What’s that you say? Y’all found a bit of loose green behind the sofa cushions? Well, maybe you’d like to pitch in so a lovely young lady whose legs need a little help can get a walking harness. With its help, she’ll be able to go for walks with her mom. Thanks in advance for any help you might offer, from a reblog to a donation.
The Modern Jazz Quartet, “Lonely Woman,” from Lonely Woman
According to AllMusic.com, MJQ pianist John Lewis sponsored this song’s composer, jazz legend Ornette Coleman, for music school. This, one of the earliest recorded covers of an Ornette tune, offers a great interpretation of one of my favorites of his compositions.
John Coltrane, “Countdown,” from Giant Steps
Trane pedal to the metal for 2:21.
Alice Coltrane, “Galaxy in Turiya,” from World Galaxy
Your sobsister found a little vinyl today. And a Peter Max cover, no less.
Alice Coltrane, Reflection on Creation and Space
A compilation of her work on Impulse.
Nina Simone, “What More Can I Say,” from Wild Is the Wind
Green Lantern and Hawkgirl finally get down to it (from “Wild Card,” Justice League).
A feature for Mark Hamill’s Joker, and a great episode overall. But this. I’d write a paper on the significance of this being the first time we see her without her hawk headpiece, but it’s late.
Rose Byrne as Jackie Q, with Russell Brand, “Supertight,” from Get Him to the Greek (2010)
I hadn’t thought of this song in a while, but it came to me unbidden this evening, and so I thought to share it with you. Because that’s me all over.
San Fermin, live in Berlin.
Great band. I’m not a fan of new lead female singer Charlene Kaye. Rae Cassidy, who left the band in April, had a richer, bigger voice with what sounded like a broader range, especially toward the high end. Kaye sounds as if she’s straining on the high notes and doesn’t have great breathing technique or much texture to her voice. Which is unfortunate.
At any rate, more San Fermin is always good. Here in an intimate venue.
The Manhattan Transfer, Coming Out
Their second album (or third, if one counts the early incarnation that only had Tim Hauser in common). A move away from the b’n’w art deco look of their eponymous debut on Atlantic as well as a sonic shift to more contemporary tunes, i.e., ’50s-’70s rather than ’30s-50s, in an effort to slip the “nostalgia act” tag at a time when that fad was overstaying its welcome in mainstream America.
Released in August 1976, it eventually spawned one hit in Europe and the U.K. (“Chanson d’Amour”), but did not trouble the U.S. Top 40 chart.
Rather than link to the album itself, following are the original versions of the songs the band covered on side one of this album. In most cases, their covers were faithful renderings of the original, down to the arrangements. Following credits and timings via Wikipedia.
- Roy Hamilton, “Don’t Let Go" (Jesse Stone) - 2:45
- The Chimes, “Zindy Lou" (Johnny Moore, Eddie Smith) – 2:50
- Art and Dotty Todd, “Chanson D’Amour" (Wayne Shanklin) – 2:55
- Kim Weston, “Helpless" (Holland-Dozier-Holland) – 3:07
- The Kingston Trio, “Scotch and Soda" (Dave Guard) – 2:59
- Al Castellanos, “The Speak Up Mambo (Cuentame)" (Al Castellanos) – 3:05
More info on the ManTran site.
The 2011 Lincoln Center staged concert production of Stephen Sondheim’s Company, starring Neil Patrick Harris as Bobby and featuring an all-star cast from Patti LuPone and Martha Plimpton to Stephen Colbert and Jon Cryer. And Christina Hendricks in a stewardess uniform. Let me repeat that last bit.
Sondheim’s best-known musical. Perhaps his most accessible. And the motherlode for tunes interpreted in later revues, e.g., “Ladies Who Lunch,” “Getting Married Today,” “Barcelona,” “Being Alive.”
Happy Sondheim Sunday!
(Note: There’s a one-minute advert for the Philharmonic at the start).