rostasi

words fail... thank you Dewey.

Maybe chewy would agree to this too?:

Really like both of those recordings - no prob with the cello on the one and the interplay on the two basses recording is really wonderful. I went thru 2 copies as a youngster. I think I'll get that out and play it again while looking for something that's a request from another board member. Should be playing in a short while for those who want to listen.

After they started asking personal questions, I "hung up" - I'm wondering if it's just those Brazilian discs that he's put out - hell, I can play that stuff for you and you won't even have to tell me how old you are!

Lights out, lights out in London Hold 'em tight 'til the end Better now you know we'll never Wait 'til tomorrow Lights out, lights out in London Hold 'em tight 'til the end God knows when I'm comin' on [my] run.

Whatever you think about "Acid Jazz" you can attribute that to him. Pretty much the originator of that trend beginning about '86.

Jazz math By Alexander Gelfand 02:00 AM Aug, 31, 2006 To the uninitiated, modern jazz can sound like a secret language, full of unpredictable melodies and unexpected rhythms. For alto saxophonist Rudresh Mahanthappa, however, the idea of jazz as code is more than just a metaphor. Mahanthappa is best known for combining avant-garde jazz with Indian classical music. But for his latest release, Codebook, from Pi Recordings, the artist looked instead to cryptography and number theory for inspiration. (The album's title pays homage to The Code Book, a history of cryptography by the British science writer Simon Singh.) The very first track, "The Decider," is a groovy primer on how to turn math into music. Its bristling melody (.mp3) is derived from the Fibonacci sequence, an infinite series of integers that governs the structure of everything from pineapples to the Parthenon. Fibonacci's fingerprints can be found in the work of classical composers from Bach to Bartok, but intentionally basing a composition on the series is hardly standard practice in jazz. What's most striking about "The Decider," however, is how closely its written melody resembles one of Mahanthappa's improvised solos, a correspondence that reveals just how deeply the saxophonist has internalized what might have remained an abstruse, pencil-and-paper exercise. Later on in the piece, drummer Dan Weiss spells his own name in Morse code, using short durations to represent dots and long ones to represent dashes. ("Play It Again Sam" begins in similar fashion, with every member of Mahanthappa's quartet dotting and dashing (.mp3) his name.) Returning to the realm of number theory, the tune "Further and In Between" is based on the cyclical number 142857. Like all cyclical numbers, this one has some very strange properties; for example, if you multiply it by 2, 3, 4, 5 or 6, you get the same digits in a different configuration (for example, 2 x 142857 = 285714). By mapping particular musical pitches to each digit and running through his multiplication tables, Mahanthappa came up with a winding, circuitous melody (.mp3) that makes a surprising amount of sense. That's partly because he wedded it to a strong, swinging rhythm, and partly because he gave himself permission to fudge things a bit in order to prevent the math from overwhelming the music. "Frontburner," based on a heavily encrypted form of John Coltrane's classic "Giant Steps," demonstrates a similar balance between musicality and mathematical rigor. Cryptonerds will be pleased to know that Mahanthappa used a portion of the "Giant Steps" melody as a musical keyword in conjunction with several different scales to encipher the original tune (.mp3). He used a similar method to generate the melody for "Play It Again Sam," further complicating matters by throwing in a biblical Hebrew cipher known as "atbash". In cryptographic circles, this is known as a polyalphabetic substitution cipher, and it was the preferred form of military encryption right up through World War II. In this particular case, it may have been too effective: The first, properly encrypted form of "Frontburner" didn't quite work from a musical perspective, so Mahanthappa massaged the results until he got something that did. The end result (.mp3) is a tune that will keep both sides of your brain buzzing happily away. Making avant-garde jazz accessible to the general public is no mean feat. Making math-based music easy on the ears is even harder. Yet somehow Mahanthappa has managed to do both. And that's a code many musicians would doubtless like to crack.

Arica

New Forms is decent In the Mode is noisy - if you like that kinda thing.

Oh, and yes, the fact that the prices are out the roof! may have something to do with it too.

Hey, that's not fair! You can see that it was raining!

Wasn't SOUL FINGER by the BAR-KAYS, too? At least I have a single of this. When I bought the Bar-Kays lone Volt LP later I noticed that the LP had a different take of KNUCKLEHEAD! Actually, Soul Finger was done by the Bar-Kays (written by James Alexander) Vol 1 - Disc 7 - Track 20 from the boxset and, so, that's a misprint methinks. Rob Bowman's book is essential for nearly all things Stax/Volt. The boxsets have nice thick booklets too with all kinds of details and stories. Got 18 of the 28 discs loaded up. Goin to bed...tomorrow morn: the last 10 discs.

....me too as I just finished cutting the lawn and I'm melting!!!

that's just crazy talk...

Pomegranate Juice

My last time seeing him was at the Getty too, but it was back during a conference on David Tudor. very sad...

For those of you who know his great music, this will be a striking blow. Tenney

Yeah, well, it was good to be on the other side of the mic(s) too!

Well, if it made that indelible impression, then you'd probably still like it - it's fun and less dated than I would've thought. Also, ZBS Media features other Jack Flanders adventures. Another series that was pretty popular on freeform radio in those days was Ruby: The Galactic Gumshoe which, I think, that they carry at ZBS too. Re: considering the times (60's/70's): I have a complete collection of Alan Watts recordings too - Rod edit: Audio Samples

Not sure if this is it, but I was listening to this just last week: edit: also, let me know if you wanna hear any of it. here's a linc Lancelot! Rod (whose only 20 days older than you)

What happened to Tommy?

Al, does your software that you're using for transfer have a "monitor" option? You may have to check the preferences. Rod