randissimo

This review piques my jaded interest.. I'll have to make a serious effort to attend this event.. B)

What are great cheeses without great wines? How about a "wine thread" ? Some of your suggestions have inspired me to break open that bottle of Bogle "Old Vines" Zinfandel I bought earlier... B)

Dave Chapelle's board has a few laughs and some bizarre members.. Check it out.. http://davechapelle.com/bs/index.php?

Well,,, I like Samuel Smith's Oatmeal Stout, Sapporo Black, Bell's Cherry Stout, Paulener October fest, Dortmunder, or a good trappist ale like Corsendonk, or any of the Ayinger lagers and wheat beers. As far as domestic beer, I'll drink it if it's a micro beer. I have no taste for the massed produced beer flavored waters, whose cans, cartons, and bottles I too frequently find littering our roads and highways... Especially Bud Lite....

I got Vic's latest Cd, "While My Guitar Gently Weeps". It's a B3 trio with Jesse Chandler on organ and Tim Horner on drums. I think you're going to dig it.. It really cooks! Btw, Joe got a copy so you can hear it..

On pg. 2 of this thread there were references made to 2 books Ben Sidran had written, none of which I have read. I did, last year, buy Sidran's latest book entitled, "A Life In The Music" which I found to be an entertaining book as well as enlightening and insightful. I think it is a good read even though it comes with a Cd of some tracks he has done in the past, and though there are a couple of nice tunes, some of the tracks are pretty mediocre and at times corny..

By the way, I told Vic Juris you said hello and he remembered you! What a great musician!! I was blown away by Vic's tunes as well as his playing... Great experience...

I've been on the road since Wednesday giggin' with guitarist Vic Juris.. I got home about an hour ago... It's amazing how much this BB has grown in just a year's time and I for one, would like to thank everybody for making this such a cozy place to hang out...

Me too!

Killing the Music by Don Henley When I started in the music business, music was important and vital to our culture. Artists connected with their fans. Record labels signed cutting-edge artists, and FM radio offered an incredible variety of music. Music touched fans in a unique and personal way. Our culture was enriched and the music business was healthy and strong. That's all changed. Today the music business is in crisis. Sales have decreased between 20 and 30 percent over the past three years. Record labels are suing children for using unauthorized peer-to-peer (P2P) file-sharing systems. Only a few artists ever hear their music on the radio, yet radio networks are battling Congress over ownership restrictions. Independent music stores are closing at an unprecedented pace. And the artists seem to be at odds with just about everyone -- even the fans. Contrary to conventional wisdom, the root problem is not the artists, the fans or even new Internet technology. The problem is the music industry itself. It's systemic. The industry, which was once composed of hundreds of big and small record labels, is now controlled by just a handful of unregulated, multinational corporations determined to continue their mad rush toward further consolidation and merger. Sony and BMG announced their agreement to merge in November, and EMI and Time Warner may not be far behind. The industry may soon be dominated by only three multinational corporations. The executives who run these corporations believe that music is solely a commodity. Unlike their predecessors, they fail to recognize that music is as much a vital art form and social barometer as it is a way to make a profit. At one time artists actually developed meaningful, even if strained, relationships with their record labels. This was possible because labels were relatively small and accessible, and they had an incentive to join with the artists in marketing their music. Today such a relationship is practically impossible for most artists. Labels no longer take risks by signing unique and important new artists, nor do they become partners with artists in the creation and promotion of the music. After the music is created, the artist's connection with it is minimized and in some instances is nonexistent. In their world, music is generic. A major record label president confirmed this recently when he referred to artists as "content providers." Would a major label sign Johnny Cash today? I doubt it. Radio stations used to be local and diverse. Deejays programmed their own shows and developed close relationships with artists. Today radio stations are centrally programmed by their corporate owners, and airplay is essentially bought rather than earned. The floodgates have opened for corporations to buy an almost unlimited number of radio stations, as well as concert venues and agencies. The delicate balance between artists and radio networks has been dramatically altered; networks can now, and often do, exert unprecedented pressure on artists. Whatever connection the artists had with their music on the airwaves is almost totally gone. Music stores used to be magical places offering wide variety. Today the three largest music retailers are Best Buy, Wal-Mart and Target. In those stores shelf space is limited, making it harder for new artists to emerge. Even established artists are troubled by stores using music as a loss leader. Smaller, more personalized record stores are closing all over the country -- some because of rampant P2P piracy but many others because of competition from department stores that traditionally have no connection whatsoever with artists. Piracy is perhaps the most emotionally gut-wrenching problem facing artists. Artists like the idea of a new and better business model for the industry, but they cannot accept a business model that uses their music without authority or compensation. Suing kids is not what artists want, but many of them feel betrayed by fans who claim to love artists but still want their music free. The music industry must also take a large amount of blame for this piracy. Not only did the industry not address the issue sooner, it provided the P2P users with a convenient scapegoat. Many kids rationalize their P2P habit by pointing out that only record labels are hurt -- that the labels don't pay the artists anyway. This is clearly wrong, because artists are at the bottom of the food chain. They are the ones hit hardest when sales take a nosedive and when the labels cut back on promotion, on signing new artists and on keeping artists with potential. Artists are clearly affected, yet because many perceive the music business as being dominated by rich multinational corporations, the pain felt by the artist has no public face. Artists are finally realizing their predicament is no different from that of any other group with common economic and political interests. They can no longer just hope for change; they must fight for it. Washington is where artists must go to plead their case and find answers. So whether they are fighting against media and radio consolidation, fighting for fair recording contracts and corporate responsibility, or demanding that labels treat artists as partners and not as employees, the core message is the same: The artist must be allowed to join with the labels and must be treated in a fair and respectful manner. If the labels are not willing to voluntarily implement these changes, then the artists have no choice but to seek legislative and judicial solutions. Simply put, artists must regain control, as much as possible, over their music. The writer is a singer and drummer with the Eagles and a founding member of the Recording Artists' Coalition.

It'll for sure be an interesting week! I'm still waiting for the Cds & charts though.. If they don't come on Tuesday I'll just have to wing it. The trio will be myself and acoustic bass player Jack Dryden, and of course Vic..

Even though the story of Christ, His teachings, and His brutal crucifixion is an inspiring one, I really don't feel I need to watch 10 or 12 minutes of graphically detailed and bloody torture!

Now that's nutty! All my siblings have seen the movie and of course believe everybody should see it.. They feel that it really impresses upon people the unfathomable sacrifice and consequent suffering Christ went through to save all of our sorry asses.. The movie from their description sounds very depressing.. The torture and beating scenes are excruciatingly long and very graphic. I personally don't feel like it's a movie I'm ready to run out and see.. My sister Sandy told me she has never seen people leave a movie so quietly and that people were weeping throughout the movie..

You betcha! That's a given.. If it doesn't get nominated there will be a lot of pissed off church organizations!

THANK YOU JIM WILKE!

Now that's nutty!

We're still getting played on Jim Wilke's "Jazz After Hours" .. Now if we could just get Bob Parlocha to play our CD! FOR SATURDAY FEBRUARY 28, 2004 artist- title - album - year - copyright - catalogue # SA 0 - Theme (open & close): Ray Bryant - After Hours - Alone at Montreux Rob McConnell Tentet - I Can’t Believe That You’re In Love With Me - Music of the Twenties -Justin Time - 19602 Michael Davis - San Jose - Trumpets Eleven - 2003 Hip-Bone - M-105 Bob Brookmeyeer - Truckin’ - Mosaic Select 9 - 2004 EMI Music - MS 009 Russell Gunn - Night and Day - Mood Swings - 2003 HighNote - 7107 Jerry Gonzalez & The Fort Apache Band- So Near, So Far - Pensativo - 1995 Fantasy - MCD9242-2 Jimmy Cobb’s Mob - Cobb’s Groove - Cobb’s Groove - 2003 Fantasy - MCD 9334 Michel Camilo - On The Other Hand - Live at The Blue Note - 2003 Telarc - 2CD 83574 Steve Yeager - The Look of Love - New Groove Blues - 2003 Steve Yeager - CD003 (Scott Hamilton - Limehouse Blues) SA 1 - Brian Lynch - Before the First Cup - Brian Lynch Meets Bill Charlap - 2003 Sharp Nine - 1027 Tierney Sutton - Where or When - Dancing in the Dark - 2004 - Telarc - 83592 Alan Broadbent - Ceora - You and the Night and the Music - 2003 - A440 - 4030 Kitty Margolis- Secret Love- Heart and Soul Live in San Francisco - 2004 - Mad-Kat - 1010 Organissimo - Jimmy Smith Goes To Washington - Waiting for the Boogaloo Sisters - 2003 - PKO 20 Rachel Z Trio - First Time Ever I Saw Your Face - First Time Ever I Saw Your Face - 2003 - Venus - 35323 University of Miami Concert Jazz Band - Gregory Is Here - Three Romances - 2004 - Summit - 368 (Art Pepper - A Foggy Day)

A year and a half ago Liebman played at Hope College in Holland, Mi. I remember Vic now... It's going to be an interesting gig for sure! B)

Nice job Jim! I'm sure it meets Herman's approval..

I heard Nicolas Payton the other day on a radio show while I was driving somewhere to get a bite and thought I was listening to a track off of a Miles album around the time of "Bitches Brew/Miles Live at the Filmore" ..A really cookin' track!

For anyone within reasonable driving distance of ann Arbor, I'll be performing with Vic at the Firefly March 5th. Music starts at 9pm.

Where is this gig going to happen? --eric Eric, The 8:30pm concert is on March 3rd at Interlochen and I believe the concert will be in the chapel. Hope to see you there. Why doesn't anyone tell me these things. Thanks Randy. I'll try to get out before the stop having music at Interlochen, too. --eric Maybe the reason for this not being public knowledge is because it's primarily a concert for the student body.. I don't in fact know if it is open to the general public. It would be worth a call to the school...

Where is this gig going to happen? --eric Eric, The 8:30pm concert is on March 3rd at Interlochen and I believe the concert will be in the chapel. Hope to see you there.

Thanks Harold Your info is very helpful.... I'll be sure to say hello from Harold Z

I'm going to be doing a concert with Vic Juris at Interlochen Fine Arts Academy March 3rd. Anybody out there know him or his music? I was hoping to find some of his recordings before doing the gig....