skeith

You guys may be missing the point. The lady asked "where is the BEST place to catch a cab" As someone who spends a majority of his waking hours in Manhattan and knows how often it is difficult to find an unoccupied cab at times, this seems to me a totally legit question and one I have asked myself. THe club where they were playing is open air and they were practically on the sidewalk. that said, she was clueless in the sense that she was interrupting a performance, but that's no different from what most New Yorker do with their cellphones etc, while attending performances. THe musicians should have just said "go away"

My best wishes and hope you have a great one

Just to be precise, the literal translation in spanish of "me gustas" is "you please me" the verb "gustas" is conjugated to relate to "you" the "me" refers to the speaker ... therefore you get "you please me" for a literal translation, but a less clunky translation would be "I like you". "como" is not translated into "as" but rather sort of "how " or "how much"

If anybody can translate better, please do. But I think that'll gets the point across until something better comes along. FWIW, I am in the habbit of requesting this song from local "mariachis" in the various Mexican restaurants I frequent. Very few of them know of the song, and of those who do, so far I've only found one or two that could actually play it. None could sing it. It's an old song, and quite popular among a certain age group, but definitely "of yesteryear". But damn is it gorgeous! I think the last line is better translated as "how much I love you" or " I love you very much"- there is nothing reciprocal in that last line.

Nat or Joe? I was referring to Canyon Lady.

Yeah, but a very talented one! Come on, if we refused to pay attention to artists who fall into this category, we would be depriving ourselves of a lot a great art. I am a big fan of Jarrett's but must admit this trio has never moved me much.

In my opinion, it is not a bad album, it is just that it pales in comparison to so many of his other efforts.

Sonny Stiit and Gene Ammons

how the fuck so, Guy & respectfully, how well do you really know the history of the American record biz? we can name a handful of exceptions-- Dylan's evolution on Columbia, the Ramones on Sire (which had been indie)... & what else? distribution deals do NOT count!!! Prince? fine, keep going. (& don't tell me Duke on Victor or any such hogwash... the assimilation of the record biz into greater pop cult machine is the worst godamn thing that ever happened, then & now. edc knows it, you should know it too. MG's original statement (which you deleted) said: This is quite clearly false. As you stated yourself, Dylan on Columbia and Duke on Victor (and Columbia) are major exceptions. Sticking to jazz, two of the most important jazz innovators in the past half century (perhaps THE MOST IMPORTANT) did much of their most important work for major labels -- John Coltrane on Impulse!, Miles Davis on Columbia. I'm sure we can come up with other, less significant innovative recordings by other artists for major labels. (Was Decca a major label when they recorded the Basie band?) If we're going to talk about rock, besides Dylan (already mentioned) we have the Byrds, the Beach Boys, Santana, the Band, the Velvet Underground, and Frank Zappa. I'm sure there are other examples. Guy Impulse wasn't a major label. In the sixties, the criterion for major label status was that the firm had to own its own distribution network. ABC didn't. I'm not an expert on Davis. The story I heard was that Columbia did Prestige's manufacturing and the boss of the pressing plant told his boss about how many Miles Davis records he was manufacturing, so Columbia hired him. Sounds to me like Prestige did the legwork, Columbia took over a ready made star. Prior to WWII it's quite difficult to tell which were the major labels. From 1926 to 1938, for example, Columbia clearly wasn't. It went bust in 1926, after nearly 2 decades of financial problems during which it had continually had to sell off bits to keep going. It was then acquired by its former UK subsidiary, then sold to an engineering firm called Grisby-Gronow or something like that, then sold to ARC, who closed it down in 1934. It wasn't reopened until CBS bought ARC in 1938, shut down Brunswick and Vocalion and restarted Columbia and OkeH. Nor am I an expert on rock. However, Zappa (and Velvet Underground?) started up on Verve. As for ABC, MGM, the owner of Verve, wasn't a major. Not sure how innovative these other bands you refer to were but in any case, we're talking about black music here. MG Even if Miles was already a star when Columbia signed him, and that's most likely true, Prestige had nothing to do with the major artistic innovations that Miles achieved while with Columbia. That seems to me to be patently obvious to jazz fans who are not experts on Davis. I don't know that I would give Columbia credit for that, either... at that point in his career, my impression is that Miles did WTF Miles wanted to do. My point was to disagree with MG statement that innovation always happens with indie labels and to agree with Guy's example that Miles's work with Columbia was very innovative - I was not giving Columbia the credit although they probably deserve some.

how the fuck so, Guy & respectfully, how well do you really know the history of the American record biz? we can name a handful of exceptions-- Dylan's evolution on Columbia, the Ramones on Sire (which had been indie)... & what else? distribution deals do NOT count!!! Prince? fine, keep going. (& don't tell me Duke on Victor or any such hogwash... the assimilation of the record biz into greater pop cult machine is the worst godamn thing that ever happened, then & now. edc knows it, you should know it too. MG's original statement (which you deleted) said: This is quite clearly false. As you stated yourself, Dylan on Columbia and Duke on Victor (and Columbia) are major exceptions. Sticking to jazz, two of the most important jazz innovators in the past half century (perhaps THE MOST IMPORTANT) did much of their most important work for major labels -- John Coltrane on Impulse!, Miles Davis on Columbia. I'm sure we can come up with other, less significant innovative recordings by other artists for major labels. (Was Decca a major label when they recorded the Basie band?) If we're going to talk about rock, besides Dylan (already mentioned) we have the Byrds, the Beach Boys, Santana, the Band, the Velvet Underground, and Frank Zappa. I'm sure there are other examples. Guy Impulse wasn't a major label. In the sixties, the criterion for major label status was that the firm had to own its own distribution network. ABC didn't. I'm not an expert on Davis. The story I heard was that Columbia did Prestige's manufacturing and the boss of the pressing plant told his boss about how many Miles Davis records he was manufacturing, so Columbia hired him. Sounds to me like Prestige did the legwork, Columbia took over a ready made star. Prior to WWII it's quite difficult to tell which were the major labels. From 1926 to 1938, for example, Columbia clearly wasn't. It went bust in 1926, after nearly 2 decades of financial problems during which it had continually had to sell off bits to keep going. It was then acquired by its former UK subsidiary, then sold to an engineering firm called Grisby-Gronow or something like that, then sold to ARC, who closed it down in 1934. It wasn't reopened until CBS bought ARC in 1938, shut down Brunswick and Vocalion and restarted Columbia and OkeH. Nor am I an expert on rock. However, Zappa (and Velvet Underground?) started up on Verve. As for ABC, MGM, the owner of Verve, wasn't a major. Not sure how innovative these other bands you refer to were but in any case, we're talking about black music here. MG Even if Miles was already a star when Columbia signed him, and that's most likely true, Prestige had nothing to do with the major artistic innovations that Miles achieved while with Columbia. That seems to me to be patently obvious to jazz fans who are not experts on Davis.

lombardi's is your "neighborhood delivery" place? g_d what a life of oppulence you must live.... I used to live around the corner, now I'm a few blocks up. They haven't been nearly as consistent since the character-killing expansion, but the pies are still often great and never worse than pretty good. This may be a fluke, but in my experience you tend to do much better with delivery than with in-store pies, almost as if they are more careful with orders from regular customers vs. the tourists who constantly mob the restaurant. Lombardi's is the best pizza I have ever had in NYC or anywhere.

Best wishes

The Mingus is sold

Same for me, except that I would add that I think Cream, particularly those long instrumental jams, prepared me for Mahavishnu

Some say that the best version is still the original laser disc - especially those who don't like any of Ridley's Director's cuts. Do you mean the original theatrical release? The laser disc version was the original release, as far as I can tell. It definitely has the original ending, as well as the voice over narration to begin the film. I'm somewhat partial to this version, but I realize many people think the voice over is weak. I don't know too much about the 25th Anniversary edition, but I would wait a while until enough fans review it to see if it is actually that different from the last director's cut. Speaking of director's cuts, what do people think of the Apocalpyse Now Redux? I believe most critics thought it was a better film, though I think the vote is still out among the general public. To be honest, I haven't sit through the entire thing in one sitting, which I think I should do before finally making up my mind. Did you see and like the Director's cut of BLade Runner? did anyone here on this Board see it? I saw the Apocalypse Now Redux and I think the main change is the inclusion of a scene with a french family living in Vietnam- which the platoon that is the main subject of the film has an encounter with. I do not think this added very much to the version I saw originally and as a matter of fact, I remember it seeming a bit improbable. I am a big fan of the original film.

Some say that the best version is still the original laser disc - especially those who don't like any of Ridley's Director's cuts. Do you mean the original theatrical release?

what is the best version of Blade Runner on dvd? apparently there is a DIrector's cut and also some new 25th anniversary edition?

Glad to hear that your recovery is coming along!!!

1)Mingus at Montreux 1975 - condition mint - $15 to a US address 2) Gone with the Wind - the original 1939 classic on 2 discs. I got this as part of a 3 movie set called "Essential Classics:Romances" from Warner Brothers (which includes Casablanca and Dr. Zlhivago). THis is the most recent remastering from the 4 disc set that includes excellent picture and sound, commentary on the film by Rudy Behlmer and the original mono track. THis does not come with the 2 extra discs- so if you don't want those extras, this is the deal for you. However, I don't like this film. I do like the other 2 films from the box, so I am offering JUST Gone With the Wind either in a single clamshell case that fits the 2 dvds and I will put a plan white label and lettering on the spine or I can put it in the box set it came in but I will not include Casablanca and Dr. Zhivago. Hope this is clear. $10 to a US address.

I picked up "Everybody Digs Bill Evans" First off I want to say that Joe Tarantino did a great remastering job (24 bit) as usual- I think the sound on this version is a somewhat of an improvement over the 20bit K2. (anyone want to buy my K2 version? PM me) I think Orrin Keepnews's liner notes are, for the most part, interesting. I do have one issue. The lp and all prior cd issues of this included Evans's slight tune "Epilogue" at the close of of each lp side. The Keepnews reissue just has this tune play at the end, that is once, just before the bonus track. Presumably this is because the cd has just one side? I am not sure and no explanation is given But, given Keepnews's insistence in the liner notes about how faithful he is to the original LP, this change from the original seems to fly in the face of that.

I picked up Change and there is some good work here. Can't say I love all of it and it will take some listening before I really decide.

As I said I saw him quite often before his last recording period for Verve. It became predictable after a while, same tunes, similar verrrrry long solos ..... What I liked about Keepnews producing Henderson was that he kept pushing him in all kinds of directions he never would have taken by himself - the results were always interesting, and sometimes great. Well, I first saw Henderson in person in the 1980s (and I saw him a dozen or so times over the years until his death) While his solos may have been long, I always found them interesting. I can't say that about many of the Keepnews sessions contained in the Milestone box, the second half of which (except for the live sessions) I find uninteresting and I am a big fan of Joe Henderson. Just my opinion Oh, I'm glad you said that..... now I'm NOT gonna want to find the whole Milestone box! well I think most of the sessions are available as single cds, so I suppose you could pick and choose which of those later sessions you want.

As I said I saw him quite often before his last recording period for Verve. It became predictable after a while, same tunes, similar verrrrry long solos ..... What I liked about Keepnews producing Henderson was that he kept pushing him in all kinds of directions he never would have taken by himself - the results were always interesting, and sometimes great. Well, I first saw Henderson in person in the 1980s (and I saw him a dozen or so times over the years until his death) While his solos may have been long, I always found them interesting. I can't say that about many of the Keepnews sessions contained in the Milestone box, the second half of which (except for the live sessions) I find uninteresting and I am a big fan of Joe Henderson. Just my opinion

My favorite that has not been mentioned: Last of the Line

So right Aggie. I am not even a hockey fan but Slap Shot is a great movie and an much more profound meditation on sports and American culture than at first glance.