GA Russell

Happy Birthday Noj!

Appropos, the Eskimos cut Omarr Morgan and Rob Brown today. I don't expect them to have difficulty finding a job elsewhere if they are willing to play for what they are offered. http://slam.canoe.ca/Slam/Football/CFL/Edm...4878442-cp.html

I'm not sure what this means for the future of music, but I suspect that it means something. http://www.appleinsider.com/articles/08/02..._in_the_us.html 20 million in one day is a lot!

Bev, no Roninettes! My linkage of Holon with Hatfield's first album is based primarily upon the similarities of the electric basses' interaction with the keyboards. I consider the Hatfield album to be superior, but I enjoy Holon in part because I haven't heard anything like it for thirty years! edit for typo

World, I should have mentioned that Hatfield used electric instruments, while Ronin uses acoustic (except bass). So it's possible for one to like one group and not the other for that reason. But if you like Holon, I bet you will like Hatfield's first album even more.

Welcome back TJ!

Stan Getz - the Roost box, disc 2

Let's distinguish the origin of the music from the origin of the marketing. In 1985 there was a disc jockey in Atlanta named Russ Davis who had a popular show in the evening called "Jazz Flavors". I knew people who thought they were listening to jazz with this stuff. A year or so later, he took what I assumed to be a better-paying job in New York. I always figured that his success in New York paved the way for stations around the country to adopt the format. I don't believe I ever heard the phrase "smooth jazz" until after he moved to New York.

Eagle Day has died. I had his bubble gum card in 1964. http://www.globesports.com/servlet/story/R...tsFootball/home PS - Here's a better obituary. I didn't know that he was the Redskins' punter in '60 and '61. The Redskins were the worst team in the league then, and I never saw them on TV. http://slam.canoe.ca/Slam/Football/CFL/New...4871109-cp.html

I believe the first Impulse! album of the second generation was one by Henry Butler, which as I recall was self-titled (but maybe not), circa 1986. Universal had Diana Krall first on GRP. They moved her to Impulse in 1996 for her All For You album. I'm guessing it was about two years later that they moved her to Verve. As I recall, Horace Silver's The Hardbop Grandpop album was issued on Impulse! His 1999 followup Jazz Has a Sense of Humor was issued on Verve. So I'm guessing that the Impulse! label was dropped in 1999 in favor of Verve. I'm not aware of anything being issued on Impulse! since then. Obviously, someone with a discography would know, and make my recollections and speculations moot.

The first that comes to mind was a Herbie Mann gig at the Cellar Door in early 1969. In the band were Steve Marcus, Roy Ayers, Sonny Sharock, Miroslav Vitous and Bruno Carr! edit for grammar

TTK, you may find of interest this thread on the Adventure Music label: http://www.organissimo.org/forum/index.php...mp;hl=Adventure I particularly recommend the Moacir Santos album Choros & Alegria mentioned in post #2 of that thread.

Jazztropic, you can get Swings Shubert Alley from the Jazz Heritage Society for 99 cents plus shipping when you join. No further obligation, you can quit after a couple of months.

Jim Popp is wondering why players are signing with other teams for less than what he is offering them. He is suggesting that perhaps side deals are being made, like the old days. If I read the article right, he and three other GMs want offers as well as contracts to be registered with the league. http://www.globesports.com/servlet/story/R...tsFootball/home

Moose, it looks like you don't need me to tell you anything about auto racing! Was your step-mother's brother a member of the SCCA?

My dad took me to see Satchel Paige pitch for the Portland Beavers of the Coast league against the Seattle Rainiers in 1961. He had just joined the team, making a comeback. He started and pitched four innings, not enough for the decision. He looked like Gumby out there - all rhythm, no muscle. As I recall, the Rainiers hit nothing but ground balls. They never solved him. ***** In his prime, I would say Sandy Koufax. Every start was an event. But that lasted only, what, four seasons? A few years ago I saw a film that showed Koufax pitching a dozen or so pitches, filmed from a stationary camera on a tripod. Every delivery was identical. Really amazing. The last two or three years, Koufax would receive a cortizone shot from the doctor before every game. In one sense, I don't see that as too much different from the hitters who have used steroids. The difference it seems to me, and I think it is a big difference, is that the cortizone was administered by the team doctor candidly and above board. The steroid users would buy the substance on the sly and self-administer it. ***** I lived in the Atlanta area from 1985-2002, so I saw Greg Mattox with the Braves on TV many times. My objection to calling him the greatest is that he pitched everything a foot outside and got the called strike. Of course, he had great control; and it wasn't his fault that the umps gave him the pitch. If the ump gave me a pitch I would take it too. But that prevents me from considering him one of the greatest. Another 300 game winner, Tom Glavine, always got that foot-outside pitch too. ***** From what I have read, the only competitor to Koufax for being so dominant over a three year period was Dizzy Dean. And apparently Ol' Diz was the best interview in the history of baseball! ***** Edit to add: The best season a pitcher ever had that I am aware of was Steve Carlton in 1972 for the Phils. They were a very bad team. As I recall, at one point they had won 20 games, and Carlton had won 10 of them.

Vista is considered a bad joke at Digg.com. One well-dugg link was to a photo of a repair shop with a big sign out front that said "We remove Vista". I plan for my next computer to be a Mac.

I had the pleasure of seeing the Tan Canary at the New Orleans Jazzfest, either in '90 or '91. I had never heard of him before, but friends strongly recommended that I check him out.

Here's his LA Times obituary: http://www.latimes.com/news/obituaries/la-...1,1552343.story Teo Macero, 82; jazz producer worked with Miles Davis, other big names template_bastemplate_bas By Jocelyn Y. Stewart, Los Angeles Times Staff Writer February 23, 2008 Teo Macero, whose innovative work as a producer of jazz albums in the 1960s and '70s helped define the recorded sound of artists such as Miles Davis and redefine the meaning of studio production, died Tuesday at a hospital in Riverhead, N.Y. He was 82. Macero, who lived in Quogue, N.Y., had been ill for some time, said his stepdaughter, Suzie Lightbourn of Morristown, N.J. The cause of death was not given. The thousands of recordings produced by Macero include the original cast album of "A Chorus Line," Simon and Garfunkel's album "The Graduate" and numerous gold records. Beginning with his work at Columbia Records in the mid-1950s, Macero helped make some of the most enduring jazz recordings of the era. He was musical editor for Duke Ellington, Thelonious Monk and Charles Mingus. Later he became a producer and exerted an even greater influence on the music. For many years he produced Davis, including albums such as "Bitches Brew," "In a Silent Way" and "Sketches of Spain." Although Davis had the final say, Macero was given wide latitude -- and he used all the space given him to express his creativity. "I mean Miles never came to the editing room," Macero said in an interview posted on Perfect Sound Forever, an online music magazine. "In 25 or 30 years he was there maybe four or five times. So I had carte blanche to maneuver, do things with his music that I couldn't do with other people's." Macero spliced tape, used overdubbing and pitch manipulations and employed electronic effects. Columbia Records sometimes had to create the equipment Macero needed in production. The "instant playback" allowed a passage to be played back in defined intervals. In those days, such techniques were not the common fare they are today. "Even back then, we were always experimenting," Macero said in a 2007 edition of Remix magazine. "That was half the fun, to see what you could do with some of this stuff. It didn't matter if it was a monaural or a two-track tape machine -- if I could help make the music sound different or adventurous, I was right there." Macero sometimes had to weave in "bits and pieces" of music that Davis had recorded on cassettes. "Miles would say, 'Put this in that new album we're working on,' " Macero said in the Perfect Sound Forever interview. "I'd say, 'Look, where the hell is it going to go? I don't know.' He says, 'Oh, you know.' " Their collaboration was legendary. But in later years, when the unedited recordings of some of Davis' works were released, some critics complained that Macero had been too heavy-handed. A writer for Slate magazine referred to Macero's work as "post-production meddling." Macero had strong views of some of the reissues. "They're discovering the things that we threw out and they're putting them in," he said in the Boston Herald in 2001. "I wouldn't have anything to do with it. It's just a lot of blowing. What is that?" Macero was born in Glens Fall, N.Y., on Oct. 30, 1925. His parents owned a restaurant, said his sister, Lydia Edwards. Early in his life, he took up the saxophone, and music became his passion. After serving in the Navy in the mid-1940s, Macero earned a bachelor's degree in 1951 and a master's degree in 1953 from Juilliard School of Music. He received Guggenheim Fellowships twice in the 1950s and played saxophone with Mingus and many others. The list of artists he worked with as producer includes Dave Brubeck, Mahalia Jackson and Leonard Bernstein. After more than 20 years at Columbia, Macero left and continued to work as a producer. He also composed for several ballet companies and was a composer and conductor with several symphony orchestras. In more recent years Macero worked with Wallace Roney, Geri Allen and Robert Palmer and composed for television and film. In addition to Lightbourn and Edwards, Macero is survived by his wife, Jeanne.

I agree too. I think that the golden age you refer to peaked a few years ago. Shortly before they were acquired by Concord, Fantasy bragged that there were more Contemporary label recordings available at the same time than there ever were when the company existed as an independent. My mindset has been changed by the internet. Prior to 1995, albums in print could always be ordered by your record store; but I never knew what was available to be ordered. Now all mail order companies have websites which not only make the ordering process easy, but some websites also have pretty good descriptions of each album.

Berigan, one difference between the two sports is that the baseball players started taking steroids surrepticiously. The pro football players in the mid-60s started taking them under orders from the strength coach. I remember reading that in the pro football locker rooms they would have out in the open a bowl full of steroid pills like a bowl of candy.

Here's a new article from a Wall Street website called TheStreet.com that says that Apple TV has a new program that makes the video downloads look fantastic: http://www.thestreet.com/s/apple-tv-nails-...E&cm_ite=NA

Moose, it sounds like you would enjoy sports car racing! There are two pro series - the American LeMans Series and the Grand American series. Both have four classes of cars racing at the same time. Usually, but not always, the slower cars get out of the way! Rather than being a fan of a particular series, such as Nascar, I am a fan of road course race tracks. I went to a number of races at Road Atlanta in the 90s. My favorite Nascar race is the one at Sonoma in California. In order to win a race at a road course, a driver must be good not only in passing but also in braking. Few Nascar drivers have that skill, and at Sonoma most of them have lost their brakes by the end of the race, so only Robby Gordon, Jeff Gordon, Juan Montoya, Tony Stewart and maybe a couple of others are in contention to win.

The agreement was signed today. Only three of the Champ Car sites will hold races this year, but look to have a number of them hold races next year. http://www.globesports.com/servlet/story/R...portsOther/home