AllenLowe

all the travelling will, of course, probably kill him -

well, they don't do that; however, you do get a personal visit from every surviving musician who played on the original Kind of Blue LP -

Jaki is God - and God suffers by comparison -

and the best news is that it's in 976 bit super dildo-definition blue purple oversample ray dvd/cd/supercd/motherfukercd format - unfortunately only 18 people in the entire country have the equipment to play it on - guess we'll all have to gather at Chuck Nessa's to listen to it -

curious about where you saw me play -

here's the Wikpedia entry, which I believe is accurate: Alan Lomax brought the song to the attention of Pete Seeger of the folk group The Weavers. It was on one of several records Lomax loaned to Seeger.[1] After having performed the song for at least a year in their concerts, in November, 1951, they recorded their version entitled "Wimoweh", a mishearing of the original song's chorus of 'uyimbube' (meaning "you're a lion"). Pete Seeger had made some of his own additions to the melody. The song was credited exclusively to Paul Campbell. Pete Seeger explains in one recording, "it refers to an old legend down there, [about] their last king, who was known as Chaka The Lion. Legend says, Chaka The Lion didn't die when Europeans took over our country; he simply went to sleep, and he'll wake up some day." (See "Senzenina / Wimoweh" on Seeger's With Voices Together We Sing (Live).) It was published by Folkways. Their 1952 version, arranged by Gordon Jenkins, became a top-twenty hit in the U.S., and their live 1957 recording turned it into a folk music staple. This version was covered in 1959 by the The Kingston Trio. New lyrics to the song were written by George Weiss, Luigi Creatore, and Hugo Peretti, based very loosely upon the meaning of the original song. The Tokens' 1961 cover of this version rose to number one on the Billboard Hot 100 and still receives fairly frequent replay on many American oldies radio stations. In the UK, an up-tempo rendering of this version was a top-ten hit for Karl Denver and his Trio. In 1971, Robert John did a cover of this version, and it reached #3 on the Billboard Hot 100 in 1972. Since then, "Wimoweh" / "The Lion Sleeps Tonight" has remained popular and frequently covered. [<a href="http://en.wikipedia.org/w/index.php?title=The_Lion_Sleeps_Tonight&action=edit&section=2" title="Edit section: Copyright issues">edit] Copyright issues Pete Seeger later said in the book A Lion's Trail, "The big mistake I made was not making sure that my publisher signed a regular songwriters’ contract with Linda. My publisher simply sent Linda some money and copyrighted The Weavers’ arrangement here and sent The Weavers some money." Pete Seeger's publisher was The Richmond Organization (TRO, which also goes by a number of other names). In 2000, South African journalist Rian Malan wrote a feature article for Rolling Stone magazine, highlighting Linda's story and estimating that the song had earned U.S. $15 million for its use in the movie The Lion King alone; this prompted the South African documentary "A Lion's Trail" by François Verster that documented the song's history. Screened by PBS, in September 2006, the documentary won an Emmy Award. In July 2004, the song became the subject of a lawsuit between the family of its writer Solomon Linda and Disney. The suit claimed that Disney owed $1.6 million in royalties for the use of "The Lion Sleeps Tonight" in the film and stage production of The Lion King. Meanwhile, publisher of The Weavers' "Wimoweh", TRO/Folkways, began to pay $3000 annually to Linda's heirs. In February 2006, Linda's heirs reached a legal settlement for an undisclosed amount with Abilene Music, who held the worldwide rights and had licensed the song to Disney. This settlement applies to worldwide rights, not just South Africa, since 1987.

I understand - he may have received royalties as arranger or adaptor, I'm not sure - I have a very detailed article somewhere about it; I'll see if I can find it -

I'm using the Zoom g2 because: 1) it has absoultely great eq - best I've used - 2) it degrades the tone very little - must have decent converters; 3) has very good room and spring reverb settings but the best part of it is the eq; best I've heard in guitar - land -

FORNICATOR!

no sleeve - black vinyl -

I liked Mr. 3000 -

OH YE HYPOCRITES, IDOL WORSHIPPERS, MIRROR OF BEZELBUB, FORNICATORS AND HEATHEN WORSHIPPERS OF POST-BEBOP SATAN! BRUBECK IS YOURS SAYETH I - WORSHIP YOUR DESMONDS, YOUR MILES, YOUR BIRDS AND SONNYS - PAYETH THE DAMN TWENTY DOLLARS OR BURN IN A PYRE OF TAKE FIVE!

don't worry, as long as you pay me, you can like whatever you want - as a matter of fact I have a few collections of Hitler's Greatest Speeches which I'd be willing to sell -

Seeger did not take the composer's money for The Lion Sleeps Tonight; it went to the original publisher at first - HOWEVER - the family of the impoverished South African who wrote it filed many lawsuits over the years and, a few years ago, won millions of dollars in royalties, which they continue to receive - so please, let us not libel Pete Seeger, who is anything but a hypocrite - and thank you Chris for bringing up the Gus Cannon credit, which I was about to do -

as I suspected - it ain't just me - NOBODY likes Dave Brubeck - I rest my case -

I made big bucks last year betting on the Special Olympics - I mixed steroids in with my kid's medications, he ran the 100 yard dash in about 4 seconds and broad jumped about 80 feet -

just a hunch, but I would check out either Gary Giddins' book or the bio by the British guys (Humphrey Littleton? can't remember) - or call the Louis Armstrong museum in Queens - the head librarian is a very nice and helpful guy - or, better still, call Dan Morgenstern at Rutgers who knows all things related to Louis -

if nobody buys this, btw, it proves my point that throughout the jazz community there is a deep-seated hostility toward Brubeck based on the fact that nobody really likes his piano playing - on the other hand, if it is bought IMMEDIATELY it will cause me to doubt my long-term dislike of his playing, and prove that it is really the result of a deep-seated hostility toward my father - I LEAVE IT TO YOU, THE JAZZ COMMUNITY, TO DECIDE! MY FATE AND THE FATE OF THE ENTIRE BRUBECK FAMILY (DARIUS, FLO, CHLOE, WALLY, AND ALL THE REST) IS IN YOUR HANDS

rare 1952 trio 10 inch record that I'm getting rid of (uh...sorry, meant to say, offering on the vintage market) - perfect for the Antiques Road Show - impress your friends at parties - the record itself plays well, is VG+, I would say - rare, and for good reason - $20 plus shipping conus, my paypal is alowe5@maine.rr.com

I think he was the host - and that I am remembering McMahon from another show

Chris, isn't that the show with Ed MCMahon? And didn't it have the word "hunch" in it? Something like that? Play Your Hunch?

I see the difference in other ways, though I agree with Larry as far as it goes - trouble is, however, that I haven't listened to said performances in a long time, so my memory is rusty - I actually find early Cannonball (the Savoys) lacking not in the kind of big harmonic skips that Coltrane practiced, but in some basic bebop chromaticism and even the more typical bebop substitiutions (as in the 2 minor seven and the domonant minor seventh)-lotsa notes but a lack of the kind of oblique intervals that beboppers favored (eg the 13th as opposed to the 6th - same note, different feeling) - and I always though that this was what Miles was referring to - but now I'm not sure -

truthfully, I lost interest in the Olympics in about 742 B.C. - once they started doing product placement in the decathalon, they just lost me-

Cannonball's evolution is interesting - there's some spot on quotes by Miles about how, early in his playing in NYC, Cannonball swung but was harmonically bland - and we can hear a bit of this in the Savoy recordings, I think; by the time of Something Else he was taking Miles advice about chord substitutions quite seriously, if not (in the big big picture) as seriously as Coltrane - I like Dancing in the Dark but, true, it reflects a different path than the rest of that album -

one of the most important recordings of the 1950s, IMHO - and rarely noted, to my great surprise, is that it's an obvious warmup for Kind of Blue - as a matter of fact I prefer it to Kind of Blue -