Robert J

You know what I'd like to see from the 70s and it does not seem available on DVD? Fernwood 2-Night with Martin Mull, Fred Willard etc. That's got to be one of the funniest shows of all time.

Ralph J. Gleason’s Jazz Casual programs are excellent examples of history saved from the fate of the dustbin. http://www.allaboutjazz.com/articles/a0599_01.htm

Maybe the next Organissimo recording should be done in a field. How about Michigan Stadium in Ann Arbor? The bands I heard there always sounded great.

At the same time Brahms was known to have said "I would be a fool if I played my music the same way every time" - regarding his own performances of solo pianoi and chamber music. The tendency to notate music ever more precisely came from the experience that there were great local differences in performance practice. ← Mike that's a good point. It fascinates me to think that the performances of classical works (say the 19th century) must have come primarily from reading the music only. How would an entire orchestra get to hear another orchestra's version? What did the composer truly intend for his sound? May be diffrerent for solo piano repertoire where you had many teachers mucking about, many of them the original composers. And - to this century - don't we as listeners get a "standard" version in our heads of Beethoven's symphonies - say, from the first recording you ever heard? That's another intersting quirk of listeners - the bias towards the 1st version (at least in classical music) you are introduced to.

Maybe he's a fan of recent advances in teledildonics.

I agree with the Beatles comment - I learned that solo as a teen and I'm not a classical pianist. And yes Nancarrow (and others ) were omitted. It was a New Yorker article after all. Found some of the comments on how classical phrasing was affected by the recording process new to me. Would have like to had more on field recordings etc. It's also obvious Ross is not up on a host of recent electronic issues. But the focus of the piece is sort of a long book review of 3 books and not a "critical" essay per se.

Interesting article on history of recording, classical performance etc http://www.newyorker.com/critics/atlarge/a...606crat_atlarge

the second one sounds like Enduring Love - did not see the film; the book by Ian MacEwan is great

Does Corona qualify as a wheat beer ?

My young son wants me to go see this - but that's because Sandler and Rock are in it. I don't think he'd quite get the original. Reading above about the Possideon Adventure remake - I was reminded of reading Mad Magzines as a kid in the mid-70s. I couldn't watch these films at the theatre, but felt like I knew them and the actors through the spoofs. I think that one was Poop-side Down Adventure, or some sort. I miss those old Mad writers!

True Jim. I forgot that George Duke had something to do with it. Too bad some people's (80s) recordings get associated with the wrong representation of themselves (ie, "don't Worry, be Happy").

Chuck - that's hard to see. Is it a Brinkmann? We don't get them up here. Nice price if it is. My next choice may be Vermont Castings. Not cheap but I use mine like some people do their ovens, and they ain't cheap nowadays either. Moose - no "Kiss the Cook". After 3-4 beers my wife won't touch my lips, even if I grill something sweet.

I heard a couple of cuts from the recent "For My Father" - will probably buy the CD. Amazing still at 85. I agree with the "safe" mode he's in, but man, it works so well. Still, if you were nearing the end of this mortal coil wouldn't you want to "rage, rage against the dying of the light"? Also, I have loved his duo recordings with Tommy Flanagan. Geoff Keezer has recently paid an homage with his new Sublime. I always listen to the two Fantasy Studios piano recordings, but I don't know much about how they came about, etc. I have the live MPS date in Germany too, I'm all smiles - Rocking in Rhythm smokes!. (I think he did something with John Lewis as well). Also, who would he pair up with if he could again? Why not with his friend Barry Harris? Tell him I think he's the best!

I am ashamed to know this, but "Let's Hear It For The Boy" was not sung by Madonna, but rather by Deniece Williams. My sisters had the frickin' soundtrack and played it constantly, ok?! I swear... ← See, I've partially purged myself by forgetting the singer... I just assumed, bad singer, catchy pop drivel... I still remember the woman I accompanied, and she was very enthusiastic, very peppy. Somehow I did it on stage with an acoustic piano alone, no beats or synth. 5 years later I saw Oscar Peterson on that same stage. I feel so ashamed...

Also - my dad bought me a bbq apron one summer. It's a little corny but the material is thick. It's not those stupid ones where you'd keep all the utensils in. You don't realize how handy it is until you'vre ruined a few good white shirts due to un-detected grease pops and flying charcoal flakes. Plus it gives you a large area to wipe your dirty hands. I do like the dual purpose of these spatulas

Broil King Regal II This is an updated version of what I have. Now going on its 11th summer, direct gas hookup. I bbq year round, just have to clear the snow off the lid. So the paint is peeling, and I have some clogs due to spiders. I just love the grill. I have not yet tried the beer can chicken though I have seen it done. I'd use a crappy beer for sure. The real question is how many beers do you consume while grilling? My rate: 1 per 10/15 minute stretch. So some parties I am cooked when grilling. Regarding wood chips: I've thrown them right on the coals. I bought a smoker box but then I found the heat distribution gets disturbed where the box is sitting. Can this be avoided? Anyone used cedar planks for fish? I do that with salmon a lot. Lots of Vidalia onions lately - I usually dry marinade them with a mix of pepper, dried garlic and basil then drench in olive oil when they get going on the grill.

Do women really want to hear mush like that? Sounds pretty damn clingy to me. I apologize if anyone's got an ear worm now. I know I do. ← Oh god - I was in a band (late high school) and we played that tune more than a few times. I had that electric piano thing going well as I recall (cringe). I do remember Catera wrote in some odd keys or there were some changes you wouldn't expect. Still, early 80s shite. (Oh no - another bad memory - accompanying a singer who belted out "Let's hear it for the boy" (Madonna) Now that's ear worm (or grub) torture. Now that I think of it, I accompanyed a lot of bad 80s tunes for singers.

Just seems to get more interesting as I dig through the net. Singers he's worked with Disney films Commercials - some sound clips too

Bjork Radiohead Fugazi Pixies Frank Black Mike Watt Sonic Youth (early 90s) PJ Harvey Sugar/Bob Mould White Stripes revitalized Pere Ubu ("Arkansas")

© 2005 Dow Jones Reuters Thurl Ravenscroft, whose voice was known worldwide through his work in movies, TV and at Disneyland, died Sunday from prostate cancer. He was 91. Tony the Tiger? That was Ravenscroft. Disneyland? Too many voices to mention, but Pirates of the Caribbean, the Haunted Mansion and the Enchanted Tiki Room were all graced by Ravenscroft's pliable, unique voice. Movies? How about "Cinderella," "Dumbo" and "Lady and the Tramp"? "Disneyland wouldn't have been, and wouldn't be, the same without him," said former park President Jack Lindquist. "It's all part of the experience. You can't go home with a ride, but you can go home with a memory, and part of that is the audio -- the sound part of it. His voice was one of the things that made it all come alive." Thurl Arthur Ravenscroft was born Feb. 6, 1914, in Norfolk, Neb. He moved to California in 1933 to study interior design at the Otis College of Art and Design. While in school he was encouraged to go into show business and auditioned at Paramount studios to be a singer. By the mid-1930s, he was appearing regularly on radio, first on a program titled "Goose Creek Parson." In the late 1930s, he appeared on the "The Kraft Music Hall" with Bing Crosby, singing backup in a group called the Paul Taylor Choristers. That group eventually became the Sportsmen Quartette. After military service during World War II, he returned to Hollywood, later becoming involved in the Mellomen singing group, and began a career in radio, movies, television and commercials. In 1952, Ravenscroft achieved a measure of immortality, thanks to a TV commercial. "I'm the only man in the world that has made a career with one word: Grrrrreat!" Ravenscroft roared in a 1996 interview with the Orange County Register. Ravenscroft's involvement with Disneyland goes back to opening day in 1955, when he was the announcer for many of the ceremonies and events. His voice has been heard on numerous Disneyland attractions and rides, including Adventure Through Inner Space (1967-1986). He was the original narrator on Submarine Voyage. In 1966, Dr. Seuss and Chuck Jones teamed up to do "How the Grinch Stole Christmas" for CBS. Ravenscroft recalled the Grinch fondly, saying, "That was my chance to prove I could really sing." The success of the Grinch led to other projects with Dr. Seuss, including "Horton Hears a Who" and "The Cat in the Hat." His singing career continued into the 1970s. As a member of the Johnny Mann Singers, he sang on 28 albums, appeared on television for three seasons and performed for President Nixon and Leonid Brezhnev at the White House.

So David, you typically keep the synths and the guitars apart (in composing and performing) then? (ie, no MIDI interface)

That's a great price. I remember (OK it was in the 80s) when samples like this cost a fortune. Because, of course, sampled sound was going to replace every live orchestra player in the country! (sounds funny but I remember seeing statements like this in my Musician's Union newsletters - wasn't there a propoal that would require you to record (say) a violinist's sound at scale if you needed a sample, or am I nuts?). Are you using this just through your keyboard or will you trigger the sounds from your guitar as well?

Ralphie beat me to Big Black, but since we're on that label - Touch & Go - I'd have to say they've collectively got the best album titles. A sample: Two Nuns and a Pack Mule Me and Guiliani Down by the School Yard We're the Meatmen and You Suck Crippled Children Suck I Have Been to Heaven and Back: Hen's Teeth and Other Lost Fragments of Un-Popular Culture Vol. 1 Little Miss Carriage! Jesus Urge Superstar Intellectuals Are the Shoeshine Boys of the Ruling Elite

Damn! the laugh Riddler's first episode

Oh man - it's like I've gone back to grade 8 again . Those were the days. Coleco anyone?