Jazz for aficionados

Jazz for aficionados

I'm going to review records in my collection, and you'll be able to decide if they're worthy of your collection. These records are what I consider "must haves" for any jazz aficionado, and would be found in their collections. I wont review any record that's not on CD, nor will I review any record if the CD is markedly inferior. Fortunately, I only found 1 case where the CD was markedly inferior to the record.

Our first album is "Moanin" by Art Blakey and The Jazz Messengers. We have Lee Morgan , trumpet; Benney Golson, tenor sax; Bobby Timmons, piano; Jymie merrit, bass; Art Blakey, drums.

The title tune "Moanin" is by Bobby Timmons, it conveys the emotion of the title like no other tune I've ever heard, even better than any words could ever convey. This music pictures a person whose down to his last nickel, and all he can do is "moan".

"Along Came Betty" is a tune by Benny Golson, it reminds me of a Betty I once knew. She was gorgeous with a jazzy personality, and she moved smooth and easy, just like this tune. Somebody find me a time machine! Maybe you knew a Betty.

While the rest of the music is just fine, those are my favorite tunes. Why don't you share your, "must have" jazz albums with us.

Enjoy the music.
Well, I ain't going to no coffee house in southern cal in no leotards!!

Y'all can pick me up on the way back. In Kanasa City.


If I told you I went west, and believed in all my heart that I in fact went west, when after looking at a map, you discovered I went east; I would have told you a forgivable "untruth". Such is the case of one Mr. Art Pepper.

After listening to some fantastic music by Mr. Art Pepper, I discovered he was mistaken in regard to the "Bird's" influence on his playing; however, there is no mistake in regard to Mr. Pepper's talents as a jazz alto saxophonist.

Art Pepper + Eleven has a stellar cast of "West Coast" jazz musicians, and Mr. Pepper sounds more "east coast" than any of them, such was the case of "Bird's" influence. His spell over jazz in the 50's was so strong, that even those who made every effort to avoid it, came under it's magic, and such was the case of one Mr. Art Pepper. By any standards, this CD is tops.

Enjoy the music.
Pnmeyer, very well put. Once upon a time, I thought like others in regard to who was the best, now I appreciate the same musicians you like, except I appreciate them more than before.

Enjoy the music.

Speaking of Jack Sheldon, here is a little trumpet by him along with a vocal by Linda Lawson. This music sprang from the west coast in that time frame as "West Coast" jazz.

"When Joanna Loved Me" I have a duet version of that by Frank Morgan and Kenny Burrell, it's just a beautiful song .Appreciate the video clip.
Thanks Frogman, I certainly didn't mean to suggest that complexity is inherently superior but was simply trying to make a distinction between the two styles.You could say Hamptom Hawes or Carl Perkins is simpler than Bud Powell but it doesn't mean less enjoyed.
Charles1dad, and THAT is what it is all about. Well said! I would only add that complexity does not necessarily "better" make. There is great beauty in simplicity, subtlety and elegance:

Thank you Art Pepper for mentioning Lester Young.The single biggest influence on the evolution of Bird's style.
These were the records these musicians of this generation were listening to...Count Basie..."Lester leaps in" "Taxi war dance" "Tickle toe" the list goes on.There was a whole generation of saxophonists who nursed that approach to improvisation {Stan Getz}and there was another,later generation of players that followed Coleman Hawkins' more forceful and direct approach-John Coltrane.Then there was another that combined the two-Dexter Gordon/Gene Ammons.
Don't forget the impact of Ben Webster during the glorious Ellington late 30's,his influence on the concept of ballad playing is undeniable.Prez,Hawk,Ben all played their best music before the Bebop era and each grappled with their own private adaptation of what became the norm in Jazz.This all has to be considered in the mix.
Whatever Pepper says,everytime he picked up his horn and played one of those way uptempo tunes like "straight life" or something based on "Cherokee" he was gunning for Bird.That was the highest mark of the state of the art and the competition was fierce.That is simply the nature of the beast.Also by 1952 when Pepper was coming well into his own Parker was finished and all bets were off on who was the best.But who cares really? They were all great and amazing and thrilling and each had something special to bring.Some more than others.One of Lester Young's little sayings was "You can't join the throng until you write your own song".I leave you with that.
To be clear I enjoy the west coast jazz genre very much, it just has a different feel from the harder edged east coast bop approach.I have lots of both.Idon't believe the west musicians were inferior to the east boppers, but will admit often the east style is more complex and in somes instances more ambitious. I can listen to Harold Land, Teddy Edwards or Richie kumuka or switch to Dexter Gordon, Sonny Stitt and Joe Henderson.I can really appreciate what they all play in their own way. Same with trumpeters Jack sheldon (underrated chops) or Fats Navarro, very different, I like them both.Pepper Adams or Gerry Mulligan? I can listen to either all day.I appreciate and respect the uniqueness of these beautiful musicians and am less incline to argue who's better than who.I wish I could play 10% as well as any of them.I'm happy to have their recordings and a system to play them.
I play the trumpet, was in my university's Jazz band in the '70s, and out of that experience began to love and explore Jazz. I love the West Coast cool sound. I also have to admit that I often prefer to listen to Paul Desmond over Charlie Parker and Chet Baker over Miles Davis, even though admittedly both Parker and Davis made larger contributions to the development of Jazz. I like Stan Getz's sound more than John Coltrane's. That is not to say that I don't like Coltrane, Davis and Parker (I do quite a bit), just that I like the sounds of the others more. As a trumpet player, I have always admired Chet Baker's sound, phrasing and improvisation. While hardly a technical virtuoso (e.g., he rarely approaches the top register), Chet Baker was able to create such a beautiful sound, almost flute-like, from his instrument. His ability to convey emotion with a sparsity of notes is amazing. His instincts when he improvized was exceptional. You can listen to 20 different recorded versions of one of his songs (e.g., My Funny Valentine) and each one is unique in a creative way. Was he the trailblazer that Miles was?--absolutely not--but both made contributions to Jazz and music in their own ways. I don't think we have to say they are on the same level in order to appreciate both.
Rok, even though you're prone to take things out of context, I like you anyway; but if there was one big "Bird", and a lot of little birds imitating big "Bird", that was too many birds. In regard to "Birds" stature, that's unquestionable.

Many of the "Boppers" just weren't cool enough to understand "West Coast". It was like LA, laid back and in a hurry to get nowhere. This music was best appreciated in a coffee house where they recited poetry and the chicks wore leotards, "Can you dig it"?

Enjoy the music.

Frogman, it's delight to have you on this thread, not only are you a jazz aficionado, but you're a musician as well. Although I never thought about West Coast from a musical perspective (the softer tone) that's quite accurate.

West coast jazz had a relatively short life span. Although the musicians lived on, West Coast was dead after 65, while the very same musicians evolved into other forms of jazz. The very best jazz from this genre would be in the 50's. This means that although you have the same West Coast musicians after the 50's, they may, or may not still be playing "West Coast" jazz.

Enjoy the music.

I was just about to post with the same point as you wrote about in your last post.

There seems to be an AGENDA going on here to make all Jazz players equal. IOW, just as you pointed out in your post. Miles played Jazz trumpet, so did Chet Baker, so they are the same right? Wrong! Hell, I can play a trumpet! The so-called 'cool' thingy is the equal of be-bop!! Brubeck equal to Silver, Peterson, Powell COMBINED!! It goes on and on.

When I said Jazz has to be defended, everyone said I was nuts. This is the type thing i meant.

No one ever says Beethoven and Philip Glass are equal.

But in Jazz, everyone and everything is fair game. Make them 'equal' today, and the 'best' tomorrow. But as we say in Texas, 'That Dog Won't Hunt'

Jazzcourier, excellent post; thank you. I do take exception with your description of Art Pepper's influences. I hear more Lee Konitz in his playing than Parker.

Rok and others, re Parker. I don't want to speak for Orpheus10, but I believe that what he meant, and I agree with, is the simple fact that Parker's influence was pervasive and almost impossible for players to avoid. No one, certainly not I, is saying that Bird had TOO MUCH influence; that would be a ridiculous comment. So lets not get on a tangent about this.

Now, for the punch line of my post: Concerning Art Pepper's influences (surprise!), and his feelings about Bird in general (which supports what I believe Orpheus is saying), "straight from the horse's mouth":

I remember a talk show program long ago where some caller said bird was over rated and given too much credit. He felt that Paul Desmond was a better alto player and deserved equal status.Now if he likes Desmond more that's perfectly fine and his opinion. To lmply that Desmond had the same stature,impact and contribution is insane!
I agree with your stance on Charlie Parker.To say he had too much influence is baffling and bizarre. Miles in his autobiography said bird's talent and genuine extraordinary creatively affected not only the sax players but all musicians regardless of the instrument. Miles said an entire generation was simply in awe of the astonishing playing and standard he established. I understand that some just don't care for bird (that's ok) but
his Iimpact and legacy is unquestionable.
March 12 1955....Bird died.March 12 2013...the only thing that "ran West" was the railroad.
I listened to 'Charlie Parker with Strings: The Master Takes' Bird was in fine form. Good experience overall. The sound quality of the recording was much better than most Bird recordings. I didn't see the need for the strings, and I think they took away rather than added to the performance. True Genius does not need gimmicks! One reviewer said "there is a lot of Jazz, but only one bird" so true.

Charlie Parker has / had too much influence on Jazz. Surely you, O-10 & Frogman, Jest!!!

(1) Bach, Beethoven, Brahms and Mozart had / have too much influence on European Classical Music.

(2) Sir Issac Newton had too much influence on Mathematics

(3) Eienstein had too much influence on Physics and Astro-physics.

(4) Charlie Parker had /has too much influence on Jazz.

All of the above statements are EQUALLY true. Or EQUALLY non-sense!

West Coast Jazz, is a term used to describe players that played on the west coast in the so-called 'cool' style.

Why the West Coast you might ask. Answer: Because all of the greats played on the East coast. Better to rule in hell, than serve in heaven.

You cannot make a silk purse folks. They weren't good enough to play with the big boys, so they ran west. If the top be-bop players had been on the west coast also, 'Cool' Jazz would have arisen in Nebraska! Mediocrity cannot survive in the presence and / or immediate vicinity of genius! So it was 'Go West Young Wanna-be'

I leave for a few hours and you people are already off the reservation!!

Lee Konitz is often associated with the "West Coast Jazz" school,while this is wrong geographically it is correct as as far as his influence on many of the players in the early 50's.One mentions his influence on Art Pepper,very minor,the big influence on Pepper was Benny Carter and Charlie Parker.Pepper was a member of the Stan Kenton band before Konitz and it was the Kenton band that brought Konitz to the West.Kenton was based in Southern California and drew the players from this area.Konitz was offered a job with Kenton,in i believe 1950-1 and approached his teacher and mentor Lennie Tristano about this decision to join a coomerecial big band.Tristano was adamant about Konitz not going with Kenton,concerned with the "commerciality" of Kenton's music,not to mention Lennie did not want to lose his best student.Konitz' decision to join Kenton caused a multi-year astrangement from the Tristano circle.During this time,the early 50's Konitz won magazine polls and became internationally well known,travelling to Europe with Kenton and making records there.His solos on the Kenton records became very popular among saxophonists.Otherwords,this choice to go with Kenton was a major pivot in Konitz' career.
He ended up in L.A. in the early 50's and "sat in" with the Gerry Mulligan/Chet Baker group,of course he knew Mulligan from the Birth of the cool bands and before that,the Claude Thornhill orchestra.It is these recordings that seem to tie Konitz to the "West Coast" school.
Certainly these early 50's Lee Konitz recordings can't be praised enough,as noted above,this was a rare departure from the Bird's overwhelming influence,and it was more than a deaparture,it was a fully formed and totally distinct approach to the saxophone.As Warne Marsh used to say"The YOUNG Lee Konitz was a beautiful thing" and that is very true.
The whole "West Coast" Jazz moniker has always been a confusing one.Lots of the remaining Big bands were centered in L.A. and this brought lots of musicians to the area,notably Kenton and Woody Herman.The scene evolved almost a good ten years after the birth of Be-Bop in New York and the lack of actual Jazz club work called for more "woodsheding" and rehearsal groups...Jimmy Giuffre,Chico Hamilton,Bob Brookmeyer.There was more experimintation without commercial scrutiny.Interesting,that many of these musicians had to return to New York to work and let these ideas breathe.Mingus was a good example of this,although a few years earlier.Dolphy,Giuffre,Brookmeyer,Jim Hall and others gravitated back to New York to make the music that was born in garages in L.A. bY 1954 Lee Konitz was finished with Kenton and ready himself to return to New York to start the next chapter of his music.His association with the West Coast school of Jazz,such as it was,well behind him.
Others you could put in the West Coast camp at one time or another are Chet Baker, Gerry Mulligan, Bud Shank and Stan Getz.
Acman3, Lee Konitz is one of the greatest of the West Coast players and an influence on Art Pepper and Paul Desmond. He is the alto player on the Birth Of The Cool sessions even though Sonny Stitt was the original choice and Evans decided that Stitt's sound was too steeped in be-bop (Charlie Parker) and they wanted a "cooler" sound. Glad you mentioned him, this record belongs on my favorites list, and is highly recommended


BTW, related to the above, Orpheus10's comments re Bird's influence are well taken. His influence turned the jazz world upside down, and it was to the credit of players like Konitz that they chose a different path.
Orpheus, two great choices. Loved the Jimmy Giuffre cut; hadn't heard that before. Players from that era were amazing musicians; they listened to and took in the influence of just about everything. On that cut can be heard shades of Copland's "Hoedown", Gershwin, as well as, of course, the blues. Great stuff.

Another great Chico Hamilton record that I appreciate is "Gongs East" featuring Eric Dolphy, surely one of the most distinctive alto sounds ever.


We have no disagreement. I was just trying to show the influence of the public in our perception of 'the best'.
I did not mean to imply that you thought mariano was the best. just a favorite. And I understand the mastery of the instrument versus creativity.
Brings to mind Wynton Marsalis. He is truly a master of the trumpet. But, not my favorite player, just my favorite PERSON in Jazz, because of his efforts to preserve and grow the music.

I, for one, do not buy into all this 'the best' stuff. They are all magicians. This is as pertains to players.

I do have a best when it comes to the music. But magic can be found in the most usual places. Even listening to the car radio in traffic. Just a fleeting passage, a few bars / measures.

The trumpet playing on 'the monkey speaks his mind' on the Dr John Cd ' nawlinz, dis, dat or D'udda'. Check it out.

Two not mentioned yet, would be Bill Holman and Bob Florence. I always found them interesting. I have a newer recording of a big band Bob Florence wrote and played piano in before his death. The Phil Norman Tenant .

May seem like a strange question, but would you label Lee Konitz "West Coast"? He seems actually to defy labels.
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Orpheus10, as you point out West Coast Jazz is difficult to define. But, it does have some general defining characteristics. It can be differentiated from East Coast Jazz and other styles by the fact that West Coast players tended to play with a "cooler" approach; generally speaking, with a lighter and softer tone. There was an emphasis on the composition and arrangements as opposed to the improvisation; and sometimes classical music compositional techniques such as fugues were part of the mix. The fact that there was great demand for arrangers in Hollywood surely helped some of these stay employed.

I already mentioned one of my favorite recordings in this style (the Previn/ Shorty Rogers). I mentioned that one because it is lesser known, as well as being a favorite. I am sure you already now some of these, but a few other favorites are:

Miles Davis "Birth Of The Cool". The title says it all. What can be said about this recording that hasn't already be said. Other than to note that this session is really considered a Gil Evans session; which further highlights the clout that the arranger had.

Dave Brubeck "Time Out". Good example of the use of classical techniques.

Paul Demond/ Gerry Mulligan "Two Of A Mind"

Zoot Sims "Quartets"

"Shelly Manne And His Men Play Peter Gunn" Henry Mancini arranger

"Art Pepper + Eleven"

Vince Guaraldi "Charlie Brown Suite" No kidding, one of my favorites which always puts a smile in my face.

"I would go with "Sonny", the masses would say "Kenny".

Not, the JAZZ Masses!! hahahahahaha


Sonny is a great choice.
"If the masses don't get it, it's bad"

Actually, that's not far from the truth. The masses decide most things. They decide what music is available for purchase. What cars we can buy etc....

Lets just pose a theoretical situation. Who is the best Jazz sax player? This is just to make a point, ok. Some would say Cannonball, some would say Coltrane, some might say Sonny Rollins, Charlie Parker,etc........ NO ONE would say, Charlie Mariano. Except, maybe the Frogman.

That's why Coach Parcells statement is applicable. Some questions are decided for us. There really is no room for 'real' argument.

Frogman, thanks for the info on John Purcell. I knew him from the Mt. Vernon public school system. He was a few grades ahead of me so it's not as if we socialized, but he was someone who other students looked up to as a style maker. When I was in 6th grade I was in a group that took part in a local talent contest. My band performed "Chattanooga Choo-choo" and took fifth place while Purcell's group did "Summertime" and took first. After Denzel, John is the most artistically talented person of that generation to come out of Mt. Vernon.
Acman3, I have empathy for all human beings, especially musicians, and I hope your friend Mr. John Purcell gets better.
I forgot to say thanks to Frogman for his awesome answer to my John Purcell question. Hopefully Mr. Purcell will get the help he needs.
For the sake of Orpheus's thread, let's just say, I am struggling with the football/music analogy, however I do agree Bill Parcells was a great coach.

If the masses don't get it, it's bad? We will have to agree to disagree on some things, or we will have to keep fighting the same battles.

Goofyfoot, I for one, would like to see your Ellington list, understanding how difficult that would be, if your willing.

Jimmy giuffre opening for jazz on a summers day is my best example of West coast jazz.


Chico Hamiltons "Topsy" is another good one.


Now you're an aficionado of West Coast jazz.

Enjoy the music.
Bill Parcells, the great NY Giants and Dallas Cowboys pro football coach, once said: You Are, What Your Record Says You Are. Same in Music. If no one has heard of you, there is a reason why.


Rok, the definition of "West Coast" jazz is very elusive. That's because the same musicians also played East Coast, as well as "No Coast" jazz. It's kind of like "bouillabaise", you have to try a spoonful. No description can be quite appropriate, and to further complicate the matter, it had a short life span. Fortunately, there's a lot on "You tube", and Amazon has it, which means it's still available. I'll post the best examples I can find so that everyone will be able to recognize "West Coast".

Frogman, since you're an aficionado of West Coast jazz, I would appreciate it if you posted your best examples of West Coast.

Enjoy the music.

In an earlier post I stated that Charlie Parker's spell was cast too strong over jazz in the 50's. While that was true, it was impossible not to come under the "Bird's" spell. He played jazz in so many different ways that they couldn't be classified. I'm going to give you one example of the "Bird", that you should have in your collection, and be thankful that it's available.

"Charlie Parker with Strings: The Master Takes", this music is so beautiful, that it doesn't matter what genre your musical preference falls in, you'll like this.

Enjoy the music.

Rok, as I stated on an earlier post, if I'm not "resonant" to the music being played, it sounds like noise. It's for sure I'm not resonant to that music, but this is joke isn't it.

Enjoy the music
Taken from Amazon.

"The wire is thin and stretched tight between two poles. On one end is everything known – the safe sounds, the expected chords resolving in expected ways. On the far end is something more elusive – the magic realm where jazz becomes what the critic Whitney Balliett once called β€œthe sound of surprise.”

This little bit of nonsense was written by a critic writing about Wayne Shorter's new CD, 'Without A Net'.
Surprised Ideed!!

And he WAS such a good player. But I guess sooner or later you gotta go with the flow, if you wanna make a living playing Jazz. Rubalcaba is a partner in this crime.

Also mention in the notes was a group called 'Imani Winds'. I checked them out, and they seem to be something I will like. They get into some classical, Ravel. Also Piazzolla and Mongo Santamari.(afro blue).

I am sure The Frogman and O-10 will love the Shorter Disc.

I'm glad I got my JuJU, Speak No Evil and Etcetera.


Frogman, you were absolutely correct in assuming we could skip over the usual suspects. That first LP led me to a gold mine. Curtis Counce, Shelly Manne, Andre Previn, Bud Shank, Jimmy Giuffre, are all proponents of the West Coast jazz that I'm seeking. I can track each one of them during that time, and add to my West Coast collection.

Charlie Parker's spell was cast too strong over jazz in the 50's, and there was entirely too much imitation; while those on the West Coast were just doing their thing. This music is for "being cool", laid back and just enjoy listening. Thank you much.

Enjoy the music.
Orpheus, as you know, lot's of great West Coast Jazz available. We can probably skip over the usual known suspects like the Birth Of The Cool sessions, Brubeck/Desmond, Mulligan, Getz, Chet Baker, etc. as there are a lot of other really great and lesser known examples. Here's a couple of great "under the radar players", some of these records are hard to find but worth looking for as well as others from these guys:

One of my favorite records in this style:


And two forgotten great saxophone players:


" I also discovered what we wont discuss, in consideration of Rok's sensitivities."

hahahahah I didn't know I had any of those.
Discuss, please.
**** Whatever happened to John Purcell?****

Oh man, Acman3! One of the most interesting, and also sad, stories in all of NYC-music-scene lore. I knew John peripherally due to mutual acquaintances and run-ins at various music-industry events. He was (is?) a respected jazz woodwind multi-instrumentalist with a reputation for being a real character with ideas that some considered truly off-beat. He also, sadly, has mental health problems and over the last several years has spent periods of times being institutionalized. A lot of John's controversial ideas have a great many parallels to what audiophiles go through. I have always felt that this aspect of being an instrumentalist has many parallels with audiophilia. You may find this story interesting; and my apology to anyone who finds this too much of a departure from the subject of this thread:

John believed (believes) that anything, and I mean ANYTHING, that you
do to an instrument, no matter how minute and seemingly unimportant, will have an effect on the sound produced by the instrument; that it's all about resonance. Sound familiar? While he was ridiculed by some players for some of these ideas (not I), others thought of him as a kind of genius. If you look at the credits on some of David Sanborn's records from the 90's, you will see John credited as "sound consultant"; Sanborn's sound, that is. I don't mean to bore you with this, but this is a wild experience that I had that was related to this:

There is a well-known instrument repair/set-up man in NYC who, for many years was David Sanborn's repairman. Other saxophone players knew that Mondays and Tuesdays were blocked out for David Sanborn, and it would be almost possible to get to see him on those days. Sanborn is known for being obsessive about the set-up of his instrument, and actually had this technician on retainer so that he could have him service his instruments whenever he wanted. I also use this same technician. One day, after a rehearsal, I needed to have an emergency repair done before the performance later that evening. Even though it was Tuesday, I called him and asked if he could squeeze me in. I got very lucky, as Sanborn and Purcell (who Sanborn always brought along as "consultant") had just stepped out for lunch. I ran to the repair shop and all of Sanborn's gear was there. Here is where it gets good, and how it relates to what audiophiles agonize over concerning tweaks, and wether they make an audible difference or not. Keep in mind that a saxophone is a mechanical instrument with many keys, each operated by a small metal needle spring, not much larger than a sewing needle (hence the name).

I will never forget this: On the technician's workbench were three cork pieces each about six inches square. Two of the cork squares were packed with many springs stuck in them. Off to one side was a third cork square with a single, lone spring stuck in it. I looked at the technician, and he smiled and I immediately knew: THAT WAS THE ONE! That was the one that sounded best.

The last I heard about John Purcell was from a colleague who told me that John had been spotted at an intersection on the Upper West Side of NYC screaming at traffic as it went by. Sad indeed.
You are correct he is a great player. Awesome tone and phrasing.
I noticed two things from what I have been able to read. He didn't seem to record a lot as leader and then not with the major labels.

The second thing is, he is called underrated, invisible, under the radar etc.... on a lot of reviews. I don't understand that at all. You can't be this good, and invisible an entire career.

I did listen to Dear John C on youtube. I will try him out. 'Boston All Stars' or 'Charlie Mariano Plays'. both seem to be from his best period.

Thanks for the info.

Rok, check out Elvin Jones' album "Dear John C." featuring Charlie Mariano. Absolutely killer album from 1965 in a more modern bag; one of my very favorite records. There are some cuts on Youtube, but I don't seem to be ale to download them. This record shows Mariano at his absolute peak, IMO; before he moved in a completely different direction.
Rok, I am hesitant to say, you will love. It is not a safe choice, but it has been one of my favorites, and is a classic. After starting to listen to jazz from strictly rock, by way of Metheny, I picked up an ECM sampler and "forced" myself to understand what was going on. I picked this recording up at this time and fell in love with it.

If you think about it, it is actually easier, as a young man listening to Zeppelin, to understand free jazz and hard bop than structured classic jazz.
I have Album Album on lp. But I have not played Lps since around 1987. So, all memory of it is gone. I will look for it on CD. I once thought I had replaced all my good Jazz lps with CDs, but I am learning everyday that I have not.
Dancing around? I would hate for video of me when I am listening to be shown. That's the best part of this game.

I hae nothing by Purcell. Not even on my World Saxophone Quartet Discs. He played with a lot of big time people.