Dan Gould

Oh, I'd definitely put him in the top five jazz composers! Along with Dameron and Golson (and ahead of Ellington, forgive me but its true).

Mark, have you contacted Ebay? The guy is clearly a fraud. I don't know what ebay will do-my ebay disappointments have been limited to non-paying bidders and the occasional over-graded LP. Care to share his ebay handle? It would be a good help for other members. You might also inform him that you will contact local law enforcment-that might get his attention, even if they are unlikely to follow up. (That's assuming he's not in NYC or a major metropolitan area. But definitely contact Ebay.

Found it: Stopping the white wash Rahsaan Roland Kirk on TV By DAVID HINCKLEY Rahsaan Roland Kirk with Ed Sullivan Just about the time the cameras started to roll for the regularly scheduled nightly taping of Merv Griffin's show on Friday, Aug. 27, 1970, the phone rang in the television department of the Daily News. An anonymous woman said that a group called Black Artists-Musicians of New York, of which no one had previously heard, was planning a nonviolent disruption of the Griffin taping to dramatize its demands that black artists get some of the television exposure given so copiously to derivative white artists. Had someone made a similar call to Griffin, perhaps he would have been less startled when about 35 minutes into the taping at the Cort Theater on W. 48th St. a group of between 60 and 80 demonstrators sure enough did stand up and make it quite impossible for Griffin to continue. The demonstrators, who included well-known jazz artists Rahsaan Roland Kirk, Lee Morgan and Andy Cyrrile, blew wooden whistles and played various sounds on flutes and other instruments they had smuggled in under their coats. Soon they moved forward to take over the stage, waving signs that read "Stop the Whitewash!" and "Tom Jones rose to fame singing black songs!" Griffin, who had just introduced Larry Kert, star of the Broadway show "Company," shook his head and walked off. The CBS cameras continued to roll as the studio audience sat fascinated, wondering what would happen next. As it turned out, not much. When the protesters announced they would remain until they could talk with someone in authority, Griffin came back and announced that taping was done for the day. Since this Friday tape wouldn't air til Monday night, it had been decided to finish the last hour over the weekend. By now a dozen police had entered the theater. As the only apparent damage was to the taping schedule, no arrests were made - and, even as the audience was starting to trickle out, producer Walter Kempley and associate producer Andy Smith were talking with Black Artists-Musicians of New York, who had suddenly changed their name and now told reporters just to call them Lovers of Music. Their complaint, heard for neither the first nor last time in the music world, was that the "roots" artists of American music - jazz, blues, gospel and so on, a disproportionately black group - deserved mainstream media exposure on national shows like, say, Merv Griffin's. While jazzmen played 200-seat clubs, they argued, white "jazz-rock" musicians who had clearly gone to school on those jazzmen's records were cleaning up from recordings and concerts in much larger places - abetted immeasurably by all that free media exposure and promotion. The protesters also warned that paying all this attention to later-generation white artists distorted history because it crowded out the real, undiluted music. These complaints echoed arguments made by respected musicians in many fields, though the Griffin demonstrators got something of a "fringe" tag largely because of the prominence of Kirk, a brilliant musician who distinctly marched to his own muse. Blinded in a childhood accident, Kirk formed his first band at 14. In his early 20s, he began to experiment with his sound, at first by playing several horns at the same time, then by rediscovering forgotten instruments, like the stritch and the manzello, then by inventing others, such as the trumpophone, which was a trumpet with a saxophone mouthpiece. He was well respected for his skills, and his presence guaranteed that the Griffin protesters would be heard, not merely tossed out on their ears. When they did leave, after talking with the producers, they said they expected a spot for jazzmen on a prime time CBS show. They also mentioned they might visit other shows on other networks. Sure enough, on Oct. 13, now calling themselves the Jazz and People's Movement, they dropped in on Dick Cavett at ABC. This time the disruption lasted about an hour, ending when the Cavett people agreed Cavett would have Movement spokespersons on his Oct. 22 program. Meanwhile, they had also worked out a deal with CBS: Kirk would be a guest on "The Ed Sullivan Show." A widely circulated story has it that Kirk was the last guest on the last Sullivan program, and that this final segment ended with Godfrey Cambridge sneaking up behind Sullivan and putting an Afro wig on his head, crowning him an "honorary Negro." Actually, Kirk played the show Jan. 28, 1971, two months before Sullivan stopped doing live shows. Nonetheless, it was a memorable night. Kirk invited Charlie Mingus and Archie Shepp to play with him and announced they would play Stevie Wonder's "My Cherie Amour." In fact, they largely improvised for 5 minutes, weaving in and out of Mingus' "Haitian Fight Song." It was instantly controversial: fascinating to jazz fans and widely considered impenetrable to almost anyone else. "The purpose of the Jazz and People's Movement was to make everyone aware there wasn't enough jazz on television," said critic Dan Morgenstern, "and now they clearly proved the reason why." But many fans said that even though the Jazz and People's Movement soon drifted into history, it had at least made major TV networks aware of an important issue. Still, there was a long way to go. Another widely circulated story has Kirk asking Sullivan backstage why the late John Coltrane had never played his show, and Sullivan replying, "Does John Coltrane have any records out?" As for the Merv Griffin incident, it wouldn't be many more years before TV producers realized disruption isn't a problem. Packaged properly, it's a commercial gold mine. Originally published on April 13, 2004 http://www.nydailynews.com/04-13-2004/city...7p-158794c.html

Paul, I second the suggestions that you consider a full Mosaic set before writing off the company forever. Remember that while the Selects are a good value, they are not what has made Mosaic's reputation and they aren't the reason that as you said, some "view Mosaic box sets with the devotion of cult members." The remastering (usually), the attention to detail, the LP size box in classic black & white, the photography and the informative booklet and the attempt to include all music recorded are the reasons why Mosaic gets so many thumbs up. Its unfortunate that your first purchase did not thrill you beyond compare, but you may disappointed, or at least wait a very long time, if you write off Mosaic and wait for regular reissues of the music they offer.

PFunk returns, just to insult us ... quite charming indeed.

Am I missing something? The link goes to a story about Toscanini.

I'd certainly believe that a careful shopper would enjoy really nice sound. But my question was the "typical" shopper.

This thought occured to me as I watched The Apartment tonite and saw Jack Lemmon putting an album on a little tabletop turntable stereo: We all talk about how wonderful original Blue Note vinyl sounds, back in RVGs heyday. But just how good was the average stereo back then? I don't know, but my guess is that the greatness of those recordings is better revealed by today's high end stereos, and that probably even the low-to-mid-range stereos of today are superior to what most BNs of that era were heard on originally. Maybe I'm totally wrong, but that image of the stereo in Lemmon's apartment got me thinking.

What's your connection to Horace, Adam? I like to think I'm within a degree of Horace, since my friend Sally White went to High School with him in Norwalk, CT, but I don't know when the last time was she actually saw him.

I'm pretty sure he's still performing, or was up to last year. I'm pretty sure I saw him listed a few times in the NYT weekend music listings last year.

The only player who clearly had a career year was Mueller. Millar didn't; he stunk after the All-Star break. Varitek didn't; his batting average was lower than his career mark. I don't think Trot Nixon had a career year-with his talent, he finally put it together, and ought to continue to do so. Same with David Ortiz-there's no reason why he shouldn't continue to excel in Fenway Park. And of course, Nomar and Manny both declined from their best years. So your claim of too many "career years" is simply wrong. And even if the offense declines, you don't think we can win a few more games anyway by giving up fewer runs with Schilling and Foulke?? Most commentators pick the Sox to reach the World Series-you don't even see them in the play-offs.

Though I'm quite unfamiliar with the living/dead status of PMs, wouldn't this actually be Maggie?

Does anyone know if there will be a jazz or big band theme week?

I knew I didn't really read that as "What is the oldest BM you have clogging up space?"

I think that Jim Dye settled on a good solution. Do a one disc "official" comp. and offer a second disc of music to whoever wants it. Everyone asked for it anyway, but I don't think it was too bad an approach. In fact, I'm leaning towards a one disc theme and a second disc of the tunes I want to include but don't "fit".

Vibes, Those prints came out of the original Blue Note Cover Art book, the first, full-sized one, not the current miniature one. The binding broke apart, so I figured the best way to salvage it was to buy some do-it-yourself frames. Pretty easy and pretty cheap.

Up for some photos! Here's the music room. Check out the wall hangings, they came from one of the first Mosaic calendars: And here's yours truly in the leather Lazy Ass recliner in the music room. And the happy couple, smooching over their first very own mailbox:

I think they decided to make the switch a while back, and all new sets have removable lids. My Blakey box has a broken and peeling spine and I had to scotch tape it together so I'm glad the lids aren't attached anymore.

Since we now have taxation with representation, we are not moved to do this anymore. Also, I don't like tea.

Considering the refund we're getting, we should have done ours back in January. But with electronic filing, we'll probably have it just in time for the second mortgage payment (only 358 to go then!)

No doubt, it was nice to see Phil win it the way he did, seemingly starting to choke and watch an established winner of Majors surge in front. And he didn't win cause Els gave it back-Phil executed, on one of the biggest stages, so good for him. Seems like a good place for a golf joke, I'll probably do this poorly, but anyway: Jesus and Moses are playing golf. They come to a hole with a huge water hazard in front. Most players lay up short and then hit a short iron to the green, but Jesus thinks he can clear the water with his driver. First swing: splash, right in the middle of the water hazard. So Jesus is so disappointed and so sure he can hit the shot, he asks Moses to part the water so he can go retrieve his ball. Moses agrees, Jesus gets the ball, comes back for his second try. Splash. He asks Moses to part the water again, Moses doesn't want to. Jesus tells Moses, "Look, I was with Nicklaus when he made this shot at Pebble Beach-I can do it!" So Moses parts the water again, and once again, Jesus puts the ball right back in the water hazard. This time, Moses refuses to part the water, so Jesus walks out on the water hazard to get his ball, and by this time, the next foursome has caught up and one of them asks Moses, "Who does he think he is? Jesus Christ?" Moses says, "No-Jack Nicklaus."

Yeah, but the women we've got are quality

I voted for RVG, clearly McMaster is a losing candidate in this crowd, it will probably go 9-1 or better for Rudy. But judging from other comments, this Addey fellow ought to be in the poll.

Its real simple folks: No undulating babe, then we're back to Miss Bouncing Boobies.

I'm with Noj. How can you not pull for an underdog like that? And anyway, if Mickelson wins, maybe its an omen that this might be the year for a certain star-crossed MLB team. Or two!