Rooster_Ties

I like the Miles discs, but haven't heard the others. Miles and Wayne both come from the jazz world. I'm more thinking about people who created 'pure' fusion, who DIDN'T come from the jazz world particularly. (If anything, my notion is that many of them came from the prog-rock or art-rock world.) Don't know that particular Wayne album, and haven't a clue what "Material HALLUCINATION ENGINE" is, but will look it up shortly...

Let us all know!!!! The suspense is killing us!!!!!

Anybody remember "Tribal Tech" with Scott Henderson?? I never got that band, at all - but I remember there being a rabid crowd at a local jazz bar here in Kansas City (shortly after I moved here, so in about 1995) - FYI, that jazz-bar also booked "jazz-related" acts ("Fusion", "Smooth", "Soul Jazz" etc...). Man, "Tribal Tech" brought some serious fans out of the woodwork, and they all seemed to be closet musicians too - from the look of the crowd (I know, how do closet musicians look?? - I can't explain, it was just an impression I got from reading the room.) I could never understand the admiration for the "serious fusion" musicians (by amateur musicians), who focused all of their devotion to those with these (supposedly) mad technical skills -- but who often created some of the most "lifeless" music I've ever heard. Not all of it was totally lifeless, but it seemed the more devotion a cat garnered from other amateur musicians interested in "serious fusion", the less they spoke to me. In other words, the more fanatical a few of my friends were about somebody, the less likely I was to find anything meaningful in their music. Or so I remember, at least. PS: I was at that Tribal Tech show, cuz I helped out at the jazz bar. Didn't ever get paid for it, but I could drink all I wanted (within reason) any night of the week, and I got into any show I wanted for free. That, in exchange for collecting the 'cover' at the doora couple nights a week, and helping out behind the bar during shows (especially the shows I wasn't interested in hearing all that much, Norman Brown, and such...)

I just listened to all the samples from the Wackerman CD (see link two or so posts above this one), and it's weird -- I can appreciate this music a little bit, but at the same time - it really leaves me pretty cold. Yeah, Steve Gadd’s name came up back on that board a bunch too. Many pro, many con. To me, these guys all seemed like they were incredibly talented, but that they were using their talent mostly for purposes of evil, rather than good. Not that I thought jazz was the only "good" way to play, but rather that there was something incredibly calculated about most of the playing by most of the drummers mentioned already in this thread. Calculated, and robot like. (And somehow, at least for the Zappa drummers already mentioned in this thread, it WORKED in that context (with Zappa), but it didn't do shit for me in other contexts.) I haven't listened to very much of this kind of music in years, and I only dabbled with it even back then. I just remember there being a whole bunch of people who were all into "serious fusion music" back when I was in college, circa 1987-1993 (and before you do the math, I got two bachelors degrees during that time, and I graduated on-time with the first one, in exactly 4-years, so back off!!! ) Is there any "serious fusion" from the 80’s and 90’s, that anybody here really thinks is pretty amazing stuff – even in retrospect?? Amazing in terms of technique, perhaps – but does the music still speak to you?? Has it aged gracefully?? Or has any of it “stood the test of time” very well??? (How’s that for getting the topic better defined, Joe.) Edit: I don't mean to focus only on the drummers, but rather the whole genre of "serious fusion" in the late 80's and 90's. But obviously the drums were a big part.

Christmas Day, but we always opened the presents from this one really weird relative of mine on Christmas Eve. She is my Godmother, but we always called her "Auntie Glo" (her first name was Gloria). She was a travel agent, and always flew all over the world - and would get the strangest presents for us. Novelty toilet seat covers from Japan, weird nick-knacks from India (cheap plastic stuff, some of which we could never figure out what it was!!), and “snow globes” from countries that didn't ever even get snow!!! I remember getting a sweatshirt from her from Hong Kong, sometime in the early 90’s, which showed a Chinaman painting out the British Flag, with the Chinese Flag being painted over the British Flag - in anticipation of Hong Kong reverting from the British to the Chinese a few years ago. The Chinaman on the sweatshirt had this totally maniacal look in his eye, and I was always afraid of wearing it - because I figured that it was probably equally offensive to people from the U.K. as well as to the Chinese. We always opened the presents from Auntie Glo on Xmas Eve, cuz we could stand to wait until Christmas to see what truly weird shit she had come up with the previous year. (And you know - it wasn't like Auntie Glo had a wicked sense of humor about things. She really was innocently buying whatever she thought we would like. She was a sweet lady, who I never thought had a clue about anything.)

ROTFLMAO!!!!!!!!! And shit, I can't even got back and edit out it now!!!! Anyway, here are sound samples from that Chad Wackerman CD that was buggin' me!!!! B&N Link Not really excited by the music itself, particularly (OK, maybe a tiny bit), but more just my memory of having dug this at one time, and recognizing the tunes years later.

Before I totally got the STING thread totally derailed, I thought I'd better start a new topic. This isn't very focussed to start with, cuz I just did a cut-n-paste from my post in the Sting thread. ================== I remember many years ago (early 90's) -- long before my BNBB days even -- that there was quite a difference of opinion about the value, worth, and talent of another of Sting's drummers, one Vinnie Colaiuta. I remember back on BITNET (anybody remember BITNET???) and on the old "ALLMUSIC" e-mail distribution list, that there were several people who thought Vinnie was THE best drummer in the entire world... ...and several people that thought he was pure evil incarnate - along with being a horrible drummer. (For days and days, e-mails would be "Vinnie" this, and "Vinnie" that!!!) I always thought it totally depended what kind of date he was on, but no matter what - he always seemed like a consummate "studio" drummer, and all THAT implies - for both good, and evil . (How's that for my Sangry impression?? ) And man, now I'm having flashbacks of flame-wars back then over Dave Weckl too. And Neil Peart too. Back then, ALL that conversation totally went over my head, but I guess the names stuck in my cranium. Man, there was one other drummer especially, who always came up in those conversations/flame-wars. Shit, I cannot remember his name (another drummer) - but I remember getting a CD by him (one of his few as a leader), and I remember the cover was mostly all a sort of off-yellow cover, on a weird label I'd never seen before, otherwise. The line-up was probably drums, bass (electric), "keys" (probably the only appropriate use of that term "keys" ), and el-guitar. I wanna say it was lead by somebody (the drummer I can't think of) who played with Sting at one time, or somebody else on the disc played with Sting (not a drummer). Obviously a fusion date of some kind, circa 1990-1993, and I'm guessing more in that 1991-92 range. I remember it, because I think it was THE very first CD I ever obtained from somebody on-line, because I couldn't find it anywhere else, since it was on a smaller label. Maybe somebody who played with Chick, maybe?? This is gonna drive me up a wall!!! ============================= Found it!!!!!!!!!!! Whew!!!!!!!!!!!!!!!!!!!!!! No "Sting" connection with Chad Wackerman that I can see, but his name came up all the time in those same ALLMUSIC circles. Must have been a bunch of Zappa nuts. Have I derailed this thread enough yet?? I can do more, if needed.

Wonder what it is!!!!!???????????????

My family always went around the room, and each person got to open ONE present, and then show everyone what it was. Then the next person opens ONE item, and shows it around. And so on, repeating until all presents are open. (The “go around in a circle multiple times” method.) But my WIFE'S family, however, is totally different -- and it drives me up a wall!!! (something I've never told my wife either, by the way). ONE person is designated to open up ALL their presents, showing what they got after each present is opened (up to 10 or 15 total presents per person). Then the next person opens ALL of their presents (again, another 10 or 15 presents). Then the next person ALL of theirs, and so on. SO, the last person to open their presents has to wait for like up to 30 minutes while everyone else opens theirs. Maybe part of it is that it's different than what my family did. But part of it is that I just plain think it's annoying for the people at the end of the line. We're talking a minimum of 6 or 8 people (maybe up to 10 people), when spouses and other extended family are included. But I always suffer silence.

I love how this smiley: - is so useful for so many occasions. B)

You do realize that as long as the laws of physics remain as they are no one could ever see the Board register a participant total of zero. What is the sound of zero hands clapping??

Thanks Kevin, appreciate the info, and best regards... -- Rooster T.

By the way, this refers to the physical storage of already manufactured CD's. As I understand it, the corporate parent company charges back Blue Note for storage "costs" for titles that have already been manufactured. "Blue Note" is just considered a different "cost center" to the parent company, and they apportion their storage costs to every cost center. So, if a title isn't selling sufficient numbers, then those ongoing storage costs have to be considered an "expense" from the perspective of Blue Note (even if the storage facilities are long since paid for, and are actually owned by the parent company – meaning they probably aren't actually leasing the storage space, but they are "charging" their subsidiaries as if the storage space is leased). I think this is why the whole Fantasy (OJC) catalog mostly stays in print for so long (except for their "limited edition" titles), since Fantasy owns their own storage facilities, and don't choose to record "losses" (expenses) for the storage of slow-moving titles.

I don't really have a dog in this fight (and I've never owned or even heard a JRVG before), but I seem to remember reading somewhere on these boards, that all of the future JRVG's (the one's with the bonus tracks and alternate takes), would be the same masters used for the U.S. RVG's (and vice versa). Now whether I read this from a reliable source (or not), I don't really know. But I know I've read this before, maybe even a couple different places (maybe here, and also on AAJ??). (I own several TOCJ's, but I've never gotten on the JRVG bandwagon. Mostly because most of my TOCJ's were obtained several years ago, and since then I've been much less interested in paying the extra cost of getting Japanese issues of titles. That, and I dislike the mini-LP packaging format.) Anyway, Chuck's definitely right that there have always been different masters for the JRVG's and U.S. RVG's (for the very same session). BUT, whether this will be true for future U.S. RVG titles, is still an open question. Edit: For the record, I could generally care less about most remastering issues, RVG's vs. JRVG's, vs. TOCJ's, vs recent McMasters. I just want the music, and I want a decent remastering of it - even if it isn't the very best version (which is usually open to argument anyway). It's the music that matters to me - far more than the remastering.

Please post more, and lurk less. Word!!!

Is ANY 3 CD set really worth this???? ($300 minimum bid, $450 buy-it-now) I'm not familiar with this set. What's the deal???

I've never sold anything on eBay before, so I probably don't really want to know all the technical details about how this is done... But how in the heck did this guy make a pop-up dialog-box appear when you bring up his eBay auctions??? Or at least THIS ONE has such a dialog box. OK, I checked, and it's every item this guy sells. They all trigger the pop-up box. Items for Sale by 10p.cd Weird. I wouldn't have thought that someone could have embedded something into an eBay auction that would cause a dialog box. I know that other sites can easily do such a thing (when the site itself causes the dialog box), but I just didn't figure it could be done through an eBay listing.

Jazz, you might try looking in the phone book under "Cost Plus World Market" - which is, I think, the full name of the store. (Look under "C".) What major city are you in?? (World Market has a "store locator" on their website, by state, if that helps any. I think I gave the link up early in this thread.) I finished off my first box of Ginger Altoids last night, so I stopped by the World Market here in Kansas City (the only World Market in Kansas City). They only had SIX boxes left in the whole store (meaning the regular size tins, about $2 a tin), so I bought all six of them!!! I can see I might have to get my next fix from some on-line resource.

Mostly, yes. The album kind of 'drifts around' for my tastes, but I'm not really a big Blues nut either. However, the vibe here is real and fairly deep, and nothing seems forced. I seem to remember liking the uptempo tunes best. (Haven't heard it in 3+ years, but oddly enough - it's in a stack of CD's not 3 feet from my computer -- for reasons I have no earthy explaination for. Why it's there - I have no idea. Guess that means I should give it a spin!!)

I would guess that there are probably 50 to 100 (or maybe more like 200, at most) threads worth saving from the old BNBB. 80% to 905% of what went on there probably isn't worth saving, or ever looking at again. But if I could go back and cherry-pick specific threads, I'm sure I could find a bunch that would be great to have access too.

The Hot Spot [Original Soundtrack] - with Miles, John Lee Hooker, Taj Mahal, et al.

Of course, my first question should have been "Who's Milt Ward???" I don't have the 'Tom Lord' discog, the but on-line session totals for Ward only list a total of 2 dates (Source). He appears to be on this Fathead album too... Also, I found one other on-line reference to the "private pressing" album in the auction... Would appear the "label" is something called "Twin Quest" maybe?? Description is "fusion"-ish. Here's the back cover...

Just stumbled on this eBay auction (HERE) and this looked interesting, or at least curious. As obscure as this is, I'm going to cut-n-paste the auction info and images into this thread, since lord knows when anyone is likely to ever see one of these again. I have no idea who Milt Ward is or was. (I was just doing a search on "Charles Tolliver", and got a match on this item, from Tolliver's name in the description, although he isn't on this date.) What's the story on this?? Is this listed in any of the heavy duty discographies?? I don't plan to bid on it, but being that he's a trumpeter - and that this is described in the auction as being "Avant-Garde" - I couldn't help but be curious. (Although who knows if that description is in any way accurate, or what the heck kind of "Avant-Garde" it really is.)

I've got no real system. I donit have anything in alphabetical order so my Massey Hall is right after Parker and right before Gillespie, since they are side by side. B) I've always filed Massey as if it were a Parker album. The recent "New Directions" disc on Blue Note is filed under Osby (the one with Osby, Moran, Harris, and Shim all as sort of co-leaders). I find some way to pick who the functional leader is (or could have most logically been - if there's any question), and file it under that guy's name. For true "various artists" discs, I ususally put it where I feel like it at the time. If there's one or two cuts on it that I like above all the rest, I'll maybe file it under one of the artists for one of those cuts. Or all stick it at the end of the alphabet, after "Z".