Jim Alfredson

But unlike Ray they didn't use the real singer's voice. Phoenix was ok but I wanted to hear Johnny Cash. I also think they made the songs sound a bit less C&W than the originals. In "Ray", the singing was a combination of Charles himself and Foxx as well.

As for whether this is political or non-political, the article is really gray (which is making Chris smile with glee, I'm sure and yes, I get the joke...) and was probably posted just to make my life harder. Which I really appreciate.

I don't know why you think this helps anything. Do you talk to people like this in real life? It really reflects poorly on you, Dan and I say that as a friend.

YES YES YES! REFRAIN! That's the frickin' word I've been racking my brain over for the last two weeks! It's not called a verse, it's called a refrain! As someone who did his fair share of musicals in high school and college (ok, don't start), as Kalo explained, they are a writing tool to get from the spoken dialogue into the song and are not necessarily a part of the song itself. They are almost part of the dialogue.

Not yet, but we're working on it. Glad you like the CD!

organissimo just landed two big festivals this year (can't say which ones right now, but one is on the east coast) and I'm looking in my database for something in Boston and can't find anything except the Beantown Jazz Festival, who's homepage at www.beantownjazz.org has not been updated and the sole email contact bounces emails back. So... any of your folks in Boston have the inside scoop on festivals in the area? And what happened to the Boston Globe Jazz Festival?

Well, you could make it yourself! You got the artwork!

What have you heard? Not trying to bust yer nuts, just curious.

Fretted electric VIOLAS, actually. Be afraid.

Or cheesy off-Broadway wanna-be "Phantom of the Opera" musicals:

Oh, I'm afraid your kidding will only lead to your inevitable doom!

You don't like haulin' oats? That's good, honest work!

Farfisas are evil. You truly are on the Dark Side.

Hey, it takes some people longer to grow up.

Shaq to Riley in the offseason: "I want Payton here... you know, that point guard who couldn't do shit against Chauncey Billups when Detroit smacked us Lakers around in the 2004 championship finals."

That's funny! Worse trade ever made. But then again Shaq wanted Eddie Jones out and Payton in. Why they got Jason Williams and Antoine Walker is beyond me.

As are the Pacers. Both of which were supposed to challenge The Pistons for the Eastern Conference title. I think we can safely say that's not going to happen.

Actually, the tune was "Pumpkin Pie" that I do that on. At the end of that tune, if you listen to the record, I end my "trading" with Joe on a high C on the top manual (the second C from the right). I then put the car keys inbetween the C and B beneath it and then start playing the "outro" chords on the lower manual and the bass line on the pedals. The reason I do this is so I can change the timbre (timbre = tone) of the held note and the chords I'm playing independently of each other, since the held note is on the upper manual (manual = keyboard) and I'm playing chords on the lower manual. In other words, I can adjust the drawbars for the upper manual and change the tone of that high note without affecting the tone of the chords on the lower manual, which I also change with a different set of drawbars in order to add depth to the sound. By the end of the tune, both the upper and lower drawbars are pulled all the way out, but they each get there in different increments!

HOLY SHIT, PHIL LOOK OUT BEHIND YOU!!!!

Your PITIFUL opinions are NO match for the power of the DARK SIDE!!!

He studied with Young while he was in Detroit (late 70s) as well as Don Patterson. I've been singing Uncle Bill's praises on this board for years. Y'all need to get hip! All of his Savant releases are worth picking up. Plus they feature local legend Randy Gillespie on drums. Randy is THE MAN.

I like Larry Goldings a lot as well and agree with Joe's comment about his playing being more cerebral. I don't always understand the comparisons with Larry Young. Maybe it comes from Goldings' light touch or refusal to do the standard chicken shack stuff. But Young's sound goes beyond that. If you want to hear someone who has Young's thing down, listen to Bill Heid. As for recommendations, I like his first Warner Bros. release "Whatever It Takes" as well as the Larry Goldings Trio release on the now defunct Minor Music label (immaculately recorded by David Baker) called Light Blue. The last one on Palmetto (Sweet Science) was nice, too. This new release sounds very promising. I think Sco has reached an amazingly level of fluidity lately. When we opened for him, his phrasing just blew me away.

Classical music is sooooo HOT!

I just had a bout with these the other day. But that's another story. I think this belongs in the farting thread.

Yes, and he plays in major keys as well. Actually, I don't. I just transpose my scales until my minor runs are in a major key. For instance, playing a tune in F major? I just solo in Am. I'm a frickin' genius.