7/4

Nice! Are those your own or are they from Harmonic Experience (it's been a long time and I never finshed reading it anyway). They're from Harmonic Experience. Those books changed my musical life, I tell ya! Cool. I think I'll be taking a flip through that book this week end. I need a FAQ for my web site and I think I'll illustrate some of my points with quotes. I was thinking of comparing Just vs. evil...uh, Equal to having sex with or without a condom. But I'm not too sure that would be very responsible.

I'd call it a harmonic, but lately I'm finding that calling it a harmonic confuses the snot out of folks new to the subject of Just Intonation. BTW: the intervals in JI are named as ratios. The seventh harmonic is known as 7/4.

That's right. Nice! Are those your own or are they from Harmonic Experience (it's been a long time and I never finshed reading it anyway). You're doing fine! I'll be back later with some other examples.....

Ah, but I didn't mention grabbing those cupcakes with my hands!

That's some pretty funny sheet!

I'm on a diet, but I'll have a nibble.

This will be crushing news for Randy. but that's just because hardly anyone can play the damn thing decently. Name a top notch cowbell solo.....

I waited 'til I saw the sun I don't know why I didn't come I left you by the house of fun I don't know why I didn't come I don't know why I didn't come When I saw the break of day I wished that I could fly away Instead of kneeling in the sand Catching teardrops in my hand My heart is drenched in wine But you'll be on my mind Forever Out across the endless sea I would die in ecstacy But I'll be a bag of bones Driving down the road alone My heart is drenched in wine But you'll be on my mind Forever Something has to make you run I don't know why I didn't come I feel as empty as a drum I don't know why I didn't come I don't know why I didn't come I don't know why I didn't come

Any thoughts? It's on sale at DMG.

Electric guitar with bad tone. Cowbells. The triangle.

NY Times Parent of Tower Records Files for Chapter 11 By THE ASSOCIATED PRESS Published: February 9, 2004 Filed at 10:35 a.m. ET WEST SACRAMENTO, Calif. (AP) -- The parent company of Tower Records, the pioneering record retailer that invented the music megastore, has filed for bankruptcy, the company announced Monday. MTS Inc., the privately held parent of the West Sacramento-based chain, said it has filed a prepackaged plan of reorganization and voluntary petitions for reorganization under Chapter 11 as the concluding step in a debt restructuring that began in May 2003. The company filed in U.S Bankruptcy Court in Wilmington, Del. ``Court approval of the prepackaged plan will reduce existing debt by $80 million, effectively eliminating the financial risks that have faced Tower for the past three years,'' chief executive E. Allen Rodriguez said in a news release. ``Our issues are financial, not operational ... and we expect the prepackaged reorganization to be concluded quickly.'' The company said it expects to receive plan confirmation and successfully complete the reorganization within 60 days. The filing comes nearly a year after MTS decided to sell Tower because it could not pay off $5.2 million in debt. Tower Records was launched with a single store in 1960 and soon became internationally recognized for its in-store concerts and a deep selection of both popular and obscure music. But the chain has fallen victim to a slump in the music business and its own missteps in a rapidly changing retailing environment. Tower Records owns 93 stores, down from 171 during its heyday when annual sales topping $1 billion were routine. The retailer's decline began in 1998 as falling sales, lack of hits and discounters such as Best Buy and Wal-Mart cut into profits of traditional record stores. Business will continue as usual during the reorganization, Rodriguez said, and customers and employees of Tower stores will not notice any difference as a result of the filing.

List of Grammy Award Winners By THE ASSOCIATED PRESS Published: February 8, 2004 Filed at 11:43 p.m. ET List of winners at Sunday's 46th Annual Grammy Awards: Album of the Year: ``Speakerboxxx/The Love Below,'' OutKast. Record of the Year: ``Clocks,'' Coldplay. Song of the Year: ``Dance With My Father,'' Richard Marx and Luther Vandross (Luther Vandross). New Artist: Evanescence. Rock Performance by a Duo or Group With Vocal: ``Disorder in the House,'' Warren Zevon and Bruce Springsteen. Female Country Vocal Performance: ``Keep on the Sunny Side,'' June Carter Cash. Female Pop Vocal Performance: ``Beautiful,'' Christina Aguilera. Male Pop Vocal Performance: ``Cry Me a River,'' Justin Timberlake. Rap Album: ``Speakerboxxx/The Love Below,'' OutKast. Pop Performance by a Duo or Group With Vocal: ``Underneath It All,'' No Doubt. Contemporary R&B Album: ``Dangerously in Love,'' Beyonce. R&B Song: ``Crazy in Love,'' Shawn Carter, Rich Harrison, Beyonce Knowles and Eugene Record (Beyonce featuring Jay-Z). R&B Album: ``Dance With My Father,'' Luther Vandross. Female R&B Vocal Performance: ``Dangerously in Love,'' Beyonce. Male R&B Vocal Performance: ``Dance With My Father,'' Luther Vandross. R&B Performance by a Duo or Group With Vocals: ``The Closer I Get to You,'' Beyonce and Luther Vandross. Traditional R&B Vocal Performance: ``Wonderful,'' Aretha Franklin. Female Rap Solo Performance: ``Work It,'' Missy Elliott. Male Rap Solo Performance: ``Lose Yourself,'' Eminem. Rap Performance by a Duo or Group: ``Shake Ya Tailfeather,'' Nelly, P. Diddy and Murphy Lee. Rap/Sung Collaboration: ``Crazy in Love,'' Beyonce featuring Jay-Z. Rap Song: ``Lose Yourself,'' J. Bass, M. Mathers and L. Resto (Eminem). Urban/Alternative Performance: ``Hey Ya!'' OutKast. Pop Collaboration With Vocals: ``Whenever I Say Your Name,'' Sting and Mary J. Blige. Pop Instrumental Performance: ``Marwa Blues,'' George Harrison. Pop Instrumental Album: ``Mambo Sinuendo,'' Ry Cooder and Manuel Galban. Pop Vocal Album: ``Justified,'' Justin Timberlake. Dance Recording: ``Come Into My World,'' Kylie Minogue. Traditional Pop Vocal Album: ``A Wonderful World,'' Tony Bennett and k.d. lang. Hard Rock Performance: ``Bring Me to Life,'' Evanescence featuring Paul McCoy. Metal Performance: ``St. Anger,'' Metallica. Rock Instrumental Performance: ``Plan B,'' Jeff Beck. Alternative Music Album: ``Elephant,'' The White Stripes. Female Rock Vocal Performance: ``Trouble,'' Pink. Male Rock Vocal Performance: ``Gravedigger,'' Dave Matthews. Rock Song: ``Seven Nation Army,'' Jack White (The White Stripes). Rock Album: ``One by One,'' Foo Fighters. Male Country Vocal Performance: ``Next Big Thing,'' Vince Gill. Country Performance by a Duo or Group With Vocal: ``A Simple Life,'' Ricky Skaggs and Kentucky Thunder. Country Collaboration With Vocals: ``How's the World Treating You,'' James Taylor and Alison Krauss. Country Instrumental Performance: ``Cluck Old Hen,'' Alison Krauss and Union Station. Country Song: ``It's Five O'Clock Somewhere,'' Jim ``Moose'' Brown and Don Rollins (Alan Jackson and Jimmy Buffett). Country Album: ``Livin', Lovin', Losin': Songs of The Louvin Brothers,'' Various Artists. Bluegrass Album: ``Live,'' Alison Krauss and Union Station. Short Form Music Video: ``Hurt,'' Johnny Cash. Long Form Music Video: ``Legend,'' Sam Cooke. Engineered Album, Classical: ``Obrigado Brazil,'' Richard King and Todd Whitelock, engineers (Yo-Yo Ma). Producer of the Year, Classical: Steven Epstein. Classical Album: ``Mahler: Symphony No. 3; Kindertotenlieder,'' Michael Tilson Thomas, conductor; Michelle DeYoung, mezzo soprano. Orchestral Performance: ``Mahler: Symphony No. 3,'' Pierre Boulez, conductor (Vienna Philharmonic). Opera Recording: ``Janacek: Jenufa,'' Bernard Haitink, conductor; Jerry Hadley, Karita Mattila, Eva Randova, Anja Silja and Jorma Silvasti; Wolfram Graul, producer. Choral Performance: ``Sibelius: Cantatas,'' Paavo Jarvi, conductor; Tiia-Ester Loitme and Ants Soots, chorus masters (Ellerhein Girls' Choir & Estonian National Male Choir; Estonian National Symphony Orchestra). Chamber Music Performance: ``Berg: Lyric Suite,'' Kronos Quartet and Dawn Upshaw, soprano. Small Ensemble Performance (with or without Conductor): ``Chavez: Suite for Double Quartet,'' Jeff von der Schmidt, conductor; Southwest Chamber Music. Classical Vocal Performance: ``Schubert: Lieder With Orchestra,'' Thomas Quasthoff, bass-baritone and Anne Sofie von Otter, mezzo soprano. Classical Contemporary Composition: ``Argento: Casa Guidi,'' Dominick Argento (Frederica von Stade, mezzo soprano; Eiji Oue; Minnesota Orchestra). Classical Crossover Album: ``Obrigado Brazil,'' Jorge Calandrelli, conductor, Yo-Yo Ma, cello (Various Artists). Traditional Folk Album: ``Wildwood Flower,'' June Carter Cash. Contemporary Folk Album: ``The Wind,'' Warren Zevon. Native American Music Album: ``Flying Free,'' Black Eagle. Reggae Album: ``Dutty Rock,'' Sean Paul. Traditional World Music Album: ``Sacred Tibetan Chant,'' The Monks of Sherab Ling Monastery. Contemporary World Music Album: ``Voz D'Amor,'' Cesaria Evora. Polka Album: ``Let's Polka 'Round,'' Jimmy Sturr. Musical Album for Children: ``Bon Appetit!'' Cathy Fink and Marcy Marxer. Spoken Word Album for Children: ``Prokofiev: Peter and the Wolf/Beintus: Wolf Tracks,'' Bill Clinton, Mikhail Gorbachev and Sophia Loren. Spoken Word Album: ``Lies and the Lying Liars Who Tell Them: A Fair and Balanced Look at the Right (Al Franken),'' Al Franken. Instrumental Soloist(s) Performance (with Orchestra): ``Britten: Violin Concerto/Walton: Viola Concerto,'' Mstislav Rostropovich, conductor; Maxim Vengerov, violin and viola (London Symphony Orchestra). Instrumental Soloist Performance (without Orchestra): ``Haydn: Piano Sonatas Nos. 29, 31, 34, 35 and 49,'' Emanuel Ax, piano. Comedy Album: ``Poodle Hat,'' ``Weird Al'' Yankovic. Musical Show Album: ``Gypsy.'' Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media: ``Chicago,'' Various Artists. Score Soundtrack Album for a Motion Picture, Television or Other Visual Media: ``The Lord of the Rings: The Two Towers,'' Howard Shore, composer. Song Written for a Motion Picture, Television or Other Visual Media: ``A Mighty Wind,'' Christopher Guest, Eugene Levy and Michael McKean, songwriters, track from ``A Mighty Wind.'' Instrumental Composition: ``Sacajawea,'' Wayne Shorter, composer (Wayne Shorter), from ``Alegria.'' Instrumental Arrangement: ``Timbuktu,'' Michael Brecker and Gil Goldstein, arrangers (Michael Brecker Quindectet), from ``Wide Angles.'' Instrumental Arrangement Accompanying Vocalist(s): ``Woodstock,'' Vince Mendoza, arranger (Joni Mitchell), from ``Travelogue.'' Recording Package: ``Evolve,'' Ani DiFranco and Brian Grunert, art directors (Ani DiFranco). Boxed or Special Limited Edition Package: ``The Complete Jack Johnson Sessions,'' Julian Alexander, Howard Fritzson and Seth Rothstein, art directors (Miles Davis). Album Notes: ``Martin Scorsese Presents The Blues: A Musical Journey,'' Tom Piazza, album notes writer (Various Artists). Historical Album: ``Martin Scorsese Presents The Blues: A Musical Journey,'' Steve Berkowitz, Alex Gibney, Andy McKaie and Jerry Rappaport, compilation producers. Remixed Recording, Non-Classical: ``Crazy in Love (Maurice's Soul Mix),'' Maurice Joshua, remixer (Beyonce featuring Jay-Z). Engineered Album, Non-Classical: ``Hail to the Thief,'' Nigel Godrich and Darrell Thorp, engineers (Radiohead). Producer of the Year, Non-Classical: The Neptunes. Latin Pop Album: ``No Es Lo Mismo,'' Alejandro Sanz. Latin Rock/Alternative Album: ``Cuatro Caminos,'' Cafe Tacuba. Traditional Tropical Latin Album: ``Buenos Hermanos,'' Ibrahim Ferrer. Salsa/Merengue Album: ``Regalo Del Alma,'' Celia Cruz. Mexican/Mexican-American Album: ``Afortunado,'' Joan Sebastian. Tejano Album: ``Si Me Faltas Tu,'' Jimmy Gonzalez y El Grupo Mazz. Rock Gospel Album: ``Worldwide,'' Audio Adrenaline. Pop/Contemporary Gospel Album: ``Worship Again,'' Michael W. Smith. Southern, Country, or Bluegrass Gospel Album: ``Rise and Shine,'' Randy Travis. Traditional Soul Gospel Album: ``Go Tell It on the Mountain,'' The Blind Boys of Alabama. Contemporary Soul Gospel Album: `` ... Again,'' Donnie McClurkin. Gospel Choir or Chorus Album: ``A Wing and A Prayer,'' The Potter's House Mass Choir. Traditional Blues Album: ``Blues Singer,'' Buddy Guy. Contemporary Blues Album: ``Let's Roll,'' Etta James. New Age Album: ``One Quiet Night,'' Pat Metheny. Contemporary Jazz Album: ``34th N Lex,'' Randy Brecker. Jazz Vocal Album: ``A Little Moonlight,'' Dianne Reeves. Jazz Instrumental Solo: ``Matrix,'' Chick Corea. Jazz Instrumental Album, Individual or Group: ``Alegria,'' Wayne Shorter. Large Jazz Ensemble Album: ``Wide Angles,'' Michael Brecker Quindectet. Latin Jazz Album: ``Live at the Blue Note,'' Michel Camilo with Charles Flores and Horacio ``El Negro'' Hernandez.

Bah! Jeff Beck & David Torn won best rock instrumental, Metheny snagged the New Age Grammy.

I hear many drummers! Once in a while Cobham jumps out in the mix with a roll. Must have been a terror to mix!

Here's some details from the Pages of Fire: 1. A Love Supreme - (7:48) (J.Coltrane) 2. Naima - (3:12) (J.Coltrane) 3. The Life Divine - (9:23) (J.McLaughlin) 4. Let Us Go into the House of the Lord - (15:43) (trad., arr. by J.McLaughlin & C.Santana) 5. Meditation - (2:41) (J.McLaughlin) John McLaughlin - guitar, piano (5.) Carlos Santana - guitar Khalid Yasin (Larry Young) - organ Doug Rauch - bass Billy Cobham, Don Alias, Jan Hammer, Mike Shrieve - drums Armando Peraza - congas Recorded in New York City, October 1972 & March 1973. Produced by Carlos Santana & John McLaughlin. ------------------- All-Music Guide Album -------------------- Charts : Billboard #014, entered Jul 7 , 1973, on charts 024 weeks From a time when Jazz charted!

I have the original CD issue, I'll give it a spin and listen carefully to the drums. Mine lists Billy Cobham, Don Alias, Jan Hammer and Mike Shrieve on drums, Armando Peraza on congas.

Pop's Best Behaved . . . By BEN RATLIFF Published: February 8, 2004 The atmosphere of "Feels Like Home," Norah Jones's second album, is full of a tasteful quiet. Not a literal lack of sound, of course: there's a lot of girlish exhalation, and a bit of wry womanhood, and some ghosts of soothing 70's radio hits and American roots music. But there is a kind of void at the heart of "Feels Like Home": Song after song about inaction. Nothing much happens in a Norah Jones song, whether she writes it or not. (She had a hand in 6 of the album's 13 songs, and most are written with various members of her group, the Handsome Band.) She reflects, she wonders, she grows wistful; she considers falling in or out of love, and when she pledges it, as in the song "What Am I to You?," she does so in certifiable clichés about skies falling and butterflies. One entire song, "Toes," contemplates the possibility that its narrator will go swimming — but in the end, as the chorus goes, her toes just touch the water. If every pop star transmits a persona, hers remains sweet and blank and diffident. To the extent that she has an idée fixe, it's time and its passing. The first song, "Sunrise," is about staying in bed with the clock stuck at 9:15, and by the sixth track the word "afternoon" has cropped up eight times. Despite Ms. Jones's obvious gifts as a singer, she's still hiding out in work that's so low-key it verges on the studied. Instead of being a cipher that nobody can identify with, she has calibrated her crème-fraîche voice to the point of becoming a singer that anyone can identify with, if only in general terms. "Feels Like Home" (Blue Note) is more one-size-fits-all than her first album, the 18-million-selling "Come Away With Me." The persona in her songs — let's not call it Ms. Jones herself, because her life couldn't be this dull — might have lived practically anywhere in the developed world, at any time during the last century. Somehow Ms. Jones's work has managed to make a virtue of vagueness. (The virtue wasn't quite so apparent when she played at the Beacon Theater in New York during last year's tour for "Come Away With Me"; she was too fidgety and lacking in stagecraft to make her close-quartered music get over in a large space.) This is multipurpose music: whatever your circumstances, you can plug in your own life's coordinates and project yourself into her songs. Where she spends her money, aesthetically speaking, is on creating a vibe. As co-producer of the album with Arif Mardin, she mixes low volume with warm, slightly antique-sounding instruments — electric piano, steel guitar, accordion, acoustic bass. And her piano style comes pretty much whole from the one invented in the 1950's by the Nashville pianist Floyd Cramer, who helped create the "countrypolitan" sound of Patsy Cline's records, among hundreds of others. It's a cool, subtly kitschy choice, and it trails through almost every tune on "Feels Like Home." If all that sounds like a description of "Come Away With Me," the new album is more buoyant than its predecessor, which was weighed down by morose medium-slow tempos. (They were like torch songs that were designed by Pottery Barn, with natural fibers and sand-washed color standing in for emotion.) The new album is slightly leaner, with more of the snapping, boom-chicka-boom rhythm of early Johnny Cash; it even upshifts to bluegrass for "Creepin' In," a song she sings with Dolly Parton. But on balance it's the Norah Jones you've already heard. Ms. Jones's peek-a-boo act, coming through a lush voice, isn't artless: that's a game she's playing with her audience, and her voice is original enough to pull it off. The musical influences behind the tunes are almost all two to three decades old: Bill Withers, the Band, Neil Young, Maria Muldaur, Bonnie Raitt, Rickie Lee Jones. Still, there's an even stronger precursor for the general sound of her records, over and above those memory trip-wires. Simply put, it's hard to imagine this music without Cassandra Wilson. On a run of albums starting in the early 90's, and with her original producer Craig Street — incidentally, the original producer for Norah Jones's first album, before Arif Mardin was called in to remake it — Ms. Wilson crafted an upside-down version of what's considered elegant in jazz, with the roots on top and the leaves on the bottom. Saxophones were out; acoustic guitars and mandolins were in. The usual cosmopolitan images were out; evocations of rural America under dark skies were in. The Wilson records smushed entire traditions together without a second thought, with simplicity as a common denominator. But underneath it all were elements that came unmistakably from jazz: a sense of controlled soloistic ideas, an organic feeling of a group playing together in real time, even within the songs' pop brevity, and in her singing, a lot of patience. Ms. Jones, 24, inherited this blueprint, as well as a similar feel for material. On "Feels Like Home" Ms. Jones puts bluegrass, singer-songwriter pop, blues and Duke Ellington's song "Melancholia" together on one aligned field. Ms. Wilson once covered Robert Johnson; Ms. Jones once covered Hank Williams. Two years ago, Ms. Wilson recorded the Band's song "The Weight"; Ms. Jones hired the Band's Garth Hudson and Levon Helm to play on "Feels Like Home." The big difference is in vocal hues and styles: where Ms. Wilson's voice is wisdom-weighted and draped irregularly over bar lines, Ms. Jones's is young, fresh and rhythmically regular. Essentially, Ms. Jones's albums feel like the commercial refinement of a brilliant idea. But even at their second-generation remove, Ms. Jones's albums still retain their little nubs of American identity, details that connect with national myths and cultural memory, and for some reason, soothe us. Those details are all over "Feels Like Home," though shyly played and coyly low in the mix — be it the modified banjo Kevin Breit plays on "Sunrise," Mr. Hudson's accordion on Townes Van Zandt's "Be Here to Love Me," the pump organ Ms. Jones plays in "Humble Me" or the box Andrew Borger taps on as the only percussion in "The Long Way Home," written by Tom Waits and Kathleen Brennan. But when Dolly Parton starts in on the second verse of "Creepin' In," blazing forth with a flash of melismatic mountain singing, suddenly here's a rock-ribbed, authentic national music, instead of a glib pop deconstruction. The eyelids, pleasantly lowered, suddenly pop open. Perhaps what listeners respond to in Norah Jones isn't the honesty of the acoustic sounds, but the limited emotional range of the music. Perhaps we want someone who sounds self-assured, sexy, basically happy, talented, and untroubled. ("No More Drama," as Mary J. Blige put it a few years ago.) Is Ms. Jones making the world safe for soft-rock again? I'm afraid she is. But that's not all she's doing: she's a musician making clear connections to several different traditions, from country to folk-rock to jazz. One can imagine her lending star power to lots of worthy musicians along the way, but she herself has enough breadth within her for several careers, if she can just get her clock fixed, rise up and wander away from her cozy home.

Jan Hammer? Didn't he also play drums on this album?

We should file a class action suite against the FCC and the broadcast networks for getting on our nerves! Screw 'em. Broadcast award shows on cable and/or pay per view! eddddddited for spellllllllllling.

I never had any jazz on 8-track, but in the late '60s, my parents gave my sisters and I a 4-track. It was a smaller cartridge like an 8 track that never caught on. Editttttttttttted 4 grammer. Yikes!

Only if your pants and underware fall off next and a gazillion people are watching you on TV!

They came pretty close to this a few years ago...

You know, I'm willing to bet that the majority of people feel the same way. Music? What music? I can't even name one of her albums!