.:.impossible

It is available at gdstore.com. I had no idea so much stuff had been remastered/released! The site is sort of difficult to navigate. Click on music, then there is a sub-menu. Click on Grateful Dead. A couple of things that immediately jumped out at me: Grateful Dead - Birth Of The Dead CD $23.00 Where it all began in 1965-1966. Two discs of pre-Warner Brothers recordings from the Autumn, Scorpio and Hendricks Sessions, plus live tracks from the same time period. HDCD. DISC ONE: The Studio Sides The Autumn Sessions 1 Early Morning Rain 2 I Know Your Rider 3 Mindbender (Confusion's Prince) 4 The Only Time Is Now 5 Caution (Do Not Step On Tracks) 6 Can't Come Down The Scorpio Sessions 7 Stealin' (Instrumental) 8 Stealin' (with Vocals) 9 Don't Ease Me In (Instrumental) 10 Don't Ease Me In (with Vocals) 11 You Don't Have To Ask 12 Tastebud (Instrumental) 13 Tastebud (with Vocals) 14 I Know You Rider 15 Cold Rain and Snow (Instrumental) 16 Cold Rain and Snow (with Vocals) The Hendricks Session 17 Fire In The City - Jon Hendricks DISC TWO: The Live Sides 1 Viola Lee Blues 2 Don't Ease Me In 3 Pain In My Heart 4 Sitting On Top Of The World 5 It's All Over Now, Baby Blue 6 I'm A King Bee 7 Big Boss Man 8 Standing On The Corner 9 In The Pines 10 Nobody's Fault But Mine 11 Next Time You See Me 12 One Kind Favor 13 He Was A Friend Of Mine 14 Keep Rolling By The Autumn Sessions were recorded at Golden State Recorders in San Francisco, CA in November of 1965 under the assumed name "The Emergency Crew." The Scorpio Sessions were recorded at Buena Vista Studio and Western Recording in San Francisco. They were originally released as a limited quantity single on Scorpio Records in July of 1966. The Hendricks session was recorded at Columbus Recorders in San Francisco in March of 1967 for use in the documentary film Sons And Daughters and was later released as a single by Verve Records. The live tracks on Disc Two were recorded in July of 1966 in San Francisco. Exact dates and venues are unknown. HDCD provides higher resolution when played in an HDCD-equipped CD player, and offers superior sound when played in regular CD players. HDCD CDs can be played in all CD players. ::::::::::::::::::: Mother McCree's Uptown Jug Champions CD $15.00 The legendary Mother McCree's finally heard! This recording from a July 1964 Tangent show in Palo Alto, Califronia features the roots of the Grateful Dead: Weir, Garcia and Pig Pen playing in a bluegrass/jug/blues band. Amazingly mastered. This is a treat, with 17 tracks plus an interview with a very young-sounding Jerry and Bobby. Mother McCree's Uptown Jug Champions Jerry Garcia: guitar, kazoo, banjo,vocals Ron "PigPen" McKernan harmonica, vocals Bob Weir guitar, washtub bass, footcrasher, jug, kazoo, vocals Dave Parker washboard, kazoo, tin cup, vocals Tom Stone banjo, mandolin, guitar, vocals Mike Garbett washtub bass, guitar, kazoo Produced By: Michael Wanger & www.vidkid.com Recorded live at the Tangent by: Pete Wanger and Wayne Ott CD Mastering: Jeffery Norman, Club Front Cover Art: Timothy Truman Package Design: Gecko Graphics Special Thanks to: John Cutler and Peter McQuaid ::::::::::::::::::: I guess I'm just looking for an excuse to talk about any Dead news! I really haven't listened to anything in a while. Still interested in the Winterland deal! One thing I did notice Lon, and this is why I've never heard Postcards, is that it is all from the latter half of the 1980s. Here and there, I like GD from the late 80s, but not so much. I have a Dead Hour tape where Uncle Dave played Dylan covers only. This is probably the other reason I've never been interested. I'd like to hear that old Dylan and the Dead release again though. Similar time period, but with Dylan.

Yeah, Bertrand dawned on me after I thought of Joe. Sorry 'bout that Bertrand. And Joe!

Joe Milazzo.

Oh well. I definitely hear where both you and Brandon are coming from. I think he's got a long career ahead of him. I know he said New Jack City was a long time ago, but he still seems young!

P.S. I make it a habit to keep most of my hard drive open. I have this instinctive paranoia that it is not good to operate on low memory.

Actually, the iBook is pretty damn cool from a design perspective. I love the Titanium. My father-in-law has been upgrading in this series since the beginning. It is an awesome laptop. The iBook is plenty rugged. You can buy without hesitation. The speakers kind of suck, but that is a small complaint considering we are talking about a portable computer rather than a stereo. I love this computer. Too bad it ain't mine!

Unfortunately, Richard Pryor isn't in any condition to put together a 90 minute gig. I do think Chris Rock is a great piece of the Richard Pryor legacy though. The rap material seemed almost like filler in his program. It was a small part of the performance that he probably included for a section of his audience. I'll have to watch it again. I didn't feel like he put much emphasis on it. I do think he was preaching, and because he is not a Reverend, or a formal part of any organized church, he can preach about whatever the hell he wants to. It is wild! People listen to him like he is preaching. He is stepping up from "stand-up comic." It is a unique position that not many people can enjoy.

Thank you Larry. Jürgen, do you know where I can find these Philology CDs? Thanks everyone!

Man, Chris Rock put on one hell of a 90 minute act last night. Did anybody catch this? I taped it. He's got his shit together.

Yeah, just to clarify, I don't think a G5 processor is a supercomputer and I think it does make sense to always have more processing ability than you need, but you really can't purchase a machine now and expect it to meet all of your needs in 6 years. Who knows what your needs will be! I was also using the word supercomputer as hyperbole. What type of software are you using JLarsen?

Seems that this should start a decent discussion. I took small part in a conversation the other night with Alvin Fielder and William Parker after their mind-numbing set at the ICA in Boston. William Parker mentioned a recording of the Clifford Brown/Max Roach band from the Beehive that they both got excited about, saying the musicians were moving so fast that they (Parker, Fielder) considered it free. Now this was mentioned in a conversation about the history of bebop. Brownie only came up after mentioning so-and-so whom Fielder credited for inspiring Fats Navarro who, in turn, inspired Clifford Brown. I assume 'creative hyperbole' may, in certain ways, apply, but I also feel that they were directly linking the music that they were exploring that night to what Brown and Roach were blazing fifty years back. Here is a copy/paste from another thread regarding this. Is this recording a legitimate release, or is it a bootleg? I'd like to hear this very much! **************** Impossible: He and William Parker were talking about a Clifford Brown/Max Roach recording from the Beehive that was so fast they considered it free. Is anyone familiar? I will post a new thread for this I guess. Pete C: Sounds like creative hyperbole to me. I don't remember anything qualitatively different when I heard those recordings from other performances by the group. Larry Kart: They must be thinking of the "Cherokee" on "Live at the Beehive." I do hear something close to a qualitative difference between this performance and any other Brown-Roach uptempo performance of "Cherokee" (or anything else) I know -- it's so damn fast and Clifford and Max are so united/inspired--and I can see where it would make sense to think if it as "free." That is, while what Clifford and Max are playing sounds co-ordinated, esp. rhythmically, one gets the feeling that in practical terms that's because they're both in their topmost conceivable/executable gears, and those gears happen to coincide. Whatever, it's amazing, extreme music. FWIW, there's a piece about the "Live at the Beehive" set in my forthcoming book "Jazz In search ofd Itself" (Yale U. Press, fall 2004).

Looks pretty cool. I haven't heard this group before. I'll probably check it out. Let me know what you think once you've received your copy!

That's great D! I came down from Charlotte. I think it was 2001. We were probably four rows back toward the center. Afterwards, we went over to Vertigo for beer and burgers. I've had some good times in Atlanta.

How are the overdubs? These are sessions that I have not heard.

Is this a recent live compilation Lon? If so, I'm surprised it is already out-of-print. Haven't heard it though...

What will you be using the laptop for Brandon? Its fantastic that Apple has developed portable supercomputers, but the average user doesn't need all that. My wife, who's in law school and uses the machine primarily for word processing and research, is on a 14" G3 iBook 800Mhz. I'm actually using it right now. She uses iTunes, iCal, iPhoto as well. Of course, it would be great to have a G4 1Ghz in a laptop, but its not necessary for the application. By the way, the 12" is pretty sweet. There's something really neat about a computer so small and portable. I love the layout of the newer Apple laptop keyboards also. I have a Dell through work and it doesn't compare.

I saw the trio in a church in Atlanta a few years back. Still have the ticket somewhere. That was a lot of fun. Maybe we were at the same show! This was just mind-blowing, and I mean that in the literal sense. At one point, Kidd Jordan was summoning notes out of his bell with his bottom hand as if he could see a flow of energy coming out of his horn. Encouraging the sound to come out faster. Whether this is part of his show or not, I don't know, but at the time it seemed totally real. It was rare when all four musicians weren't playing. There were times when William Parker's bow was matched up with Kidd's false-register vibrato in perfect unison. The music was frenetic in constant crescendo. The four ended up in gospel, then deep deep blues, then what sounded like a less detailed melody of My Favorite Things. Kidd played this frame while Sabir embellished with design. I really hope this is released so the people who weren't there can experience something similar. Unreal. Unreal.

Rosemount was great about 5 years ago. I remember a friend's mom turning me onto it when I was in England. Penfold's is pretty consistent. Black Opal too. We bought a case a few weeks back at $7 a bottle! Elsewhere it sells for $14. Not a thing wrong with it. I haven't had Perrin. Thanks for the tip! I'll also check out the Chilean grape mentioned. I have had pretty good luck with Chilean wine. I'm by no means a conn. of wines, but I know what I like. Pinot Noir and Cote Du Rhone by rule, Merlot by majority, Shiraz as well. My wife kept bringing Yellow Tail home until I asked her to try something new. I was a fan a few years ago, but I'm not impressed anymore. Nathanson Creek used to be decent as well. I wonder what it tastes like now? Anyone familiar? Good companion to the cheese thread!

Thanks Michael. Have you read the Cadence piece? Fascinating. I still haven't check out Sound. I'm slow on that one. I do want to hear him in a bebop setting. Can you recommend any albums with him? He and William Parker were talking about a Clifford Brown/Max Roach recording from the Beehive that was so fast they considered it free. Is anyone familiar? I will post a new thread for this I guess.

In Walked Thelonious is phenomenal.

There are tons of wines in the $15 range, including many Cote Du Rhones. You can spend a lifetime in the $15 range. We rarely veer outside it, unless we are out to dinner, in which case it is the $30-$40 range (same wines in the $15 range, don'tcha hate it ).

Good lord almighty. I am a big fan of the drum kit. I go out of my way to hear new drummers from all eras of jazz music. Granted I haven't heard everyone, but HOW HAD I NEVER HEARD OF ALVIN FIELDER BEFORE THIS MONTH? It is 2004 and he is now getting attention? Are we all asleep on Alvin Fielder? This man is a masterful jazz drummer. I want to hear from the Chicago area right now. Then I want to hear from the drummers. I hold both groups personally responsible for my ignorance. Help me find some Alvin Fielder!

William Parker Quartet: Sabir Mateen (as, ts); Kidd Jordan (ts); William Parker ( b ); Alvin Fielder (d) 4.16.04 | Institute for Contemporary Art | Boston MA | Boston Creative Music Alliance Shit Fuck [Hot] damn Fuck shit fuck shit fuck. I had heard Sabir Mateen play in a duo with drummer Ben Karetnick a few years back in Atlanta. Tonight was his birthday. There was a small cake and a big sound. Kidd Jordan is a player that I had yet to hear. I am familiar with the musicians he tends to surround himself with, yet somehow had never heard him before. His strength lies within cooperation with other the other musicians. He makes a point to play with each and every musician on the stage. The first time I ever heard William Parker in person was last month with Brotzmann and Hamid Drake at this same venue. I am now completely convinced that William Parker is all he is credited to being. His fingers are quick, his arms are strong, his mind is colorful. His sounds are real. Alright, who do I blame for sleeping on Alvin Fielder? The first I had heard of him was in the last issue of Cadence, a recent subscription for me. After reading the interview (part 1 of 2, by the way) I knew I was in for something. He knew ALL the drummers. And the trumpeters for that matter. He is a historical encyclopedia! Alvin Fielder is an unbelievably accomplished drummer steeped in the American tradition of the drum kit. His knowledge of the history and the rudiments and patterns that each drummer would favor is fascinating. He had a 32-bar solo during the first 20 minutes of a 90 minute non-stop set, which he later told me was Drum Serenade, stroke for stroke. His motion was more fluid and powerful than anyone I have personally witnessed behind the drum kit. He was rhythmic, he was percussive, he was swinging like a motherfucker. I am in awe of this man. The group was more powerful than any music I had ever witnessed. I was born in 1977, so I missed the first wave of energy music to blow through Western Civilization in the 1960s. I have been to free performances before, but nothing ever came close to what these four men were able to achieve. We all left this performance exhausted, and wired, similar to the effects of certain psychotropic drugs. I spoke briefly with Michael Ehlers. He had the same reaction. I asked him, “When do I get to hear that again?! I have a feeling this is going to make it to CD.” His response was “I don’t know what to tell you. I know. You think?!” He was just as blown away as I was, and he hears combos like this on a weekly basis. This was their “world premiere” as a band. They sounded like they had played together with this sustained intensity often over the decades. They couldn’t stop. The momentum knocked me out. If this quartet does continue to play together and they show up near your house, by all means make the trip. The ground the four covered in 90 minutes is too vast to get into, plus describing music is something that I feel less than qualified to do. Assuming you are a fan of free jazz, I predict you will be hearing this Eremite release within the next few years. edit: stupid smiley that shows up when you think you are abbreviating "bass."

Or do a drop D tuning and... waitaminute... Ha! The first thing I thought of when I saw this title was SMOhhhhhKE ON THE WATER, bahmp bahmp bahhhh bahmp bahmp bahmp bahdah bahmp bahmp bahhh bahmp bahhhh!

I don't think they should promote it (jazz, non-pop, etc) the way they promote pop. I do think it would help if it were promoted differently however. Different audience. Quarter-page ads in the back of an obscure magazine aren't any better though. Look at what Organissimo has done!