DukeCity

I hear ya. The WZ quote was merely a "stop and smell the roses" kind of metaphor. (Letterman asked WZ if his losing battle with cancer had given him any insights into the meaning of life. WZ's response was, "Yeah. Enjoy every sandwich.") But you knew all that. The bigger issue is, when did you get so uppity that you're too good for a slice of Mrs. Baird's?

"Enjoy every sandwich" -- Warren Zevon

Rich Little Frank Gorshin Fred Travelina

Rip Van Winkle Rip Taylor Rip Torn

Apparently only on BMG Japan I only have it on vinyl. Worth the extra import bucks to have it in your collection IMHO.

Try "Live from the Showboat" Or "Phil Talks With Quill" (Gene Quill) Or some of the "Little Big Band" things with Hal Crook and Tom Harrell. (Edit: apologies for all the duplicate posts earlier. Last night it didn't look like my posts were showing up...)

Great to be back! Thanks Jim and everyone for your hard work gettin' this thing back up and running!

A vinyl-only release?

And besides the general Goodness of that whole clip, I'm guessing it wins the award for the longest trombone solo ever on Soul Train. Except maybe the time they did "Albert Mangelsdorf Day" back in '73.

Glad to hear things are getting better. Do Take Care!

Gene's was longer...

Notice, the clip ends just as Lew Tabackin is stepping into the fray...

Nice selection. Picked up Louis Armstrong Complete Hot Fives and Hot Sevens. I've had bits and pieces of this, but glad to be complete. Thanks for the coupon heads up!

Maynards chops certainly survived their share of abuse. But there was even harsher activity going on on the inside. MF played with a "dry embouchure", meaning that just before he would play he wouldn't lick his lips, he would dry them on the cuff of his shirt. This would give him a good "grip' on the mouthpiece. The combination of that and how his lips pressed on his teeth resulted in him building a callous on the inside of his upper lip. The callous had its own life cycle: There would be a point in the growth of the callous when it would allow MF to play pretty hard all night, but the callous would still be small enough that he could still play with some flixibility and subtlety. As the callous grew, MF would gain endurance, and could really scream all night, but would start to lose the flexibility. THEN, there would be a night when he would be pounding away, and the callous would crack. MF would go back to the hotel after the gig and take a long hot shower, steaming and soaking the callous, then he would...uh...remove the callous! He might mention it on the bus the next day, and that night his power and endurance would be a little down, but he would have tremendous flexibility and suppleness.. And the cycle would begin again... Nasty Buisiness!

That cover may not match the style of music or the artist, but it pretty clearly matches the lyrics of the title tune: I'm certainly familiar with those lyrics. But, come on, the album cover looks like it should be for some crappy lounge singer doing that tune, not a lyricless, avant-garde piano version. Maybe they were trying to get Cecil on the Holiday Inn circuit?

"Mr. Chung, in the case of the missing pants, how do you pleat?"

That cover may not match the style of music or the artist, but it pretty clearly matches the lyrics of the title tune: LOVE FOR SALE When the only sound in the empty street, Is the heavy tread of the heavy feet That belong to a lonesome cop I open shop. When the moon so long has been gazing down On the wayward ways of this wayward town. That her smile becomes a smirk, I go to work. Love for sale, Appetising young love for sale. Love that's fresh and still unspoiled, Love that's only slightly soiled, Love for sale. Who will buy? Who would like to sample my supply? Who's prepared to pay the price, For a trip to paradise? Love for sale Let the poets pipe of love in their childish way, I know every type of love Better far than they. If you want the thrill of love, I've been through the mill of love; Old love, new love Every love but true love Love for sale. Appetising young love for sale. If you want to buy my wares. Follow me and climb the stairs Love for sale. Love for sale.

Dave Liebman- Lieb Plays Wilder Jerry Bergonzi- Tenorist Dafnis Prieto- About the Monks (discussed recently on another thread) Ferdinand Povel- Live at Café Hopper Pete McGuinness Jazz Orchestra- First Flight Bernard Purdie- Master Drummer vol.2

Let's call them "unofficial recordings", then. But seriously -- I am guessing that Jim A will want the link deleted. Out of curiosity, for those that have checked out this site, how lossy are the files? I've heard rumors that in some cases tracks aren't separated (ie concerts are one entire long track). Guy I heard a rumor that when I... uh... I mean a friend of mine downloaded the Brecker Brothers file from 1976, it came as one long track (about 50 minutes). Or so I heard...

Just picked up "About the Monks", and looking forward to giving it a spin.

Kenny Werner- Lawn Chair Society Purchased: Joe Zawinul and WDR Big Band- Brown Street

Absolutely. I think the list in FreeForAll's first response is good: but I would put "Imagination/personal concept" as the most important thing. When you hear beginners, they all sound pretty much the same, 'cause they're just honking away with not concept or sonic target that they're aiming for. When a player starts to have a concept in his head about what he wants to sound like, there's a feedback loop that happens: as soon as you make a physical sound on your instrument, you start comparing it to the mental image you have. Then the body (oral cavity, breath support, touch {on piano or guitar or drums} articulation with the tongue) starts making adjustments, often subconsciously, to make the physical sound closer to the imagined model. When I was a kid, I was at a clinic by a Cleveland are sax player named Howie Smith. He picked up 5 or 6 instruments from various students (including their mouthpieces and reeds) and played them all. After just a few seconds on each different set of equipment, he was able to find "his sound". I think the whole equipment search thing is about finding the gear that allows you to get "your sound" with the least amount of contortions.

In the early '90's Deems had a big band that played around the Chicago area. I subbed a couple of times in the band (I'm guessing FreeForAll may have as well). Some good players, and even though Deems was past his prime, he was still doing some swingin'. The front head on his bass drum was painted "Barrett Deems- World's Fastest Drummer." Died in 1998, but some of his big band CDs are available here at CD Universe.

Looks like it might be a suona, and Chinese wind instrument (the smaller one in the photo).

I've seen a couple of Selmer horns that were modified for Varitonic activities. In addition the pickup on the neck of the horn, there was also a long tube or conduit that was attached to the body (tucked in amidst the rest of the keywork and lacquered to look like just one more rod). Apparently the wires would go from the neck pickup, down through that tube, then out from the lower end of the horn to the Varitone unit/amp. What I don't know is whether this modification was done at the Selmer factory, or if the Varitone folks bought up a bunch of horns and did the work on them. Over the last year or so, I've done some experimenting with some effects on my tenor. I got a Digitech vocal processor, and have used it on some funk gigs to do some octaves, some fourthy doublings, and some envelope filter/wah effects. A little goes a long way...