Rooster_Ties

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!!!

Well, that's for damn sure. And you've been there too, I presume. So you know first-hand how there's a slightly Wynton-esque quality about the American Jazz Museum. Nothing 'evil', mind you - but jazz does stop around 1960, maybe 1962 or 1963 some days.

What's your point?? I'm looking for a job. And I'm looking for a job I can actually do, and one that is a little more meaningful (at least to me) than what I did for the last 10 years. I'm also pretty "gun shy" about this "job thing" after the last 3 or 4 years of my employment experience, after having been pushed out by lots of people who were way more talented at the things I was trying to do. (My talents are just stronger in other areas, and I really wasn't cut out for the world of "software design".) In short, I could care less about the "free shit", in the grand scheme of things. I want to find something worth doing, that pays at least a little bit, something decent --- so I can contribute some towards my mortgage payment, which my wife has been paying 100% since the beginning of 2003, along with paying for everything else So, Mr. Free Shit, what's you point??

No shit!!

Oh, one other little thing. And perhaps this won't matter one tiny bit. Or perhaps it might. The American Jazz Museum is located down at 18th & Vine, in the historically Black neighborhood where all the clubs were that Charlie Parker, and Count Basie, and hundreds of other musicians played in the 40's and beyond. And, my perception of the Museum is that 70% or 80% (or 90%??) of the employees there are African American, particularly those in leadership/management positions (nearly everyone, best as I can tell). I'm NOT suggesting there would be any reverse descrimination going on in their hiring practices there, but it is possible. (Oh, by the way, I'm white - I think you all know that.) And, I might add, I don't think it would be that suprising if there were such hiring practices going on -- nor do I think that this is necessarily the worst thing that one could imagine happening. Anyway, this kind of job would be challenging, on a number of levels, including the race issues I might face. (Which, come to think of it, might be very interesting -- and might give me an opportunity to learn quite a bit about race relations, a subject I'm pretty interested in as well.) Anyway, I DON'T want to make this the focus of this thread, but I did think I'd better mention it, if for no other reason than perhaps some of you might have some advice for me, specifically in terms of how to handle myself during the interview process.

OK, as many of you know I've been job-hunting and career-hunting (really, that describes it better), for about a year. (You can read all about my background, and my career-search, HERE in this other thread I started back in December. Anyway, just in yesterday's Employment section of the Kansas City Star, I noticed this job listing (I believe that this was the first time it was listed too)... Nothing more about the specific job description, but here’s the “Education” page from the American Jazz Museum’s web-site... (General site link: HERE, then click on "Education" - or see the quote below): Now, truth be told, I really don't have the "work experience with children" thing on my resume. BUT, I certainly think I have enough subject-matter expertise to do this sort of job. And, my skill-set is varied and robust enough to probably handle it too. Also, I think I can provide half-a-dozen local references, who can speak to the depth of my jazz knowledge. (And by references, I mean notable local jazz musicians, and a couple other influential folks on the jazz scene – all of whom I've known for years, and perhaps more importantly, who are all well known and very well respected in the Kansas City area.) At the very least, I'm hoping I can get an interview. This would be a HUGE departure from my prior work experience, given that I worked for 8+ years in computer software development, as a business analyst (I wasn't a technical guy, and did very little programming). But I've been looking to get into some sort of meaningful not-for-profit work, and my wife and I are big fans of museums (we go in nearly a dozen every year, and some years more!!), and I've given some very serious thought to some sort of museum-related job, either doing development work, or something related to being a museum curator, or similar museum-related work. My first bachelor's degree is in Computer Science, but I also have a second bachelor's degree in Music. (Not a double major – they are two separate degrees, the first one I complete in 1991, and the second one in 1993.) Anyway, what's the general reaction of the board to this idea?? I'm sure the pay won't be great, but honestly – I’ve been looking more for meaningful work, than in any way trying to approximate my prior salary. Anybody got any guesses as to what a job like this might pay?? I'm hoping it's at least in the upper 20's, or maybe even in the low 30's. (That's less than half of what I made before – but them days is long gone.)

Don't own a single Stones album (CD, whatever), cuz I'm just not that much of a big fan (especially of the 60's material - which I heard too much of on AOR radio as a kid during junior high and high school, all through the 80's). BUT, that said, there a plenty of individual songs that I like pretty well - and my favorite (oddly enough) is probably "Doo Doo Doo Doo Doo (Heartbreaker)" off Goats Head Soup, so that's the album I'm voting for in this poll. NOTE: I do, however, own all of Keith Richards' solo albums from the late 80's and early 90's (two studio, and one 'live' one), and his first solo album "Talk is Cheap" is one hell of a disc. The others have their moments too, particularly the 'live' one. Believe it or not, I probably haven't specifically heard any Stones (other than what I might happen to hear on the radio, maybe once or twice a year) in nearly 10 years. Just never did float my boat, what can I say.

Kansas City here. You can catch local guys playing (somewhere) practically every day of the week. The best club in town (The Blue Room) is open Mondays (jam night), plus Thursday, Friday and Saturday. No cover on Mondays and Thursdays, and only $5 on Fridays and Saturdays -- unless they have a special act playing, but then the cover is anything from $10 (for obscure guys from out of town), on up to $20 (the usual), or maybe $25 (about the most I've ever seen here). There are perhaps 2 other clubs that have live music 6 or 7 nights a week (nearly all local musicians), and a number of other clubs that book local acts 2 or 3 nights a week (usually Thu-Sat). I wouldn't call the scene in Kansas City "robust", but I guess it's at least "pretty decent", and there are easily 4 to 8 dates per month that I should really get out to hear (though I'm only usually out there for 2 or 3, or maybe 4 every once in a while). Things could be better, but they could be worst too. Edit: I should also mention that there a couple atypical jazz venues where some really exciting stuff happens once or twice a month. One coffee shop down in the Rivermarket area (they also sell beer in the evening - I think), that books this GREAT progressive trio (sax, bass, drums) about once a month. And then there's a coffee-house in the Westport area with a small theatre in back that seats maybe 80 (in old movie-house seats), and they book more progressive jazz stuff too, maybe once or twice a month. And maybe one or two other non-typical ventues programming some seriously creative stuff too, on rare occasion. Edit #2: I'll be currious to hear from all the other Kansas City folks here on this board, about what they think of the scene here in KC. One's a top-drawer (first call, IMHO) musician, and another's very well connected with the KC jazz scene -- so their opinions on this topic will probably be worth a touch more than mine. (And, of course, from anyone else from KC, or who used to live near KC recently -- you know who you are.)