.V.I.N. Because you know they have one. They have to have at least one.)

Unfortunately, the gag comes at the cost of the plot. (Wait, did I just summarize the MCU?) Jen's closing argument was that the climax shouldn't be some generic supervillain plot - it should be about her personal stakes and working things out through civilized discourse.

So, the climax was neither of these things.

The generic supervillain plot still happened - Todd still transformed into HulkKing. There's a difference between skipping to after an implied action scene, and actually writing a plot that genuinely doesn't rely on an action scene. Hmm, how do people resolve things without violence? Oh, that's right, they go to court.

Jen says that she wants the climax to be about her personal development, but it isn't. K.E.V.I.N just drops her into the scene after the fight where everything is already resolved. Blonsky is suddenly sorry when he wasn't before, and they have no time to talk about it. Todd isn't a Hulk anymore, and It's confusing whether he was, because Titania is there -

And about Titania! Poor Titania. The show really just leaves her character arc there, doesn't it? The episode is so caught up in the fourth wall gag it completely forgets to mention why Titania is even there, except to make it look like the plot is spiraling. And it is,

...but lampshades only get you so far.

The part with the Disney+ menu screen before She-Hulk climbs out of the thumbnail was cool, wasn't it?

All in all, it comes off like the writers made something entertaining with a lot of limitations - too many Marvel projects, not enough time to hash out a coherent plot while the executives kept changing things on the fly, especially with limited cash to put She-Hulk on screen at all, and make her look good. The writers knew the effects weren't great and the writing would be rushed, so they leaned into it, used fan outrage as a plot point, and tied things together in the finale with a fourth wall break instead of actually resolving the plot they set up.

When all is said and done, taken for what it is, it was fun. I'm afraid that whole K.E.V.I.N joke is going to stick though. For example: we've been waiting since Shang-Chi to learn what exactly Wong is teaching Blonsky. This show featured both of them, and we still don't really why they're hanging out, and moreover why the algorithm known as K.E.V.I.N wants to show us over and over again except to tease us that something might happen! ...someday.

*tears off K.E.V.I.N's face*

Me: Gasp! It was Zola all along?!

Zola: That is correct! I was K.E.V.I.N all along!

Me: What a twist. Well, I'm glad we resolved that.

...

And the post-credits scene!

Hulk: This is my son, Skarr.

Me: Um...okay.

Hulk: And this is his friend, Pip the Troll.

Me: *recoils in horror*

[letterboxd-loggd]

Under Cover of Night (1937) George B. Seitz

July 24th 2021

[recommendedtoelle]

Music

Finding Obscure Music

Artists Who Talk About Race

FKA Twigs

Frank Ocean

Janelle Monae

*Mitski

Raveena

*Rina Sawayama

Solange

Small Artists

Ada Rook

Dead Naked Hippies

Dream Nails

Giant Kitty

Heather Hills

Helen Love

Jemina Pearl

Mr Airplane Man

One Eyed Doll

Pleasure Venom

Scarling

Seasalt

The Downbeat 5

The Fondas

The Stuck Ups

Tina and the Total Babes

War on Women

Country Artists

Chris Stapleton

CoJo

Colter Wall

Flatland Calvary

Koe Wetzel

Sturgill Simpson

Tyler Childers

Zach Bryan

Indie Pop Artists

Alexandria Savior

Beach Bunny

Blossoms

Chloe Lilac

Coast Modern

Maude Latour

Stella Donnelly

The Night Cafe

Wallice

Indie Rock Artists

Hippo Campus

Holly Humberstone

Idles

*Mitski

Mom Jeans

Perfume Genius

Remo Drive

Snail Mail

Sticky Fingers

Surf Curse

Vagabon

Waxahatchee

Indie Folk Artists

Haley Heynderickx

Penelope Scott

Midwest Emo Artists

GILT

Hospital Bracelet

Retirement Party

Pop Punk Artists

Forever the Sickest Kids

Intervention

Knuckle Puck

Palomino Blond

Pool Kids

Real Friends

Woolbright

Bedroom Pop Artists

Clairo

Claud

Gracie Abrams

Sofia Mills

Zach Villere

Pop Artists

Will Joseph Cook

R&B Artists

Bruno Major

Leyla Blue

*Rina Sawayama

UMI

Hip Hop Artists

Loyle Carner

Rejjie Snow

Saba

Tom Misch

Jazz Artists

Ben Webster

Charlie Parker

Chet Baker

Count Basie

Duke Ellington

Ella Fitzgerald

Frank Sinatra

John Coltrane

Louis Armstrong

Miles Davis

Nat King Cole

Oscar Peterson

Soul Artists

Al Green

Aretha Franklin

Marvin Gaye

Natalie Cole

Stevie Wonder

Blues Artists

Albert King

Billie Holiday

Etta James

Nina Simone

Electronic Artists

James Blak

Yves Tumor

Art Pop Artists

Angel Olsen

[incidental-appreciation]

All Spongebob Background/Incidental Character Names, the Masterpost

So this is LONG!! But I'll separate them into Canonically Named, Semi-Canonically Named, and Fanon Named. Canonically named characters are proven by the producers to be said name, while semi-canonically named have been named before but it's unclear whether that actually is their name or not. I'll also put "debunked names" that are names proven to be wrong by their context.

Canonically Named

Fred

Incidental Numbers: 1, F1, 1D, 1ISH

Debunked Names: Hank Hailbut, Troutenheimer, Clint

Wikia Page

Scooter

Incidental Numbers: 38

Debunked Names: Marv, Camper Guy

Wikia Page

Old Man Walker

Incidental Numbers: 83

Debunked Names: Old Man Jenkins

Wikia Page

Sandals

Incidental Numbers: x

Debunked Names: x

Wikia Page

Semi-Canonically Named

Steven

Incidental Numbers: 4, FG10

Wikia Page

John

Incidental Numbers: 5

Wikia Page

Tom

Incidental Numbers: 6, PM4, FG2

Other Aliases: Chocolate fish

Debunked Names: John

Wikia Page

Nancy Suzy Fish

Incidental Numbers: 7, CM20

Other Aliases: Nancy, Suzy Fish, Susie, Sally

Wikia Page

Tina Fran

Incidental Numbers: 8, PM22

Other Aliases: Tina, Fran, Clementine

Wikia Page

Evelyn Annette

Incidental Numbers: 14

Other Aliases: Evelyn, Annette

Wikia Page

Charlie

Incidental Numbers: 23

Wikia Page

Tibor

Incidental Numbers: 24

Other Aliases: Frank, Gold Team Leader

Wikia Page

Joe

Incidental Numbers: 26 or 25

Notes: This one’s tough, because there’s a duo of paramedics but only one is named Joe, so I’ll just link 26′s.

Wikia Page

Jimmy

Incidental Numbers: 27

Other Aliases: Gus

Wikia Page

Phil

Incidental Numbers: 28

Notes: This is only according to the YT channel, so it’s a bit less canon than most of the others

Wikia Page

Clay

Incidental Numbers: 31

Wikia Page

Don the Whale

Incidental Numbers: 32

Wikia Page

Harold (Harold A on this blog)

Incidental Numbers: 36

Other Aliases: Marshmallow Guy

Wikia Page

Gus

Incidental Numbers: 37A, BM37

Wikia Page

Wobbles

Incidental Numbers: 37B

Wikia Page

Lou

Incidental Numbers: 39

Other Aliases: Mr. Bakerman

Wikia Page

Harold Reginald (Harold B on this blog)

Incidental Numbers: 40

Other Aliases: Reginald, Bill, Scott

Wikia Page

Nat Peterson

Incidental Numbers: 41, BM41, FG4

Other Aliases: Tuck, Tucker, Percy, Phil, Peterson, Nat

Wikia Page

Dave

Incidental Numbers: 42, PM11

Other Aliases: Dave, Frank, Percy, Muskie, Harold

Debunked Names: Scooter

Wikia Page

Shubie

Incidental Numbers: 45, CM21, PM8

Other Aliases: Sally Sole, Judy

Wikia Page

Sadie

Incidental Numbers: 47

Other Aliases: Mable

Wikia Page

Martha Smith

Incidental Numbers: 63

Other Aliases: Mrs. Smith, Martha, Doris

Wikia Page

Thaddeus

Incidental Numbers: 64

Other Aliases: Bruiser

Wikia Page

Billy (Billy A on this blog)

Incidental Numbers: 65

Wikia Page

Brett

Incidental Numbers: 67

Other Aliases: Jimmy

Wikia Page

Harris

Incidental Numbers: 73, 73KID, CM14, FG1

Debunked Names: Paco

Wikia Page

Mable?

Incidental Numbers: 82, PM6

Other Aliases: Oma (GERMAN)

Wikia Page

Mabel?

Incidental Numbers: 84, PM26

Wikia Page

Mary

Incidental Numbers: 87

Wikia Page

Dennis

Incidental Numbers: 92

Wikia Page

Miss Shell

Incidental Numbers: 93

Wikia Page

Victoria Ellen

Incidental Numbers: 94, PM20

Wikia Page

Timmy

Incidental Numbers: 103

Other Aliases: Billy, Tommy, Monroe

Wikia Page

Gale

Incidental Numbers: 104

Wikia Page

Frank

Incidental Numbers: 105

Wikia Page

Pilar

Incidental Numbers: 106

Wikia Page

Steve

Incidental Numbers: 107

Other Aliases: Frankie, Billy, Monica (F) 

Wikia Page

Dale

Incidental Numbers: 108

Wikia Page

Lenny

Incidental Numbers: 114

Wikia Page

Monica

Incidental Numbers: 115

Other Aliases: Jill, Mabel

Wikia Page

Dr. Gilliam

Incidental Numbers: x

Other Aliases: Dr. Gill

Wikia Page

Officers Dorado, Slugfish, and Johnson

Incidental Numbers: 118

Notes: This one is also tricky because all the colored ones have different names.

Wikia Page

O’Malley

Incidental Numbers: 118B

Other Aliases: Officer Nancy

Wikia Page

The Con Man

Incidental Numbers: 118C

Wikia Page

The Janitor

Incidental Numbers: 119

Wikia Page

Lisa

Incidental Numbers: 150, PM3

Wikia Page

Tyler

Incidental Numbers: 151

Wikia Page

Billy (Billy B on this blog)

Incidental Numbers: 152, PM2

Wikia Page

Susie

Incidental Numbers: 153

Other Aliases: Sissy

Wikia Page

Norton

Incidental Numbers: 154

Wikia Page

The Lifeguard

Incidental Numbers: 155

Other Aliases: Frank

Wikia Page

Billy (Billy C on this blog)

Incidental Numbers: 158

Wikia Page

Ryan

Incidental Numbers: 160

Other Aliases: Timmy

Wikia Page

Helen the Felon

Incidental Numbers: 173

Wikia Page

What Zit Tooya

Incidental Numbers: 178, FG8

Other Aliases: Mystery Man

Wikia Page

Richard

Incidental Numbers: 189

Debunked Names: The Hash-Slinging Slasher

Wikia Page

Fanon Named

These ones are named by fanon but the YT channel agrees with them.

Medly

Incidental Numbers: 13, PM9

Wikia Page

Phil

Incidental Numbers: 28

Wikia Page

Nazz-Mimi

Incidental Numbers: 46

Wikia Page

Norma

Incidental Numbers: 49

Other Aliases: Nurse Rechid

Wikia Page

Nathiel

Incidental Numbers: 60, PM1

Wikia Page

[theloniousbach]

A Listener’s Journal #24: The Jazz Piano Trio in the 1950s, Pt. 3: Monk in Context

I started this (probably) three part series thinking about how Bud Powell, Oscar Peterson, Errol Garner, and Ahmad Jamal (and, Nat King Cole, I was reminded after the fact) helped create the piano/bass/drums but sometimes early on guitar trio as a fixture in jazz.  Art Tatum's virtuosity and embellishment was an influence as these players built a repertoire around the Great American Songbook.

Part 2 looked at Miles's '50s pianists--Red Garland, Wynton Kelly, and Bill Evans with Ahmad Jamal's space and taste as formative on Miles and influential on these players.

Now, I happily think about Thelonious Monk again, in relation to his friends Bud Powell and Elmo Hope along with the under appreciated Herbie Nichols.  These are composers, mostly, and I'll focus on Powell's "Un Poco Loco," Hope's "B's a Plenty," and Nichol's "Shuffle Montgomery."  The Monk trio work includes his original Blue Note 10" recordings recently rereleased, a '65 Columbia date, and two anomalous Riverside discs, one devoted to Ellington tunes and the other of standards.  The anomalies are chances to explore just how he conceived of tunes, the de/re- construction of standards sheds light on the ones he built himself.  

Monk's compositional logic is one of the more immediate rewards of my "listener's piano" exercises which I've reinitiated after a hiatus that began in the summer.  I have been playing much more guitar, in part spurred on by what I had been doing with the piano.  I return to the keyboard with a clearer sense on how to learn music.  "Well You Needn't" was where I started with an A part modulating from F6 to Gfl 6 with a nifty little repeated figure and a bridge with a figure that moves in half steps from G7 to B7 and back down.  I want to return to "Misterioso" which similarly takes a pattern up and down by steps to reinforce my wonder at the sheer logic of Monk's music,  It sounded so fresh, so magical, and so unlike anyone else, that it is a revelation to have even a small sense of how it works.  And how it works is as fascinatingly logical as JS Bach; making my theloniousbach sobriquet even more appropriate than I imagined.

But, it's equally true that Monk didn't exist in a vacuum--and listening to him in relation to these comrades has suggested some context.

Bud Powell is a giant, a mighty improviser who stood his ground with Charlie Parker.  A subsequent Listener's Journal with think about those two with Milt Jackson and Clifford Brown as consummate players (it will be hard to resist calling it "Bird, Bud, Bags, and Brownine").  He plays more covers than the others as he gobbles up improvisational vehicles.  But, his "Un Poco Loco" has a Latin rhythmic feel and Monkish angularity.  It's busier than Monk (nearly everybody is.  Monk can and does play, but his genius is that he's brave enough to let his compositions stand in their stark simplicity.), but it is nicely off kilter and of course he has a flurry of ideas about what to do with it.  Powell was Monk's friend and honored by the contrefactual of "Blue Skies," "In Walked Bud."  They were bebop veterans together, peers.

Elmo Hope was friends with both of them and can be seen as a synthesis of both of them.  That is, he is a fluid, adept player who deftly incorporates Monk's wonderful angles and discords.  He bears serious attention and I have welcomed this opportunity to listen to him closely in this context.  His "B's a Plenty" kicks off his self-titled album.  It's a jaunty bit of virtuosity, a prime example of being the proud little brother of Monk and Powell.  That would be enough except the wonderful little shards of phrases of at least "In Walked Bud" which perfectly makes the point.  It's busier than Monk, but then it's supposed to be.  It's also more than just Bud Powell lite.  His fluidity, invention, and skill deserve their own attention.

Finally, there's the even more undersung  Herbie Nichols who came to my attention years ago in AB Spellman's Four Lives in the Bebop Business.  Just as in this context, he was lesser known than Ornette Coleman, Cecil Taylor, and Jackie McLean.  His portrayal of Coleman as fiercely innocent was formative and Taylor's equally fierce intelligence was vivid.  McLean probably had the most contemporary success yet had that snatched from his too.  Nichols though was perhaps the most tragic figure.  He played the gigs he could, never quite in the mainstream (or perhaps they were too mainstream and old-fashioned).  In any case, his curious (and quite wonderful compositions) never got their due.  There are 4 Blue Note discs, but these tunes really didn't get played until Rosewell Rudd, Steve Lacy, and thenBen Allison and Frank Kimbrough (who in 2018 also did a wonderful survey of all 70 Monk compositions with Scott Robinson, Rufus Reid, and Billy Drummond) did a couple of albums with a quintet as the Herbie Nichols Project which also incorporated manuscripts that were never even recorded.  The exception that proves the rule is that Nichol's wrote the signature Billie Holiday song "Lady Sings the Blues."

Nichols is a thoughtful composer who creates nifty little puzzles to work through.  They are smart but not simply head trips.  "2300 Skidoo" and, for my purposes, "Shuffle Montgomery" have catchy but quirky melodies that sneak up on the listener.  He's a fine player and these albums are appealing, but the emphasis is on the compositions.  Monk recorded several versions of his tunes and that made the individual performances interesting as we got to compare sax players (oh what sax players), arrangements, rhythm sections.  If Monk had only been able to record one version of his tunes, we'd delight in them as compositions and wonder at the piano technique behind them.  Nichols isn't nearly as idiosyncratic as Monk as both pianist and composer, but, insofar as I think I know the dancer from the dance, in Nichol's it's the compositions.  But those are way more than enough to seek out these recordings on their own and in worthy juxtaposition to Powell, Hope, and Monk himself.

The piano trio came of age in the 1950s.  Getting to listen to all of these players chronicled in these three linked essays have secured them in my regular attention in this defiinitive idiom.

[queernuck]

the degree to which cashiering is just pretending to be a person is wild like im looking at it and i really do have basically a full-on NPC vibe going

interactions begin and end the same way, any number of variants on the opening just lead to one of a few trees (ringing up items, fetching items from near, from far, or finding items) with a few new branches as it goes on (different store offers/policies) with a few somewhat deeply hidden bits of unique dialogue. 

and even those are pretty repetitive! someone’s buying their fantasy football guide for the year? recommend they draft at least one receiver from the Browns despite the way the team may not be forecasted to be very good. buying D&D? tell them about that one post where someone using an online dice generator accidentally rolled a 1d201 and got a nat 1. buying 1984? recommend Kafka instead. buying gun magazines? marvel at largeness of rifle on cover, perhaps offer some firearms trivia or a recommendation of a recent issue of a magazine we sell, commiserate over strict New York gun laws. buying literally any book about gender? tell them to read Butler. psychology? Anti-Oedipus. psychiatry? Anti-Oedipus. Freud? Lacan? Social theory? Philosophy? Literary Criticism? Yes, Anti-Oedipus. 

like again and again and again these interactions stack up and all the cumulative “have a nice days” and the image of the individual as related to consumption and how the vast, near-infinite range of possibility of interaction with the commodity-structure in schizoanalytic approaches to the commodification of identity itself can be reduced to so few signifiers is just...the myth of the individual is itself an intellectual commodity being sold and traded by The Economist and writers like Jordan B Peterson and so many fucking other assholes who deny the potential for univocality, who act as if the experience of individual subjectivity in America is based upon a subject held together by trauma, that the founding act of America is anything other than genocide, that it is not in being free from trauma but simply freer to express it that the most privileged of subjects are recognized. 

[justinsentertainmentcorner]

Nina Golgowski at HuffPost:

Aretha Franklin, the undisputed “Queen of Soul” whose powerhouse vocal cords revolutionized American music and made her one of the top-selling female musicians of all time, has died at age 76, her publicist told The Associated Press on Thursday.

BREAKING: Publicist for Aretha Franklin says the Queen of Soul died Thursday at her home in Detroit.

— The Associated Press (@AP) August 16, 2018

The cause of death was advanced pancreatic cancer, her oncologist confirmed to the AP.

“In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart. We have lost the matriarch and rock of our family,” Franklin’s family said in a statement.

News of her death comes on the heels of several reports of Franklin being “seriously” unwell. Friends of the singer said Monday that Franklin was “gravely ill” and “asking for prayers.”

Rumors surrounding her health have followed Franklin in recent years, including concerns that she had cancer, which she denied in 2011. She performed at the Elton John AIDS Foundation gala in New York City last November and had lost a noticeable amount of weight. She canceled several shows in 2017 and 2018 for health reasons, including a headlining gig at New Orleans’ Jazz Fest in April. Franklin’s management said at the time that the singer’s doctor had ordered her to “stay off the road and rest completely.”

The 18-time Grammy winner, who got her start singing gospel as a child, transcended music categories — R&B, pop, jazz, disco and blues — during her six decades as a recording artist.

Her Top 10 hits included ”(You Make Me Feel Like) A Natural Woman,” “Think,” “I Say a Little Prayer,” “Chain of Fools,” and most famously her signature rendition of Otis Redding’s “Respect,” which became a rallying cry for strong, independent women and black empowerment during the civil rights era.

“There are artists, there are stars, but there are very, very few we know will be a part of history forever,” Franklin’s longtime music collaborator, Clive Davis, told HuffPost in April 2017. “And her talent, her voice will be studied and appreciated forever.”

In addition to being a cultural icon ― not just in music, but in human rights and even fashion ― Franklin, who was ranked by Rolling Stone as the greatest singer of all time, was one of the most honored singers of the 20th century and 21st century.

She was the first woman inducted into the Rock & Roll Hall of Fame in 1987 and received a Presidential Medal of Freedom, the highest U.S. civilian honor, in 2005. She was invited to perform at the inaugurations for Presidents Bill Clinton and Barack Obama.

Her 2009 performance at Obama’s inauguration ― where she wore a spectacular jeweled hat ― was one of several shows she performed for the first couple during Obama’s two terms in the White House. She would also perform the classic “A Natural Woman” at the 2015 Kennedy Center Honors. Obama appeared to wipe away tears as she brought the house to a standing ovation. 

Born March 25, 1942, to a Baptist minister and a gospel singer, Franklin first started singing at her father’s church as a child with her two sisters.

Her father, the late Rev. C.L. Franklin, was a celebrity in his own right. His fiery sermons packed the pews and attracted a range of musical talent to the Detroit home where Franklin grew up. There, the Franklin children were exposed to the likes of Nat King Cole, Art Tatum, Mahalia Jackson, Sam Cooke and Oscar Peterson, as Franklin fondly recalled to NPR’s Terry Gross in 1999.

In later years, the Franklins became close to the Rev. Martin Luther King Jr., with C.L. helping to spearhead civil rights demonstrations, including Detroit’s Freedom March in 1963.

Franklin’s music career kicked off at age 14, when she recorded her first studio album, “Songs of Faith,” in 1956. While touring with her father, by then her manager, she gave birth to her first child. Two years later, she gave birth to the second of what would be four children.

Subscribe to the Entertainment email.Don't miss a beat. Your culture and entertainment cheat-sheet.

In 1960, she signed with Columbia Records, where she released her first Top 40 hit, ”Rock-A-Bye Your Baby With a Dixie Melody.”

Her signing with Columbia was monumental, helping her to transition from gospel to mainstream music. Yet it wasn’t until after her contract ended in 1966 that her career took off, with Franklin signing to Atlantic Records.

John Hammond, who produced Franklin’s nine albums with Columbia, remarked on that move upon her induction into the Rock & Roll Hall of Fame: “I cherish the albums we made together, but Columbia was a white company who misunderstood her genius,” he said.

Franklin produced 19 albums for Atlantic over 12 years, and she exploded at the top of the charts with many of the soulful classics she’s best known for today.

In her autobiography, Franklin credited the label, and music producer Jerry Wexler, with granting her free rein in regard to her music, which led to her chart-topping success.

“Jerry handled all the technical aspects and made sure I put my personal stamp on these songs,” she wrote. “Atlantic provided TLC — tender loving care — in a way that made me feel secure and comfortable. ... Putting me back on piano helped Aretha-ize the new music. The enthusiasm and camaraderie in the studio were terrific, like nothing I had experienced at Columbia. This new Aretha music was raw and real and so much more myself. I loved it!”

The 1970s saw her win six Grammys and release a variety of diverse live albums, which included a return to gospel with her double platinum selling album “Amazing Grace.”

In the ‘80s, she signed with Clive Davis’ label, Arista Records, where she knocked out a range of tunes from dance music to pop ― notably her 1987 Grammy-winning single with George Michael, “I Knew You Were Waiting (For Me).” Her 23-year partnership with Arista Records, which lasted until 2003, was the longest in her recording career.

She went on to receive her 18th Grammy in 2007 for her duet “Never Gonna Break My Faith” with Mary J. Blige.

Her last album, “Aretha Franklin Sings the Great Diva Classics,” was released in 2014 on RCA, and marked her first major-label album in 13 years.

In January, it was revealed that Franklin had chosen Grammy- and Oscar-winning singer and actress Jennifer Hudson to portray her in an upcoming biopic.

Production had stalled on the film due to negotiations, but Franklin was anticipating moving forward with the project.

“It’s been a long, long haul, but I think we’re right at it now,” she told HuffPost while celebrating her 74th birthday in New York City in 2016. “We’re gonna go forward with it.”

Regardless of the biopic’s status, Franklin’s place in the nation’s cultural landscape is secure.

“Nobody embodies more fully the connection between the African-American spiritual, the blues, R&B, rock and roll — the way that hardship and sorrow were transformed into something full of beauty and vitality and hope,” Obama told The New Yorker in 2016. “American history wells up when Aretha sings.”

Franklin is survived by her four sons ― Clarence Franklin, Edward Franklin, Ted White Jr. and Kecalf Cunningham ― and several grandchildren.

[bringinbackpod]

Interview with José James

We had the pleasure of interviewing José James over Zoom video!  Out now, the jazz voice of the hip hop generation José James (Rainbow Blonde Records) releases his first ever Christmas album Merry Christmas from José James. In addition to the album release, José also premieres the official performance video for the original track "Christmas in New York" today. The contemporary album celebrates the holiday season while honoring classic jazz and pop records of the 1950s. Combining the classic jazz-crooner elegance of Frank Sinatra and Nat “King” Cole with the earthy sophistication of soul legends Stevie Wonder and Donny Hathaway, the ten track Merry Christmas from José James takes listeners on a world-class holiday experience from one of the greatest living voices in jazz. Listeners can find two original tracks, “Christmas in New York” and “Christmas Day” along with popular ballads such as “The Christmas Song,” “White Christmas,” “Let it Snow” and “This Christmas,” a modern twist on the Donny Hathaway holiday favorite. In James' version, he musically brings an aspect of R&B and hip-hop to the mostly Jazz collection. Songwriting for the project was spearheaded by José James and his partner, recently Grammy nominated Talia Billig. The album’s studio band features Grammy winning and nominated all stars Ben Williams (bass), Aaron Parks(piano), Jharis Yokley (drums) and Marcus Strickland (soprano saxophone). Produced by José James and Brian Bender and recorded by Ariel Shafir at Dreamland Studios, the album was mastered by Frank Arkwright at Abbey Road Studios. The session was recorded completely live on 2” tape and mixed in LCR (left-center-right) by Brian Bender at Motherbrain West. “It’s the perfect album to put on whenever there’s a certain spirit in the air,” James says. “I hope that people can feel a little bit of the joy and the wonder, year round, that 8-year-old José felt, not only about Christmas and all the obvious things—the ornaments, the tree, the holiday season—but also the music,” he continued. A 13 date tour to support the album will launch at SF Jazz in San Francisco on November 27th and conclude at New York’s City Winery on December 14th. Stops also include Seattle, Portland, Santa Cruz, LA, Phoenix, Santa Fe, Minneapolis and Chicago. (All tour dates listed below). About José James James, a Minneapolis, MN native who spent most of his career in New York, was discovered by Gilles Peterson in London before his major label debut with Blue Note Records. He has produced and written 11 albums covering the best of jazz, pop, hip-hop and R&B. In 2017, José made his screen debut with a performing role in Fifty Shades Darker. He now lives in Amsterdam with Talia Billig, his partner and Grammy nominated songwriter. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #joséJames #zoom Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter!  source https://www.spreaker.com/user/14706194/interview-with-jose-james

[sweetheartofsecondlife]

Wild Wednesday 2/3

It’s Black History Month, so tonight’s sets honored that by featuring some of the greatest black musicians of all time.

Exposure:

Bad Brains - Secret 77 Chuck Berry - Johnny B. Goode Jimi Hendrix - Machine Gun - Live At Filmore East, 1970 / 50th Anniversary Fishbone - Gittin' in That Ass Lenny Kravitz - Fly Away Little Richard - Dock of the Bay TV On The Radio - DLZ Fishbone - Lemon Meringue Chuck Berry - No Particular Place To Go Jimi Hendrix - Power of Soul Bad Brains - Soul Craft Lenny Kravitz - American Woman Chuck Berry - Move It Nat’s Jazz:

Gil Scott-Heron - Lady Day and John Coltrane James Brown - Night Train Herbie Mann - Hi-Jack Dizzy Gillespie - Caravan Louis Armstrong - Skokiaan (South African Song) Duke Ellington - In A Sentimental Mood Count Basie - Cherry Point King Curtis - Memphis Soul Stew Jelly Roll Morton's Hot Seven - Panama Ella Fitzgerald - Dream A Little Dream Of Me - Single Version Dizzy Gillespie - St. Louis Blues Duke Ellington - The Single Petal Of A Rose - The Queen's Suite Miles Davis - Rubberband Ella Fitzgerald - Flying Home James Brown - Funky Drummer Billie Holiday - All of Me (with Eddie Heywood & His Orchestra) Gil Scott-Heron - The Revolution Will Not Be Televised Duke Ellington - The Mooche John Coltrane - Blue Train - Remastered 2003 Dinah Washington - Evil Gal Blues Dizzy Gillespie - Bang Bang Jelly Roll Morton - King Porter Stomp Wes Montgomery - Fly Me To The Moon Ray Charles - What'd I Say, Pt. 1 & 2 George Benson - Tequila Oscar Peterson Trio - C Jam Blues Billie Holiday - Gimme A Pigfoot And A Bottle Of Beer - Single Version Milt Jackson - Stablemates (Take 2) Louis Armstrong - Sittin' In The Sun

Sphynx Jazz:

Count Basie - Basie Beat Ella Fitzgerald - A-Tisket, A-Tasket Dizzy Gillespie - Manteca - Live At Carnegie Hall / 1961 Wes Montgomery - I Say A Little Prayer For You Louis Armstrong - A Kiss To Build A Dream On - Single Version George Benson - On Broadway Dizzy Gillespie - A Night In Tunisia Oscar Peterson - Mumbles Count Basie - April In Paris Billie Holiday - Crazy He Calls Me - Single Version Duke Ellington - Take the "A" Train Louis Armstrong - The Dummy Song George Benson - I Want to Hold Your Hand Wes Montgomery - Yesterday The Jungle Band - Mood Indigo Ray Charles - I've Got a Woman

[afrolatinxsunited]

News & interesting tips on POS Hardware & Point of Sale.

After near-complete obscurity, the oldest wines in documented history are making a comeback. Called amber wines in the country of Georgia, where they originated eight thousand years ago, orange wines, as they are often called today, are moving into some of Texas’s hottest new restaurants and wine bars. A handful of Texan wineries are even making them now. 

At Bar & Garden Dallas, managing partner Julie Buckner Lane says she has seen a “steady influx of interest” in orange wine, particularly after it was featured in season two of Netflix’s Dead to Me, a dark comedy centered on two women who tank up on wine. A neighbor comes over with a bottle, and Jen, the tragicomedy’s irascible main character, responds: “What the f— is orange wine?”

To answer a question commonly asked at Bar & Garden, orange wine isn’t made from oranges. It’s simply white wine made in the manner of red wine—meaning the grapes are fermented with the skins on. They are sometimes orangish in hue, but they can also resemble a pale white wine, a rosé, or a scotch whiskey. They can be cloudy or clear; bone dry, sour, or floral. A few sparkle like a pét-nat. The term most commonly used to describe them, though, is versatile. In recent years, some of Texas’s more avant-garde restaurants and bars have started including them on wine lists. 

Bujar Yuri Tukuli, the lead sommelier at Monarch, a new, ultra-swanky Italian restaurant in downtown Dallas, touts orange wines as having the “perfect profile if you’re tired of [drinking] red and white.” They can complement the flavors of most any type of cuisine, and he considers them to be the best wine pairing for Texas barbecue. Fuller orange wines with tannins, which add astringency and bitterness, contrast well with smoky meats and don’t overpower the main show with the jammy fruit of a red. The most important thing when enjoying these wines, Tukuli says, is to serve them slightly chilled—at 55 to 57 degrees, to be exact.

Tukuli has tasted over 1,500 orange wines in the past two years, including in Georgia, the birthplace of minimal-intervention winemaking, with around 100,000 wineries still existing today. Since 2015, consulting agency Marq Wine Group has collaborated with Georgian winemakers to help them expand their reach into U.S. markets. Managing partner Julie Peterson says distribution of Georgian wines has sustainably grown year after year as more Americans seek them out. 

The reality, however, is that orange wines can take time to get used to—an acquired taste, perhaps. Wine writer Richard Betts wrote “Why Tecate Is Greater Than Orange Wine” for Forbes in 2013, in which he blasts the wines for resembling kombucha (it’s true). He walked away from his time in Friuli, Italy, where the style was revived in the ’90s, “feeling as though we could make those exact same orange wines in Texas. . . . Terroir be damned.” (I’ll go ahead and assume Betts hadn’t visited any Texas wineries when he wrote that dismissive line.) Another wine blogger, Ron Washam, calls orange wine the Kardashians of wine. “Please, just quietly die,” he writes.

But orange wines are not dying. Today in Texas, Vincent Henderson of Austin-based Henderson Selections supplies around forty orange wines to restaurants and bars throughout the state, which is about 3 percent of his total portfolio. He says he “does and doesn’t like them,” in part because they are hard to categorize— “they’re all from different places and taste radically different,” he says. 

After pouring me a taste of a skin-fermented grüner veltliner from Wachau, Austria, he asks what I think. “I could drink a glass, but not a bottle,” I answer. “You’ve got the title of your article right there,” he jokes.

Henderson says orange wines have been trending for some time in Austin, and they’re even catching on in Marfa. He has no qualms about being quoted as saying that “Dallas is still buying boring, brand-name wine,” but Houston is “out-punching their weight” in selling orange wines.

The traction in Houston may be due to restaurants like Nancy’s Hustle, which landed on Esquire’s and Thrillist’s lists of best new restaurants in 2018. Nancy’s Hustle co-owner Sean Jensen has had at least three skin-contact wines on the menu since the restaurant’s inception in late 2017, and currently, there are two by-the-glass options along with nine bottles. Jensen includes these wines because “they are delicious and incredibly versatile for pairing with our menu.”

In Fredericksburg, Otto’s German Bistro and La Bergerie wine bar have also sold orange wines since opening in 2013 and 2017, respectively. Paula Rester Salinas, beverage director for Side Street Hospitality, which owns the two establishments, says it’s always acceptable to pour a taste when introducing orange wines, and they’re easiest to sell and explain when they have their own category on menus.

Salinas says sometimes there are issues with availability complicated by worldwide shipping issues, so they look to domestic producers instead, like Southold Farm + Cellar, a winery that moved from the North Fork of Long Island to Gillespie County, Texas, in 2017 and has been using 100 percent Texas grapes ever since. Southold’s co-owner, Regan Meador, says skin-contact whites are some of their most popular wines, and in recent years, Southold has at least doubled their production. They are presently sold out of all but one. 

Meador doesn’t ever expect orange wines to become as mainstream as pinot grigio, and he kind of hopes they don’t—“I am not really a fan of any wine on that larger level of production. Essentially those things are made so people don’t have to think about what they’re drinking. Skin-contact whites force people to do the opposite—they’re much more cerebral,” he says.

Large producers are moving into the Texas market now. Gérard Bertrand, one of the biggest biodynamic wineries in the world, with more than three hundred wines in 171 countries, is in the process of launching the Orange Gold, a blend of seven grapes, mainly from the Mediterranean, fermented with skins on. It will be in Central Market and select H-E-B locations by this summer, says a company spokesperson. The winemaker’s notes describe the wine as having “an explosion of white-flower notes, candied fruits, and white pepper” on the nose, with a long finish that leaves a “delicate, bitter tip to stimulate the taste buds.” As Orange Gold hits grocery shelves across the state, Texans will soon be able to discover the taste explosion for themselves.

Waco-based wine distributor David Mayfield sees the growth of orange wines as “consumer-driven.” When he launched his business in 2012 and started importing orange wines, a lot of restaurant and bar owners echoed a common refrain: “It’s interesting, but I don’t think my customers will like it.” Now, he says the same wines that once sat on the shelf for being too expensive at $28 a bottle are selling out at $38 and up. “They sell basically on arrival,” he says.

Before dropping that much cash, folks new to orange wine might try the Lunaria Ramoro Pinot Grigio, available at most Central Markets for $16. It’s an Italian, skin-fermented pinot grigio, and tastes much like a rosé, with a note at the end that’s almost guaranteed to leave you saying aloud, “Hmm, interesting.” In establishments around the state that have started backing orange wine, look for the Nine Oaks Rkatsiteli. It’s a classic amber wine produced in Khaketi, Georgia’s biggest wine region, and it’s made with traditional methods using the country’s most popular white grape, the rkatsiteli. 

As a Dallas-based wine-chugger who first discovered orange wine four years ago while visiting D.C., it does sometimes feel like I’m in a city with a lot of “boring, brand-name wine.” But the times, they are a-changin’. Texas has the terroir (critics be damned), the consumer-driven interest, and the restaurant wine lists to give oenophiles something to try when they’re tired of red and white and need something to go with the barbecue.

This article was first published here.

I trust you found the above useful and/or of interest. You can find similar content on our blog here: www.easttxpointofsale.com Please let me have your feedback in the comments section below. Let us know what topics we should write about for you in future.

[collectorscorner]

CC Blogger - New Arrivals @ Collectors Corner : Wednesday - 8/28/19

Complete list of items shipping to the stores, some items may be limited in availability. If you see anything you want to purchase on the list and are not a subscription member at Collectors Corner, just contact us and let us know if you want an item held at the stores. email - collectorscornermd@comcast.net

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NEW ARRIVALS : WEDNESDAY - 8/28/19

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AHOY COMICS Planet Of The Nerds #5, $3.99

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AMIGO COMICS Nasty Pills #2 (Of 2), $4.99

AMULET BOOKS Earth Before Us Volume 1 Dinosaur Empire GN, $9.99

ARCHIE COMIC PUBLICATIONS Betty And Veronica Jumbo Comics Digest #276, $7.99 Jughead The Hunger Vs Vampironica #4 (Cover A Pat Kennedy & Tim Kennedy), $3.99 Jughead The Hunger Vs Vampironica #4 (Cover B Dan Panosian), $3.99 Jughead The Hunger Vs Vampironica #4 (Cover C Matt Taylor), $3.99 Katy Keene TP, $10.99

ASPEN COMICS Idolized Volume 1 TP (Direct Market Edition), $17.99 Soulfire Volume 8 #3 (Cover A Raffaele Forte), $3.99 Soulfire Volume 8 #3 (Cover B Michael Sta. Maria), $3.99 Soulfire Volume 8 #3 (Cover C Michael Turner), AR

AVATAR PRESS Crimson Nun #1 (Commemorative Cover), $5.99 Crossed Badlands #100 (Christian Zanier Costume Change Cover A), $5.99 Lillith #1 (Commemorative Cover), $5.99 Razor #1 (Warrior Nun Commemorative Cover), $5.99 Razor #1 (Warrior Nun Commemorative Cover)(Jude Millien Signed Edition), $9.99 Shotgun Mary #1 (Bloodlore Commemorative Cover), $5.99 Shotgun Mary #1 (Commemorative Cover), $5.99 Warrior Nun #1 (1997 Commemorative Cover), $5.99 Warrior Nun #1 (Avengelyne Commemorative Cover), $5.99 Warrior Nun #1 (Bolt Cover), $5.99 Warrior Nun #1 (Bolt Premium Cover), $5.99 Warrior Nun #1 (Frenzy Commemorative Cover), $5.99 Warrior Nun #1 (Glory Commemorative Cover), $5.99 Warrior Nun #1 (Portraits Commemorative Cover), $5.99 Warrior Nun #1 (Portraits Commemorative Cover)(Ben Dunn Signed Edition), $9.99 Warrior Nun #1 (Razor Commemorative Cover), $5.99 Warrior Nun #1 (Razor Commemorative Cover)(Ben Dunn Signed Edition), $9.99 Warrior Nun #1 (Scorpio Rose Commemorative Cover), $5.99 Warrior Nun #1 (Scorpio Rose Commemorative Cover)(Steve Englehart Signed Edition), $9.99 Warrior Nun #2 (1997 Commemorative Cover), $5.99

BLACKBOX COMICS Militia #3, $3.99

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CAPSTONE PUBLISHING Beauty And The Dreaded Sea Beast GN, $5.95 Private Eye Princess And The Emerald Pea GN, $5.95 Rapunzel Vs Frankenstein GN, $5.95 Thumbelina Wrestling Champ GN, $5.95

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COMIC SHOP NEWS Comic Shop News #1680, AR

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Scott Campbell), AR Marvel Comics #1000 (Cover G Ed McGuinness), AR Marvel Comics #1000 (Cover H Mr. Garcin Collage Variant), AR Marvel Comics #1000 (Cover I Mark Brooks 40s Variant), AR Marvel Comics #1000 (Cover J Mike Allred 60s Variant), AR Marvel Comics #1000 (Cover K Greg Smallwood 70s Variant), AR Marvel Comics #1000 (Cover L Julian Totino Tedesco 80s Variant), AR Marvel Comics #1000 (Cover M Ron Lim 90s Variant), AR Marvel Comics #1000 (Cover N Mark Bagley 00s Variant), AR Marvel Comics #1000 (Cover O Kaare Andrews Decade Variant), AR Marvel Comics #1000 (Cover P Clayton Crain), AR Marvel Comics #1000 (Cover Q Jen Bartel), AR Marvel Comics #1000 (Cover R Skottie Young), AR Marvel Comics #1000 (Cover S Greg Hildebrandt), AR Marvel Comics #1000 (Cover T George Perez Hidden Gem Variant), AR Marvel Comics #1000 (Cover U Steve Ditko Hidden Gem Variant), AR Marvel Comics #1000 (Cover V Blank Variant), AR Marvel Comics #1000 (Cover W Gabriele Dell'Otto Virgin Variant), AR Marvel Comics #1000 (Cover X J. 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[adland]

Do you remember "Truth in advertising"? This series is kicking that off its inside-joke throne with style. An updated look at the world of making commercials, warts and all.

Community Films’ directorial collective JEAN and director Pam Thomas have joined forces to create “Commercials”, a comedic web series about the humorous, ego crushing, overanalyzed silliness that plagues the world of commercial film making and everyone involved.

  “As Commercial directors and former advertising creatives, we’ve experienced hundreds of completely ridiculous moments during productions where we looked at each other and said, ‘this needs to be a show,’” says Natalie Prisco of JEAN.

  Seizing on the seemingly important, but altogether ridiculous scenarios that inherently go along with making commercials, “Commercials” peels back the curtain on an industry that everyone is familiar with, but very few know much about.

  “The world of commercial making is such a unique industry that feels so ripe for satire,” says Eric Eckelman of JEAN

  Told from the unique point of view of an eccentric group of egomaniacal, yet wildly insecure commercial directors and their production company, Bird Films, “Commercials” satirizes the world of production as The Office did the world of 9-5ers.

  Each episode gives a glimpse into the various aspects of commercial making and stages of production, leaving nobody unskewered in the process.

  “We’d love Commercials to give viewers a sneak peek into what we love so much about our business and hope they find it as hilarious and fun as we do,” says Pam Thomas.

  “We’re thrilled we finally decided to make that show,” adds Armand Prisco of Jean.

Episode 101: ‘ETHNICALLY AMBIGUOUS’

Nate, Maggie and the agency team try to figure out how to navigate an unexpected client request. This one feels as real as it gets, this happens. A lot.

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Episode 102: ‘REALLY GREAT MEETING’

Nate and Jay may or may not have totally nailed their Snackyz presentation. Or maybe not. Maybe.

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Episode 103: ‘MANTRUM’

TRUE STORY - the last time I heard a story about a director locked in a car delaying the shoot, he was also eating bowls of cereal in there. Nate uses the oldest trick in the book to lure the out of his mind director Axel Roundhouse back to set.

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Episode 104: ‘FULL CLOCKS’

Directing team Tom and Dave learn the art of the full clock.

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Episode 105: ‘GUYS AND DOLLS’

A seemingly mundane Pre-Production meeting goes off the rails.

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About JEAN

JEAN, pronounced like the pants that are made of denim, is comprised of Eric Eckelman, Armand Prisco and Natalie Prisco. Known for their comedy chops, and pulling believably odd performances out of their actors, they have created comedy-driven work for Lifetime, Delta, Pizza Hut, AT&T, Honda, TBS and Visa. Armand & Nat got their start working as a creative team at McCann before they went over to write and direct for MTV. There, they met Eric who was also a writer and director for the acclaimed network.

  About Pam Thomas

Pam Thomas began her career at MTV, back when it was cool, in the late 1980s, writing and directing promos in the On-Air Promotions Department. Pam has worked with dozens of brands and agencies to produce a huge body of work, including spots for Gatorade, Nike, Visa, AMEX, Payless, Lexus, Wal-Mart, Dove, Verizon, Cheerios, Pantene and Cotton featuring celebrities Zooey Deschanel, Kate Bosworth, Emmy Rossum, and Hayden Panetierre. Pam’s style of work portrays an essence of glamour, fashion and creativity. Her sense of humor and knack for getting great performances, is evident in her TV work on Sex and the City and Desperate Housewives and more recently on the Netflix series Atypical with Jennifer Jason Leigh and Michael Rappaport.

    COMMERCIALS CREDITS

  ETHNICALLY AMBIGUOUS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

  CAST

Nate Young: Nate Lang          

Maggie Cheng: Ana Parsons    

Ashley: Ali Hillis         

DK: DK Uzoukwu                   

Agency Producer: Brent Popolizio    

Head Client” Rebecca Tilney              

AD: Sam Carsons        

EA Woman: Rachel Varela

  Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz    

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni 

DIT: Lee Summer          

Gaffer: Tim Stratton 

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

  Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

      REALLY GREAT MEETING

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

  CAST

Nate Young: Nate Lang                       

Jay Beck: Bo Barrett                

Agency Producer: Katie Von Til         

Creative #1: Rich Pierre Louis          

Creative #2: Dalton Leeb        

    Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni   

DIT: Lee Summer  

Gaffer: Tim Stratton  

Key Grip: Marco Pearson

Sound Mixer: Scott Farr   

Boom: Jason Brooks

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

  Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

                MANTRUM

Directed by Pam Thomas

Written by Lloyd Stein

Story by Lloyd Stein

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

  CAST

Nate Young: Nate Lang                       

Tom: Adam Silver                   

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

   Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson  

First AC / A Camera: Diona Mavis  

First AC / B Camera: Jason Kinney

Second AC: Austin Pedroni   

DIT: Lee Summer          

Gaffer:Tim Stratton

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

  Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

      FULL CLOCKS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

  CAST

Nate Young: Nate Lang                       

Tom: Adam Silver      

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

  Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz    

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson

First AC / A Camera: Diona Mavis

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni  

DIT: Lee Summer          

Gaffer: Tim Stratton  

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

  Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

      GUYS AND DOLLS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

  CAST

Nate Young: Nate Lang                     

Maggie Cheng: Ana Parsons   

Male Client #1: David Lowe

Male Client #2: Ted Canon     

Female Client #1: Jayne Entwistle  

Female Client #2: Io Bottom

    Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor

Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson   

First AC / A Camera: Diona Mavis   

First AC / B Camera: Jason Kinney   

Second AC: Austin Pedroni  

DIT: Lee Summer          

Gaffer: Tim Stratton   

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

  Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

                          BREAK ROOM

Directed by Pam Thomas

Written by Pam Thomas and Lloyd Stein

Story by Pam Thomas

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

  CAST

Nate Young: Nate Lang                       

Tom: Adam Silver       

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

Editor: Angela Cheng

  Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni

DIT: Lee Summer          

Gaffer: Tim Stratton   

Key Grip: Marco Pearson

Sound Mixer: Scott Farr 

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

  Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

United States

advertising jokes

advertising jokes

Uncategorized

self-promotion

humor

reality

-- via Adland

[jazztidbits]

(via https://www.youtube.com/watch?v=RdTep6HboME)

1. The Jumpin' Blues Jay McShann And His Orchestra: Bob Merril, Jesse Jones, William Hickman (tp), Nat Clayton, Al Morgan  (tb), John Jackson, Rudolph Dennis  (as), John Sparrow, Paul Quinichette  (ts), Bradbury Taylor  (bs), Jay McShann  (pn),  Gene Ramey   (b), James Skinner (dm) - Los Angeles, 1944   

2. Moten Swing Jay McShann's Kansas City Stompers: Oliver Todd (tp), Tommy Douglas (as), Clairborne Graves (ts), Jay McShann (pn), Efferge Ware (gt), Walter Page (b), Baby Lovett (dm), Kansas City, 1944 

3. No Name Boogie Jay McShann And His Band: James Ross, Art Farmer (tp), Frank Sleets (as), Pete Peterson (ts), Milburn Newman (bs), Jay McShann (pn), Addison Farmer (b), Robert Brady (dm) - Los Angeles, 1948 

4. Soft Winds Jay McShann And His Band: Vernon Smith (tp), Don Hill (as), Maxwell Davis (ts), Jay McShann (pn), Tiny Webb (gt), Ralph Hamilton (b), Jesse Sailes (dm) Los Angeles, 1949 

5. Reach Jay McShann And His Orchestra: Orville Minor  (tp), Clifford Minor (as), Ben Webster, Fats Dennis (ts), Jay McShann (pn), Gene Griddins (gt), Lioyd Anderson (b), Cooky Jackson (dm) Kansas City, 1951

[maximumbob-universe]

Long before Nat "King" Cole became a premier vocalist, he was best known as a stellar jazz pianist, and leader of an influential trio.  Nat came out of Chicago, but it was in L.A. that he formed the famous trio with Oscar Moore and Wesley Prince.  Early on, they recorded for  Decca, where they had their first hit, but their recording contract had expired before "That Ain't Right" made the charts. Prince was replaced by Johnny Miller as they moved to Capitol, where they had even greater success with "Straighten Up and Fly Right" and "Gee Baby Ain't I Good to You."  The sound the group produced was light and tight, causing something of a sensation. Cole was quickly in demand as a pianist, featured on recordings with Sinatra, Jo Stafford and Lester Young. His new combo influenced R&B groups such as Johnny Moore's Three Blazers and Cecil Gant. It also opened the door for the emergence of small group jazz, which would dominate as the big band era wound down The great Oscar Peterson based his trio on the Cole sound.

Hits were plentiful: "Sweet Lorraine", "Route 66", "The Frim Fram Sauce", "You're Nobody Till Somebody Loves You" and "Embraceable You" to name a few.  Over time, as the era of the vocalist came into vogue after the war, the group began focusing more on Nat's vocals, while still keeping the trio sound intact.  "I Love You For Sentimental Reasons" hit number one in 1946.  That same year, "The Christmas Song" featured the trio with a string section, a first for Cole.  After "Nature Boy" became a huge seller in 1948, Cole slowly moved away from the trio sound, opting for more orchestrated arrangements. In 1951 the trio was officially disbanded. Of course, Nat would go on the become a huge singing star, producing a string of hits that lasted until his untimely death in 1964. Still, his outstanding piano style, along with two brilliant sidemen produced some of his best music. Nat "King" Cole may have become a superstar as a solo singer, but he never made better music than with his trio. Make no mistake, this is as timeless as music gets.