DukeCity

That's priceless!!! Any time you got Snooky MF Young playing TMBG, you got something!

Nice. A while back I picked up a documentary called "Scratch" that got into the history of turntabling, and there were some scenes of guys hanging out and "jamming" with each other. Quite an eye-opener to some of the possibilities...

But wait, I thought it was Clark Terry did that...

I caught a couple of tunes in performance at the IAJE conference last weekend, and yes, they were moving some air! In addition to that, I think the sound man had been mixing concerts all day (this was about 11:30pm) and had gradually gotten the levels louder and louder. So, even though the volume was at times physically painful, the band was playing that challenging music with great spirit, and a good time was being had by most (including me)!

Capt. Wallace Burton Binghamton Lt. Commander Quinton McHale Joseph "Happy" Haines

JSngry (and others) and Jim Alfredson are right, Selmer and Keilwerth are two of the most highly regarded saxophone names. I played both of those for many years, but last year I tried some Cannonball horns, really liked 'em, and that's what I've been playing since. They're good, solid horns that play great, and they're not as wildly over-priced as lots of other horns. However, before you rush out to buy a new horn, realize that you can probably hang for awhile just by making sure that your Jupiter is in good adjustment (lots of moving parts on a sax), making sure that your mouthpiece is straight (level table, even side-rails, good tip), and having good reeds that seal and respond the way you want. Cover all those variables, and you'll probably be way ahead (equipment wise) of most other players in your school band. Plus, you can take the money you would have spent on the new horn and buy a bunch of CDs and hook up with a good teacher in your area. Apparently you're in Arizona, so you might want to contact Tim McAllister. He's the (classical) saxophone teacher at U of AZ, and he is an incredible world-class player and teacher. He'll probably have some good suggestions for sax teachers (jazz or classical) in your area, and he would be a great resource for advice (besides all the friendly folks here).

I went to Midwest a couple of times, several years ago when I was living in Chicago. They always have some great school bands, but the conference got so big, it was a little overwhelming sometimes. What tunes did your band play?

Well put. I plan on trying to have enough "fun" that I won't notice the degrading parts too much.

If a couple a nice kids like that can't make a go of it in this crazy world, what hope do the rest of us have?

And Woody's Winners! Free For All had this as his Album of the Week recently, and I was frustrated reading the discussion, since I didn't have it. Looks like I'll be placing an order soon. Not sure if I'm ready to pony up for the Chu Berry.

Break even? In Jazz?!? Welcome to the board, Laurie!

=

Salt Pepa Ginger Spice

Happy New Year! I was planning on a quiet night at home with the future Mrs. DukeCity. But just today I got a call for a gig (the regular sax guy is stuck in Denver). So, a little bubbly with the little woman around 8, then I'll dig my car out of the snow and head downtown. Probably not too much party-ing, since I'll be my own designated driver.

Found it. Ben Perowski Trio (BP on drums, Scott Colley on bass, Chris Speed on tenor) Ben Perowsky Trio OK, now I can sleep.

Sangrey, you got big ears, my friend! It is indeed "Segment." Quick search of eMusic and iTunes didn't turn up the version from the film clip, though. Anyone...?

I was a kid, mid-1970's, and my Pops subscribed me to the Time-Life "Giants of Jazz" series. I still have about a dozen of the boxes.

Bob Ojeda Joe Newman Harry "Sweets" Edison

Sounds familiar, but I couldn't place it (neither now, nor when I saw this in the theater). It also took me a while to figure out that Girard is being played by Sacha Baron Cohen (Ali G./Borat)! It's always good to have a little jazz on your juke box. You know, just for profiling purposes.

...or Karolina Strassmayer...

Don't forget Katja Rieckerman.

Yeah, I think an excellent way to increase the audience for early music is to make the intonation sound "weird."

Have a good one, Alexander!

I've always preferred the term "bimbocity"