7/4

if my heart races anymore, I might have a heart attack. gosh, she's beautiful.

I only go outside of my neighborhood on business. This sucks.

happy birthday and many mo' b3er!

I grew up in South Jersey- actually my hometown turns into Philly during the summer months- and we're Philly sports fans. South Jersey folks have access to that Delaware accent.

It sounds like a Las Vegas act on acid. The fish sticks get shirts!

I don't know what it was, but it was strange and I liked it.

53% (Dixie). Barely into the Dixie category. Of course. I'm in Central Jersey, not South Jersey. Those people talk funny.

what he said.

Brave Combo on Aug. 3 looks interesting...I'll keep it in mind.

You lost me. The Pulaski is the Pulaski Skyway aka the Rt1 extension that goes to the Holland Tunnel and NYC. 4 me, the Bayway is the Bayway oil refinery in Linden. Everybody drives past that on the NJ Turnpike - inspiration for Nine Types of Industrial Pollution on Uncle Meat (or so I hear). Maybe I should be hanging at the nearest Polish Home (club), there's enough of them.

Don't tell Sue Simmons about it and she won't tell the world.

I've been missing the good life and I didn't even know it. Elizabeth is almost next door. I can see the rooftops, office buildings and water towers when I look out my window. Now I know why my life is so empty. I've been listening to the wrong kind of radio all these years.

I once told someone -- unbelievably believing that this was true -- that paramedics were medical personnel who parachuted into war zones and disaster areas. This to a person who had enough of an investment in me being intelligent that she thought at first that I must be feebly putting her on. Wish I could have caught on soon enough to play it out that way, but no. And I'd begun it all by insisting that her correct use of the term was wrong. When my parents met, they got into an argument - Mom insisted it was the KLU Klux Klan while Dad had to tell her it was the KU Klux Klan. I have no doubt that Allen and 7/4 will have a field day with that. Actually, I can't think of anything to say. Maybe this belongs in the political forum...

We don't have that in New Jersey.

How can I live without it?

She always struck me as the Untitled Original type. .

B3er: Allen's breathing...make him stop. I can't think. .

now Dan's going to accuse you of stalking him.

Daniel Wolf on... .

another thread.

thoughts? wiki I've never heard him. I soon will.

May 21, 2008 Music Review Haunting Soundtracks: Jazz With a Polish Accent By BEN RATLIFF, NYT The Polish trumpeter Tomasz Stanko’s records of the last six years, with their elegiac moods and clean, controlled lyricism, have become a primary reference point for current European jazz. So it was curious to see him taking a step back into a woollier past on Monday in a performance at the Museum of Modern Art, part of the museum’s Jazz Score series on jazz and film. The tenor saxophonist Billy Harper sat in with Mr. Stanko’s regular working quartet — a first-time collaboration that worked out gracefully — and the music became more jagged, more grooving and in many ways more American. But, in fact, it was all Polish. The group was performing exclusively music by the Polish film composer Krzysztof Komeda, who died in 1969, and with whom Mr. Stanko used to play. Mr. Komeda is still best known for the soundtracks he wrote for Roman Polanski films, including “Rosemary’s Baby” and “Knife in the Water,” but as a pianist and bandleader he was also the leading Polish jazz musician in the 1960s. Mr. Komeda was an excellent composer. Like the works of Wayne Shorter and Billy Strayhorn, his jazz ballads were full of romantic unease, but they often didn’t suggest a complete, scripted emotion. Their melodies are expressed in long notes and lines that sometimes seem to be missing a few important pieces or a resolution; they’re mysterious and fragmentary, leaving you to guess the rest. As a jazz bandleader, Mr. Komeda remains barely known in the United States. (Too bad: his quintet record “Astigmatic,” from 1966, with Mr. Stanko in the group, is one of the great jazz records of its time.) Mr. Stanko has been his old friend’s champion, paying tribute on a 1997 record for ECM, “Litania.” About half of Monday’s concert came from that album, including “Sleep Safe and Warm,” a lullaby from “Rosemary’s Baby.” There was no mistaking the chemistry between Mr. Stanko and his rhythm section. He has a buzzy trumpet sound, abraded around the edges, meted out in long notes that almost flap in the wind; his style feels spotlighted by the precision of his quartet, with the pianist Marcin Wasilewski, the bassist Slawomir Kurkiewicz and the drummer Michal Miskiewicz. Sometimes, on slow ballads, Mr. Stanko was out front, with the band creating a frame for his sound, but in the hotter, denser music he interacted with the band members’ phrasing. Mr. Harper harmonized on melodies with Mr. Stanko and played a few of his own far-reaching solos. He’s a post-Coltrane saxophonist, with discipline and catharsis, and when the group ran through free-bop or modal music, he brought an authentic voice to it, playing with the dark, squiggly urgency that some of the Komeda songs, like “Kattorna,” require. Whether or not Mr. Harper knew this music before, he was of it.

In the early days, yes. On the cover of Shut and Play Your Guitar, he's holding a Les Paul, but by then he started playing Strats a lot. Still...he's holding a LP, I'm used to a SG.