Jim Dye

Ditto Laurie Anderson here.

You forgot the eyeball.

The more I look at my Brilliant Circles mock-up, the more I realize that it doesn't look like a Blue Note cover. But, I really like it how it turned out. Glad you liked the typo, Rooster. I'm having a hard time imagining the Miles covers done differently, but I'm gonna keep on thinking. Wish I had Photoshop here at work!

This IS fun!

That picture of Larry reminds me of this cover:

A really nice selection, Dan. I know I'll be enjoying this disc for a long time to come... Here are my comments so far. 1. Alright. Time for some church. Very soulful. Not sure on the artist or song, but I dig it. Amen! 2. Joe Williams? Fun track. Fun audience interaction. 3. Stand By Me changes, but a different melody. Lou? Alto sweetness. Another good track. 4. I know the tune, but it's not coming to me right now. Nice tone. Not sure who it is, but I hear a lot of other Tenor influences. Sounds recent. A criss-cross recording perhaps? Is this an Adderley cover? very nice. 5. Echo, baby! Another Tenor groove. Sparce piano solo. I can dig it. Griffin? No, too few notes. Wait a second. That's a different tenor now. Maybe it's one of the Griffin/Davis sides? Excellent. 6. Nice Tenor/Bone-head. The tune is mildly familiar, but I don't think I've heard it before. Solid. Polite. 7. I know these changes too. OK. I played this tune in High School Jazz Band. I just can't remember it! Arrrgghh! Good Tenor solo. Good trumpet too. I wish I could remember the name of the tune! 8. Here's the organ! Another familiar melody. I just can't seem to remember song titles! Was this a pop song? 9. 10. 11. Footprints. 12. 13. Randy Weston? Nice intro. Very cool groove. 10 stars. Love it. Great closer for BT2. for 9, 10 and 12 I'll add my comments later, if I can resist the temptation to read the other threads. Thanks guys!

Received my Disc 2 today. Just popped it in to give it a first listen. Thanks Dan and Brad! I'll post my comments in the next day or two.

More belated birthday wishes here. Hope you had a great day!

All the best on your birthday!

Shit. I changed over my personal email and web space to thechain.com because I figured that if it's good enough for Organissimo, it's good enough for me! It's been great until this week. I haven't been able to access my email for several days. My phone and mail inquiries have gone unanswered. Pretty frustrating. You'd think SOMEONE at the company would be able to sort things out. Are you still having problems with your email, Jim?

Sad sad news. RIP, Johnny. If you haven't seen the video for 'Hurt', try and catch it. It is one of the most moving things I have ever seen. Emotionally devastating.

My co-workers think I'm crazy 'cause I'm laughing so hard. That is the funniest thing I have seen in a long time.

Awesome news, Jim! I have a 14-month-old, and we found out a month ago that we're having another. My wife is about 2 months along now. It's one of the greatest things that can happen to you. I wish you all the best. You'll be a great dad, Jim!

And how is this any better or worse than downloading the music? The CD has already been bought from the record company by someone, or in many cases it's a promo copy and was given to someone (I buy a lot of those). Buying it used puts nothing into the record company's pockets. It only puts money into the used CD store. And how is downloading a song any different than what I did as a kid, before I had a job and thus money to buy a CD or tape, which was listen to the radio and tape all my favorite songs when they came on? I had tapes upon tapes upon tapes of songs and never bought a record until I was about 16. Anyone who truly cares about music will buy the disc. I love having a physical disc with the packaging and the liner notes and the "real" CD and the whole shebang. And AfricaBrass is right, mp3s suck sonically. But I buy a lot of stuff at the used store. In fact, I bought the Yaya3 record, Larry Golding's new record, Charlie Hunter's new record, and Elastic all from the used CD store about a week after they were released. How is that helping the record companies? Suing a 12 year old is really heartless. She's doing nothing worse than what I did as a kid with my tape recorder. I'll say it again. Fuck the RIAA. You would have a point, if it was a promo. In that case, no one gets paid. But with a used legitimate copy, the artist and record company should have been paid with the original sale. With a download, NO ONE gets paid because they are not legitimate copies. I may not be helping record companies by buying some things used, but I am not hurting them by making a copy either.

Sounds cool, Jim! What kind of mobo/setup you building?

Oh, I believe it. But, I think it CD burners haver hurt sales more than MP3 downloads. A LOT of stuff is out there, but not on KaZaA. There are many places to download MP3's that are under the radar.

Dan, I replied to your PM. Did you get it? If not, the answer is "I'm In!" Thanks. FWIW...I have my personal email hosted by the same company that hosts this board and I am having trouble with my email as well.

The best version of this song IMHO is on the 1990 McCoy Tyner Big Band album The Turning Point. They really nail it.

Thanks guys! I just talked to Bill again this morning and he's doing well. I picked up 3 of the new RVG's for my birthday. (Joe, Wayne and Lee)

I sent out 4 burn requests this morning. I can give you a list if you like, Dan.

Very interesting review in the Detroit Free Press. POPULISM COEXISTS WITH ADVENTURE: Jazz festival should take care not to veer too far from art September 2, 2003 BY MARK STRYKER FREE PRESS COLUMNIST Two Saturday night scenes illuminated the most enigmatic and complex edition of the Ford Detroit International Jazz Festival in memory: At the main Amphitheatre Stage, as many as 200,000 people crammed the plaza to hear Chaka Khan's gaudy and emotionally blocked R&B. At the Pyramid Stage, perhaps 2,000 adventurous souls witnessed progressive alto saxophonist Greg Osby rebuild the jazz tradition into a spellbinding postmodern vision of cubist rhythms and oblique harmony. Here, on opposite sides of Hart Plaza, was the classic dichotomy of commerce and art. And here, in a nutshell, was the tension that percolated during the 24th annual jazz festival, which closed Monday night with Natalie Cole. Nearly $1 million in losses and sagging attendance the last three years have jeopardized the future of what is still North America's largest free jazz festival. Leaders at Music Hall, which produces the festival, eliminated a day of programming and one of four stages this year. Festival director Frank Malfitano also booked three crossover acts -- Khan, Roberta Flack and Cole. The idea was that a more compact festival streaked with populism would call home all the people who had wandered in recent years to competing events. On one level, the strategy worked. Police estimated Saturday's crowd at 250,000, an opening-day record. Despite rain Sunday evening and most of Monday, preliminary police estimates show attendance for all three days topped 600,000, more than the 500,000 four-day figure of the past two years. Official city estimates will not be available until later this week. Though the festival is free, attendance drives concession revenue and attracts corporate sponsors. But what about artistic integrity? The headline from this purist is this: If you have to book Khan to make sure I can hear Osby, that's a compromise I'm willing to make. But only as long as the festival remains committed to jazz in all its most profound manifestations. It's about trust. The 2003 lineup had shortcomings -- not enough cutting-edge musicians; too many repeat acts from recent festivals. But there were enough thrilling moments that no one should be dropping the atom-bomb word of this debate -- sellout. When, however, does the tail begin to wag the dog? (Short answer: When the instrumental-pop playlist of "smooth jazz" radio infects the programming.) A little success is dangerous. Those who love the festival fear that, emboldened by crossover success, corporate sponsors and bean-counters will push for a higher dosage. This is not to absolve Music Hall from its faulty management history or its spotty record of raising corporate dollars and marketing the festival, but we shouldn't even be having this debate. The festival's longtime title sponsor, Ford Motor Co., gives $250,000 annually. That's a pittance compared with what it could afford. Ford -- or some company -- should up the ante, and proudly, without demanding one iota of artistic imput. Jazz is to Detroit's cultural soul what the automobile is to our economy. Jazz critics probably don't represent a large enough demographic to influence boardroom decisions, but we have a right to point out the obvious. Now to the music: Best Set 1: Sunday, the irrepressible James Moody (on alto and tenor sax and flute) demonstrated that serious jazz musician and entertainer aren't mutually exclusive identities. Moody delighted the crowd with his trademark clowning, ribald jokes, the bebop classic "Moody's Mood for Love" and the bawdy "Benny's from Heaven," complete with nutty yodeling. But "Sonnymoon for Two" was all business: Moody's edgy tenor and contemporary use of dissonance suggested a great tiger stalking his prey. At 78, Moody's life force is astonishing. Best Set 2: Detroit trumpet hero Marcus Belgrave led three trumpet summits. He had the hottest rhythm section of the festival on Saturday -- pianist Mulgrew Miller, bassist Rodney Whitaker and drummer Karriem Riggins -- and the seven proteges he assembled from across the country balanced cutting-contest bravura with substantive improvising. Michigander Rob Smith got the best of a ballad medley, but youngsters Maurice Brown and Sean Jones brought the house down in a frenzy of high-note fireworks on Freddie Hubbard's "Birdlike." Best Set 3: Intimacy is a rare and risky strategy at an outdoor festival, but bassist Ron Carter's quartet drew listeners into a subtle sound world Saturday, weaving an unbroken suite of sophisticated music touching on driving modal post-bop, a ballad, a waltz, a samba and more. When Hubert Laws joined the quartet on piccolo for an impromptu reading of "Blue in the Closet," it played like a frisky coda to Carter's meticulous concept. The singers, good and bad: The performances were wildly uneven, with the breakdown not necessarily occurring along the jazz/not-jazz fault line. Best was 23-year-old newcomer Lizz Wright, who sang gospel-influenced soul with a richly textured voice, expert pitch and long-breathed phrasing in which her sanctified embellishments never upstaged the message of the lyrics. Wright's exquisite taste should be a lesson to others, including Nnenna Freelon, whose taffy-pull histrionics made a mess of "Stella by Starlight" and whose ill-conceived reggae-beat version of "Body and Soul" desecrated some of the loveliest harmonies in popular music. Another dud was Ilona Knopfler, undone by preening affectations and indiscriminate taste in rock-era material. And don't get me started about Peter Cincotti, the overhyped 20-year-old, whose green pianism and dress-up vocals need another five or 10 years on the vine. For the record, Roberta Flack wasn't as satiny as in her prime, but sweet enough that the hits sounded like you remembered. Favorite sight: Moody, backstage before his set, smiling, his ear cocked, basking in the glow of tenor saxophonist Donald Walden's golden reading of Tadd Dameron's "If You Could See Me Now." Moody played Dameron's evergreen when the ink was still wet some 55 years ago. His own legacy was in the air at Hart Plaza even before he took the stage. Contact MARK STRYKER at 313-222-6459 or stryker@freepress.com.

Hi Tom! Good to see you here. I've enjoyed your posts at Jazz Corner. You might want to have a look at the following threads to see where we are going with this: Organissimo Blindfold Test? Blindfold Test Redux This is our first blindfold test, so we're working out the kinks right now. If you have any suggestions, please feel free to share them. If you'd like to participate, I'd be happy to burn and send you a copy of Blindfold Test #1. Just send me a PM with your address. That goes for anyone else who would like to join in the fun!

I really like Supertrios. I find myself going back to that one quite often. There is a great version of The Greeting that always kicks my ass. I enjoy most of McCoy's Milestone work. Some are stronger than others, but you really can't go too wrong with any of them. Especially the earlier stuff.

Dolphy! Of course! That's definitely how I know it (the tune, not this version). Excellent clue, Jim.

Track #4 - Listen to the saxophone solo between about 3:19 and 3:40. That was a dead giveaway for me. Although I know the melody, I can't think of the name of the song! Damn, Damn, Damn! I know it, but not this arrangement, which is GREAT btw... Guess I'll have to follow the link above.