Brandon Burke

Actually, the "cowbell" sketch is second only to the old synchronized swimming sketch (featuring Harry Shearer, Martin Short and Christopher Guest) as my favorite of all time. I'm particularly, fond of Chris Kattan's grossly exaggerated, "Don't blow it for us, Gene!".

Hey folks, So it used to be that when I had Netscape I could click on an image and it would give me the option of saving to disk, saving the location of the image, etc. I can't figure out how to do this (find an image's location) in Safari. I'm sure it's something really easy, I just don't know what it is...... BTW: I'm on a Mac w/ the standard Apple-issued mouse (i.e. doesn't have multiple buttons). Thanks, B.

NCAA HOOPS: Rock Chalk Jayhawks! Nat'l PASTIME: KC Royals! NCAA FOOTBALL: I don't pay enough attention anymore so....KU. NFL: Don't care anymore..... NBA: Knicks or any team with former-Jayhawks (Magic, Celtics, Mavs...) NHL: Don't pay enough attention.... Jeez......hopefully I'm not turning into my dad. He's payed SO much attention for so long that he doesn't like any particular teams anymore. He's at the point where he's divorced himself from fandom and just watches to analyze play calling, trades and execution. Seriously, I was on the phone with him watching Cubs/Marlins Game 7 and he called seven pitches in a row! I'll never get that way about KU or the Royals. Too much love in this fan's heart.

I don't *hate* anything, and if I did it would be something that deserved it. Not a sports team. Still, these guys bug me...... NCAA HOOPS: North Carolina (especially now...), Duke, Arizona, Missouri Nat'l PASTIME: Yanks, Braves, I'm suppsed to hate the Cards because I'm a life-long Royals fan but they're just a great franchise.... NBA: Lakers, Utah, Heat, Rockets (but I love Van Gundy so....), Nuggets, Spurs, Bulls NCAA Football: Notre Dame, Texas, Nebraska, Miami, Florida, K-State NFL: Raiders, Broncos, Cowboys, Chiefs (I find it amusing that KC fans hate Oakland so much when Carl Peterson is Al Davis in sheep's clothing.....) NHL: Never really payed attention but the L.A. Kings have always rubbed me the wrong way

I've always really enjoyed the short-lived Johnny Griffin, Ahmed Abdul-Malik, Roy Haynes group heard on Thelonious in Action (Riverside, 1958).

I don't have it. Too rich for my blood. It's amazing, though. Encyclopedic. If you don't have any Patton whatsoever then I'd make sure you actually like him before you spend the money. For that, I'd recommend one of the two Yazoo comps. There's also a comp of Patton's contemporaries and followers -- isn't that just about everyone?! -- so don't get them confused because Charley is on the cover of that one too. Liner notes and packaging on the Revenant set are fantastic, as perhaps you already guessed. There is also a(nother) disc of others playing Patton's tunes in this set as well. I can't speak to any overlap between the two but I'm sure Dean and John were familiar enough with the Yazoo (and other) comps to avoid anything of that sort. In other words......yea, it's great.

I'm pretty certain that the above document is all that there is to know at this point, save perhaps, for the back page advertisement he took out in the program for the Brotzmann/Parker/Drake show in Austin a few months back. No text. Just an image and *coming soon* tag.

Is Richard Williams on Understanding too?! Man, I gotta get that......

I just got Original Sountrack Music from the Films of Jacques Tati (UA Int'l, UNS-15554) in the mail today. Go figure, considering my photo at left, huh. Anyways, I'm enjoying it immensly as I type.

There ya go!

KVRX the student station here at UT has a free jazz show on Monday nights called 'Close Enough for Jazz'. I'd try mailing it c/o the show. Either way, the link you've got here will have a mailing address somewhere. Who knows? You might even get rotation play seeing as the station's motto is "None of the hits, all of the time".

Well, after looking around and discovering that nearly all programs of this sort are PC-only, it looks like the Roxio Jam might be the way to go. It would certainly save us some money since they have a cheap(er) upgrade for folks who already have Toast 5.x or above.

I just got an email from Dean Blackwood about this. Looks like a 2004 release date. Either way, here's the current draft of the press release..... *************************************************************************** “Coltrane was the father, Pharaoh the son, and I was the Holy Ghost.” —Albert Ayler On October 5, 2004, Revenant releases the next great collection in its distinguished (and, with 2002’s Charley Patton box, Grammy-winning) line, Holy Ghost, a compendium of rare and unissued recordings by saxophone titan Albert Ayler. In his short life and career, Ayler (1936-1970) sometimes seemed to generate as much myth as substance: he reported dazzling religious visions, sported a sartorial style even his peers considered “out there,” and played his horn with what some perceived as a complete disregard for its history. Taking full bloom in the ‘60s, Ayler was an extremist in music at a time when even the mainstream of Jazz was losing ground; his entire career path can be viewed as an attempt to find viable creative outlets for his work. Now recognized as one of the key architects of the New Thing’s second wave, Ayler was THE catalytic force in defining the sound of the tenor in Free Jazz. Albert Ayler learned his instrument as a kid, toured with Little Walter's blues band at age 15, became known as "Little Bird" around his hometown of Cleveland due to phrasing like Charlie Parker, logged several years in the US Army band, and then resolutely set out to forget everything he ever learned about how to properly play the sax so that he could really PLAY the sax—unhinged, free from jazz convention and music strictures of pitch and form, drawing on old American spirituals, obscure European folk melodies, marches, and other big whopping chunks of collective musical memory in order to channel symphonies to God out his horn. Seeking nothing short of Truth through music, Ayler pursued the universal moment with an ecstatic fury that might not be seen again. A heavy influence on the later work of John Coltrane, Albert Ayler died under mysterious circumstances in 1970. Holy Ghost is the first comprehensive attempt to build a monument in sound to Albert Ayler, extending the body of his published recordings. It encompasses those settings which found Ayler’s music at its most liberated: radio and television broadcast recordings and airchecks, studio selections from unreleased record projects, private “loft” recordings, and live concert footage from Ayler’s hometown of Cleveland, from his base of activities in New York, and from his many tours overseas in 1962, 1964, 1966, and 1970. With the sponsorship and assistance of Ayler’s family and estate, Holy Ghost features Ayler’s earliest and last known recordings, bookending music from every stage of his career. All tracks are previously unreleased, many are uncirculated, and some entirely undocumented until now. Holy Ghost’s extensive folio materials are also breakthrough features: previously unpublished work from the premier Jazz photographers of the time, as well as candid stills, snapshots, and memorabilia from private collections. Texts in the collection include new essays by writers Val Wilmer and Amiri Baraka, all of the world’s leading researchers of Ayler’s life and career, and key input from many of his friends and sidemen. All swaddled in the finery Revenant is known for: housed in lavish “spirit box” format, Holy Ghost begs for showy display on a table top of your choice.

I suggest you try either Dusty Groove, Other Music, Waterloo Records, or Amoeba Records. Seems like between the four of them someboy's gotta have it. In fact, there's a good chance it's on the 'employee picks' wall at each place.

I can't imagine I'll see this. I never got around to Jackie Brown either. Reservoir Dogs was interesting but from there he got too stylized. Everything he does seems like more of a fashion decision than one about film or (god forbid) people, humanity, etc.

I really love this record. To be honest, I put it down as 'October Listening' but it hasn't strayed very far from my turntble in several years. If you're at all familiar with Fontaine then you can expect her vocals over some very mellow groove-based AEoC. No drum kit but some varying hand drums. Engineered with a ton of reverb so it's got a hazy, almost dub-like psychedelic opium den vibe throughout. The title track alone is worth the money (and that's saying something since there is no US pressing). My reissue LP was $19. If you're totally unfamiliar with Brigitte Fontaine then I can tell you that she has a ridiculously sexy voice and sings in French. Her vocal style was the prototype for the confident, detatched eroticism of Laetitia Sadier (Stereolab). Hope that makes sense. I recommend it, man. It's a great record.

Nope. Submissions are recieved by email.

I don't think Pedro tossing Zimm like a club bouncer was justified. Granted, in a situation like that, when you've got dudes coming at you from all angles, the natural reaction is to not give a damn and look out for #1. So I understand it from that angle for sure. That's just a primal thing. Anyone who's been in a fight before knows this. But all he really needed to do was simply get out of the way and usher Zimm along like a matador does a bull. Again, though, I wan't in the middle of that melle so I can't talk. When shit's real.....it's REAL so who knows how I would have reacted. Then again, I likely wouldn't have started anything with Posada from the mound either.... I'm both excited and worried about my Royals in 2004. The Beltran thing is a major concern, obviously. How long will they keep him? Will they get anyone for him? What about Randa? What about Ibanez? Etc. I'm confident that the starting rotation will have their act together by then, though. Affeldt will likely remain in the bullpen and Greinke looks very promissing. So that's comforting. Bring on Jayhawk hoops.......!

Folks have mentioned CD Architect before and it sounds like what we want. If it's just a basic birning program than we may go for that. The last thing we need is another altogether different editing/mixing program (a la Sound Forge, Peak, Cubase, etc.).

* Larry Young - Mother Ship * Jackie McLean - Action! (thanks to whoever started that thread!) * Jimmy Smith - House Party * Duke Pearson - Wahoo * Piltdown Ensemble - [untitled demos] * Joe Maneri - Paniots Nine * Brigitte Fontaine & AEoC - Comme a la Radio * The Clientele - The Violet Hour * Matt Suggs - Amigo Row * The Kinks - The Kinks are the Village Green Preservation Society * Outkast - The Love Below * Carlton & the Shoes - Love Me Forever

Absolutely right. Gladden really goes at it full-steam-ahead on this one and (understand I haven't heard much of the later BN Larry Young, so this could be par for the course but) I've never heard a B-3 played like Cecil Taylor before. Those solos are wild. I never really caught up with the LT series titles so this RVG was a new one for me. It's easily my fave of the lot. Those filled-in letters on the cover really bug me, though......

The Austin Film Society -- you ARE a member, right? -- is hosting a great kung-fu retrospective right now. I'm most excited about the 36 Chambers films, which show this Tuesday and the following Tuesday. Check the Chronicle or the official AFS site

Why not make individual tracks, select zero seconds gap between tracks and burn them Disc At Once? This way you won't have interruptions and you can access each track directly (I'm not sure if that would be possible with indices). That's a good point (and it's what I ended up doing today) but in the future I need something less time-consuming. My client wanted a track separation every 1 or 2 minutes, which is a serious pain in the ass when picking and dragging with a mouse. The idea, as far as I'm concerned, is to assign tracks every [x] minutes with a simple formula. Like a database situation. Masterlist CD did this. In other words, something I can do on a keyboard instead of highlighting 00:00-1:59, 2:00-3:59, 4:00-5:59 with my mouse ad nauseum. I've got a ton of stuff to crank out. My only limitation is time so I need this process to be much faster. If I act quickly we have the funding for new software so I'm up for suggestions. Please understand that we're processing everything in Pro Tools LE. As such, we won't be purchasing anything like Sound Forge, etc. All we need is a straight burning/mastering program with tracking insertion capabilities. I'll check out Exact Audio Copy but we're in a university situation here, which means that our funding sources tend to frown upon shareware. It's a liability/copyright issue. Thanks for the replies, everyone. Brandon

I need something along the lines of Masterlist CD that will allow me to insert track numbners into an alreay existing piece. Example: I have a 58-minute oral history interview I digitized from reel tape and my client wants me to insert track numbers every, say, couple of minutes as a way to assist researchers. More of an indexing situation than individual *tracks* but I think you know what I mean. The piece still needs to play through uninterrupted. I read that Digidesign has discontinued Masterlist CD and, to the best of my knowledge, I can't do this in Toast. Suggestions.....?

I'm reading three books right now: * John Fahey - How Bluegrass Music Destroyed My Life * The VICE Guide to Sex, Drugs & Rock n Roll * Cult Baseball Players, Danny Peary (Ed.)