crabgrass

My mind is aglow with whirling, transient nodes of thought careening through a cosmic vapor of invention. ditto, Mr. Lamarr.

this isn't really anything new... it's basically a piano roll on steroids. the idea has been around for more than 100 years.

I saw him back when the all-star Big Band from the Altman movie "Kansas City" was touring. The horns were Carter, Joshua Redman and Don Byron. They got into a cutting contest and Byron easily handed both of them their heads. Not even close. Don used sheer muscle to take out JC's attempts at pyrotechnics.

These boxes are to hook up to analog TVs that can't really take advatage of component or HDMI anyway. As for cable companies "not switching to digital", of course they are, their boxes are already digital converters. I sent off for a coupon some time ago and have yet to get it.

Normally, I'm never overly impressed with remasterings... but I'll tell you, when I heard the DSDs of some of the Miles Davis catalog, holy shit! There is a noticeable difference, particularly in detail. I have listened to this catalog many many times in many different configuations over the years and thought I had heard it all... but no... take Sketches Of Spain for instance... I was like "Hey! Since when is there a harp on this?!" And the added detail on Kind Of Blue is almost to the point of annoying. I mean, I don't really think we need to hear Coltrane's teeth on his mouthpiece.

Another favorite of mine I'm not seeing here is... Mario Bauza

Let's not forget this guy... he invent Mambo Israel Cachao López

Back in the 90s, I had a chance to hang out with both Turrentine and Diana Krall at an Association for Jazz Educators convention. Stanley was one of the nicest, warmest humans I've ever had the opportunity to meet. He was wearing one of his trademark sweaters. I made a comment about how much I enjoyed the records he had made with his then-wife Shirley, and he was quick to tell me not to say that too loud for fear his current wife, who was nearby, might overhear. He then whispered to me that he liked them too. At one point a painfully shy Diana Krall approached Stanley and asked if "Mr. Turrentine" might like to sit in with her that night when she played. Stanley lit up and said "girl, I thought you would never ask!" It was funny that Diana was so sheepish about it, since Stanley had played on her then current Impulse Record "All Of Me".

While "Sugar" and "Cherry" are great, another great CTI of his was "Salt Song". Not to mention "Let It Go"

The Black Page? That ain't so impressive. Hell, an 11 year old girl can play it...

Elisha Otis Jesse W. Reno Charles A. Wheeler

I use an ION on my Mac and all you need to do to get sound is to load up Audacity, open a new file and hit record. Once it is recording, you can hear it. If you don't want to record while listening, just hit pause first. You should be able to get sound while Audacity is in either "record" or "record pause" mode.

Looks OK to me... Paul Zwingenburger Torsten Zwingenburger Plas Johnson Andy Dick Joe Cocker Honoré de Balzac

Leslie Kong Jimmy Cliff John Ratzenberger hope I'm doing this right

To me, his "masterwork" was his final album, Civilization Phaze III. It's one of those things that's gonna take the world many, many years to catch up with.

Recordings Of Indeterminate Origins

Yeah, those are the ones I have recordings of. The early one with Ulmer goes by the name "The Way I Feel". They are all ROIOs as far as I know. A little research came up with this, which discusses these recordings... http://johnpatton.blogspot.com/2007/03/big...atton-live.html

I have always thought that the guy "building in there" was more of a Buzz Fledderjon than a Frank. I stood on the roof, stood toward dark To get a better look at the Fledderjons' lawn Big sharp pistols, ammo too Nothing but books about World War II Rottweiler, Dobermann, a Pinkerton guard I ain't allowed in Buzz Fledderjon's yard I ain't allowed No, I ain't allowed I said, I ain't allowed in Buzz Fledderjon's yard I seen a python swallowing a Dobermann whole Piranhas swimming in a mixing bowl Buzz Fledderjon Paper's full of stabbings, the sky's full of crows She's singing in Italian while she's hanging out her clothes Carp in the bathtub and it's raining real hard I ain't allowed in Buzz Fledderjon's yard I said that I ain't allowed No, I ain't allowed No, I ain't allowed in Buzz Fledderjon's yard. Well, the sailor's ringing doorbells, the sinner's in the pew Weathervane's squeaking to the west I seen the cliffs of Dover and the deepest ocean blue One thing in the world I can't recommend to you Because I ain't allowed I said, I ain't allowed No, I ain't allowed in Buzz Fledderjon's yard I said, I ain't allowed No, I ain't allowed I ain't allowed in Buzz Fledderjon's yard I ain't allowed I ain't allowed I said, I ain't allowed in Buzz Fledderjon's yard

I don't know if you can call them "sideman" dates... but Patton played live with Zorn on occasion... "Big" John Patton & John Zorn w/ James "Blood" Ulmer & Bobby Previte August 28, 1988 Saalfelden, Austria John Patton - Hammond B3 organ John Zorn - alto sax James 'Blood' Ulmer - guitar Bobby Previte - drums --- John Zorn's Emergency 1989 The Knitting Factory New York, NY John Patton - Hammond B3 organ John Zorn - alto saxophone Marc Ribot - guitar Jeff Hirschfield - drums --- Zornfest Music of Big John Patton Thursday, September 9, 1993 The Knitting Factory, NYC John Patton - B3 organ John Zorn - alto sax Ed Cherry - guitar Eddie Gladden - drums Lawrence Killian - congas ------ Big John Patton 23 November 1995 CBGB's 313 Gallery New York City, NY, USA John Patton - B3 organ John Zorn - alto sax Ed Cherry - guitar Kenny Wollsen - drums --- Special Olympians Saalfelden Jazz Festival Saalfelden, Austria August 28, 1999 John Zorn - alto sax John Patton - B3 organ James 'Blood' Ulmer - guitar Bobby Previte - drums

Paraphrasing Samuel Johnson: "Market forces is the last refuge of the scoundrel.” to paraphrase Samuel L. Jackson: "Motherfuckin' snakes on a plane is the last refuge of the scoundrel." as for those who exhibit rude cell phone behavior, there is a simple fix... just get close enough for the party they are talking to to be able to overhear you and say "hang up and come back to bed, honey."

and also in Warsaw, Poland in 1999 when, in the middle of introducing the Masada String Trio, John reads the riot act... "and Mister Greg Cohen... this is the Masada String Trio, and we are not going to play one note of music until every one of these photographic leeches get the fuck away from the stage. Goodbye. Everyone of you. Get the fuck out of here. Goodbye. Not one fucking note. Go. Someone say it in Polish. How do you say 'get the fuck out'? Zorn then yells out a Polish word provided for him from the audience. We're here to play music for the audience. We're not here to have our fucking picture taken. Goodbye. You too. I don't care who the fuck you you are, get out of here.... or what color your hair is dyed. Goodbye. All of you. Erik Friedlander, cello.. Greg Cohen on bass... Mark Feldman. We are the New York Jews, motherfucker."

This thread proves Zorn's point.

I am not a musician at all... I do however, play the radio quite well. Also, I have done light shows for a band and am quite good at it. It's weird that I can't play a note, but I can play along using light very well. I guess that at times when I'm listening, I'm thinking (or rather mentally seeing)... "dark... flash white then slow decay... low yellow with ceiling shadow... shadow movement then profile... full up... slow red pan... smoke and glow... pulse... pulse... pulse... fade to black" I agree with whoever said that everyone brings their own experience to how they hear music.

I loved Wayne's breakdown on the end of the Rolling Stone's "Bridges To Babylon". Sublime.

Thanks for the reply. When it comes to "categorizing", I'm not referring to the names that people place on it, but to the music itself. When someone improvises on the harmonic structure instead of the melody, it's called "be-bop". if you play using modes instead of chord progressions, it's called "modal". If you play the flatted third, fifth and seventh of an associated major scale it's called the "blues". If a musician is playing that and claiming what he is doing isn't called that, he's wrong. When Dave Douglas is playing in Masada, he's playing (for lack of a better term) yiddish free jazz. I certainly agree that it's enjoyable when a musician creates something unique and feels no need to call it anything beyond "music", but that doesn't mean that different types of music don't have certain names... nor do I think calling the blues the blues is something foisted on everyone in order to pigeonhole W.C. Handy and Robert Johnson. I think that part of the reason that music is becoming so fragmented is because, as more different types of music are disseminated more fully, more musicians are able to add more influences and styles to their own music, making it harder and harder to say their music is any one style. I also think this period of fragmentation is exciting for the avid listener of music, but also that it makes it more difficult for any one type of music to appeal to larger audiences. If there is to be a "next big thing", it will be because a musician creates a new style and other musicians begin to copy it to the point where many musicians are playing that style. I don't know if this is a good thing or a bad thing... I guess it depends on what chair you are sitting in.