Free For All

....as is yours, Chris. No intent to diminish your input!!

Thanks man. She needs to know her opinion is a welcomed and desired commodity around here.

So you grilled 'em after cooking them in the oven? Is that a common practice? Don't they start to fall apart on the grill? Do you remove that membrane thingy on the back? I'll have to try that, sounds good!

Rocky IV?

I'm still a fan, but more for the great ensemble playing and soloing than the lyrics, many of which aren't aging real well. Trombonist Bruce Fowler does some amazing playing on one of my favorite sides, Roxy and Elsewhere. He is a MF! Both he and George Duke have some great moments on that one. Bebop Tango, Village of the Sun, Don't You Ever Wash That Thing et al. A couple other choice moments: Yo Cats, the "tribute" to studio musicians from Meets the Mothers of Prevention , and also the one the Brecker Bros. were on- Purple Lagoon or something like that. I still enjoy pulling out the Zappa, but a little does go a long way.

And many more to come!

Haven't seen her around these parts for a long time. Anyone know what she's up to? ....and yes, I did send her a PM.

Happy Birthday Barak! And many more!!

Lots of neighborhood ammo going off tonight. Trying to keep low, keeping the kitchen lights off as I get another beer. Damn, I love the smell of sulphur in the morning.

The Jazz Scene USA series that the JOS "chin music" comes from was a great short-lived show. Oscar Brown Jr. is a little bit of a hipster doofus at times (his interview with Rosolino is priceless), but there was some great music. Some of the best Rosolino I've heard. Each artist plays their own arrangement of the show's theme, so you hear Cannonball, the Kenton mellophonium band et al play their own versions. That and Ralph Gleason's Jazz Casual were two great short-lived jazz shows from the early 60s. There were 3 great Woody Herman segments and a Thad and Mel in addition to the well-known Trane (and another Cannonball). I know most around here are aware of these, but there might be some who aren't. Great stuff. edit- available on DVD, too although I'm not sure how long they might be available. Seems like stuff like that comes and goes too quickly. I just checked and titles from both shows can be found at CDUniverse, Amazon, Overstock and others. Worth getting IMHO.

Personally, I don't think a hot dog eating contest is a harbinger of Armageddon, but here are some fun facts. According to an online source, one Nathan's dog has 309 calories, 7.8g of saturated fat (39% of RDA) and 684mg of sodium (29% of RDA). So Kobayashi's 53 3/4 hot dog feast (assuming he kept 'em down- do these guys purge after it's all over?) would then contain: 16,609 calories 419g saturated fat 36,765mg of sodium That's, like, a lot.

Jim's extreme thread title has caused the board dimensions to be whacked on my screen!

Well, sorry to contradict you JK , but I think that singing should be part of every musician's training right from the start. To be able to create music without the obstacle of an external instrument makes for feelings of accomplishment sooner. As far as the violin, I think formal training is important with any instrument. To leave her on her own (especially for "a couple years"!) would probably lead to the development of bad habits that would need to be unlearned before progress could be made. As far as the boredom issue, it's just a matter of finding the right teacher or class. This is a discipline that requires individual practice, but a supportive teacher and family will help this. I know in my early years I would sometimes practice with a friend which made things a bit more fun. As far as finding a teacher, I would probably seek out other parents' opinions on this one- find out who their kids like, who motivates them to want to practice. I think it's very important to get some fundamentals together in the early stages. Bad habits are hard to undo. The "fun" aspect comes from experiencing a sense of improvement, and it's important to help the child realize the journey itself is part of the reward. edited for spelling

Sent you a PM

No, Salieri didn't really throw his harpsichord off a bridge after hearing Mozart play at a club.

Booker Ervin T Lavitz Washington, Kenny

Pussy Galore Plenty O'Toole Holly Goodhead

Mr. Bill Mr. French Mr. Rogers

1. Walkin' (Carpenter) 2. Why Don't I (Rollins) 3. Bye Bye Blackbird (Henderson/Dixon) 4. Paradox (Rollins) 5. Ruby My Dear (Monk) 6. Invitation (Kaper) 7. Budo (Powell) 8. Like Sonny (Coltrane) 9. Dewey Said (Lovano) Joe Lovano - Tenor Saxophone Junko Onishi - Piano Rodney Whitaker - Bass Al Foster - Drums Produced by Michael Cuscuna and Joe Lovano Recorded September 29, 1996 Never heard it. Looks like a good one. Does he play the straight tenor a lot?

Not Herbie's greatest moment (the vocorder effect seems kind of creepy) but not the worst either. One cut with Jaco and Tony Williams. I remember when this came out in 1977 it seemed like a real sell-out and kind of led me to lose interest in Herbie for a while. Upon relistening there are some moments here and there and some engaging arranging/composing. And some great fashion from the 70s (cover photo)

I'm happy to see any jazz artist get the attention of a feature film and I for the most part enjoyed Bird. My only criticism was that there was too much attention paid to the "dark side". Anyone not previously aware of his genius must have come away wondering "what's the big deal about that junkie loser?". I wish there had been more attention to his musical creativity and the fact he was quite a well-read (and often big-hearted) person, but that would have made for a less interesting film I guess. I actually liked Round Midnight a little more, but I still enjoyed Bird.

That one does look interesting, but I think the one being referred to is the other. Have to put yours on my list though..................

Wait, Tenor Conclave features Mobley, Cohn, Sims and Trane, right? Is there another side with that title?

I haven't seen it myself, but have heard it's quite interesting. FWIW, AMG gives it 3 stars and this review: "Despite the odd title, this is a very coherent, if overly brief, portrait of Jackie McLean from the early '80s. McLean talks with his students about jazz, drugs, the difficulties of surviving in the music business, and the joys of the music itself. There is not enough playing by the great altoist, but there are glimpses of his style; trumpeter Woody Shaw has a cameo. This film increases one's understanding of his creativity and motivation; it certainly holds one's interest."