Dan Gould

Try control alt delete and see if there's a program running to highlight and click "end task" But I got the same thing going on mine, so I wonder if there's something at organissimo that is infecting users? Actually, the thing that popped for me had a blue screen and a box in the middle. Don't click OK, but click the "x" at the top of the box and it will close.

I agree that its ridiculous, but the worst part of the commercialization of the league is that green screen behind the plate, that forces you to look at a gigantic ad, or Fox or ESPN promo, everytime they use the centerfield camera. I F-ing hate it!!!

Well, that's the end of that string! The only way it could have continued would be if Brew Moore made an LP, like, maybe, Brew 'N Buck ....

Me and the Blues (Joe Williams)

I just read the Times article myself, and came this close to posting it, but had a vague recollection that it had come up before. So thanks, Brownie for making the faux pax for me!

I think Pedro is too expensive and too fragile to resign, but the likelihood that George will open up the checkbook for him ... And now I'm learning that the Sox have found out that Pedro is not insurable. So you can't get any protection against a breakdown, and the guy wants 3 or 4 years at 15 mil+, and the Sox don't want to go over 2 years (naturally). I don't think the signs are good. At least with his build and shoulder, there's no way he'll torture us for ten years like Clemens did. But seriously, saving the money on Pedro and resigning Varitek, Nomar and Lowe makes more sense to me. Why spend the most on the most fragile of the bunch, spread out the money and get more players. OH, and thank you, Dan Duquette, so very much, for setting up four key players to have their contracts expire simultaneously. What an asshole.

Enjoy it while the Sox slump and Pedro pouts. Anyone remember the line Tommy John gave after his eponymous surgery? "I asked the doctor to put in Koufax' fastball. He did. Only it was Mrs. Koufax' fastball."

I thought about doing this a few weeks ago, then I realized I might as well wait til an even ten BFTs have been shipped and discussed and revealed. So, which one did you like best?

No introductions, descriptions, etc., just-the-facts answers?

Is it my monitor or are both of those way too dark?

Thanks a lot for pointing this out, Marla. I'll still be prepared for the worst, but this info gives me some hope in the meantime.

I missed that list the first time, thanks for bringing it up, Claude. On the positive side, EMI doesn't list too many jazz artists, and those they do, none are the "core" Blue Note artists, so I guess they are square with a lot of people. Presumably. EDIT: For the most simple failure in reading comprehension.

Hey Ray, It looks like RC is posting answers on May 6, so you might want to start by shipping Brazil and Australia posthaste, and Europe by the weekend maybe? Just a thought ....

The only trouble, Geoff, is that chances are your copy of the BFT will be quite slow to arrive, so you'll need to be good and not read the discussion or answers thread until you get a chance to listen to and evaluate the disc. OR Perhaps it will be possible to arrange an FTP transfer of MP3 files to Geoff? This was discussed before; maybe something could be arranged for someone living Down Under?

Record Labels Must Pay Shortchanged Performers By LOLA OGUNNAIKE Published: May 5, 2004 David Bowie may not need the extra money, and Elvis Presley will not be able to spend his windfall. But under an agreement announced yesterday by New York Attorney General Eliot Spitzer, record companies will be sending out checks for outstanding royalties owed to them and thousands of other artists. Mr. Spitzer said that the settlement, which amounted to nearly $50 million, was the result of a two-year investigation that found the world's largest recording companies had failed to maintain contact with many artists and writers and had stopped making required payments to them. In an interview after a news conference that was filled with television cameras, Mr. Spitzer said that "an array of explanations" were offered by the record companies, "like `we didn't really pay close attention,' " and none were "persuasive legally." Already $25 million has been paid out since his office began its investigation, Mr. Spitzer said. Among the more prominent artists due money are Mr. Bowie, owed $10,698, and Dolly Parton, owed $17,568. Willie Nelson is owned $2,325, Tom Jones $16,399 and Public Enemy $22,766. "It's not like it's hard to find them," Mr. Spitzer said. "You could go to a concert and throw the check at them onstage." Money owed to artists now dead will go to their estates. Mr. Spitzer stressed that the settlement would bring the most benefit to "an enormous reservoir of artists for whom $500 or $1,000 will matter." When told that she would receive $3,079, Marian McPartland, an 86-year-old jazz pianist who is the host of "Piano Jazz" on National Public Radio, expressed surprise: "It's always nice to get money without doing anything, but I guess many years ago I did do something." Under the agreement, Warner Music Group, Bertelsmann Music Group, Sony Music Entertainment and EMI Group must list the names of artists and writers who are owed royalties on their Web sites; place advertisements in leading music-industry trade publications explaining procedures for applying for unclaimed royalties; work with music-industry groups and unions to find artists who are owed royalties; and share artist contact information with one another. In a statement, Sony Music said, "We applaud the attorney general's efforts to focus attention on this area and sincerely hope that his announcement will encourage additional artists and their heirs to step forward and claim their royalties." Bob Donnelly, an entertainment lawyer, said he brought the royalty matter to Mr. Spitzer's attention. Mr. Donnelly said that he had planned to file a class-action lawsuit against the music industry, "but every time we'd get a good plaintiff, the record company would offer to pay them." Mr. Donnelly encouraged Mr. Spitzer to use New York State's abandoned-property law. "The law says that after five years of holding somebody's property that has been theoretically abandoned, you have to turn the money over to the state," Mr. Donnelly said. Mr. Donnelly had previously secured royalty payments for the Ronettes, Foreigner and Bootsy Collins. "The labels had clearly violated the law" by not transferring the money to the state," he said. Representatives from artist advocacy groups expressed satisfaction with the settlement. "Any time you can find a new source of income that can assist our constituents in maintaining their dignity and way of life we're happy," said Kendall Minter, chairman of the Rhythm and Blues Foundation. L. Londell McMillan, a lawyer who helped found the Artist Empowerment Coalition, said the record companies' decision to distribute royalties may represent the beginning of a new era in the industry. "For so long the music business has been operating like the wild, wild West," Mr. McMillan said. "But with things like Enron and WorldCom going on, labels may be finally realizing that it's time to reel things in." ***************** I wonder what other jazz artists or their descendents will be seeing some $$$.

Well, the two white chicks were atrocious. George did pretty well, and I still like the guy. Fantasia-sorry, I make it a rule not to listen to Barbra Streisand tunes, and the Queen tune didn't exactly make me forget Freddie Mercury. Which leaves us with LaToya London, who is clearly the best of this lot. I thought that they were right, whoever said it, that this is the music she was meant to sing.

I must say that the Exorcist was the better one.

Sorry Jim, but the idea was one at a time ...

Its excellent, very much in a hard bop vein. Which makes it unique in the Jack Wilson discography, as most of his sessions didn't really go that way. Certainly not his other two BNs.

Why I'm doing this for Johnny after our last to-do when he declared me to be a "coward" I'll never know. Chalk it up to not being involved in the Political Forum anymore, and a belief that by doing this I am in for some major positive karma. Any-whoo, John's band, Reptet, is reviewed in this month's (May) Cadence. Its in a group with two other west coast "creative music" groups, but I'll just transcribe the Reptet part of the review. Its written by Phillip McNally. "Cooperative is more than just a group name in this type of music, it is a ruling concept. So it is when you come to the Monktail Creative Music Concern, or the MCMC, your eye has led you to expect Co-op to fill that last "C." In describing themselves, they roll out a few of the other likely C's: Coalition, Collective. But by choosing "Concern" this Seattle based collective seems to indicate an openness to influence and direction, a seriousness to their endeavor, but also an indication they are not about a subordination of individuals to the group as much as they are a group of individuals with a shared vision. They open the CD with 4 group improvisations, recorded without overdubs or edits, and then perform two lenghty pieces based on graphic scores. These two compositions have the feel of a conduction, as they are clearly more organized in terms of rising and falling in pitch and volume for the whole ensemble. But, perhaps surprisingly, the group improvisations are their stronger work. MCMC likes to begin with long, droning monotones and slowly out of that one of the musicians erupts with an idea. That's when the group cohesiveness really shows, for they are adept at responding to the musical implications of that evolving idea. I particularly like "Whisper Skin", where the group reminds me of the Sun Ra Arkestra, opening with a few slightly astringent chords in ballad time, and then strong trumpet and bari sax solos follow until we reach a Ra-like blast or two from the whole band, and then the music devolves again into the opening chords tailing off into silence. In all three of these recordings, different though they might be, there is a common interest in extending the sounds of instruments played, in particular by exploring the "little sounds" an instrument can make, the squeaks and whistles that are usually trained out of a musician in learning the instrument. There is also a form that seems common among them, since the music seems largely to be about atmosphere and shape, and not about melodic statement. If a melody occurs, it has evolved out of a bedrock of long tones in various colors. So the common approach is to put down some sounds, usually elongated and monochrome and then to allow other musical voices to comment or counter that foundation, which leads to different voices commenting until somehow we seem to return to the beginning bedrock." I skipped the opening reviews of the other two pieces, and the sum-up, which basically says that this is the way "creative music" is being played round these parts at this moment in time. Congratulations, John, on a positive review from a magazine that probably covers your style of music better than any other publication.

No! Is there a web version I could check out? No, they don't publish on the Web. I can post the words later today if you wish.

Hey John, Are you aware that your band is reviewed in the current (May) issue of Cadence?

The theme is Big Band tonite. Be afraid. Be very afraid.

All of Me (Eddie "Lockjaw" Davis)

Not much of compelling interest to me other than Easterly Winds which apparently doesn't include unissued material. :rsmile: