Rooster_Ties

The least you could do was post an image of the cover -- sheesh... Edited to post a bigger one from Dusty

Gotta play this one (image and description from Dusty)... Wendell Harrison -- Message From The Tribe . . . CD . . . $9.99 (Item: 56689) Tribe, 1973 Condition: New Copy View Cart Genius work from the Detroit underground of the 70s -- one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session's headed by tenor player Wendell Harrison -- and it's got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse -- a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall -- stepping proud in the new freedoms of the 70s, yet still swinging and very groovy. Titles include "Angela's Dilemma", "What We Need", "How Do We End All Of This Madness", "Merciful", and "Benificent". (From the Jazz CD (E-I) Not sure which track is the one I'm thinking of (my memory is the first track on the disc), but there's one with lyrics talking about having Black people mentioned in the textbooks in schools and such. I'll check when I get home tonight. VERY much the kind of thing you're probably looking for, I would think.

Second chord sounds in world's longest lasting concert HALBERSTADT, Germany (AFP) - A new chord ( ) was scheduled to sound in the world's slowest and longest lasting concert that is taking a total 639 years to perform. The abandoned Buchardi church in Halberstadt, eastern Germany, is the venue for a mind-boggling 639-year-long performance of a piece of music by US experimental composer John Cage (1912-1992). Entitled "organ2/ASLSP" (or "As SLow aS Possible"), the performance began on September 5, 2001 and is scheduled to last until 2639. The first year and half of the performance was total silence, with the first chord -- G-sharp, B and G-sharp -- not sounding until February 2, 2003. Then in July 2004, two additional Es, an octave apart, were sounded and are scheduled to be released later this year on May 5. But at 5:00 pm (1600 GMT) on Thursday, the first chord was due to progress to a second -- comprising A, C and F-sharp -- and is to be held down over the next few years by weights on an organ being built especially for the project. Cage originally conceived "ASLSP" in 1985 as a 20-minute work for piano, subsequently transcribing it for organ in 1987. But organisers of the John Cage Organ Project decided to take the composer at his word and stretch out the performance for 639 years, using Cage's transcription for organ. The enormous running time was chosen to commemorate the creation of Halberstadt's historic Blockwerk organ in 1361 -- 639 years before the current project started. That original organ, built by Nikolaus Faber for Halberstadt's cathedral, was the first organ ever to be used for liturgical purposes, ringing in a new era in which the organ has played a central role in church music ever since. As part of Halberstadt's John Cage Organ Project, a brand-new organ is being built specially, with new pipes added in time for when new notes are scheduled to sound. Cage was a pupil of one of the 20th century's most influential composers, Arnold Schoenberg (1874-1951). Cage's avant-garde oeuvre includes works such as the notorious "4'33", a piece comprising four minutes and 33 seconds of total silence, all meticulously notated. The organisers of the John Cage Organ Project say the record-breaking performance in Halberstadt also has a philosophical background -- to "rediscover calm and slowness in today's fast-changing world".

FWIW, Spontoon, the copy thrown at our house had the "they're all alive" version of the story. Even if The Star got the story wrong, at least you held on the story until the governor made his (it turns out) boneheaded statement -- and only went with it based on that. IMHO, the Star's role in this is pretty defensible.

Just did that about an hour ago, and their on-line database still has the Cellar Door as "not yet released" or some such similar status. (In other words, you can only "pre-order" it -- supposedly.) So short of calling all the stores in my area, there's no way to tell if any of them have even one copy in stock -- let alone three.

So, out of curiosity, where'd the third edition end up going?? Lawns?? Or (more likely is my guess), for news-paper boxes and grocery-store check-out lane sales and such?? How rare is it to run a third edition, Spontoon?? - if you don't mind me askin'. (And I can't imagine you've ever run a fourth edition, right?)

Jan. 04, 2006 - 1:59 PM Misreporting a Catastrophe How the Press Got the Sago Story Wrong Gal Beckerman Maybe the reporters on the ground in West Virginia were just plain tired. Or maybe they themselves were swept up in the euphoria and wanted to believe. Otherwise, it's hard to explain how the erroneous news of the survival and rescue of 12 of the 13 miners caught underneath the ground in Sago, West Virginia made it to the front pages of our nation's papers this morning. A close reading of the articles themselves tells the tale of how journalists bungled the story: In most, there are no sources at all for the information; in some, the sources are the rumors spread by frantic family members. Those sorts of sources are hardly a solid basis for headlines screaming, "They're Alive!" Take a look at how the venerable Washington Post began its story: "A dozen miners trapped 12,000 feet into a mountainside since early Monday were found alive Tuesday night just hours after rescuers found the body of a 13th man, who died in an explosion in an adjacent coal mine that was sealed off in early December." The article continues in full speculation mode, adding in the fourth paragraph that "the miners had apparently done what they had been taught to do: barricaded themselves in a pocket with breathable air and awaited rescue." All untrue -- but written with stunning confidence. Nowhere in this Post piece is there any mention of sources. It doesn't even refer to the one official, Joe Thornton, deputy secretary for the West Virginia Department of Military Affairs and Public Safety, who was widely quoted and whom the New York Times at least referred to in its lead: "Forty-one hours after an explosion trapped 13 men in a West Virginia coal mine here, family members and a state official said 12 of the miners had been found alive Tuesday night." In updated online versions today, both the Times and the Post tried to trace how the confusion arose. It sounded like a bad game of "telephone." Apparently, according to Bennett K. Hatfield, chief executive officer of International Coal Group, the mine's owner, the command center misunderstood a phone call from the rescuers in the mine shaft. Hatfield then admitted today at a news conference that he suppressed the news from a second phone call that made it clear that the first had been incorrect. Certainly, the decision not to immediately correct the rumors helped the story leap to the front pages. But what is equally obvious is that reporters at the scene did not do enough to verify the truth of what they were being told by happy family members. They then produced articles, like the Post's and USA Today's, that almost unbelievably failed to offer any sources. What we might have expected, and what could have perhaps mitigated some of the damage, is an explanation in papers' online editions (and presumably tomorrow's print versions) of the mistakes that reporters and editors made that led them to get the story so wrong. Where were journalists getting their information from? Why did they choose to believe it? How could they possibly write about miners being on their way to the hospital without confirming it? But, so far, no mirror has been held up. And yet the most frightening aspect of this incident is what it suggests about how reporters normally function in a high-pressure crisis situation. Do they always rely on such poorly-sourced information? Suppose, for a moment, the miners had actually been rescued. No one would have ever questioned the reporting. But journalists would have been correct by dint of pure luck -- not because of solid information. The old cliché says that it's better to be lucky than good. In this case, the press was neither.

I remember late last night thinking it was a little weird that CNN.com was saying that the families were saying that all the miners were found alive. ("according to families of the miners") Even said so in the "headline/link" on the front page of CNN's website. Didn't think too much of it at the time, but it did seem odd. Now we know.

What's the Internet for??

Well, if I do happen to find one, Joe -- are you in??

Only single discs, or does this work with multi-disc releases?? In other words, if I go in and buy two Cellar Door boxes, will I get a third one for free?? (Serious question --- Spontoonious and I need one, and I'm betting I can find a buddy or ours that needs one too.)

Thought I had them all typed up, but can only find the first half of the list. Will post the complete tracklisting for disc #2 in a couple days. I'll create a new thread, and will probably delete this one.

9) Miles Davis "Blow (Miles Alone)" (Miles Davis / Easy Mo Bee) recorded sometime in 1991 (either Jan.-Feb., or July-Aug.) THE DOO-BOP SONG E.P. (Warner Brothers) Miles Davis - trumpet (trumpet track only, from multi-track recording) 10) Rahsaan Roland Kirk "Time Races With Emit" (Roland Kirk) [a.k.a. "Ad Lib" on box set] recorded April 17th, 1962 Rahsaan: The Complete Mercury Recordings Of Roland Kirk (Mercury/Polygram) also a bonus track from the 2000 CD issue of DOMINO (Mercury/Verve) Rahsaan Roland Kirk - reeds and such; leader Herbie Hancock - piano Vernon Martin - bass Roy Haynes - drums 11) Nathan Davis "Mr. E" (Nathan Davis) [a.k.a. "Mister E" on CD reissue] recorded January 30th, 1965 HAPPY GIRL (recorded in 1965) Nathan Davis - tenor; leader Woody Shaw - trumpet Larry Young - piano Jimmy Woode - bass Billy Brooks - drums 12) Gordon Beck - "Gordon Beck Trio" "Suite No.1" (Gordon Beck/Jeff Clyne/Tony Oxley) recorded in 1968 GYROSCOPE (Morgan) Gordon Beck - piano; leader Jeff Clyne - bass Tony Oxley - drums 13) Roy Brooks "Elegy For Eddie Jefferson" (Shaw/Brooks) [edit] recorded August 26th, 1983 DUET IN DETROIT (Enja) Roy Brooks - drums; leader Woody Shaw - trumpet 14) Rene McLean - "Rene McLean Sextet" "Bilad As Sudan [Land Of The Blacks]" (R. McLean) recorded July 3rd, 1975 WATCH OUT (SteepleChase) Rene McLean - alto; leader Danny Coleman - trumpet / flugelhorn Nathen Page - guitar Nubert Eaves - piano Buster Williams - bass Freddie Waits - drums 15) Sam Rivers - "Sam Rivers Quartet" "Ripples" (Sam Rivers) recorded October 9th & 10th, 1989 LAZULI (Timeless) Sam Rivers - tenor; leader Darryll Thompson - guitar Real Wesley Grant - bass Steve McCraven - drums 16) Ted Curson "L.S.D. Takes A Holiday" (Ted Curson) recorded June 18th, 1971 POP WINE (Futura) Ted Curson - trumpet, piccolo trumpet; leader George Arvanitas - piano Jacky Samson - bass Charles Saudrais - drums

1) Wilhelm Stenhammar (1871-1927) Piano Concerto #2 in D minor, op. 23 movement #1: "Introduzione" [edit] Composed between 1904 to 1907. [and FYI, George Gershwin was born in 1898 - do the math!!] Cristina Ortiz, piano Gothenburg Symphony Orchestra Neeme Jarvi, conductor Recorded May 19th-20th, 1989 BIS-CD-714/716 (4CD set) 2) Jean-Yves Thibaudet [classical pianist] "Waltz For Debby" (Bill Evans/Eugene Lees) recorded July 26th-29th, 1996 CONVERSATIONS WITH BILL EVANS (London/Decca) Jean-Yves Thibaudet - piano Jed Distler - transcription 3) Jeff Beal "South" (Jeff Beal) recorded March 6th, 1994 ALTERNATE ROUTE (Unitone) Jef Beal - trumpet/flugelhorn [probably flugelhorn here, I think. -- Rooster T.] with The Berkeley Symphony Orchestra (no conductor listed) 4) Charlie Rouse - "Charles Rouse" "Hopscotch" (Joe Chambers) released in 1974 (no recording date given) TWO IS ONE (Strata East) [Note: the AMG review is by our own Brandon Burke - and an excellent review at that!! -- Rooster T.] Charlie Rouse - tenor; leader Paul Metzke - guitar Calo Scott - cello Stanley Clarke - bass David Lee - drums Airto Moreira - percussion 5) Herbie Hancock "The Naked Camera" (Herbie Hancock) recorded in late 1966 BLOW-UP Original Motion Picture Soundtrack (CBS) Herbie Hancock - piano; leader Joe Henderson - tenor Freddie Hubbard - trumpet [probably Freddie I think, but possibly Joe Newman -- the notes list both as "collective personel" for all the jazz-related music. -- Rooster T.] Ron Carter - bass Jack DeJohnette - drums 6) Eddie Henderson "Fusion" (Eddie Henderson) recorded in October 1973 INSIDE OUT (Capricorn) Eddie Henderson - trumpet, cornet, and/or fluegelhorn; leader Herbie Hancock - Fender Rhodes, clavinet, and/or organ Bennie Maupin - reeds/woodwinds Buster Williams - bass Eric Gravatt - drums Billy Hart - drums Patrick Gleeson - synthesizer Bill Summers - conga 7) Anthony Cox "Conclusion/Beginning" (Anthony Cox) recorded in June 1991 DARK METALS (Antilles) Dewey Redman - tenor Mike Cain - piano Anthony Cox - bass; leader Billy Higgins - drums 8) Eddie Gale - "Eddie Gale Quintet featuring Larry Willis" "Holiday" (Eddie Gale) recorded February 17th-18th, 1992 A MINUTE WITH MILES (Mapleshade) Eddie Gale - trumpet; leader Ismael Navarrete - tenor Larry Willis - piano Ben Allison - bass Paul Murphy - drums

I know I've got the Duke Pearson to offer, and may have the Rare Grooves "various artists" thing too. Hafta check, and get back to you. If fact, now that I'm thinking of it, Sheldonm - didn't we discuss a trade for the Duke Pearson some time ago?? (Heck, may have been a year or more ago.) Hadn't remembered that until now, or else I'm remembering someone else's interest in it.

I was also very impressed with the lack of dialogue. Lots of things are implied, but not stated outright - which is nearly always preferable (IMHO).

Heck, I'll be getting the Tolliver (one of these days, before the price increase), despite the fact I already own at least 2/3rds of it already.

Don't worry. You're not.

The three hours flew by for me. In fact, I remember thinking -- about an hour into the picture -- that I was glad that it was gonna be three hours long. The only thing I might have cut back on was a couple of the fight scenes -- a few of which were really over the top. But I doubt I would have cut any more than 5 or 10 minutes (total) out of the whole film, if given the chance. Heck, I might even go back and see this one in the theater again - in another month or so.

And on that subject, why does most dental insurance only pay 50%?? Why not something more similar to most medical insurance?? After the deductible is paid - most medical insurance kicks in at something like 90% (some even higher than that). But most dental plans (or at least most of the ones I've ever had, or friends have ever had), only pay like 50% at most -- even after deductibles are satisfied. Aargh!!! Been a few years since I've been to the dentist (probably like 5, maybe 6). I'm sure I've got work that needs to be done, including getting my wisdom teeth pulled one of these days (heard that back in college, 15+ years ago), but was told is wasn't anything urgent -- just wait until I have a good dental plan, and get 'em pulled then. And to bring this post around full circle -- I'm still waiting (for a good dental plan)... Heck at the rate I'm going, I'll probably never get 'em pulled. (Hey Dmity, what's the downside of never getting one's wisdom teeth pulled?? They don't hurt -- except maybe once every couple years or so, for like maybe a week or two.)

I'm sure I'll end up buying three or four Selects before the price increase. Probably the Tolliver, Patton, and Carmell sets. Maybe the Curtis Amy too.

To the rest of you -- I appreciate your patience. I'll post the answers (publicly), probably New Years Eve (as I'm working all this week, including all day Saturday). Peace.