JSngry

So much science, so little common sense... In order for the study's findings to have any true merit, the "bad guy" getting zapped would have to be a cheating ex-husband of some such. Then lets see what those "empathy centers" do!

Skip Drinkwater Bobby Wine Pedro Bourbon

That stuff has circulated for years about all the labels. In the mid '60s I heard BN kept Ike Quebec around to "supply" the musicians so they were ok for the record date. Too many "stories" to stop them all. Hell, I've heard that Lion kept a hotel room on permanent reservation for pre-session fixing, so as not to freak out Rudy about the use of his men's room.

Function, scale, intent, and discretion.

The Hubbard Columbia material seems like a natural for Collectables, they of the Herbie Mann Atlantic collections.

James Pankow Dick Halligan Barry Rogers

So that explains the piano sound!

What kind of gloves did he use on the cheese?

Bill Cullen Franklin Roosevelt Jonas Salk

Tell you waht - if this organization will cover our travel expenses, hotel costs, and food, as well provide a reasonable per diem and gift certificates to the department stores of our choice, Quartet Out will gladly play the gig for free!

I hope that it made Joe Zawinul even more money than it did Cannonball! Lyrics are generally credited to Johhny Watson & Larry Williams. Bet there's a story there...

Sammy Johns The Trix Rabbit Dr. Harold J. Numbers

Clifford The Big Red Dog Thomas The Tank Engine Willie The Pimp

Whatever happened to Patti Rossborough?

Not so fast... That's overlooking his involvement in the Civil Rights movement in general & with Jesse Jackson ("The Country Preacher" who he can be heard referring to as "our pastor" in one of his ongoing monologues) in particular. Cannonball was definitely moving in circles other than purely "jazz" ones, and he was definitely out of the "New York" loop, and had been for some time. This was a road band, and the road took them all kinds of places. and given the climate of the times, I don't think that he'd still be playing "Dizzy's Business" or such. That was then, and then wasn't what was happening now. Could you see him playing something like "Waltz For Debby" or "Never Will I Marry" to a Southern, predominately African-American crowd in a club in, say, 1969? Such a crowd, remember, would have been "closer to home" for him in some ways than an urban "jazz crowd". If anything, the "heebie-jeebies" that Chuck describes getting from Cannonball (and which I understand to some point - "Dancing In The Dark" from Somethin' Else kinda does that to me, to be honest, and its not the only one...) is something that I hear in much more in his earlier work. There is a flavor of "gauchness" to some of that work, like a hip "country boy" who hadn't yet figured out how to "tone it down" to a requistely "urban" level (this was an ongoing criticism of Adderley in some circles, remember). Playing some "down home" "country soul" type stuff (which is the type of popular Soul music he mostly echoed, not the slick pop of Motown or the neo-Africanisms of James Brown) might, might, well have been a bit of personal liberation for him as well - a chance to take off his shoes and run barefoot through the country mud for a little bit, if you know what I mean (and if you don't, well, all I can tell you is that you're missing one of the finer things in life!). "Making money" is but one part of what he was doing, I'm convinced. And I don't doubt your description of what you heard at the gig you describe, but when I heard him in 1974, the program was nowhere near as heterogeneous as what you seem to have heard. A record like 1970's The Price You Got to Pay to Be Free, unfortunately edited though it is, paints an entirely different picture as well, and it's not the only album that does. Maybe you heard him in the wrong room and/or with the wrong crowd and/or on the wrong night?

Eva Gabor Fred Ziffle Eb

Look out boys and girls, we're going to play WALK TALL!!!!!

I'm not necessarily uncomfortable with the word, just the de facto negative connotations that seem to come with it. Things aren't always that simple. Sometimes they are, but sometimes they're not... Relevan reading might be "Education Of A Band Leader" from Jazz Review, reprinted in Jazz Panorama. 'Twas written long before the Capitol-and-beyond period, but it still offeres insight into how Cannonball viewed "the business". Also worth a gander - "In Defense of Commercialism" by Dan Morgenstern, originally in down beat, reprinted in that book of his that came out last year. Cannonball is not involved, but it's something to think about nevertheless.

Yep.

What are you going to do about officials who don't even watch the play clock? That's fundamental, I'd think.

Carling Bassett Jimmy Carl Black Patti LaBelle

SLIDE!

Fan just now arrived & replaced, message gone, all is well, for now, at least. Charlie's glad to have me out of his room, and I'm glad to be back on a non-wireless keyboard. One thing though, the voltage on both fans are identical, but the old one says 9 amps & the new one says 6. Is this going to be a problem?

Not too often does a single act of officiating create serious doubt as to the final outcome of a game, but you gotta wonder about that interception that Grossman thre after the play clock was already expired. Pretty much ended the game, and it was a true "play that shouldn't have happened". No guarantees that the Bears pull it out if the penalty gets called, but DAMN....

Such a legacy! R.I.P.