Jim Alfredson

I really hope those aren't the official lyrics, but rather the lyrics typed up by some teenager somewhere. No instead of know? Know thanks.

Gotta agree with Guy (though I don't think ALL of the RTF cataloge is a "parody"). If you didn't like Mahavishnu, then you won't like RTF. I think Hymn of the Seventh Galaxy is my favorite album of this line-up, although I realize Di Meola wasn't on that record.

What's the Latin word for "irony"?

Joe and I heard this gem on the classic rock station the other night driving home. He pointed out that it has completely awful lyrics and he was right. I'd never paid attention to them before. Ratt - Round and Round Out on the streets, that's where we'll meet You make the night, I always cross the line Tightened our belts, abuse ourselves Get in our way, we'll put you on your shelf Another day, some other way We're gonna go, but then we'll see you again I've had enough, we've had enough Cold in vain, she said (Pre-chorus) I knew right from the beginning That you would end up winnin' I knew right from the start You'd put an arrow through my heart (Chorus) Round and round With love we'll find a way just give it time Round and round What comes around goes around I'll tell you why Dig Lookin' at you, lookin' at me The way you move, you know it's easy to see The neon light's on me tonight I've got a way, we're gonna prove it tonight Like Romeo to Juliet Time and time, I'm gonna make you mine I've had enough, we've had enough It's all the same, she said (Pre-chorus) (Chorus) Yeah! Solo Out on the streets, that's where we'll meet You make the night, I always cross the line Tightened our belts, abuse ourselves Get in our way, we'll put you on your shelf (Chorus) Round and round With love we'll find a way just give it time, time, time, time Round and round What comes around goes around I'll tell you why, why, why, why Round and round

Have you guys seen the Moog Guitar yet? This video is frickin' cool and it has Joe's homeboy Fareed Haque in it. http://moogmusic.com/moogguitar/?section=p...roduct_id=21129

Reminds me of when I worked as the head of Recording Services at Michigan State University. I had a graduate student come in who wanted to record a "demo" he could use to apply for university teaching jobs. He had three pieces to record. The first two went relatively smoothly; I think we may have edited together two takes of one tune and used a full take for the other. The third piece, however, required extensive editing, sometimes multiple times per measure. He did probably 6 or 7 takes of the tune and we literally pieced the final product together, measure by measure, from those takes. The whole time I kept thinking, "Isn't this like lying on your resume?" He got a very good job, iirc. So I guess I did good work for him.

If you're going to San Francisco Be sure to wear some flowers in your hair If you're going to San Francisco You're gonna meet some gentle people there For those who come to San Francisco Summertime will be a love-in there In the streets of San Francisco Gentle people with flowers in their hair All across the nation such a strange vibration People in motion There's a whole generation with a new explanation People in motion people in motion For those who come to San Francisco Be sure to wear some flowers in your hair If you come to San Francisco Summertime will be a love-in there If you come to San Francisco Summertime will be a love-in there

Really? Has your head been in the sand the last 8 years? That chart is really interested. So how can anyone look at this and claim with a straight face that Bush's administration has nothing to do with the rise in gas prices? Seriously... look at the miles driven. It has sat still for the last three years and yet... amazingly enough, the prices just keep going up. Supply and demand my ass.

It was expected. Did he deserve it? Well, he had three seasons to at least get the team back to the Finals and he didn't do it. I was not happy when they fired Rick Carlisle, since I thought he did a really great job, but obviously there comes a time when you need to make a change in order to get to the next level. I predict 'Sheed will not be back and possibly Tayshaun. I cannot see Dumars getting rid of Rip (an extremely valueable and talented shooter) or Chauncey (who just signed a big contract last year). McDyess, if he doesn't retire, will probably come off the bench. I would start Maxiell in his place and try to get another big man.

catesta, the only thing that makes the show worthwhile is that after they watch it, women are "ready to go", if you know what I'm sayin'.

I don't think McGriff preferred to play Hard Bop at all. From the very begining of his career (re: those Sue sides) he was playing essentially R&B with some jazz on the side. He always said he was not a jazz organist, but a blues organist. Yes, he changed up his approach in the 70s, just like every other organist (and most jazz players) in order to keep "relevant". But he still had a love and respect for the music in his playing, which is apparent. Unlike those Larry Young "funk" records where he's obviously doing it to try and make some bread and doesn't really believe in what he's playing. That's apparent there, too. I've always said, as long as you play with purpose and authority, people will like it.

Yep.

No, Heid is not "moving on" from Larry Young. He's doing the same stuff as Larry Young circa '64 to '65. Heid never touches what Larry got into on later Blue Note albums like "Of Love And Peace", "Mothership", etc. And there's nothing wrong with that. If we can have a dozen modern Jimmy Smith imitators, then why not a Larry Young imitator, especially someone who was taught by Young himself? But he's definitely not "moving on" from what Larry was doing, not by a long shot. He's working within that context of Larry Young's playing during that small time period ('64 and '65), while also doing some greasy shuffles ala Don Patterson (another one of Heid's mentors). As far as no one having the skills to do what Larry Young did, I don't buy that at all. There's nothing mystical about Young's approach. I hear all the time that he's the "Coltrane of the organ". No, he's more like the McCoy Tyner of the organ during that time period. As he started taking things further out I guess you could compare him to Coltrane, but lots of people were experimenting with "free jazz" during that time. A contemporary of Young's that followed a similar path was Big John Patton. Obviously Patton has more blues in his playing, but his approach is very similar on his later Blue Note stuff. As for players who have used those approaches as a launching pad for their own style (ie, players taking those concepts and "moving on" from them), Dan Wall, Larry Goldings, and Sam Yahel are the names that immediately come to mind. None of this is meant as a put-down of Uncle Bill. I love his playing and his approach. I've been raving about his discs on this forum for years. I don't necessarily agree with his assessment of the current state of jazz; but so what?

Hee hee. Randy does his own thing with it. Besides, like I said, you can't copyright a beat. Only melody and lyrics.

And by the way, Randy does share writing credits for two tunes on This Is The Place; Greaze Monkey and Stomp Yo Feets. Both were the result of all three of us in the same room playing together and coming up with ideas. He has credit on at least five of the nine tunes on the new one.

I know you're joking, but I'm not smearing anyone. Those guys were trying to do what they could do to stay alive, so they made throw-away "funk records". Also, if I made 1 to 2 records a year over a 30 years span, I'm sure I'd make a handful of stinkers, too.

Spoken like the man who shares composition credits with the guitarist, but not the drummer. Well, these things are discussed and agreed upon by each individual group before-hand. The way credits work in organissimo's case is that if we are all in the same room together when developing a tune from the ground-up, then we all get credit. If only two of us are in the room together when the tune is developed, then those two get credit. For instance, on the new CD we have a tune called Groovadelphia. It's based on drum pattern by Steve Jordan that I saw on YouTube. I sent it to Randy and said, "Let's write something around this." One day at rehearsal we all started messing with it. I came up with most of the chords and bassline (obviously), Joe the melody (and some chord substitutions), and Randy the beats. Lawfully, you can't copyright chord changes or drum beats. All you can copyright is melodies and lyrics. So under current law, Joe should really be the only songwriter. But per our agreement with each other, we'll all get songwriting credit on the CD and publishing since the tune came together as a result of us all jamming together. Let's take another example: We have another song called Senor Buffet. Again, I came up with the changes and most of the melody myself and then brought it to Joe. Joe came up with some melodic changes and a melody for the bridge. We practiced it together a few times sans Randy. At a rehearsal we presented it to Randy. We played through it and he added a beat to it, but the beat didn't really change the tune. The tune was already fully formed. Had we stopped there, the tune would be credited to Joe and I. However, after playing it a few times, Randy suggested adding some important hits and breaks to it that really made the tune better. So we'll all share songwriting credits on that one as well. These are things that need to be worked out beforehand so everybody understands.

Ok, clem.

Unless you have it in writing that any playing you do on someone else's project results in you getting songwriting credit, then you have nothing to complain about. What if someone else covered Alligator Boogaloo and put it to a completely different beat than what Idris did, but for argument's sake, let's say Idris did get songwriting credit on the tune, yet all he came up with is the beat. Should he get paid for that cover if the cover artist is not using "his" beat? It seems pretty simple to me; the person who owns the rights to the song should get paid if it gets sampled. Whatever deals happened between the rights holder of the tune and the players is between them, not the person who sampled it.

It's been obvious to me since the 2006 Eastern Conference Finals, when looking at Dwayne Wade the wrong way got you a foul. Same for the 2007 ECFs and LeBron. Superstars get the calls and get away with fouls on other players like nobody's business. That's just the way it is and why teams like the Pistons will not win another championship in this era without a big name superstar.

That's the point; every one of the great organists made some records that were duds. From that guy's article, you'd think McGriff was the only one. Some of those Groove Holmes records on Flying Dutchman are terrible. Earland made his fair share of pap. Even Jimmy Smith made some placemats in the 70s. And yes, even Larry Young.

I am totally non-plussed by Krispy Kreme and I like donuts. Frankly, I'd rather have one from Meijer.

'Sheed didn't show up until it was too late. Disappointing game. I think Detroit matched up with LA better. LA will win it all, probably in 5 or 6 games.

Thank you Chuck and Larry!

That was a heartbreaking game. Pistons should've won that one; blatant no-calls (those two drives to the basket by Chauncey where he was hammered) and lame ticky-tack fouls at the end helped Boston big-time. There was absolutely no consistency with the calls at all. For instance, that flagrant on PJ Brown was crap, but if they call that, how can they not call it a flagrant when Pierce damn near took Chauncey's head off on a drive? I think the Pistons will win Game 6. Game 7 is anybody's game at this point. I will say this: If the Celtics play another fourth quarter like they did last night, they will not win a championship.