7/4

Yes.

Unless you're on the receiving end.

I'm sure this is shocking, but White is not his real name. There is also no Santa Clause on the evening stage.

I'm only 46! They played with Jeff Beck at his Royal Albert Hall retrospective a few years ago. Gtr & drum duo.

Singer/gtr, wid the White Stripes.

It seems like every tune was in A.

I'm left wondering why Conrad even bothered to ask for advice. Perhaps like his hero in the WH, The Decider, he ignores intelligence contrary to what he wants to hear. :rsmile:

It doesn't get much dumber than Alabama Thunderpussy - currently in heavy rotation on my car stereo. Pistols and Motorhead are good commuting music as well. I tried that, but I kept running the other drivers off the road.

lookin' kinda backwards. That can happen if right before impact the train is suddenly thrown into reverse. All the letters flip over?

lookin' kinda backwards.

Yea...he says dumb shit sometimes.

I should.

April 22, 2006 Jazz Review Bill Frisell Plays Americana at the Village Vanguard By NATE CHINEN, NYT Americana is the categorical term most often applied to the music of Bill Frisell. It's an accurate tag insofar as Mr. Frisell, a guitarist, has delved deeply into bluegrass and old-timey country music, along with the more rustic strains of the blues. But there has always been a cool, hard glint to his interpretive process; his improviser's instinct can undercut even the most nostalgic reverie. It's when Mr. Frisell works with this tension that his music really crackles. That happened in tantalizing stretches on Tuesday night at the Village Vanguard, during the first set of a two-week run. Mr. Frisell was leading a quintet of frequent collaborators: Ron Miles on cornet, Greg Tardy on clarinet and tenor saxophone, Tony Scherr on bass and Kenny Wollesen on drums. Their chemistry was strong, for an opening set. In all likelihood, it will grow stronger over the course of the engagement. Mr. Frisell offered a program representative of his various fascinations, beginning with a halting, abstract waltz, on which Mr. Miles played a round of long tones in a clear, high register. When the song faded away, Mr. Frisell filled the space with some sampled electronics, as faintly desultory as a set of wind chimes. This segued into "Hard Times Come Again No More," a Stephen Foster ballad that the quintet performed first in a hymnlike rubato and then as a somber and effective second-line lament. A hazy flexibility suffused two movements from Mr. Frisell's "Probability Cloud," a suite he composed in collaboration with the cartoonist Jim Woodring. Mr. Miles and Mr. Tardy, who were both present for the piece's premiere in January, were assigned a series of melodic figures, which they played in mellifluous cornet-clarinet unison. The rhythmic underpinnings of the music kept shifting: from a waltz to a tango to something like a mariachi fanfare. On some levels this indeterminacy was fascinating, but the music lacked a center of gravity and never came into focus. By contrast, a pair of songs by Thelonious Monk proved thrilling precisely because of their sturdy clarity. The first, "Jackie-ing," gave Mr. Wollesen and Mr. Scherr full license to swing, which they did, with hard-driving insistence. The second, "Raise Four," provided a good solo showcase: Mr. Tardy indulged in a few brawny tenor choruses, and Mr. Miles worried the tune's jangly motif with the stubborn fixation of Monk himself. Mr. Frisell offered his own supple variations on "Raise Four," pecking short phrases before moving on to some fluidly shifting chords. As in the rest of the set, he never quite stretched out; his improvisations were hide-and-seek affairs. But his playing was efficient and calmly self-assured, squarely in the American grain. Bill Frisell plays through tomorrow,and from Tuesday through April 30, at the Village Vanguard, 178 Seventh Avenue South, at 11th Street; (212) 255-4037.

April 22, 2006 Jazz Review Dave Liebman's Aggressive Saxophone at the Jazz Standard By BEN RATLIFF, NYT The saxophonist Dave Liebman absorbed jazz in the mid-1960's. Then, in the 70's, in bands led by Elvin Jones and Miles Davis and on his own as a bandleader, he really began to apply what he had learned. These aren't neutral facts of circumstance: the sounds of those times — in timbre, instrumentation, composition and soloing style — exert a powerful force on his music. If one were to make a study of what jazz in the 70's really was — rather than focus on its perceived failings, which is how most people approach it — Mr. Liebman might be a good starting place. On Tuesday at the Jazz Standard he played with his regular quartet, including the guitarist Vic Juris, the bassist Tony Marino and the drummer Marco Marcinko. Except for the drummer, this has been a steady group for 15 years. It's a surprisingly loud band, and the set was full of demonstrative writing and playing that could sometimes be a little overeager or literal-minded; the performance was aggressive, even when the compositions suggested something mellow and pensive. Mr. Juris's "Shorty George" began with misty guitar chords, and there was a gradual coming together of the band in free rhythm and then, with Mr. Liebman on tenor saxophone, the emergence of a folkish melody. Mr. Juris used some electronic processing on his guitar, and got into the country- and blues-influenced tonal world that Larry Coryell, Pat Metheny and Bill Frisell, among other guitarists, have shared. Later, Mr. Juris brought out a nylon-string acoustic for Mr. Liebman's piece "Breath." Mr. Marcinko played a lot of different rhythms and textures: Elvin Jones-type swing, odd-metered rhythm, mallets and brushes; he changed up his sound not only during solos but during ensemble sections of the set's more freely arranged tunes. It was only Mr. Marino whose role, in a few vamp-heavy pieces, could feel restricted. But it was Mr. Liebman who really took over after the first song. Playing mostly soprano, he used a bright, urgent, hustling sound, sometimes intentionally harsh and squeaky, even over pretty changes; he showed an impressive grasp of harmony, playing sprays of notes over and around chords. On a few pieces he got into a dialogue with Mr. Marcinko's ride cymbal, demonstrating some of the interplay learned from close listening to John Coltrane's quartet. In "Coincidence" he played rapid, pecking, Eric Dolphy-ish lines. And for the modal piece "Anubis" he produced a small wooden flute. He played it not in the mournful way you might expect from a jazz musician of his generation in a song dedicated to an Egyptian deity — the recognizable I-am-small-within-the-universe feeling — but with an inflated, outgoing facility. His mission, finally, was entertainment. The Dave Liebman Quartet continues through Thursday night at the Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232.

They could have removed the offending bits from Qu'ran and retitled it. Maybe they did.

I think, at the time, it was quite new and fresh, but now it's a bit tamer. Kinda like the Sex Pistols. Jon Hassell was pissed for years that they lifted the concept off of him. (aka 4th world music) I think the Hassell and the Budd from that era holds up better than da Bush album, but I haven't heard the reissue yet. I haven't seen it in NJ yet, maybe I'll venture into the big apple and pick it up. As for the Pistols...I didn't think there was anything fresh about those guys. I did eventually come around to really dig Rotten's voice.

Boy howdy Rod.

I think it was the review in Cream or maybe I was just picking up anything Eno did. Boy howdy, I say. Boy howdy. Boy howdy Jim.

Have someone take a look at it.

That's what I was thinking. It seems like it was just yesterday. No, wait...it's been a long time.

And they have a spiffy web site too!

Tune in now and you can hear Schapp talk.

On again until 12 midnight edst.

But the show is already sold out!