sonnymax

More ridiculousness from the Hoffman followers. The issue of who followed whom has already been addressed. As someone who enjoyed Steely Dan from their inception (and had the pleasure of seeing them live during the Pretzel Logic tour), I consider Gaucho to be their weakest effort. All the edges are smoothed out to the point where there's little of substance or interest to grab onto. Imo, Katy Lied was their last great album, and many years later, I find more of value in their earlier, less polished recordings.

Btw, it's great to hear other people speaking fondly of the Yardbirds. More often than not, I get a "never heard of them" when I bring them up in conversation. And another thing, are people aware that one of my "guilty pleasure" bands sampled the riff from He's Always There for one of their megahits?

No offense taken, Jim, not in the least. I share your sentiment about the history of younger, whiter, richer musicians taking credit for the work of older, blacker, and poorer artists. For me, the bottom line is this: give credit where credit is due, and once you've taken something from someone else, show us what you can do with it. That's tradition. Many years ago, I was asked by a younger musician if it was okay to "steal" riffs from your elders. I told him, "If you're gonna steal, steal from the best."

It's not a big deal, but I would have preferred you said something like, The Yardbirds' "Lost Woman" has one of my favorite riffs in rock, along with "Day Tripper." British blues-based pop combos from that period on occasion took a blues tune/riff/arrangement, put new lyrics over it, and copyrighted it as an "original." I wonder if "Lost Woman" had a similar history? That phrasing sounds less like an accusation, and it expresses your admiration for the tune (something we have in common). Btw, as a ong-time Yardbirds fan, I think it might be slightly misleading to lump them together with the many "British blues-based pop combos". After all, they recorded an early album with Sonny Boy Wiliamson and lost their "slow-handed" lead guitar player as they veered into pop territory.

So then, we're talking about a CDr, not a CD?

I'm confused. From which blues song did the Yardbirds supposedly steal the riff?

Nice. If I'm not mistaken, she's playing an 8-string tenor ukulele.

Forgive me, but I'm unclear about your answer. Yes, Ephemera was released on LP by Spotlite. Are you saying that the CD you own was also issued by Spotlite?

I was unaware that Ephemera had been issued on CD. What label did it appear on?

Although Ephemera is available for download, that there are complaints about the sound quality. On eMusic, customers claim it's a needle drop from an inferior LP. This criticism could apply to the Ephemera files from other music download services as well.

Friends? You mean "customers", don't you?

I just received an email announcing the artists scheduled to appear at this year's Newport Jazz Festival. I've enjoyed attending the festival the past several years, after staying away for more than a decade due to the preponderance of smooth, crossover, and "big name" acts. With George Wein's renewed involvement in the festival, there was some assurance there would be a variety of music jazz styles presented, including non-mainstream and avante garde acts. This year, however, the absence of Mr. Wein's name from the announcements and a new sponsor may have something to do with a renewed emphasis on booking performers who highlight many of the other "jazz" festivals, i.e., acts that attract larger numbers of less serious jazz fans. Certainly there are some adventurous artists scheduled to perform, and Sunday looks like the better of the two days, as far as my taste in music goes. Anyway, here's what they sent me: Friday, August 5 at the Newport Casino/International Tennis Hall of Fame Michael Feinstein "Come Fly With Me" with special guest Joe Negri Wynton Marsalis Saturday, August 6 at Fort Adams State Park Wynton Marsalis Esperanza Spalding & Friends I Eddie Palmieri Latin Jazz Band Al Di Meola World Sinfonia Hiromi Michel Camilo "Mano a Mano" with Giovanni Hidalgo and Charles Flores Mujeres De Agua by Javier Limón featuring Buika Trombone Shorty & Orleans Avenue Regina Carter's "Reverse Thread" Steve Coleman and Five Elements Joey DeFrancesco Trio Grace Kelly with guest Phil Woods Ambrose Akinmusire Quintet Mostly Other People Do the Killing New Black Eagle Jazz Band Sunday, August 7 at Fort Adams State Park Hiromi: The Trio Project featuring Anthony Jackson and Simon Phillips Esperanza Spalding & Friends II Angélique Kidjo Jame Farm with Joshua Redman, Aaron Parks, Matt Penman and Eric Harland Charles Lloyd with guest Zakir Hussain Trombone Shorty & Orleans Avenue Mingus Big Band Ravi Coltrane Quartet Randy Weston's African Rhythms Trio Miguel Zenón presents the Puerto Rican Songbook with conductor/arranger Guillermo Klein John Hollenbeck Large Ensemble Avishai Cohen Triveni with special guests Joshua Redman and Anat Cohen Apex: Rudresh Mahanthappa & Bunky Green Brubeck Brothers Berklee College Of Music All Stars Artists subject to change. Artists not in play order. Schedule with times to be posted in July.


Sorry, but this poll/discussion is a non-starter. Even in cases whether the master tapes have been lost or destroyed, we have the technology to make acceptable reissues from vinyl transfers. You can argue that "big business" will never reissue this title or that, but this is no more than fear and speculation. In recent years we've seen the release of some great jazz that no one knew existed. Who knows what the future will bring, especially as digital downloads reduce the costs of putting out physical product. The real answer to the question of "music that will never be heard again" is this: every live performance that was never recorded. Many times after a great jazz concert I've reminded myself that I was witness to something very special, something that no one else will ever experience, aside from the musicians, myself, and the other people in the audience. It's what makes jazz so meaningful, those precious moments of improvisation, communication, and exultation. As Eric Dolphy said, When you hear music, after it's over, it's gone, in the air. You can never capture it again.

The first pianist to have a star on the Hollywood Walk of Fame, Roger has 21 Gold and Platinum albums to his credit...Roger’s music has served as the soundtrack to the lives of three generations, and he burst upon the music scene when he recorded Autumn Leaves in 1955...He has performed at every major venue, with nearly every major symphony orchestra, including the afore-mentioned Carnegie Hall, the Hollywood Bowl, and the White House. The latter has earned him the title of “Pianists to the Presidents,” having played for nine chief executives...[Williams says] it made me very proud that one critic wrote: ‘Roger Williams has raised the so-called elevator music to astounding new heights, and as a result, it has certainly established him as the greatest popular pianist in history.’” Zowie! Mr. Piano

The 18th Century was the "Age of Enlightenment". Currently, we are living in the "Age of Entitlement".

The fact that these reissues carry the dates "1995" and "2003", along with the price and vendor, suggest this is an older reissue series featuring remasters that are over 15 years old. Still...

Improbable?

National Pie Day (January 23rd) is happier.

Coincidentally, your name translates to Race Riff No and Fan Crier Of.

That's all well and good, but try running Chuck's name in the anagram generator and see what you get.

It would appear that I'm many things to many people: To naughty anatomists, I'm Rib Over Tit To steel-working astronauts, I'm Orbit Rivet To computer-toting anarchists, I'm Bit Rev Riot And to all you jazz hounds, I'm leader of the Rib Vet Trio

To those who dismiss or "don't get" Bruce Springsteen, I recommend listening to The Wild, The Innocent, and the E-Street Shuffle. It's all there, and it's all good (actually great, imo).

For me, Billy Joel is a guy who's had pop hits that I enjoyed listening to on the radio when they were popular. But when I hear these same songs years later, I really don't like them. They sound too, I don't know, calculated and superficial. I never purchased any of his albums, and I really can't imagine ever wanting to buy one in the future.

Damn, what a killer line-up! Saxophones Marty Ehrlich-Soprano, Jimmy Cozier-Alto Bill Saxton-Bob DeBellis-Tenor Howard Johnson-Baritone Sax, Contrabass Clarinet, Tuba Scott Robinson-Bass Saxophone, Sarrusophone, Contrabass, Saxophone Trumpets Lou Soloff, Stanton Davis, Eddie Allen, Reggie Pittman, Stephen Haynes Trombones Gary Valente, Alfred Patterson, Craig Harris Earl McIntyre-Bass Trombone/Tuba Bob Stewart-Tuba French Horns Vincent Chancey, Mark Taylor Rhythm Section Onaje Allan Gumbs-Piano Benjamin Brown-Contrabass, Electric Bass, Tuba Warren Smith-Vibraphone, Marimba, and Percussion Buddy Williams-Drum set, Percussion Satoshi Takeishi-Asian Drum set, Percussion William Bausch-Timbales, Percussion Richard Huntley-Percussion Joseph Daley-Composer, Conductor, Euphonium, Tuba