Robert J

I think Jim Sangrey touched on this in the other thread: The first bars, irrespective of the previous soloist, I feel, should be an exploration of that transition. When you are on stage, and it's really happening, or you are with a band you've known and played with, it can be compared as a fluid structure. You hardly even notice the audience when you are grooving. Your turn is up, and you usually just keep it going, find a path and hopefully stick to it. The audience, if they are truly responding, are impressed by the soloing, but they are also listening to the whole tune.

Can anyone confirm this observation of mine. Whenever there's a full moon, like now, I find my practicing and performing time to be much more relaxed and expansive. Even my creativity level seems enhanced. (no, I am not on Viagra) Anyone else's playing affected by the moon, or am I just downright crazy?

small additions... Kirk Lightsey p Roy Brooks d Geri Allen p Regina Carter violin Yusef Lateef s Bess Bonier p Kenny Cox p Marcus Belgrave tr There was a guy from my hometown in Windsor, Hugh Leal, who did live and studio recordings in Windsor and Detroit with several key Detroiter's who were getting on in years and were under-recorded. It was called Parkwood Records. I have a few with Johnny O'Neal (p), Earl van Riper (p), Marcus Belgrave, JC Heard (d) and Sammy Price. I saw all these live at the taping. The Barry Harris Xanadu recordings are my favorites of his, but hard to find. I have a duo recording of Flannagan and Jones that is astounding on MPS I believe. The Griot Galaxy (Faruq Z. Bey, Jaribu Shahid, Tani Tabbal - the last 2 play w/ James Carter) would be good too - "Opus Krampus" is a good indication of post- Sun Ra composition and performing.

Ben Webster and Oscar Peterson.

A good piano is a priority for me. I'd say 80% of the time when a club has a piano it is garbage. As noted above, the action is most important. You've got 88 keys moving approximately 5000 small parts. The better clubs maintain them. I won't even talk about mikes. I got smart and bougt at PZM mike for uprights and grands. Usually however I take my Roland FP3 on most gigs. I get 88 weighted keys and volume I can control. A shitty sounding piano can make a band sound lousy. I've played many pianos live. Highlights include a 9' Steinway, 7-1/2' Yamaha (with about 12 mikes!! in a major jazz club) and a 7' Kawai at a private home party. That piano was about the best I played on. At one point (I was solo) I looked down at my hands and I was not conscious that I was even playing. It was like I was watching myself from a distance. I was thinking of a sound in my head and it just kept happeneing. That was a great night. But few and far between. Usually I am told I will be on a grand and it it worse than a bad upright.

He's not new, just overlooked. Another stellar pianist from Detroit, Kirk Lightsey http://www.crisscrossjazz.com/album/1003.html Another Detroiter Johnny O'Neal http://www.cdbaby.com/cd/oneal

Poutine lovers?

Sounds like an artist! She's reduced the price. From the order form: "We are excepting love offerings. And you can receive a cd right now, that is not in demo quality. Send checks of money orders to Norma Morris. Make the checks out to Norma Morris and mail it to Marissa Marchant. Norma will cash it for me. She takes care of business. She is my agent of sorts. If you have a check from another country contact us first. " From her writings: "I sell my music for one thousand dollars a album because I am fine art and the real thing. I am not plain jane like all of these people. I know the value of art. I charge 25 thousand dollars to perform. I write every style of music and sing every style of the high level. much higher then the biz. I play a few instruments very very well. I studied opera for years..and sing every style of music and write every style."

From the slideshow.

Dow Mossman - The Stones of Summer

Good lord! We let Canadians in here??? The customs agent didn't know where Rye was. All he asked me was if I had beef when I told him I had sandwiches in my cooler. Good Canadian BACON, lettuce and tomato sandwiches.

Thanks everyone. I'm having a great time. Check this out. For the long weekend, we're out of Oakville, Ontario. In fact now in the US! - Rye, New York celebrating my birthday with relatives. We're up for a baptism and my brother-in-law is moving back to Canada or Rochester in 2 weeks. So my last free stay near NYC. This is also the 1st time out of Canada for my birthday since my 23rd on the island of Ios, Greece in 1990. Now in the backyard sun: kids in the sprinkler, old newspapers and Harpers being read, alternating between Yeungling's Black and Tan and Magic Hat's #9. It can't get better! In May I caught up with Dmitry to see Randy Weston. Looking forward to something as rewarding, though I understand it's a bit quiet in NYC for jazz now. Dmitry mentioned Tito Puente's Restaurant as a venue. I like hot food and jazz. So maybe tomorrow or Sunday. Enjoying my 37th in New York. btw - a true Canadian, I was born on day of the Centennial. Happy Canada Day.

Yes indeed. The woman on the phone at the JS said be there by 7PM or else I'd lose the reservation.

I meant coming from the US. There's lots in Ontario, just the province is a pain when it tries to protect its markets. I love going to Montreal liquor stores. All the beer we should have in Ontario. Same happens in Alberta - my Calgary friends enjoy a completely different variety. BTW - Unibrou and St Ambrose breweries are among my faves from Quebec - "Fin de Monde" and "Oatmeal Stout" respectively.

I have had this as well. A good one, and something else from Saranac I can't remember. I bought one at a store while I brown bagged it through the Village last trip. Went to the Magic Hat site: some interesting beer. Randy Weston, ribs, beer - it's going to be a great night.

Thanks Pete. That's great news about the food and especially the beer (being Canadian). Ribs for sure! I have never tried Magic Hat #9. Looking forward to it. I was not knocking Schlitz or the watered-down beer industry. It's just that we get so little small/microbrew beers imported to us. Colt 45, yes. I grew up living across the border from Detroit, so unless you went to Ann Arbor, the beer was lame. Though last trip to NY I tried and fell in love with Yeungling's Black & Tan. I can't wait to drink it. It's incredibly only $7.99 for a 12 and it has a rich flavour and decent alcohol content. It has become one of my favourites.

Thanks all It was obvious that Randy Weston would be the choice. Although I've never seen Ron Carter or Mulgrew Miller, I have seen Malone and spoken with him after an event. I've seen Randy only in a piano workshop setting he had in Toronto in 1992. Still was fantastic. I am not nostalgic for the Blue Note club and what you guys said pretty much confirmed what I'd expect of the club now. As an aside, looking into Broadway pricing I was at the ticket amounts. Why is it that $$$ is thrown away to see Hairspray or Mama Mia in hordes, but a $25 jazz set does not sell out? You don't have to answer this. So I've got reservations for the 7:30 show on Sunday due to full Saturday plans. Plus we are taking the train in from Ryebrook to Manhattan so that's the reason for the early show. I like the fact they serve good food and beer! There's no way I am paying $8 for a Schlitz! Now to choose between Pan-Fried Black Pepper Catfish or ribs from the menu. Any recommnedations from the Blue Smoke? Dmitry - what show are you going to? Anyone else attending?

Hey all. Will be making my second ever trip to NY the weekend of May 22/23. Last time was business and tourist stuff. My wife would like to see a broadway play/musical and I'd like to check out some live music. I see the BN has Ron Carter w/Mulgrew Miller and Russell Malone then. I can reserve on the net, but not sure how trustworthy that is. Probably better to phone. Any other club suggestions for that weekend? Also like to know about the realistic cost of beverages and whether or not food must be purchased (assume a table seat). Much appreciated in advance

By TERRY WEBER and JACK KAPICA Globe and Mail Update The Federal Court of Canada ruled Wednesday that Internet Service Providers can't be forced to turn over identities of suspected music swappers, throwing a roadblock in the path of the recording industry's efforts to crack down on the practice. In a 31-page decision Judge Konrad von Finckenstein said the Canadian Recording Industry Association hasn't made its case for ordering ISPs to turn over the names of 29 suspected so-called music uploaders, people who offer music for others to download. The industry had wanted the names so that it could launch lawsuits against individuals it claims are high-volume Internet music swappers. As part of his ruling, the judge found that simply downloading a song or having a file available on peer-to-peer software such as Kazaa doesn't constitute copyright infringement. "The mere fact of placing a copy on a shared directory in a computer where that copy can be accessed via a P2P service does not amount to distribution," Judge von Finckenstein said. "Before it constitutes distribution, there must be a positive act by the owner of the shared directory, such as sending out the copies or advertising that they are available for copying." Last month, the Canadian Recording Industry Association asked the court to order five of Canada's largest communications companies to identify 29 uploaders who they allege posted hundreds of songs illegally. The industry charges that song swapping in cyberspace has had a dramatic impact on music sales in this country, costing as much as $425-million in lost revenue over the past five years. But, Judge von Finckenstein denied the request noting that, while third parties have been compelled to disclose identifying documents in the past, the plaintiffs haven't shown a causal link between P2P pseudonyms and IP addresses nor have they made out a broader case of infringement. As well, he said, they haven't established that the ISPs are the only practical source of the identity of the P2P pseudonyms, nor have they shown that the public interest for disclosure outweighs privacy concerns. The recording industry swore to continue its fight against file sharing, and is considering an appeal of the decision. CRIA president Brian Robertson stood fast in his interpretation of the law, insisting that despite the judgment, sharing music files is still against the law. "We remain committed to our plans to enforce the law against unlawful 'file sharing,' which is devastating the entire music community," he said in a statement after the ruling." "We continue to believe it's unlawful under Canadian law to share files on peer-to-peer networks," CRIA general counsel Richard Pfohl said. "I expect we will be appealing on the basis of technology," he continued. "We don't believe that when someone puts thousands of files into a shared folder to be traded on the Internet, it's an act of private copying." "We presented more initial evidence than has ever been put forward in a request for disclosure of user identities from ISPs — which Canadian courts have granted on numerous occasions," he said. Judge von Finckenstein is regarded as a senior judge with an extensive understanding of technology and is an expert in international commerce. Most recently he was the federal competition commissioner. In the United States, legal action has been taken by the music industry against song swappers. But in decision in December, a U.S. Appeals Court ruled that service provider Verizon didn't have to turn over the names of individuals, finding that the service provider was only responsible for content kept on its own server. court decision

Sorry guys, maybe my headline was inspired (unconsciously) from the daily emails I get in my hotmail account

From today's Toronto Star: Technology links distant pianos Nova Scotia boy's talent is far-reaching Oscar Peterson watches amazed LOUISE BROWN EDUCATION REPORTER Look, ma, no hands — the piano is being played by someone 1,700 kilometres away. In a high-tech twist on the old honky-tonk player piano, a boy in Wolfville, N.S., practised Beethoven's "Moonlight Sonata" yesterday on two grand pianos at once — the one he was actually touching, and another where his teacher was sitting in downtown Toronto. It was as if a ghost suddenly were tickling the ivories. The moment 12-year-old prodigy Lucas Porter began the gruelling third movement at a recital hall at Acadia University, the keys and foot pedals moved the same way on a matching piano at Toronto's Royal Conservatory of Music. Chatting through headsets and watching each other live on video screens, teacher Marc Durand and his star pupil conducted a long-distance lesson as they have twice a month since October, using digital technology designed to bring remote real-time teaching to all corners of Canada. "Look at me, now, Lucas — I want you to play that passage less like this," said Durand, chopping his hand up and down for the video camera by his piano bench, "and more like this," waving his hand in smooth horizontal circles. The boy turned to the keyboard and tried again. "Let me see you make a big athletic sound," added Durand, leaning forward and waving his hands for emphasis. "Remember how Beethoven looks mad with his wild hair? "I want you to make that sound. Make it scary! I want to feel his ghost as you play." Keyboard great Oscar Peterson was one of hundreds who watched the display of high-tech wizardry on both ends of the digital link-up. "To think this student can communicate immediately with his teacher over such a distance is something I never dreamed possible," said Peterson. "This is a great breakthrough in communication between teacher and student." Porter, a gifted pianist from Port Williams, N.S., is taking advanced instruction from Durand, an internationally acclaimed music teacher, through this pilot project. "It's been really great to get this instruction without having to travel to Toronto," said Porter, who was clearly more nervous talking about the piano than playing it. "It's made a big difference in my playing." The pianos were designed with special digital technology that can record each keystroke and transmit it in real time over the Internet to deliver the same performance on a second piano. Using new software called MusicPath developed at Acadia University, these "Disklaviers" built by Yamaha Canada were connected through a special Canadian network for research called CA* net 4. The $400,000 project was partly funded by Yamaha and CANARIE, Canada's advanced Internet organization. "It's a great tool," said Durand, "but it will never replace the real thing; sitting side by side with your student." [and rapping his knuckles when he hits the wrong note )

Thanks for your input and support everyone! Now that I am becoming more serious about music as a source of income along with my other freelance work (editing, writing, consulting) more knowledge is better. Funny how this topic is not more widespead in the music media as it should be. Sports injuries are everywhere. I can't read the hockey scores without the paper talking about my Leafs and their injuries! I sense that I will get better on this matter. Perhaps another bad habit, which I haven't alluded to, is having a drink or 2 on the job (music playing) or even during some lengthy practicing, as a form of self medication through the pain. I have cut this habit entirely (well at least the practicing part). This does make me aware of when I should take breaks. Sometimes I am nuts as a soloist on the job though - when I really get into a party or event, things are going great and I am feeding off the energy. All of a sudden I realize I have played over 1-1/2 hours straight, usually ending with some over the top boogie woogie encore. Now that is punishment! I may consider taking one or two lessons from someone just to have an opinion on my posture. I think as performers and teachers we are not able to look at our habits objectively. When I do see some info on music injuries I find some conflicting advice about warm ups. The Alfred's Piano method I use for new students suggets warming the hands before practice with warm water, whereas the therapy for my hands specifically says only cold compresses. The warm up seemed to work for Glenn Gould! (then again he was addicted to painkillers). Also, I have a book for classical musicians and exercise regiments and the author advises against using free-weights (my preferred form of toning) to the strap-on wieghts. I guess because of the wrist and finger gripping uses with bar and dumb-bells. She also highly recommends swimming lengths as a way for musicians to tone. Here's some info from the Toronto Blues Society I found helpful. The article on RSI is at the end of the page(s). http://www.torontobluessociety.com/0308lbn.htm http://www.torontobluessociety.com/0309lbn.htm and these other articles http://eeshop.unl.edu/music.html http://www.valeriekampmeier.com/dissertation.pdf http://www.musicianshealth.com/WhyRSI.html http://www.brainstormsandraves.com/archive...s_and_injuries/

I was diagnosed with RSI a few weeks ago after I started getting a shooting pain in both thumbs and forefingers. I'm going for a follow-up today. Part of it was using the laptop I am at right now. IBM Thinkpad. The "red dot" substitute for the mouse actually puts alot of strain on the arms. Plus I'd be in different locations, tables and heights throughout the house and on the job. All contributed to more stress on my arms, wrists and fingers. For 1-1/2 months I did a QA consulting job on a firm's website which required me to click and search on thousands of links. Unfortunately I had the basic MS Mouse and clicking "back" was done manually or by the back button, over and over again. Since then I now have a good wireless optical mouse which has helped enormously. There's a back button on the left side of it, very well suited for extensive surfing. The other thing was my redirection of energy towards the piano in both teaching and my own study/performance. To that end I finally sold my ancient refurbished player piano and bought a decent used Kawai upright which has a tighter action than I am used to. This has been hard on my muscles too. As with many musicians I kept practicing/playing thorough the pain, not taking enough breaks. Since then I've modified my computer time and piano time. My left hand is much better but the stronger right still feels pain. I can't open a jar of pickles or a beer (maybe go back to the days of using the molars) without that electric jolt. I do have a history of arthritis in my dad's side of the family, so who knows. I am using a good wrist support now on both hands, even when practicing the piano and this is helping. . I recall a story on this in Jazztimes or something a few months ago. Anyone else have some story or experience, or advice?

I recently started in on this book, something I've seen for years. I usually avoided it because the sax players in just about any band I was in would pull it out when they wanted to avoid learning the tune we were rehearsing, or they were impressing the chicks, or whatever . I have found the patterns very relevant in fact. In my piano teaching I sort of have to fall into the Hanon and the scale books for my classical-pop students, though I've shown them cool ways to deal with these very boring and non-reality based exercises. I'd like to lay on some of these patterns for the hipper ones. But the PFJ really makes me think about my weaknesses and has re-enforced my goal of learning everything I do in all keys. Anyone else, use, or did use this book?

Re; Major labels, canning, music in our lives: Perhaps practicing the piano with my 6 year old daughter is the most satisfying thing And now my (non-musical) wife started learning the piano this weekend, her goal is to work her way into musical knowledge and then the saxophone. Hard to believe that we live in a society where music is now so visible (some irony in that, I am referring to music videos as well) and audible, that the commodification has the potential to ruin it for new music students and their success both material and spiritual. Not that I want to go back 200 years, but at least music was central to families, society and well being and had the potential to polarize rather than marginalize. Something to think about as I prepare for my piano students today.