Rooster_Ties

Years ago, Euclid Records in St. Louis had a "New Releases" wall behind the front counter. They had a new David Murray disc on DIW displayed (along with a bunch of other discs by other artists). They had the Murray disc labeled with a sign that said "This Week's New David Murray" disc. Cracks me up to this day.

I really like his tenor work, more than when he's on soprano. (My problem is with the soprano, not as much with his playing of it.) Love his work with Elvin on the live "Lighthouse" set from about 1972. Great band - great recordings!!! Don't have a whole lot of him, but he does turn up here and there on a number of discs I own. He does occasionally transcend the soprano, enough that I can get past soloing in that octave. (I've got the same problem with Wayne, 'cept for some reason I can handle him better in Miles' electric context -- which is what most of my Wayne on soprano is from.)

Sent an e-mail to you about the Herbie Hancock Trio disc. Thanks!! B) PS: Somebody should get that Clifford Jordan disc (Glass Bead Games). I've got it, and it's a monster. Get on it!!!

I'm not totally up on my Herbie in the 70's. Is there anything particularly unique about this band?? Like, is this the only band Herbie lead with Jaco in it?? - for instance. Or anything else that uniquely identifies it besides just the "in 1977" tag?? (And the other musicians too in the group too, obviously – maybe that particular combination.) Just thought this might help me phrase the question better, and maybe jog his memory a bit better too. Perhaps a better question I might have, before asking this of the man, is why does it matter much what name the group toured under?? I mean, if you know who's in the band, what does it matter what name it toured under?? I could see Herbie asking me why I even cared, or at least giving me a puzzled look at a question like that.

I'm not a particular fan of jazz flute, but from what I've heard on record -- Gary Thomas is THE best jazz flute player I know of. Frankly, I'd love it if he recorded an all-flute disc with a piano trio. (And I normally am pretty "ho-hum" about jazz flute.) Who knows if he'll bring it, but the concert flyer for this show says tenor and flute. And he's one hell of a tenor player too. I'd probably drive 4 hours round-trip just to hear Gary Thomas with a local pick-up band. (But whether or not I'd to that a second time, would depend on him delivering the goods the first time -- you dig!!) Anyway, I've never heard Thomas before (live), and I'm reallly looking forward to it, as much as hearing Herbie.

Yeah, the language here smells kinda funny to me... "Master tapes were not available when this CD-R was made." Yeah, right. Why would Columbia, who owns the tapes, be working with anything other than the master tapes. Especially if these sound like 3rd or 5th generation copys (where the copies were done from magnetic tape to magnetic tape). "It was recorded from available disc sources." "Available" sources??? Come on...

I presume this was recorded at the same place?? The AMG review says: "The Who's Pete Townshend enticed Clapton out for another one-off concert appearance (in fact, there were two shows) at the Rainbow Theatre in London on January 13, 1973, and organized an all-star band to back him." EDIT: forgot to say "bump".

Paul Tingen mentions in his book "Miles Beyond : Electric Explorations of Miles Davis, 1967-1991", that he was able to hear "Reference Copies" of this release (with Columbia's permission), and "Miles Beyond" (the book) was published in May of 2001, so Tingen had to have heard them in early 2001 (at the every latest), maybe even sometime in 2000. I agree that we'll probably see all this material released within the next 6 to 24 months, but I don't think we're necessarily quite as close as "seeing promos on eBay" normally would indicate. Funny packaging, though I guess it looks legit...

Wish Hendrix had done a BF test or two.

Miles and Zappa.

They have a web-site, but I've never done web-design. But that's certainly a skill that'd be good for me to pick up someday.

I worked as a radio DJ when I was back in college, and did a little bit of newscasting too (on the radio). Wasn't just at the college station, but also at a local AM/FM set of sister stations. I've got a good strong voice. Knowing what to say when -- that's another story -- but I've got a good set of pipes.

Bumping this up, just for the heck of it...

Was this the domestic late 80's McMaster edition that went for $82.69?? Pardon my French, but that's nuckin' futs!!!!!!!!!!!!

Not even a choice in the poll, but Third Season is my favorite, without a doubt. Love the three-horn front-line, with Lee Morgan and James Spaulding, plus Sonny Greenwich plays some mean guitar, and Cedar Walton, Walter Booker, and Billy Higgins make a great rhythm-section.

I was thinking that there'd be some chance to catch a word with him, somehow. I had no trouble getting backstage 7 or 8 years ago, and I talked with Herbie for two or three minutes, and Wayne for a couple minutes as well. I'm also hoping to talk to Gary Thomas too. Hell, he's close to half the reason I'm going!!! (Herbie's not the only reason to hear this group.) Re: the Left Bank recordings with Sam Rivers, I know I've seen them listed as having been recorded. (The full list is on-line, somewhere - I know I've seen it.) No idea what kind of quality the tapes are (or how badly out of tune that piano was then, since it's pretty badly out of tune on several of the other Left Bank things I've heard). My goal with asking Herbie about Tryone, is to try to get some fond remembrance of the Tyrone date out of Herbie, and get a good quote from him about it -- and then mention that quote to Michael Cuscuna, in an effort to listen to the tapes again, and maybe reconsider their quality for release purposes (even just a track or two). And who knows, I might learn a thing or two about Tyrone in the process.

Just got "New Advanced Jazz" in the mail today, and I'm only 2-minutes into the first track, but me likes what I'm hearing!!!! Good stuff Full report when I get the chance.

Spontooneous and I are going to hear Herbie on Thursday, April 8th - in Columbia, MO. He's playing as a quartet with Gary Thomas, Scott Colley, and Terri Lyne Carrington. I've heard Herbie before (on his duo tour with Wayne, like 7 years ago). But this'll be my first time hearing Gary Thomas -- HELLYEAH!!!! If we get the chance to tug at Herbie's ear, anybody got any good and interesting questions for him?? In particular, I want to ask him about that Tyrone Washington "Trainwreck" BN session he's on (that's never been released), and I'd be glad for any suggestions people might have about how to tee that topic up with Herbie. (I know, not calling it the "Trainwreck" session might be a good rule of thumb. ) Are there any other discographical questions of Herbie that people want asked?? Anybody else here on the board going to this show?? Free For All -- got a gig that night??? If not, you wanna go too?? Eric?? Anybody from St. Louis going??

So what's a good "Stones in the 70's and 80's" compilation?? (I like those quasi-disco things too. ) Seriously, I really don't care much for the Stones prior to 1970 (it's not bad music, it just doesn't speak to me), so what's a really good one-disc "Greatest Hits" kind of package for the Stones in the 70's and 80's??? (Something cheap off half.com would be great!!) And it's gotta have "Heartbreaker" on it, doncha know!!!

OK, I've probably already got a pretty decent knowledge of jazz history, certainly enough to demonstrate some serious interest in the subject. But only knowing what little any of us know about the position (see the first post in the thread for all the details I have, at least so far), what do you all think would be the 3 most important specific skills most needed by someone for this kind of position?? I mean, I certainly am starting to think about this myself, but I'd be curious to hear what others here think -- to see if there's anything I'm forgetting. I'm headed down to tour the museum tomorrow (Tuesday), first thing in the morning (they're closed on Mondays, otherwise I would have been there today). Been a good year or two since I've been through the place, and I really need to see all their exhibits again, and refresh my memory about what they've got on public display. Probably need to take some notes, and at least give some thought to how I might go about leading a tour of the museum, including some detailed notes about two or three specific exhibit areas. I feel like I need to get much more comfortable with the place, and really get to know it again. (I think I've only been through the museum part twice since it opened, though I go to the real 'working' jazz club it's attached to quite a bit. Best club in town, hands down.) So much to think about. I probably need to bone up on my early jazz history too. 75% of my jazz knowledge is deeply rooted in the 60's and beyond. I'm pretty decent on my 50's knowledge, but man -- when it comes to the 40's and before, I'm really a little more fuzzy about the details. I know lots of pre-1950 names, and can probably make some general statements about lots of them and be halfway right. But I really need to get a little more familiar with all that early jazz history. (Maybe it's time to get out those tapes of the entire Ken Burns doc, which I never did watch all of yet. I taped the whole thing, but only watched about the last half of it. I know, it's Ken Burns - still, probably a quick way to remind myself of lots of stuff I used to know better. Better yet, I have a number of general jazz guides, and just skimming through all of them will probably remind me of a bunch too.)

That's pretty much what I'm saying, yes. In their defense, when they first opened I think they were originally called "The Kansas City Jazz Museum" - or maybe even the "Kansas City Jazz Hall of Fame". I forget the exact name. It was only two or three years after they first opened, that they changed their name to the "American Jazz Museum". Their pre-1960 focus makes some sense, given how they started. Still, one would hope for a more complete view of the history of jazz, including some decent representation of styles from the 60's and beyond. Or at least some movement in that direction.

or (same thing) Just saw this one on CDBABY's website: http://www.cdbaby.com/cd/tommccarthy It says he's Noarh Jones' guitar player.

Just got this in the ol' e-mail... Hi Tom - Ever since you bought that first CD from us (ORGANISSIMO: Waiting For The Boogaloo Sisters) - we've had your picture on our wall as "Customer of the Year". Every Friday night, we bake some mint cookies and sit in a circle around your picture, chanting, "Oh Tom, oh Tom - what would make you happy?" After weeks of obsessing, I think we've finally got something that will make you happy: The $5 CD sale. Go to http://www.cdbaby.com/sale We put over 6000 albums on sale for only $5. They are some great full-priced CDs that still sell for full price, but once you have at least three different "$5 specials" in your shopping cart at the same time, you will see their price drop to just $5 each. We did this so you could afford to experiment and get a LOT of new music at once, so feel free to get as many as you want! START HERE: http://www.cdbaby.com/sale -- Derek Sivers, CD Baby http://www.cdbaby.com/sale P.S. You look great today! That's a nice shirt on you. P.P.S. If you want us to never speak to you again, we'll be heartbroken, but we'll understand some day. Just click this link: [link removed]

My hunch is that I wouln't necessarily being getting lots of promos in an "Education"-type position, as best I can tell. Perhaps a few, here and there, but I wouldn't be in any position to "program" music (like in 'radio'), so I can't see how I'd be much of a part of the windfall of promos that I understand some others get. But who knows, maybe there'd be a few, here and there. But, the promos and perks are the least of my concern, at this point.

Chuck, you ought to sell these things on eBay. List a new one every week. $66 - damn!!!