alocispepraluger102

DARVAS, GÁBOR REMINISZCENCIÁK (1979) (Reminiszenzen) für Tonband Manuskript Autograph: Österreichische Nationalbibliothek - Musiksammlung, Wien Schallplatte: Hungaroton-SLPX-12365 (1982) [12'56"] one of the most powerful and moving pieces of music aloc has heard.

about an hour ago i heard lennie tristano playing his own composition, elegy.

Facing death, saxophonist provides moving coda to jazz career with CD of final recording sessions By CHARLES J. GANS The Associated Press AS THE NEW year began, Michael Brecker’s life was coming to an end. But the tenor saxophonist, suffering from acute leukemia, was still thinking about his music. He went downstairs to his home studio to perform the last notes on an electronic wind instrument for what would be his final album. The 57-year-old died in a Manhattan hospital on Jan. 13, just four days after telling his manager that the record was ready for mixing. That album, Pilgrimage, has been released this week — an inspiring coda to the career of a quiet, gentle musician widely regarded as the most influential tenor saxophonist since John Coltrane, whether playing straight-ahead acoustic jazz or electronic jazz-rock in seminal fusion bands like The Brecker Brothers. It’s the first of the 800-plus albums the 13-time Grammy winner recorded as a leader and a sideman — with such pop icons as Paul Simon, James Taylor and Aerosmith — consisting solely of his original compositions. Brecker’s wife, Susan, considers it "a miracle" that her husband managed to record Pilgrimage — the title of the last track he ever recorded, a 10-minute musical journey with a deeply spiritual prelude that evokes memories of his main inspiration Coltrane. "I believe it was his spirit, his wanting to complete the record . . . that kept him alive a lot longer than really was humanly possible given his physical condition," she said, interviewed with his manager Darryl Pitt in a midtown Manhattan restaurant. For nearly two-and-a-half years Brecker had battled myelodysplastic syndrome (MDS), a cancer in which the bone marrow stops producing enough healthy blood cells, which eventually progressed into acute leukemia. He had to stop publicly performing in March 2005 and could not practice his saxophone more than five minutes at a time. But he used the time remaining to him to write the album’s tunes at his home in Hastings-on-Hudson, north of New York City, in between lengthy hospitalizations. "What I would like people to take from this record is that it is one man’s testament to the human spirit," said Susan Brecker, her voice choking with emotion. "This music is just one man’s response to hearing he is going to die . . . and there can be nothing more honest or more vibrant than that, nothing." Just two weeks after Brecker died, his wife and children, manager and jazz musician friends gathered in a midtown Manhattan recording studio for the mixing of Pilgrimage." "Hearing Mike playing so vibrantly in the studio it was literally as if he were conjured back to life," said the album’s executive producer Pitt, Brecker’s close friend and manager for 20-plus years. "It was deeply moving and profoundly touching and sometimes deeply upsetting." The 78-minute CD respects Brecker’s wishes by including all nine original tunes he recorded with a jazz all-star lineup of guitarist Pat Metheny, pianists Herbie Hancock and Brad Mehldau, bassist John Patitucci and drummer Jack DeJohnette. "The compositions are among the best Mike had ever written," said Metheny, who appeared on Brecker’s first solo album in 1987, in an e-mail response. "I have always contended that he was one of the best modern jazz composers of our time. He had a strong individual voice." Pitt says the album would not have been possible were it not for Brecker’s 18-year-old daughter Jessica. Brecker was close to dying in November 2005 when she volunteered as the half-match donor in an experimental clinical trial at a University of Minnesota hospital involving a new stem cell transplant procedure. The operation alleviated the pain by killing off large growths of leukemia cells but the transplant failed to engraft, leaving the disease free to spread again. Last June, Hancock, at Pitt’s suggestion, coaxed a reluctant Brecker into making a surprise appearance at a JVC Jazz Festival concert at Carnegie Hall honouring the pianist. He received a standing ovation after performing the tune One Finger Snap, his last public performance. The experience encouraged Brecker to go ahead with the recording session that had already been postponed twice. "When he asked me to be on the record, I was really thrilled because I just didn’t expect it to happen," said Hancock. "And when we actually started working on the record . . . I said, ‘Wait a minute Michael, are you sure you’re still sick?’ . . . What was exuding from him was so much power, conviction and enthusiasm to do this record, and it was just a joy to experience that." During the August recording session at the Manhattan studio, Pitt and Brecker intentionally masked from the other musicians just how poorly Brecker felt in order to keep the focus on the music. But none of that frailty is reflected in Brecker’s performances, whether it’s his rapid-fire arpeggio runs on Anagram with its shifting tempos or his deeply emotional, soulful playing on the poignant ballad When Can I Kiss You Again? — a question asked by his son Sam during a hospital visit when physical contact was prohibited to avoid infection. "No one would ever think when they listen to this recording that this guy’s fighting for his life. . . . You get the feeling of somebody who’s at the top of their game," said Patitucci. After the session, Brecker was optimistically planning for future albums. He took a family vacation in Florida and attended his son’s Bar Mitzvah. He was diagnosed with acute leukemia in October, but kept working on the record. It was bittersweet for those closest to Brecker when just days after the mixing session ended in early February, he won two Grammys for the CD Some Skunk Funk, recorded in 2003 with older brother Randy on trumpet. On Feb. 20, Brecker’s family, fellow musicians and fans filled Manhattan’s Town Hall for a memorial celebration. Hancock and Paul Simon performed Still Crazy After All These Years, one of the many classic pop tunes with a memorable Brecker solo. "His efforts to get this final message out to all of us (on Pilgrimage) will go down as one of the great codas in modern music history," Metheny said in his eulogy. Brecker’s legacy also includes his efforts to encourage people to enrol in the national marrow donor registry. The introverted saxophonist went public about his illness after realizing how many thousands of people die every year waiting to find a genetically matched blood stem cell donor. More than 30,000 people have been added to the registry since 2005 as the result of Brecker-sponsored events at jazz festivals, concerts and synagogues, said Pitt, who with Brecker’s wife founded the Time Is of the Essence Fund, named after a Brecker album, to pay for blood tests for potential donors. "Mike was a hero through the whole thing," said Hancock. "He used the challenge of a life-threatening disease to express his compassion for human beings and was able to express it with his music." © 2007 The Halifax Herald Limited

YUGANAUT : The Lost World, at The Drexel June 2nd. On Sat. June 2nd, Yuganaut, a Brooklyn- based progressive jazz trio (analog keyboards, bass, and drums) will perform a live soundtrack to 1925 silent film classic THE LOST WORLD. This is the second installment of the newly begun Cinemuseica series of film/live music collaborations, hosted by the Drexel Grandview Theater. It is also a joint production with The Icebox Music Series, an ongoing concert series (est. 2004) dedicated to presenting progressive jazz and improvised music in Columbus .Please look for articles on the event in this week's Other Paper and Alive. "The Lost World" is based on a short story by Arthur Conan Doyle, and was directed by Harry Hoyt. It was a direct precursor to the style and theme used by Hoyt in "King Kong", both futuristic and prehistoric. Over 50 robotic dinosaurs battle to the accompaniment of the U.S.'s premiere Multi-media jazz group, Yuganaut. In tribute to The Lost World, there will be free toy dinosaurs to all in attendance!! "Get your boarding passes ready and queue up for an interstellar journey ..........piloted by Yuganaut, a crew of three intrepid explorers skilled in traveling the byways of space and time in the spirit of such previous pathfinders as Sun Ra, the Art Ensemble of Chicago, and Miles Davis in his '60s and '70s electric period. Stephen Rush, Tom Abbs, and Geoff Mann create genuinely unpredictable soundscapes throughout this highly diverse disc, but always with attention to organic development and flow... Yuganaut proves that their chosen style of musical expression can be the sound of something genuinely startling. - Dave Lynch / All Music Guide ESSENTIAL DETAILS- EVENT : CINEMUSEICA, in association with The Drexel Theater presents Yuganaut "The Lost World" DATE: Saturday, June 2nd, Columbus Ohio. VENUE: Drexel Grandview Theater, 1247 Grandview Ave. TIME: 10 pm (till 'round midnight...) TIX: $7 general, $5 students/seniors. Under 12 free. IMPORTANT WEB LINKS Yuganaut website: www.yuganaut.com Drexel Theaters: www.drexel.net The Icebox Music Series: www.iceboxshows.com A link to a summary of the 1925 movie THE LOST WORLD http://www.wsu.edu/~delahoyd/lostworld1925.html Want to see the movie to tune up for the show? go here -> http://www.jonhs.net/freemovies/lost_world.htm

http://www.breitbart.com/article.php?id=D8...;show_article=1

bobby/billy/brasil hackett and butterfield on verve --------------------------------------------------------------------- paul desmond/jim hall bossa antiqua ------------------------------------------------------------------------------- the concert sound of henry mancini

aloc, as well.

during sam's interview from thursday, he mentioned being on oxygen the last couple months because of bouts with pneumonia, and noted forgoing the oxygen without his doctor's consent. for mr. rivers to perform the concert you mentioned is more than remarkable.

(giving up my way of life is one of my most frightening thoughts.) Guest Columnist Rethinking Old Age By ATUL GAWANDE At some point in life, you can’t live on your own anymore. We don’t like thinking about it, but after retirement age, about half of us eventually move into a nursing home, usually around age 80. It remains your most likely final address outside of a hospital. To the extent that there is much public discussion about this phase of life, it’s about getting more control over our deaths (with living wills and the like). But we don’t much talk about getting more control over our lives in such places. It’s as if we’ve given up on the idea. And that’s a problem. This week, I visited a woman who just moved into a nursing home. She is 89 years old with congestive heart failure, disabling arthritis, and after a series of falls, little choice but to leave her condominium. Usually, it’s the children who push for a change, but in this case, she was the one who did. “I fell twice in one week, and I told my daughter I don’t belong at home anymore,” she said. She moved in a month ago. She picked the facility herself. It has excellent ratings, friendly staff, and her daughter lives nearby. She’s glad to be in a safe place — if there’s anything a decent nursing home is built for, it is safety. But she is struggling. The trouble is — and it’s a possibility we’ve mostly ignored for the very old — she expects more from life than safety. “I know I can’t do what I used to,” she said, “but this feels like a hospital, not a home.” And that is in fact the near-universal reality. Nursing home priorities are matters like avoiding bedsores and maintaining weight — important goals, but they are means, not ends. She left an airy apartment she furnished herself for a small beige hospital-like room with a stranger for a roommate. Her belongings were stripped down to what she could fit into the one cupboard and shelf they gave her. Basic matters, like when she goes to bed, wakes up, dresses, and eats were put under the rigid schedule of institutional life. Her main activities have become bingo, movies, and other forms of group entertainment. Is it any wonder most people dread nursing homes? The things she misses most, she told me, are her friendships, her privacy, and the purpose in her days. She’s not alone. Surveys of nursing home residents reveal chronic boredom, loneliness, and lack of meaning — results not fundamentally different from prisoners, actually. Certainly, nursing homes have come a long way from the fire-trap warehouses they used to be. But it seems we’ve settled on a belief that a life of worth and engagement is not possible once you lose independence. There has been, however, a small band of renegades who disagree. They’ve created alternatives with names like the Green House Project, the Pioneer Network, and the Eden Alternative — all aiming to replace institutions for the disabled elderly with genuine homes. Bill Thomas, for example, is a geriatrician who calls himself a “nursing home abolitionist” and built the first Green Houses in Tupelo, Miss. These are houses for no more than 10 residents, equipped with a kitchen and living room at its center, not a nurse’s station, and personal furnishings. The bedrooms are private. Residents help one another with cooking and other work as they are able. Staff members provide not just nursing care but also mentoring for engaging in daily life, even for Alzheimer’s patients. And the homes meet all federal safety guidelines and work within state-reimbursement levels. They have been a great success. Dr. Thomas is now building Green Houses in every state in the country with funds from the Robert Wood Johnson Foundation. Such experiments, however, represent only a tiny fraction of the 18,000 nursing homes nationwide. “The No. 1 problem I see,” Dr. Thomas told me, “is that people believe what we have in old age is as good as we can expect.” As a result, families don’t press nursing homes with hard questions like, “How do you plan to change in the next year?” But we should, if we want to hope for something more than safety in our old age. “This is my last hurrah,” the woman I met said. “This room is where I’ll die. But it won’t be anytime soon.” And indeed, physically she’s done well. All she needs now is a life worth living for. Atul Gawande, a surgeon at Brigham and Women’s Hospital in Boston and a New Yorker staff writer, is the author of the new book “Better.” He is a guest columnist this month.

that did it. now i must go to the butcher shop ang get some freshly ground.

Two things--- one, the Yuganaut concert will be held at the Drexel Theater Grandview as part of the new CINEMUSEICA programming there----- live music soundtracks to silent films. That show is on June 2nd- a Saturday.....Please read more at http://www.iceboxshows.com I know for me personally it's big to be able to get shows into a larger venue like that, so please spread the word.... Second thing is that we have Jim Ryan coming in on the 6th (WED.). Jim is a good friend and co-conspirator of Rent Romus.....he plays tenor. Jim's tour is called the FORWARD ENERGY GREYHOUND TOUR......he is essentially, traveling the U.S. by Greyhound---solo--- and going from city to city in search of interesting collaborations with local improvising musicians. So far we have Ryan and Hasan lined up to play with him but if anyone else is interested, please let me know. Check sound samples here: http://www.myspace.com/forwardenergy Finally, if there's anyone who hasn't yet volunteered some kind of amount they would be able to contribute to the DVD project (if they are interested in participating), please do so ASAP. So far we have $400 pledged and we need to get over $700 for it to have a real chance. If we can't make it happen this time around we'll shoot for later in the summer. Maybe we can hold a bake sale- lol.

not a good coolant while running wind sprints

you radiate knowledge. Interestingly, though deuterium is not radioactive, drinking too much heavy water will kill you -- our bodies have trouble absorbing it. Guy an extra hydrogen atom, i gather.

you radiate knowledge.

any recommendations of quality bottled water to take along on my long strenuous midday summer jaunts under the noonday sun?

BUBBA burgers. anyone had one?

put up a hell of a last flourish.

when aloc visits friends and they whip out the prepacks, aloc holds his tongue.

it's no big deal. they do it for aloc all the time.

Check out "New Orleans", he's in "Pop"s" band. one of neanderthal aloc's favs.

those nights at east 40th and st. clair were awesome. this new place doesnt have the old one's personality, and the musicians dont drop in and jam after their gigs. did i hear you there? i do remember pat halloran, a most accomplished bonesmith. ernie krivda has a couple concerts scheduled there the next couple months. ernie is certainly worth an 80 mile drive, even at these gas prices, as long as he doesnt sing. http://observer.case.edu/Archives/Volume_3..._24/Story_1663/ http://www.cleveland.oh.us/wmv_news/jazz74.htm

http://www.nytimes.com/2007/05/23/dining/2...&ei=5087%0A For the Love of a Good Burger By MARK BITTMAN I’M sure you know how to make a burger. But do you make a burger you love, one that people notice, one that draws raves? In a world where “burger” most often means a thin piece of meat whose flavor is overwhelmed by ketchup, mustard, pickle or onion, it doesn’t take much effort to make a better one. In fact, it’s almost as easy to cook a really great burger as it is to cook a mediocre one. When I was young, my mother and her friends produced good burgers. They used different butchers (some were kosher), had different preferences (chuck, round or sirloin), and cooked either in a pan or the broiler (there was no grilling, except when we visited some relatives on Long Island). A favorite recipe in the neighborhood called for garlic powder, an exotic ingredient in 1958; chopped onion; and — gasp! — Worcestershire sauce. This avant-garde recipe was treasured and shared sparingly. What the burgers of my childhood all had in common was high-quality meat, and this is exactly what is missing from most of the backyard barbecues I visit. I see people buying everything from packaged ground meat to frozen patties. With these ingredients, the best they can hope for is to mimic fast food. The key is to avoid packaged ground meat. When you buy it, you may know the cut of the meat — chuck, for example — and the fat content. But you have no way of knowing whether the meat came from high- or low-quality animals. It could come from dozens of animals, and they could all be poor-quality animals — old dairy cows, for instance, rather than cattle raised for beef. The meat from these animals is ground together in huge quantities. If the aesthetics of that don’t give you pause, consider the health concerns. Massive batches of ground meat carry the highest risk of salmonella and E. coli contamination, and have caused many authorities to recommend cooking burgers to the well-done stage. Forgive my snobbishness, but well-done meat is dry and flavorless, which is why burgers should be rare, or at most medium rare. The only sensible solution: Grind your own. You will know the cut, you can see the fat and you have some notion of its quality. “Grinding” may sound ominous, conjuring visions of a big old hand-cranked piece of steel clamped to the kitchen counter, but in fact it’s not that difficult. As the grinder was an innovation in its day, the food processor has taken over. It does nearly as good a job — not perfect, I’ll admit — in a couple of minutes or less. Take a nice-looking chuck roast, or well-marbled sirloin steaks or some pork or lamb shoulder. Cut the meat into one- to two-inch cubes, and pulse it with the regular steel blade until it’s chopped. If you have a 12-cup food processor, you can do a pound or a little more at a time; with a smaller machine, you’ll need to work in batches. You can do a few pounds at a time and freeze what you won’t use immediately, or you can grind the meat as you need it. There are a few rules here. One, buy relatively fatty meat. If you start with meat that’s 95 percent lean — that’s hardly any fat at all — you are going to get the filet mignon of burgers: tender, but not especially tasty. If you use chuck or sirloin, with 15 to 20 percent fat — still quite lean by fast-food standards, by the way — you’re going to get meat that is really flavorful, along with the good mouth-feel that a bit of fat brings. The same holds true with pork and lamb, though the selections are in fact easier, because the shoulder cuts of both animals contain enough internal fat that they’ll remain moist unless you overcook them horribly. Next, don’t overprocess. You want the equivalent of chopped meat, not a meat purée. The finer you grind the meat, the more likely you are to pack it together too tightly, which will make the burger tough. The patties should weigh about 6 ounces each: not small, but not huge, either. Handle the meat gently. Make the patties with a light hand, and don’t press on them with a spatula, like a hurried short-order cook. Finally, season with salt and pepper aggressively. I’d start with a large pinch of salt and a bit of pepper and work up from there. If you grind your own beef, you can make a mixture and taste it raw. (To reassure the queasy, there’s little difference, safety-wise, between raw beef and rare beef: salmonella is killed at 160 degrees, and rare beef is cooked to 125 degrees.) If you are cautious, you can cook a little meat and then taste it. Though there are virtually no reported cases of trichinosis from commercial pork in the United States, few people will sample raw pork — or lamb, with which the danger is even less. So the thing to do is season the meat, then cook up a spoonful in a skillet, taste and season as necessary. A final word about seasoning: Remember that the burger is the cousin not only of the steak — which often takes no seasoning beyond salt and pepper — but also of the meatloaf and the meatball, both of which are highly seasoned. Think about adding minced garlic in small quantities (we’ve moved beyond garlic powder, no?), chopped onion, herbs (especially parsley), grated Parmesan, minced ginger, the old reliable Worcestershire, hot sauce, good chili powder and so on. It’s hard to go wrong here. Then there’s the grilling: Burgers cook so fast that the heat source doesn’t matter much. You want a hot fire, but not a blazing hot one; that fat, as we all know, is quick to ignite. The rack, which should be very clean, should be three or four inches above it. Turn the burger only after the first side releases its grip on the grill, after a few minutes; if you don’t press with the spatula, you’ll get less sticking, too. Cooking time depends on the size of the burger, of course, but mine take about 6 to 8 minutes total, for rare to medium-rare. Pork takes a little longer, but not much. The grilling is the easy part. The more important steps are shopping and grinding. The difference they make, you will find, is astonishing, and will change your burger-cooking forever. Copyright 2007 The New York Times Company

not the peer ubu one either

dave thomas is performing on the B3 at the cleveland bop stop june 1. has anyone seen dave or know about him?