7/4

Listen here: http://wkcr.org/

Ray Barretto Memorial Broadcast Presidents' Day, 2/20/06, 24 hours 'round the clock Join WKCR in celebrating the musical legacy of Ray Barretto on Monday, February 20th, 2006. From Midnight to Midnight, WKCR will play music from throughout Barretto's varied musical career. Barretto, who passed away on February 17th, was a pioneer of Latin jazz and salsa. Ray Barretto was born in Brooklyn on April 29, 1929 and grew up in the Bronx. Influenced by jazz recordings including Dizzy Gillespie and Chano Pozo's Manteca, Barretto began sitting in at jam sessions in Germany where he was stationed with the army. Upon his return from the service, Barretto visited sessions in Harlem and before long was playing with some of the biggest names in jazz. He played with Charlie Parker, Max Roach, Art Blakey and recorded with Lou Donaldson, Gene Ammons, Red Garland, Eddie "Lockjaw" Davis, Gillespie, Cannonball Adderley, Freddie Hubbard, Cal Tjader, Sonny Stitt, as well as the Rolling Stones, Average White Band, Bee Gees and Bette Midler. In 1957, Barretto replaced Mongo Santamaria in Tito Puente's band, where he remained until 1961. During this period Barretto participated in some of Puente's seminal recordings, including Dance Mania. Barretto began his career as a bandleader recording in a charanga band for Riverside Records in 1961. In '62 Barretto had a hit for Tico Records, Charanga Moderna, which sold a million copies. In 1967, Barretto joined Fania records and began one of the most musically significant periods in his career, recording a number of albums that came to define the sound of salsa. Barretto and Celia Cruz's collaboration Ritmo En El Corazón (their second), released at the end of 1988 and issued in the UK on the Caliente label in 1989, won a Grammy award in 1990. During the last decade, Barretto played almost exclusively Latin jazz. His last album, Time Was/Time Is, was released in 2005. Tune in on Presidents' Day when WKCR will play nothing but the music of Ray Barretto, a giant of Latin and jazz music.

Is that all???

16 in Jersey and falling.

Funny, this thread immediately made me think of Stimpy's booger collection that he had stuck under his foot stool. You know, the one that sang as a barbershop quartet.

I have a very nice nose goblin collection. I've been working on it since I was a kid.

But not L. Shankar. He played with Zappa and Steve Vai.

Any plans for NJ? Not that I wouldn't hear the band in NYC too, this would just mean that I could check ya out twice!

Happy Birthday, chill out and listen to some tunes!

picked this up today:

Happy Birthday Victor, all the best.

Hmmmmm . . . . works for me. works for me 2.

The Sound of The City Motian in Poetry Dummer's group exploits sonic possibilities, sets off storm of sound by Larry Blumenfeld February 10th, 2006 6:24 PM Paul Motian Band Village Vanguard January 25 Surrounded by axes and horns at the Village Vanguard, drummer Paul Motian was peaceful, yet a locus of immense swirling power. That's the way it always is with Motian, whether he's leading his long-running trio with saxophonist Joe Lovano and guitarist Bill Frisell or this guitar- and sax-laden septet. A few ride-cymbal strikes are all he needs to indicate direction, velocity, and flow. On the Wednesday of a recent week-long engagement, such strikes set off a fuzzy storm of sound—no hurricane, but wildly dynamic. "Endless" was one of two Motian compositions that opened the set and appear on the septet's Garden of Eden (ECM), its moodiest, most expansive recording. These new tunes charm most via details: the way unisons played by three guitars or two saxes fray from slightly varying pitches and note durations; how Motian implies structure in abstract moments with, say, a brief press roll or a kick on his unmuffled bass drum. Though he now announces an expanded repertoire, Motian used to call this septet his "Electric Bebop Band," and even playing some bop-era favorites, he exploited the sonic possibilities of its unorthodox instrumentation. Chris Cheek and Mark Turner voiced the melody of Thelonious Monk's "Instrospection" together on tenor horns before interlacing fragments of it. The traded fours of guitarists Steve Cardenas, Ben Monder, and Jakob Bro were less call-and-response and more extension of a single statement, personalized through texture and color. During Charles Mingus's "Goodbye Pork Pie Hat," the guitars sounded like a horn section. Throughout, bassist Jerome Harris rarely played a conventional line. Motian kept his drumming concise, and worked like a poet—all phrasing, cadence, and careful choices. On Monk's "Brilliant Corners," he led a playful, deftly executed game, alternating straight reads of the melody in hard, accentuated time with slow bluesy drags. At 74, Motian has forsworn touring: He'll play only in New York, preferably at the Vanguard. Good for us, I know, but fitting. More than any others, his finely honed groups, their sonics spacious and precise, deserve the Vanguard's acoustically charmed pie slice of a home.

3. Ninety six bottles of beer, three a's, three b's, one c, two d's, thirty e's, ten f's, two g's, six h's, twelve i's, one j, one k, five l's, one m, nineteen n's, fifteen o's, one p, nine r's, twenty four s's, eighteen t's, five u's, four v's, six w's, four x's, and four y's on the wall. 4. Ninety six bottles of beer, three a's, three b's, one c, two d's, thirty five e's, six f's, three g's, nine h's, thirteen i's, one j, one k, five l's, one m, eighteen n's, twelve o's, eight r's, twenty six s's, twenty one t's, two u's, seven v's, seven w's, four x's, and five y's on the wall. 5. Ninety six bottles of beer, three a's, three b's, one c, two d's, thirty five e's, ten f's, three g's, eight h's, eleven i's, one j, one k, six l's, one m, nineteen n's, fifteen o's, one p, eleven r's, twenty four s's, eighteen t's, six u's, four v's, four w's, four x's, and four y's on the wall. 6. Ninety six bottles of beer, three a's, three b's, one c, two d's, thirty one e's, five f's, one g, seven h's, ten i's, one j, one k, four l's, one m, twenty n's, fourteen o's, one p, nine r's, twenty six s's, twenty t's, three u's, three v's, six w's, six x's, and six y's on the wall.

Just got back from the Post Office!!!

NRBQ!

I'll say. A chiropractic jumble? Is jumble a word? I hope you're feeling better Jim.

Weather folks always seem to forget how it gets colder after a big snow, especially at night.....no sense digging the car out, the snow plows will pile it up over your car's roof anyway. I live in an apt. and the car is in the lot. Maintenance better not pile it on my car. It won't get above freezing until Monday. I'll go out and slide most of the snow off around noon so the layer of ice on the bottom can melt. It was snowing for hours before the temp went below freezing yesterday.

Thanks! As of 4:40 EST, power is still on, but I have that thermos of coffee just in case. OK, Mom's boyfriend checked outside and there's about 11 inches of snow out there with drifts twice the size. I would take a pic and scan, but I still haven't figured out how to post a pic. I am a "techno-duh" when it comes to that stuff. I would love to see others pics posted here for those also affected by the snow. Catesta, what is the snow count in Garden City? Also, StereoJack, any snow news from there? Heard Revere got about 18 inches of snow. Happy snow to all! Marla today's snow thread here with at least one photo.

I'd say we got about a 1 & 1/2 feet here in Jersey. It's all going to melt real quick, warmer for the rest of the week. I'm not even going to bother to dig my car out.

...guitar porn and great stories.

I think searchbots from places like Google are screwing up the counter.