sonnymax

Not really. According to livestrong.com, there's an almost equal amount of macronutrients in both nuts. "A 1-ounce serving of dry-roasted almonds has 170 calories, 6 grams of protein and 3 grams of fiber. The same portion of peanuts contains 166 calories, about 7 grams of protein and 2 grams of fiber." Also, "the difference in fat content is minimal." In the end, it largely depends on what type of nutrients you're looking for. "Almonds are the nut to choose if you need to boost your intake of antioxidant vitamin E. ...On the other hand, peanuts are better sources of the B vitamins, especially folate and niacin."

If no one offers you a suitable app recommendation, might I suggest you look at the many inexpensive iPhone tripods? If I understand your problem correctly, you are unable to photograph the LP cover head on without some perspective distortion. Perhaps a tripod would solve your dilemma.

insensitive, ignorant and offensive.

Bobby Keys, longtime saxophonist for the Rolling Stones, died on Tuesday at his home in Franklin, Tenn., after a long illness. He was 70. "The Rolling Stones are devastated by the loss of their very dear friend and legendary saxophone player, Bobby Keys," the band said in a statement. "Bobby made a unique musical contribution to the band since the 1960s. He will be greatly missed." Keys was still a teenager when he played sax for Buddy Holly in the 1950s and later performed with John Lennon, George Harrison, Eric Clapton and Joe Cocker, in addition to the Stones. "He was a good friend and an inspiration to play with," said longtime friend and Nashville rock veteran Michael Webb, who performed with Keys in a band of Southern rock all-stars, Bobby Keys and the Suffering Bastards. Webb said Keys had a liver ailment and had been in and out of the hospital in the past two months. Keys wrote of his struggles with heroin and life with the Stones in the autobiography "Every Night's a Saturday Night." Keys was not a full-time member of the Stones but frequently led the horn section when the band went into the studio or on the road. Some of his best work can be heard on the songs "Can't You Hear Me Knocking," "Live With Me," "Brown Sugar" and "Emotional Rescue." NBC News

So BPI (The British Recorded Music Industry) and ERA (Entertainment Retailers Association) run the Official Charts Company, the outfit that wants us to believe that the number of records shipped equals how many are sold. Funny how the media just passes this along as fact.

Great recording.

Okay, if you're going to get serious and on-topic about it. Here's a blog I found by this guy named Scott who made his own shawms, and he discusses in detail everything you might want to know, including tunings: Scott's Making Do Oh, and one more thing: It's SHAWM WOW!

I never played a shawm, but more than one person expressed the opinion that my playing was a sham.

I am greatly saddened to hear of Tommy's passing. I've been a Car Talk fan for many years, and I continue to enjoy the rebroadcast of past shows. It's good to know that there are other people on the board who enjoyed his infectious laughter and appreciated his special kind of wit. I encourage folks to check out the free podcast of Car Talk at http://www.npr.org/rss/podcast/podcast_detail.php?siteId=9911203 Rest peacefully Tommy, and thank you.

Really? Then why did you say: I wrongly assumed you were successful based on this: Personally, I'm glad the quote is still there. I perceived you as being less-than-honest in your response to Dan that you were not saying Bill's comments "should or should not" removed. In my reading of your posts, You certainly were expressing the opinion that they should be deleted. And you are not wrong in believing that, because it is your opinion and you are entitled to it. I think I'm not alone in saying that it was good of you to contact Noal. Now, I realize that I might have misread your subsequent posts, for I assumed after being rebuked by Noal you went ahead and contacted Amazon and had the comments removed. If I am incorrect, I apologize. Lastly, of course you can begin any discussion you wish on the board. It's your right. However, I am still struck by the irony that starting this thread about not wanting to be associated with Bill enables anyone searching about Bill Barton to find this discussion and well...you.

Let's be honest, Allen. Of course you're saying Bill's comments should be removed from public view. By your own admission, you tried to convince Noel of this, and you were rebuked. You went ahead and contacted Amazon hoping that they would agree with your opinion, and you succeeded in getting it deleted. Undoubtedly, some people here will agree with your actions, and others will not. What I'm left wondering is why you felt the need to create a thread about this matter. In doing so, you have renewed the "association" between Bill and Organissimo, as well as yourself.

Some other scenes caught by Google Maps street view:

Schneider was quite prolific during the mid-nineties into 2001, releasing eight albums on SteepleChase and also a few more on Splasc(h) and Label Bleu. I have several SteepleChase titles and they're very good. I especially like these ones:

Damn, you are magnificent! Got to kick myself for not recognizing the connection between the two titles. Thanks again.

Would someone please tell me when this track was recorded (supposedly 1961 in LA for Pacific Jazz) and where it first appeared? It's included on the CD reissue of After Hours, but wasn't on the original LP. While this particular reissue also features tracks from Tell It Like It Is, it omits one title from the After Hours LP, namely Groove Bird. Thanks in advance.

It is available in CD format at Squidco, so I assume you can (or will soon be able to) get it from other retailers as well. On the other hand, this is advertised as a note-for-note copy of the original KOB, and the sound clips appear to confirm this claim. So (as others have asked), why bother?

No, not at all. This was a budget American outfit that reissued several dates originally released on the Warwick label, often in a rather shoddy manner. In addition to the aforementioned editing of some tracks, TCB typically renamed the albums, omitted personnel information, and even changed the titles of some songs. Here are some of their releases: Freddie Hubbard, Curtis Fuller, Yusef Lateef ‎– Gettin' It Together (TCB 1001) aka Curtis Fuller ‎– Boss Of The Soul-Stream Trombone (Warwick W2038) Donald Byrd With Herbie Hancock ‎– Takin' Care Of Business (TCB 1002) aka Pepper Adams Donald Byrd Quintet ‎– Out Of This World (Warwick W 2041) Booker Little & Booker Ervin ‎– Sounds Of Inner City (TCB 1003) aka The Teddy Charles New Directions Quartet ‎– Metronome Presents Jazz In The Garden At The Museum Of Modern Art (Warwick W 2033) Donald Byrd & Booker Little ‎– The Third World (TCB 1004) aka Various ‎Artists – The Soul Of Jazz Percussion (Warwick W 5003) This album is comprised of two 1960 dates led by the Armando Peraza Septet and the Earl Zindars Sextet. In addition to Little and Byrd, the personnel includes Curtis Fuller, Pepper Adams, Don Ellis, Bill Evans, Mal Waldron, Paul Chambers, and Philly Joe Jones. Herbie Hancock ‎– Jammin' With Herbie Hancock (TCB 1006) aka Pepper Adams Donald Byrd Quintet ‎– Out Of This World (Warwick W 2041). Yeah, they already reissued this material on (TCB 1002), but here they edited and renamed all the tracks. Andrew Hill ‎– So In Love (TCB 1006) same as Andrew Hill ‎– So In Love (Warwick W 2002) There were also some compilations issued, including one featuring Billie Holiday and another entitled “Super Sax”.

Per below, the answer seems to be that the music comes from the same MOMA concert, but "Sounds of the Inner City" lacks the "Take Three Parts Jazz" suite and "Embraceable You," and the performances on "Sounds of the City" are edited in some manner... Edited indeed. All of Teddy Charles' solos were cut. IIRC, he isn't credited at all on the TCB reissue. Here's the press release for the concert: "Final Jazz In The Garden Concert"

I share the sense of loss and feelings of sadness expressed by others. He was a thoughtful member of the community who wrote an informative blog illustrated by some of his own wonderful photographs. R.I.P. Hans, and Keep (it) Swinging.

I like Annie Lennox and I respect her artistry. I think it will be interesting to see what she brings to this project. I'm sure it will be significantly better than what Rod Stewart and Carly Simon have subjected us to.

Oh, yes indeed. You're the coolest. Just ask these Japanese kids.

it ain't a jazz standard

In that other thread, I said that Bob Porter described it as jazz intended as entertainment for black adults. It's really hard to define, especially as people like Milt Jackson and Sonny Stitt made bebop and hard bop and soul jazz records. But if you think about entertainment, dancing (including very slow dancing, perhaps horizontally), partying and the music that goes with that, and the music that could and would be affected by that, and could be and was affected by (and led) changes in popular black music, hey, you're getting there. MG Thanks for the reply, and for the list. I only began exploring this genre in earnest over the past year. It really hits the spot when you're "in the mood".

How do you define or describe "soul jazz"?