JSngry

I would add, however, that MAN-CHILD is probably a good place to stop, with a few exceptions like MR. HANDS & VILLAGE LIFE. The "worst" elements of MAN-CHILD soon became the takeoff point, and things got pretty dire pretty quickly.

Yeah, CROSSINGS is a beast!

What's the story w/that Krupa thing?

If you like HEADHUNTERS (and I do), try THRUST. Mo'betta, imo. I'm gonna have to get that FLOOD thing one of these days...

Sign me out when the lease is up. No biggie. I was somewhere before here, and I'll be the same after.

SPEAK UP, DAMMIT. I'M IGNORING YOU.

What's up w/the ignore function, anyway? I don't see it as an option anywhere.

They could do a Club Mix thing and present both albums uninterrupted, with crossfades between cuts instead of gaps. Get the kids into Leon Henderson like never before, I'll bet. Or not.

Well, just don't go off and celebrate the end of the heavy work cycle with a three hour tour...

Along those same lines, check out the 3-46 "D.B. Blues" from the AFRS broadcast that's on PREZ CONFERENCES. The blues-with-a-bridge form causes some confuison in the rhtyhm section, and rather than attempt to deliniate the form to get everybody back on track by spelling out the changes, Prez just goes ahead and plays "free", lines that could fit over anything and everything. Pretty amazing, really.

That's one of my favorites from the "classic" quartet. That and the ANYTHING GOES album.

Fer - You may be a newbie here, but you speak like somebody who's anything but when it comes to the music. Welcome! Looking forward to your contributions! In defense of Clem, that's his M.O. Get to know him, and you'll find him to be one of the sharper pencils in the box. Really. Don't let the ranting fool you. The cat's contentious but cool. .

The musicians union is like any other trade union. It's comprised of practiotioners of the trade who then elect their own officers, who amy or may not be actual musicians. Usually the officers are, or have been, professional musicians, but not always. Depending on the location of the local, being a union official may or may not offer suffiicent income to be a full-time job. As for benefits, the union negotiates/sets scale (the minimum acceptable wage) for different types of jobs, provides legal backing in case of a union-approved contract being broken, negotiates with major employers for things relating to working conditions, etc. Same as any other trade union. And, like any otehr union, some locals are better (more honest and/or efficient) than others, and, yes, there's always politics involved. such is life. Here's the link to the AFM website. Take a look around and see what it is: http://www.afm.org/public/home/index.php

Now here's a release that is and isn't relevant to this thread, but should be of interest to you, clem. Jewel Records JCD 5059, produced by the illustrious Stan Lewis. You know what this is? Big Joe singing over the cheesiest prerecorded digital band-in-a-box type backing tracks imaginable. Was Turner in the same room with the computer while recording? Who knows! Not only that, but some of the tracks are reused from tune to tune - only the lyrics change! If you see it at a truck stop or a cafe for under $5, grab it, just as a tribute to the irrationally inspired depths of lunacy that some folks will go to in order to have product in the marketplace.

Good point. Not exactly an unknown practice, is it...

Yeah, the ban was covered pretty thoroughly in that other thread. But as to #3, a "union card" is the card you get when you join a union. In this case, the union is the Amerfican Federation of Musicians (AFM). Local 802 was (and still is) the New York, NY chapter of that union. Each city/region has its own "local", to better, theoretically, address the issues confronting the musicians of said area. Membership in one local may or may not be "recognized" by another, depending on the nature of the situation. Generally speaking, the broader the issue, the more reciprocity there is, and the more it pertains to nuts-and-bolts giggage, teh more one needs to belong to a specific local in order to reap whatever benefits there are. The cabaret card was a function of, iirc, the NYPD, and was nothing more than a "license" required of a performer in order for them to perform in clubs that sold alcohol. Needless to say, it was a source of constant corruption, fraud, extortion, and exploitation. The practice was discontinued somewhere in the mid-late 1960s, I believe, but perhaps not until the dawn of the 1970s.

We rode the Back To The Future ride at Universal Studios just this past Monday. Great simulator ride, highly recommended! If I'd known he was about to die, I'dve had us all wear black armbands or some kinda shit like that. Just goes to show you, you can't help if you don't know.

Now that the original question has been answered, I'll finally be retroactive man enough to stand up and say that I agree w/Clem - Lonehill is a sleaze operation. For Professional Suckers Only.

Exactly.

Charlie showed me the trailer a few weeks ago, rather excitedly, actually, and you know what? It looks like a video game. EXACTLY like a video game. For those of us who haven't had our perceptions of "reality" shaped in some kind of way by video games, this might be off-putting, but there's a whole generation (or two) on whom the medium has had a profoundly McLuhan-esque effect. So I'd keep that in mind, fwiw, the medium being the message and all... And about Reeves, sorry, but both Bill & Ted movies are on my "always watch" list whenever they're on TV. No, they're not "good", but that's at once besides the point and exactly the point. Part of a well-balanced pop culture imbibement, I'd say.

Not a problem, I'm here to help. Now, let's see if you can tell me which one's Kramer: Kick out the Junior Mints!

BTW, that Baalbeck DVD comes highly recommended, and not just for the music. There's some nice interviews with the players (including a longer-than-expected one w/Jamal), some footage of getting to and setting up for the gig which allows you to see the venue in the daylight, plus some views of said venue by night. NEver heard of this place before (I know, damn provincial American... ) but good lord, what an INTERESTING place to play a jazz gig!

Did some pokin' around and communicating yesterday and got to hear a copy of this 2001 DIW release, a tenor power trio led by drummer Alex Deutsch with Jamaaladeen Tacuma on bass. Pretty slammin' funk grooves mostly (but far from exclusively), and Garzone confronts the music any/every way but predictably, going from off-center R&B to straight out free, with stops in between, always with incredible control over his instrument and his expressions. A most enjoyable date. Those who, like me, dig Odean Pope's trio work w/Gerald Veasy & Cornell Rochester will likely find this to their liking as well. It's the "same thing only different", if you know what I mean.

One request, though. When I first started looking to listen to the show live, I was under the ignuntazz assumtption that Indiana was in the Central Time Zone. Needless to say, I got the experiential experience of "Tune in at this same time next week, and you'll hear the end of the show again".... So, maybe tag a "EST/EDT" designator on your signature?

Sounds like they're using an alternate edit rather than an alternate take. If both were contemporaneously released in some format, then I suppose they're fair game for a "complete" set, although they should be properly labelled. But otherwise, calling it an "alternate take" is nothing more than flase advertising.