Alexander

Um...this was a parody. A comment on the excessive use of car chases/crashes in movies. It was a joke. You got it, right?

I'm a huge fan of the first album. I agree that the second one isn't as good, but it still has some very fine moments. As for "Waltz for Debbie," my wife and I have sung it to my daughter (Samantha) every night since she was born. Sammie calls the song "In Her Own Sweet World."

I was there on Thursday night. It was a fantastic show! Sadly, only about ten people were in the audience, but the band was cooking nonetheless. They played several favorites off of both discs (including "Stomp Yo Feets," "Brother Ray," and "Jimmy Smith Goes To Washington" as well as their wonderful version of "Tenderly"). I had a wonderful time! The best moment came at the end when they played their encore... They asked if anybody had any requests, and I called for "Peaches en Regalia." Joe turned to Randy and said, "That's gotta be Alexander." Indeed! It was great meeting you guys! Congratulations on an amazing show and good luck on the rest of your tour! Hope Boston and NY went as well! And rest that voice, Jim...

The only instrumental sax thing that would have hit the top 40 that I can think of is "Songbird" by Kenny G...

WOW!!! Congratulations, guys! Rock rock on!!!

Another former BNBBer. I'm SO glad the Jim started this place up. The vibe at AAJ is still a little insular for my taste...

For the record, these seem to be as rare as hen's teeth in the Captial District. After calling around for almost an hour, the only one in stock anywhere is the Ervin. Too bad, since I really wanted to hear the Cherry! I have a burn of the Hill, so that can console me until the "real" copy arrives. I've already ordered the Hope and the Quebec from CD Universe, so those should come in short order...*sigh* What's up with this? RVGs are everywhere, but Conns seem to be less of a priority for brick and morter retailers...

My world famous 10-Alarm chili! Smells great! Tastes even better!

This is what I've pieced together from listening to the set: Disc one: She's So Lucky Snap, Crackle, Pop Boozer New Orleans, La (this is how Scofield introduces this tune. It's not on any of the discs I own, so I don't know if this is the real title or not) Polo Towers Disc two: Acidhead (I think) Jungle Fiction Jeep On 35 Ideofunk (possibly) Uberjam (maybe) ******************************************************** The titles without comments are solid. Scofield introduces these numbers on the recording, so there's no doubt there. The other tracks are harder to pin down. I've A/B'd these titles with the tracks on "Uberjam" and this is what seems most likely to me. If anybody has more definite information, it would be appreciated. BTW, I don't know where my co-worker got this set. It's one of the very few bootlegs I've encountered that doesn't seem to be listed on a website. It may actually be a private recording...

Ok...I've found a little more information. On February 21, 2002, Scofield played a club in South Burlington, VT called Higher Ground. This would seem to be confirmed by a remark Scofield makes about Burlington being a great town for music. Still no luck finding out what the set list was...

A coworker lent me a two CD live recording of John Scofield. The only markings on the box are the date "2/21/02." Does anybody have this and have a clue as to what the songs are titled? I'm thinking stuff from "Uberjam," maybe?

I think it's just wonderful. Great compositions and beautiful playing from all parties. I happen to like Lovano a lot on this date, btw.

I disagree. There are plenty of rules that *everyone* agrees on. Killing people is a bad idea, for example. The problem seems to be that many people think that once God or religion is taken out of the equation, all bets are off. Suddenly murder is fair game. Why not? If you're not going to hell, why not kill everyone who looks at you crosseyed? Well, that's where humanisim and ethics come into play.

I didn't mention this before, but doesn't it seem a bit odd that (apart from the drummer who was just along for the ride) no members of the Hawks/the Band were interviewed for this? Especially considering that this film was made by the director of "The Last Waltz?" I mean, the drummer was fine, but where the hell was Garth Hudson? Or Robbie Robertson? They were with Dylan during so many crucial moments in his career, it would have been interesting to hear their take on it (especially since we see them play throughout the film). I mean, given that the film usues a lot of footage of the late Allen Ginsberg, you'd think they might even have had some footage of Rick Danko! That was only serious omission I noticed...

I bought the DVD last week, so I've watched the whole thing already(plus the full-length performance footage). I was also knocked back by Dylan's candor. He's spent so many years jerking the press around, it's really amazing to just listen to the man talk. What really surprised me is that his speaking voice hasn't changed a whole lot since his early days, even though his singing voice has changed tremendously. Given his talent for mimicry and fabrication, one wonders how much of his current singing voice is affected. I loved the material on his early days in Greenwich Village. The interview footage with his peers really helped to bring that whole scene to life (the material on the same subject in Dylan's autobiography is also very revealing, especially when he talks about performing with Cecil Taylor, Billy Higgins and other jazz musicans). The second half of the documentary is also excellent, but I wonder if there are any plans to do MORE. I mean, this is a great film, but when will we see a doc about "Blood on the Tracks" or the Rolling Thunder Review? How about the making of the Basement Tapes? There's so much more to this story!!!

"I told you not to tell me that, 99!" ******************************** "We've got the U.S. Navy on the way." "I don't believe it." "Would you believe three boy scouts and a rowboat?"

My God, they are addictive, aren't they? I used to drink one or two G&Ts a MONTH. I think I've had more martinis in the last two weeks than I've had ANY drink in the last year or so! Just had one at my in-laws' house earlier this evening. Sadly, my father-in-law drinks his with a twist, so he didn't have any olives on hand. I drank one his way, and it wasn't bad at all (but I still prefer my olives). Martinis are just so cold and refreshing! My wife can't stand the taste, but as I've always liked the taste of gin, I can't get enough of the damn things. Hope I don't end up in rehab one day! What a way to go!

Agreed on the vodka "martini" issue. Technically, a martini is a drink made with three parts gin to one part vermouth (I like a little less than one part vermouth. The mister sounds like a good idea!). I also prefer mine shaken (this part, I'm sure, comes from over exposure to James Bond movies as a kid).

For the longest time, my cocktail of choice was a G&T, but I've recently come around to the wonders of the martini. For myself, I like it very dry with two olives (I agree with Eliot Gould's statement in "M*A*S*H" that one cannot truly savor a martini without an olive). Are there any fellow martini drinkers on the board? And if so, how do you drink it?

Yeah, I don't understand why they feel the need to admit every important musican into the R&R Hall of Fame. Miles was wonderful, and he should be recognized for his influence on rock musicians, but he was not a rock musican himself. However he fused it, he was still playing jazz. I feel the same way about Robert Johnson. Very important guy. Should be in the Blues Hall of Fame (do they have one?), but why the R&R Hall of Fame? The genre didn't even exist when he played!

My vote is for Tom Vu. The Vietnamese busboy who scammed his way to the top through the old "devalued properties" con. Always surrounded by beautiful women (who otherwise seemed to have nothing whatever to do with him), Tom would scream at the couch potatoes at home in broken english: "Some people say to me: 'Tom! I have no time to come to your free seminar' (pronouced SEM-i-NAH). Well, MAKE TIME!!!!" I heard he went up the river for fraud in the early 90s. Too bad. Tom was one of more entertaining scammers (although Don LaPre is pretty horrible too). There's some video about halfway down this page...

I once saw Bernard Hermann speak at the British Film Institute. Someone from the audience asked him how he could have gone along with the butchery of Ambersons. He replied "We (he and Wells) thought it was just a movie. We thought we were going to make lots of them." Given the later history of both Hermann and Welles it was one of the saddest statments I'd ever heard. ← I once saw a documentary on Welles in which he (in his later years) expressed regret that he had stayed in film after he made "Kane," and wished that he had returned to the theatre. It struck me as one of the saddest things I'd ever heard, given the immense talent Welles possessed, thrown away on a lifetime of hustling. Even his best films (post-Kane) fell short due to the fact that his money was always running out before he could finish. When I was in my early twenties, I liked to say that I empathised with Welles because I had a "sympathy for failure." Today, I just feel sorry for the poor guy. All that talent, all those brains, wasted...

He was a professional, in the very best sense of the word. But, like all professionals, he sometimes took on jobs that didn't show him off to his best advantage. "Star Trek: The Motion Picture" is often regarded as one of the worst of the series (although the costume and set design clearly anticipated "Star Trek: The Next Generation") and is an extremely dull film. Not Mr. Wise's fault, of course, if the script was lifeless, but I expected better from the man who made "The Day The Earth Stood Still."

It took me awhile, but I now enjoy this disc. When I first got it, I couldn't stand it. It's really quite remarkable that I didn't sell it or trade it away. I held on to it, possibly because it was the only Jarrett I had for a long time, and possibly because I hoped that the passage of time would reveal new things to me. It's still far from being my favorite Jarrett (it's still the only solo Jarrett recording I have), but I've learned to like it. I think the thing that clicked for me was when I started listening to other ECM releases. The Jarrett suddenly made sense in a way that it hadn't before, and it didn't strike me as quite the same self-indulgent pile of poop that it first appeared to be.

Traps the Drum Wonder meets the Muppets! It's a match made in heaven!