rostasi

Well, Allen, that's not quite true. Tiny collapsed on stage and doctors spent half an hour trying to revive him while he was laying on the floor just past the stage. After the ambulance took him to Hennepin County, they worked on him for a little over an hour and they never could revive him. Sue Gardner was with him when he died on stage (and too when he was "officially" pronounced dead a couple of hours later). By the way, what does your friend have to say about the shitty way Tiny was treated by the bandleader that night? Tiny had his peculiarities, but he was always respectful to musicians.

Tiny Tim ...a fine jazz singer...

mmmmm...maybe I should start charging people when they ask me for my business card.

It's on a wonderful comp called The Voice of Langston Hughes which covers about 5 recordings from the S-F catalog. Looks to be in good shape (and a 10" too!) Rod

Yup, it sure tis! But not really a chronologically-based age thing, but, rather, we're living in a new era of scare tactics and fear mongering that now constantly bombards us. Corporate bullies have gotten away with it to an ever increasing degree. Even people who, for example, used to make music tapes for their potential sweethearts have, in recent years, gotten amnesia and have become suddenly convinced and righteous after constantly being fed specious corporate arguments concerning "loss of revenue." It's quite a sad state of affairs that we can only hope will recede after we have enough people who'll actually listen to what is being fed to them.

Well, Taiwan on for all of us will ya?

Thanks Jim for the kind words! Also, you really are missing out on some good radio thru your Last.Fm account! You haven't been connected for nearly 3 months and the features that they have now are incredible! Forget Pandora and a couple of those others (can't remember their names now). With the playlists that you've had, you can really find some fine Last.FM radio listening pleasure Thanks for the tip on the new iLife and ODEO. I'll check into that. I've only just considered doing set shows - where there's a theme and you put together a few hours of something, send people the stream link, and they listen whenever they want - it's pretty easy really and it's a bit of a precursor to Podcasting. I've been away from playing anything for a few weeks because I'm working on a bunch of audio projects, but I'll be back at it next week. Rod

Jon. It sounds like you've been listening to Aiff files on your iPod. (by the way, you can listen to a bunch of different formats on your iPod - not just mp3s) When you go to your iTunes Preferences/Advanced/Importing window what does it show that you're using to encode your iTunes music? When you drop that new CD in your iTunes, THIS is what it's encoding at and I'm guessing that you have it set to "AIFF" or something other than "mp3" Let's hope that all your files are AIFF (or uncompressed) or else when you convert them to mp3s (highlight your tunes and then: go to iTunes/Advanced/Convert Selection(s) to mp3) they'll sound like crap. Rod

Been using Nicecast for about 10 months now and it has given me (and others, I think) much joy! Remember, to create a smooth stream for listeners, you have to set your bitrate at something comparable with your UPLOAD streaming speed. In other words, if your home connection is 384 kbps DSL/Cable and you decide to stream your Nicecast at 128 kbps, then you can only have a maximum of 3 listeners at any one time. [384 ÷ 128 = 3] So, lower bit rates get you more simultaneous listeners, but you sacrifice quality.

I think he got a memo on Aug 6, 2001.

Watched the first season when it was originally broadcast. Haven't watched it since.

excerpt from "Everything You Know is Wrong" by The Firesign Theatre: The General's Comments on How To Deal With Alien Contact (The General): "Honey and men- I have something awesome to reveal to you." (The Colonel): "Well, go ahead, sir." (General's Wife): "Go ahead." (The General): "Two flying saucers have just landed on my plate." (Long moment of silence) (The Colonel): "Well, turn away sir - I'll eat them." (Nervous laughter) (Sound of a spoon repeatedly striking a water glass) (The General): "Men - our greatest fear is realized - we are under attack from superior consciousness." (The Colonel): "The eggs, sir?" (The General): "They're only the beginning." (More nervous laughter) (Another Officer): "Can I have some more of those flapjacks?" (The General): "All right, men - questions? Questions?" (The Major): "Ah, sir?" (The General): "Yes, Major?" (The Major): "Ah, pass the ah, syrup, General?" (The General): "That's a good idea, Chuck, but syrup won't stop 'em!" (Another Officer): "But, sir..." (The Colonel): "Ah, sir?" (The General): "Colonel?" (The Colonel): "Are you nuts?" (The General): "H-Hmmm! That is just exactly what they want you to believe! (chuckle)" (The Colonel): "The eggs, sir?" (The General): "Let's just call them 'the phenomena' " (The Colonel): "Well, if I may respectfully submit, sir, I think you've got your phenomena scrambled, General." (More nervous laughter) (General's Wife): "What about my eggs, dear?" (The General): "Honey - they're in everybody's eggs!"

Found a site that gives track details on this massive set. Ultimate Jazz Archive

Don't have Strawman Dance (yet), but the other's are pretty fine. Don't know much about his background, but often see his name associated with the hip NY (is it UPtown or DOWNtown these days?) scene. Poetry readings, performance art events, etc usually finds him putting together a group of musicians for a night of fun and frivolity. Soup was one of these groups, I think? A VOICE found thru the Voice for me. If Maren were around, she'd probably have something to say(?) R~

Morty and Ianni

On my desktop...

I would say that's Berlin? wer hat Geburtsort?

...so celebrate quietly please...

There were some really crappy versions from Spain that were making the rounds then. Anyone own the Rauschenberg version of Speaking In Tongues? As a big fan of RR, I used to collect as many as I could find. I think that I have 5 or 6 around here.

In October, I was in a Best Buy with my 15% off coupons looking thru the boxsets. So, I decided to pick up the "Brick" then...BUT I'm standing there looking at the Creedence boxset and it has no price, but there's a UPC sticker that looks like it had lost it's way from something else? Me: Could you tell me how much this is? Best Buy Guy: It says here that it's $16.98. Me: $16.98? (!) Best Buy Guy: Yeah, it says here that it's by a guy named Frank Zappa. So, with my 15% coupon and the fact that this guy doesn't care if BB makes any money or not, he tells me that he has to ring it up as it says.

Review by Thom Jurek When Miles Davis released Live-Evil in 1970, fans were immediately either taken aback or keenly attracted to its raw abstraction. It was intense and meandering at the same time; it was angular, edgy, and full of sharp teeth and open spaces that were never resolved. Listening to the last two CDs of The Cellar Door Sessions 1970, Sony's massive six-disc box set that documents six of the ten dates Davis and his band recorded during their four-day engagement at the fabled club, is a revelation now. The reason: it explains much of Live-Evil's live material with John McLaughlin. These discs finally reveal the crackling energy and deep-groove conscience that Miles Davis was seeking in his electric phase. First and most startling is that John McLaughlin only appears on the final two discs. The first four discs feature a new lineup, one with Keith Jarrett who, in a first for Davis in the electric era, was the lone keyboardist after Chick Corea's departure. Airto Moreira and Jack DeJohnette are holdovers from the Live at the Fillmore East and Tribute to Jack Johnson sessions, among other concerts and sets that have appeared on many different records, from Big Fun to Get Up with It to Directions. The new players here include Gary Bartz on alto and soprano saxophone (he replaced Steve Grossman), and 19-year-old bassist Michael Henderson -- fresh out of Stevie Wonder's band -- replacing Dave Holland. Davis was keen on having Columbia record his live sets, and pressured them to do so for these four nights, just a week before Christmas in 1970. This set is a solid look at what's in-the-can, since the vast majority of these tracks -- three hours' worth of them -- have never seen the light of day in any form. As Adam Holzman wonderfully states in his liner notes, this is truly the missing link between Bitches Brew and Dark Magus. This music reveals a truly muscular Miles Davis at the top of his form as an improviser and as a bandleader with the most intense and nearly mystical sense of the right place-the right time-the right lineup. These shows, played in a club instead of a concert hall, provided a virtual laboratory for possibilities Davis was exploring. The money for the gig was nearly non-existent compared to what he was used to making playing halls, so he paid the band out of his own pocket. The music here fades in with Joe Zawinul's "Directions." There is a five-note bass figure that repeats almost constantly throughout, offering DeJohnette a solid bass from which to enhance the groove and dance around. From the beginning, Davis is blowing his ass off, soloing furiously in the middle register. Jarrett is filling the space, playing both a Rhodes and an organ at the same time. When Bartz begins to solo on soprano, the deep, funky groove is well-established, giving the musicians room to dig in and let loose. Jarrett's solo is like a spaced-out Sly Stone, offering back the groove and then building on it like a man possessed. He matches both DeJohnette and Henderson with a slippery, utterly rhythmic sense of pure groove and then moves them somewhere else until Davis brings them back. Disc two opens with Jarrett, Henderson, and Airto locking horns in a ferocious groove on "What I Say" that has the members of the audience showing their appreciation with shouts of "Yeah!" and "Blow!" and "You Go!" Jarrett's solo at the beginning is unlike anything he has ever played -- before or since. As they move through the set and get to "Inamorata," the gate to heaven and hell is wide open. The spaced-out blues in "Honky Tonk" reveals Davis' total mastery of the wah wah he employed in so much of his material of the time. "Inamorata" is wildly funky, dirty, and outright nasty in places. But the middle sections offer, as Bartz notes in his liner essay, the kinds of vocalese concepts that are reflected in his solo, Davis' solo, and in the actual voices of Airto and Henderson. What happens as the band plays each night is that the sense of adventure grows, while the utter relaxation and confidence in each member is carried through to Davis who pushes the buttons and in strange, nearly wordless ways, communicates what he wants on-stage, and the other players give it to him. There are so few rough moments here where someone drops a line or doesn't quite make it; when it does happen on that rare occasion, some other member picks it up and goes with it. And DeJohnette's drumming, in his virtual mind-lock with Henderson, is some of the best playing of his career. The final surprise is when McLaughlin joins the band for the final two discs -- he came down on Saturday night after an invitation from Davis and had not rehearsed with the group at all. The first set is not here, so who knows what transpired, or how the band got comfortable with McLaughlin. But the final two sets are here, and what transpires is revelatory because one can hear what was missing on Live-Evil: melody. Teo Macero and Davis edited the melodies out for that release. The intensity begins quickly with "Directions" on disc five. Henderson is a bit tentative at first, but Jarrett eggs him on and soon enough he responds with a vengeance. Bartz carries the wave in his solo, and Airto is singing the groove in the back. McLaughlin fills the backdrop with big, ugly chordal figures until it's time for his solo, and then he simply goes for it, digging into that bassline and DeJohnette's circular groove and he just throws notes at them, gunshot-like in the cut, and then moves out enough to carry it all somewhere else. "Honky Tonk" meanders a bit, but when "What I Say" shows up it's all aggression, hard-edged dare, and daunt. It's almost a challenge to the audience because the playing is so fast and raw. Ultimately, on disc six, recorded in the third set later that evening, again it's "Directions" that gets the nod, but this time, in spite of the trance-like bassline in the tune and Davis' driving, whirlwind playing, Jarrett gets it spacey, sinister, dark, and strange. Bartz's solo comes from the blues and is in stark contrast to Davis', but when McLaughlin takes his cue, it's all knots and folds, razor-sharp and driven, torn between fun and free improvisation. The tension is killer; Bartz's storm of grace and rage in his solo, coming immediately before, throws McLaughlin off for a bit at the beginning of his own solo on "Inamorata," but he finds a place to walk the razor's edge and does just that. The box closes with a fine, freaky version of "It's About That Time," where Bartz goes back to the blues and Davis sinks into the melody of the tune and quiets everything to a hush, slowing it way, way down to a whispering finish. The Cellar Door Sessions set is like a combination of the Tribute to Jack Johnson set and the complete It's About That Time disc, with a watershed of information providing a complete bridge from one phase of that exploratory period in Davis' career to another. As Jarrett observes in his liner essay (each bandmember has one) after this date, Davis never played with a group as musically sophisticated again. And for all the ego displayed in stating this, one may tend to agree with him. Lavishly packaged and annotated, The Cellar Door Sessions is the last great reissue of the year 2005, and an essential testament to the genius Davis displayed in weaving together exploratory jazz, funk, and rock.

Adam: I sent you a PM... Five short pieces here.