sgcim

Yeah, I can't listen to it as it is. GM had bad luck, especially at the 55 Bar.

Damn, that's not blasphemous at all, Pazuzu! In fact, that was one of my fave scenes from CaddyShack. But, no, it was not the great Mitchell Kumstein. This lowly floor sleeper went on to make guitars for Joe Pass, Jim Hall, Grant Green, Paul Simon, and many others.

I'm sure that's some blasphemous joke that considering the time of the season (when you first possessed poor, little Reagan), I should expect from you, o evil one, but you have proven your ignorance of the history of jazz guitar making. I shall not submit to your ceaseless attempts to destroy my faith, as you attempted to do with Father Merrin and Brother Demian, and will leave it to someone else on this noble board to supply the correct answer.

My father was a pro guitar player back in the 30s, and grew up in Little Italy on Elizabeth St., where he used to hang out at John D'Angelico's shop. There was a little guy named Jimmy, who used to sweep up the place- guess who he grew up to be? My father bought a 'Snake Head' model D'Angelico (one of John D's first models) from his best friend Duke, who was a jewelry designer (and designed the New Yorker model head stocks for John), for a few hundred bucks. He also had a Gibson round hole guitar, that had fake diamonds around the hole, that he said a cousin of his stole off of some Country music star back in the 40s. He gave up the guitar and songwriting after he got married, but he was intent on making me a guitar player when I was only five or six years old. I thought the guitar was a faggy instrument that only Roy Rogers played, and I started crying when he fooled me into going for a guitar lesson when I was a little kiddie. There was never a second lesson, because I locked myself in the bathroom, and refused to come out. They started us in band classes when we were in third grade, and I wanted to play the clarinet, because the leader of our little gang said it was a cool instrument. I continued with the clarinet, and singing first 'chair' first soprano, because the girls were too stupid to remember melodies, and i could remember and sing any melody I heard. Finally, I heard The Beatles, and it did something to my brain chemistry, and I started teaching myself to play their songs on my father's Gibson and D'Angelico. And that's the instrument I stuck with.

Happy Birthday, Little Bird!

Soft Samba was one of the few GM LPs I never bought. Something sounded wrong with it. Thanks for articulating what it was.

It's too late to to bid, but Walter Becker's 'collection' was just auctioned off at a Beverley Hills auction house, if you hadn't heard about it. WB owned 650 guitars and close to 400 amps. Certifiable GAS!!!!!!

Did your dad's concept album ever get a record release? Was he an LA arranger?

Sounds like a GM bossa nova!

That's freaky! My father bought the same two LPs back when I was a kiddie. My fave cut is Tony Scott's gorgeous interpretation of the Mike Hammer 'Riff Blues' theme, going into his Ben Webster bag, with nice acc. by Mundell and Costa.Tony used both lips for his embouchure, instead of the traditional one of resting the top teeth on the mouthpiece. He also had a 'freak diaphragm', which allowed him to use more air than someone with a normal diaphragm. I think the guy that posted that was Mundell's son.

Last night I was jamming with a friend, and he wanted me to sing the melody to a tune he didn't know. I started singing it, and he came in on the chords to the song, and I started playing the melody with my guitar while i was still vocalizing, like GM used to do with his vibes. I thought it sounded okay, and had visions of reviving GM's style in the 21st century. After the tune was over, I asked my friend what he thought of the vocalizing/playing, and he said it sounded alright. I probed deeper, and asked him if he thought it would sound good if I did it on a gig. He said, no. I asked him if it would sound good in a recording session, and he said, no. I told him I wanted to bring back McFarland's style in the 21st century, and he said, no. So much for the GM revival. I still haven't seen the doc...

The last concert I saw at Carnegie Hall was first row, center. It was the best experience I've ever had at a classical concert. In the past, I've always had orchestra seats, but they were way further back. I would've been better off listening to the record.

If that happened in the inner city HS I taught at in NY, the kids would have found a way to break in to the storage room where they kept them and steal them before the first semester was finished.

They don't tell you schist about making your choice. Sony gives you three choices: Standard, Vivid and Custom. You have to decide if it's a SOE or not. it's not apparent in the names; Standard would seem to be the right choice, but it looks like crap. Custom usually means you can alter something to suit your taste, but that's the right choice. I was about to return the TV until I figured that out. My two-year guarantee was about to expire next month, because I got a sick deal on it (a $1,000+ set for $350) on Thanksgiving night.from Best Buy, and the the main or A board burned out. I had to wait a week for the Geek Squad, but they came to my place and fixed it, and it's good as new, free of charge.

My brother was renting a room in Richmond a few years ago from a woman who had a big screen TV, but didn't understand that she had the Soap Opera Effect on her set for the last seven years! When I told her about it, she didn't seem to care. All she watched were live comedian shows, so I guess it didn't bother her. My 4K Sony Bravia 60" has a picture control for Vivid, Custom, and something else. Vivid is only good for football games, which is the only time I use it. Custom is good for movies, etc... Each company calls the 'SOE' something different.

I think that was a joke, but its teller better be on the lookout for an orange-colored ghost seeking revenge... Most Americans have a problem with Baker actually having a career as a jazz drummer before he decided to "go commercial" with Graham Bond in 1962, but I asked Leon Redbone's Italian-born drummer about it (Gianpaulo Biaggi), and he said when he lived in Italy, Baker was known as one of the best jazz drummers in Europe. He even was supposed to play with Johhny Dankworth's band in 1961, but he, "did the audition for the Dankworth Band, and all the band were raving about it, but somebody told John I was using smack, and Ronnie Stephenson got the gig and became a bigger junkie than me, which was really quite funny" Interview with Ginger Baker, August, 2009.

I caught them at a Newport in NY Festival with KB's Quartet, when it used to be a jazz festival. Great concert setting at one of the larger halls (Town Hall, Carnegie. Philharmonic?). We had great seats, center orchestra, sublime concert. RW was probably there when I went with my parents to see KB at the first Newport in NY Festival, in a concert at the Felt Forum, but i don't remember who was playing with him then. Herbie Mann was on the bill, and I went crazy over Sonny Sharrock cranking up the gain, and using a slide as he manically strummed all six strings to create a volcanic eruption, that sent the older folks in the audience running for the exits. One older, bearded guy with glasses stood up and yelled, "Do you call this music!", and walked out in a huff, Sarah Vaughan came on last, and my father was convinced she was totally smashed, because of the way she slurred her words when she spoke and sang, LOL! My fave RW with KB is on the "Night Song" album on Verve. Half of the cuts have KB with a big band, and the other half have him with a small group, featuring RW.

He was KB's pianist from 1965 to 1974.

Cthulu, indeed!

Oh, evil Pazuzu, only you would choose a Ramone as the Creator! i reside in the very Borough where Joey conspired to overthrow the righteous gods of Prog. This book was written as a mission to restore those mighty gods of Prog to their place of former glory. Since it was written in 1997, it seems as though his mission was something of a failure... But yes, the index contains many references to your fellow demons of Punk, but I'm only on p.92, and the Punk Demons have yet to make their appearance. I can see why even our valiant UK members haven't responded to this thread yet. Stump has the weirdest writing style I've ever come across. It's kind of a combination of academia and cockney that I've yet to encounter. He wrote a book on John McLaughlin that I don't think anyone's ever read, but his book on Roxy Music seems to have had some readership.

LOL! During their country-wide hitchhike they read The Fountainhead, and were so taken by it that GM thought he was Gary Cooper and Gail Madden thought she was Patricia Neal! Any two scientologist male and female actors would do.

The author makes that claim at the beginning of the Diss. This claim was also made by Russell himself in his bio by Duncan Heining. In that book DH said that GR strictly forbids any public performances or recordings of his pre- LCC pieces under threat of a lawsuit. I think the last recording of Ezzthetic was by Grant Green in the 60s. The reason Russell gave was that it reflected white European music rather than his later LCC music. A friend of mine went to NEC of Music when Russell was teaching there, and he said all the students used to make fun of his LCC behind his back. It turned into an obsession with him that ruled his life.

I've found some fascinating dissertations about things like "George Russell's pre-LCC music",(The Jazz Workshop Sextet album, with Evans, Farmer, McKusick, Galbraith and rhythm.)," Jim Hall's role in the making of "The Bridge" with Rollins, and many other interesting topics. Some of them were so well researched that they would have made great books, back when they were publishing such things. Others were so formulaic, I felt like I could've written them in a few hours. Seemingly endless avenue of knowledge.

It's basically an examination of why Prog came to a sudden halt in the 70s, and tries to debunk the myths surrounding its spectacular fall. Stump is a very colorful writer, and interjects opinion, wild diversions, and very British, colloquial humor in every sentence! He's quite familiar with the British jazz and classical scene, along with the American jazz scene, and thank God is not writing from a Marxist stance like Duncan Heining, the author of, "Trad Dads, Dirty Boppers, and Free Fusioneers", which contained a lot of good info, but was marred by his Marxist analysis of every aspect of British jazz of the period, 1960-1975. I'd love to hear some opinions of this book.

Looks like another good idea for a movie. We could either make a Sci-Fi flick about classical musicians fighting aliens who are trying to conquer earth by disrupting violin concertos, or somehow tie it in with the Mulligan movie about him and Gail Madden's cross-country hitchhike. The ending would probably be at The Haig, where instead of Mulligan asking the interrupter to step outside with him (which really happened), he launches a bazooka from the bell of his baritone, obliterating said interrupter (and also the entire club), and then flash the words, "Is Jazz Dead?", for our big message. I'll be over at 1;30 pm with the contracts...