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Let's put the hook in right from the jump: Echoes of Indiana Avenue is perhaps the most significant release of previously unissued material by a major jazz artist since the The Thelonious Monk Quartet with John Coltrane: At Carnegie Hall appeared in 2005. That's not hyperbole. These tapes, which consist of two live recordings and one studio demo, were cut, presumably, between 1957 and 1958, with various groupings of musicians, including his brothers Monk and Buddy, as well as pianist Earl Van Riper and bassist Mingo Jones. All of the tunes here are now regarded as standards, but some were current then, freshly added in that era, such as Shorty Rogers' Diablo's Dance, Horace Silver's Nica's Dream, and perhaps most importantly, Thelonious Monk's 'Round Midnight and Straight No Chaser. The former, recorded in an organ trio format with Melvin Rhyne on the B-3 and Paul Parker on drums, reveals, even at this early date, how well-developed Montgomery's improvisational language was. His reverent opening is ever so gradually replaced by a shimmering movement toward something approaching early soul-jazz, yet his ability to use the instrument's tonal subtleties and harmonic possibilities add a very different dimension to its harmonic architecture. (And while he recorded it several times during his all-too-brief life, this version is the earliest one we now have of him.) The hard swinging Take the 'A' Train showcases the already distinctive and innovative voicings on the bass strings Montgomery developed. These examples aside, there isn't a weak or middling moment throughout the proceedings. At this early date as a leader, Montgomery was in command, pushing hard at the Charlie Christian-isms that dominated his playing with Lionel Hampton. Sound quality can be a tiny bit rough in places, but it hardly matters when the material is this fine. ~ Thom Jurek, Rovi
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After a 20-year hiatus, original lead singer and songwriter David Nelson has put together a new version of the New Riders of the Purple Sage. (New New Riders of the Purple Sage?) Longtime NRPS pedal steel player Buddy Cage joins Nelson for this outing and takes the majority of the solos, adding plenty of feeling to the band's cosmic country meets Grateful Dead sound. Longtime Grateful Dead lyricist Robert Hunter contributes words to seven of the album's 12 tracks, bringing his customary psychedelic sheen to the material. Nelson's familiar high tenor sounds a little gruffer these days, but it's still a beautiful instrument and brings plenty of understated emotion to the music. He's always had a gift for crafting fine melodies and hooks that stick in your mind after a single listen, so it's no surprise that a bunch of these new tunes are as good as anything NRPS have given to us in the past. Fivio is a triumphant love song that's a reinvention of the traditional Irish tune popularized by the Clancy Brothers and features Michael Falzarano's chiming guitar and sighing pedal steel by Cage. Suite at the Mission is a cryptic meditation on life's vicissitudes full of dark humor; it's marked by more sparkling pedal steel from Cage and a world-weary vocal from Nelson. The title track is a bluesy shuffle crammed with mind-bending images that compares favorably to the Dead classic Truckin'. It's one of the album's strongest songs and Nelson delivers it with a jaunty, insouciant air. ~ j. poet, Rovi
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Madison Avenue Trendy Circles Banner 30 Inch X 82 Inch Attach N Go. This Madison Avenue Trendy Circles Banner will look great along your vintage party supplies. This retro banner includes grommets for easy hanging. Dare to Compare! Prices as low as $14.99 Quick and Easy to create! Over 1,000 designs to choose from Our exclusive customizing tool allows you to move, rotate and size. Order one, ten or 10,000. Weather-resistant Vinyl Banners Printed on durable 10 ounce white vinyl Includes metal grommets for hanging 7 sizes available Attach N' Go Banners It's as easy as 1, 2, 3! Peel, Place, Enjoy Printed on safe, low-tack material Perfect for anywhere, no cords or tape needed 3 sizes available Banners will be printed exactly as shown. Please, take a few minutes to review your final selections and check your spelling. Attach N' Go Banners are not recommended for outdoor use or for application on windows. At ShindigZ, we offer a 100% satisfaction guarantee for all of our banners. We want you to be delighted with our printing and our expert service! If you aren't fully satisfied with your banner or if we introduce any errors, we will either reprint it or provide you with a full refund. This guarantee does not cover customer errors such as incorrect copy or poor image quality or resolution. Our customers are important to us and we want your banner to look terrific! We reserve the right to refuse any objectionable material. We will not reproduce materials that are deemed to be offensive or obscene.
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Avenue Q has not been authorized or approved in any manner by the Jim Henson Company or Sesame Workshop, which have no responsibility for its content, reads a disclaimer found, among other places, inside the CD booklet for the original Broadway cast album of Avenue Q. It's an important statement to keep in mind, because, in essence, the show, with songs by Robert Lopez and Jeff Marx, who are also credited with the original concept, asks what would happen if you crossed the children's television series Sesame Street with the gritty, urban Broadway musical Rent. Or, to put it more plainly, suppose all the puppets on Sesame Street had potty mouths? What if, for example, Bert and Ernie (or, as they are called here, Rod and Nicky [John Tartaglia and Rick Lyon]) were closeted gays (If You Were Gay)? What if Cookie Monster (sorry, Trekkie Monster [Rick Lyon again]) craved not baked goods, but pornography (The Internet Is for Porn)? And what if Miss Piggy's name was, instead, Lucy the Slut (Stephanie D'Abruzzo)? It's fair to say that the viewer and listener's reaction to Avenue Q will depend on a visceral response to the original concept of a hard R-rated version of Sesame Street. Is it a clever idea, or does it make you want to exclaim, as Kate Monster (Stephanie D'Abruzzo again) does during the show, Ewww! and That's gross!? The question is complicated by context. Like another heavily satirical show of the early 21st century, Urinetown, Avenue Q began off-Broadway (on March 19, 2003). But then it transferred to Broadway (on July 31, 2003). In an earlier day, such shows might have stayed off-Broadway, where audiences in search of edgy work would seek them out in small theaters in Greenwich Village. Instead, they now come uptown, where it's easy to mistake them for mainstream fare, especially when they win Tony Awards, as Avenue Q did for its score and book as well as an upset victory in the Best Musical category. After those accolades, the show's producers unexpectedly announced that Avenue Q would bypass a national tour in favor of a permanent production in Las Vegas, a decision that may have upset regional theaters, but probably saves many American children from inadvertently hearing a bunch of earnest, friendly looking, familiarly fuzzy puppets proclaim, Everyone's a Little Bit Racist. Avenue Q is for adult audiences. ~ William Ruhlmann, Rovi
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