Chalupa

Cole Hamels threw a gem tonight. Man if the Marlins bullpen can just hang on........

Maybe he went to the Newcastle-Under-Lyme, England show on 5/24/70???

Honest Jon's got it too in Europe: http://www.honestjons.com/shop.php?pid=31551 Yeah unfortunately w/ shipping to the U.S. it's £14.28 which is $29 give or take a penny. That's $3 more than Dusty Da Bastids

This exact thing happened when I saw Ornette several years ago in chicago. I'd say 15% of the audience left within the first 3 tunes. Mostly middle aged couples with very nice clothes on. They were subscribers to the jazz series....remember seeing some of them at other shows at the Symphony Center that year. Ditto all that in Philly 3(?) years ago at the Kimmel Center.

http://www.nypost.com/seven/08262007/sport...ut_nl_east_.htm August 26, 2007 -- MEMO to Jimmy Rollins: The best team won. Yes, it's still the dog days of August and the Mets have to travel to beautiful Philadelphia tomorrow, but the NL East race is over. Though the Yankees are fighting for their playoff souls, the Mets are merrily on their way to another October. This really wasn't much of a race. Despite all the Mets problems, despite the fact they left the door wide open in the division, the Phillies and Braves have not been able to step through the portal. The Mets may wind up winning the East after all but it doesn't change the fact that this he was totally wrong.

If either Freddie Garcia or Adam Eaton had shown up this year this race would be over.

PHILS WIN!!!!! METS LOSE!!!! TIE FOR THE NL EAST!!!! :) :) :)

So did anyone pick this up yet? I can't find it in my local brick and mortar stores. The only place online(U.S.) that has it is Dusty Groove $22.99 + S/H - a little pricey but that's the cheapest I've found.

http://beeradvocate.com/news/1092628

Holy crap they released the Philly show!! Gotta get that pronto. Thanks for the tip.

WOW! When did that come out?? I saw that line up last year and was very impressed.

Here's a link to the article... http://sports.espn.go.com/mlb/news/story?id=3036756

http://www.thebostonchannel.com/sports/14200469/detail.html

[at the pre-tour party, the waiters are mime artists] Marty DiBergi: It's such an interesting concept, mixing mime and food. Morty the Mime: It's a kick isn't it? Well, I used to be an actor but I could never remember my lines, so I thought "just shut up", you know? Don't say nothing. And my father used to say the same thing to me every dinner time, he used to say to me "shut up and eat", so that's what we do and that's the name of the company "shut up and eat". [at the pre-tour party one of the waiters is on his way back to the kitchen with an entire tray of food] Morty the Mime: Whoah, whoah, whoah, whoah, whoah. How come you got so much here? Mime Waiter: I don't know, they're not eating it. Morty the Mime: Did you do the wind? Mime Waiter: I did the wind, I did the wind. Morty the Mime: No, you don't push the wind away, the wind comes at you. Ok change those, get the little dwarf canolies. Come on, don't talk back, mime is money, come on, move it.

http://www.philly.com/philly/entertainment/9916627.html Posted on Sun, Sep. 23, 2007 Odean Pope carries jazz legacy gracefully By David R. Adler For The Inquirer It's twilight, the evening before Labor Day, and the weather is ideal. Odean Pope's tenor sax resounds in the verdant hills of the Awbury Arboretum, the site of Germantown's second annual John Coltrane Jazz Festival. Fronting his Saxophone Choir - a unique group consisting of nine saxophones, piano, bass and drums - Pope conducts and plays several signature pieces, attacking the breakneck tempo of "Prince Lasha," then easing into an unaccompanied solo on the dark, glowing ballad "Epitome." (These cuts and more can be heard on the brilliant 2006 release Locked and Loaded: Live at the Blue Note.) Like the surrounding trees, and like Coltrane, Pope has roots deep in the Philadelphia ground. Born in 1938 in Ninety Six, S.C., he moved here at age 12 with his parents and older brother. "It was a breath of fresh air," says Pope, who is performing today at a John Coltrane tribute at the Church of the Advocate in Philadelphia. "After being in the country, suddenly you're in one of the major cities. Bright lights, really inspiring. It changed my life drastically." Pope's love of music, however, was kindled down South. Both of his parents were musicians in the local Baptist church. Starting on keyboard, then clarinet, Pope took up tenor sax after hearing Illinois Jacquet and Arnett Cobb with Lionel Hampton's band at the Earle Theatre (demolished in 1953). Venturing into public with gigs in and around Philly, Pope soon gained an important mentor. All modern saxophonists are in some sense Coltrane's heirs, but Pope was his friend. In the mid-'50s, the two transplanted Carolinians would practice together, often joined by the (obscure) piano innovator Hasaan Ibn-Ali. "Coltrane got me my first major gig, with [organist] Jimmy Smith," says Pope, 68, seated at the kitchen table of his Mount Airy home, where he lives with Cis, his wife of nearly 40 years. His grown son and daughter live out of town. Following Coltrane's example, Pope forged an identity as focused as it was multifaceted. He spent 1967 working with the legendary drummer Max Roach. In the early '70s, he co-led the early fusion band Catalyst, which recorded four albums. Then, in 1979, Roach invited Pope to join his innovative quartet - a gig that lasted until 2002. Roach died on Aug. 15. Speaking two days before the New York funeral, Pope was mournful but full of gratitude: "There was so much information, traveling with this great man. When I reflect back on all those beautiful memories, I feel he's still here." Pope's latest quartet album, To the Roach, is a poignant tribute to the last originator of bebop. Mentored by the prophets of jazz modernism, Pope is now something of an icon himself, though he lives by Coltrane's humble creed. "Trane made you realize you're only a small part of this whole thing here," Pope insists. But humility doesn't preclude what is arguably the most important task for a jazz musician: finding one's own voice, the quest of a lifetime. "Every morning," Pope declares, "I get up and try to develop Odean Pope. It might mean taking one little fragment and drilling on it, over and over, until I can say, 'This sounds like me.' " With a burly, low-register tenor sound, Pope works in the interstitial space between mainstream and avant-garde jazz, a space that Coltrane did much to create. He expounds radiant melodies, intricate themes and swinging tempos alongside more free-form concepts. In recent years, he has made a number of fine recordings for the audiophile CIMP label. Pope's next CIMP recording, slated for early next year, will feature alto saxophonist Bobby Zankel, another Philly-based musician. But before that, today at the Church of the Advocate (18th and Diamond), Pope will appear as a guest soloist with Zankel's big band, the Warriors of the Wonderful Sound. The performance falls on Coltrane's birthday and commemorates the 40th year since his death in 1967. "I'd like to bring out the great variety of things that Odean does so beautifully," Zankel says. "Odean is a great example of someone who defied categories. We used to play Latin gigs together. He could play behind [soul singer] Millie Jackson, or with organ groups, or with Catalyst, or [avant-garde drummer] Sunny Murray. It was no problem." If a single sound captures Pope's musical identity, is is the Saxophone Choir, formed in 1977. Liken it to a big band and and Pope will correct you: "It's a choir. It derives from my hometown in South Carolina. When I came to Philly, I was always looking for something that could recapture all the bright moments I shared in the Baptist church." The tenor sax alone reminded Pope of church vocals. Adding eight more saxes seemed natural. Over the course of 15 years, the choir released three compelling, if unheralded, albums (The Saxophone Shop, The Ponderer, Epitome) on the Italian Soul Note label. Then, in December 2004, during a three-night stint at the Blue Note in New York, the choir secured some of its rightful glory. Subsequently released on the Half Note label as Locked & Loaded, the Blue Note shows featured three guest saxophone soloists: James Carter, Joe Lovano, and Philadelphia-born Michael Brecker, who was soon diagnosed with the blood disease that ended his life in January. In an immortal performance, Pope and Brecker go head-to-head on the feverish track "Coltrane Time." Stocked with such players as Elliot Levin, Julian Pressley and Terrence Brown, the choir has a sinewy musical texture, robust without being shrill. It can blow with gale force or supple grace, as Pope's music demands. "I want my work with the choir to be coordinated and very thought-out," Pope says. "Sometimes it takes me a whole year to write one tune." In preparing Locked & Loaded for release, Pope and his producers got a surprise: Ornette Coleman, arguably the father of avant-garde jazz, asked to write the liner notes. In the '50s, when the controversial Coleman came to play Philadelphia's Showboat Lounge, a young Odean Pope was in the audience. In 2004, Coleman reciprocated, coming to hear Pope at the Blue Note. In his inimitably cryptic notes, Coleman praises Pope's "non-resolutional ideas" and hears the choir's music as a "sound map" for "the installation of new territories." There's enough material in the can for a second Blue Note volume. The choir sings on. To hear Odean Pope and his Saxophone Choir, go to http://go.philly. com/albums If You Go Jazz in the Sanctuary: A John Coltrane Tribute is at 4 p.m. today at the Church of the Advocate, 18th and Diamond Streets. Featuring Bobby Zankel and the Warriors of the Wonderful Sound, with special guests Odean Pope, Ruth Naomi Floyd, and Maugawane Mahoele. Tickets are $15 at the door. Information: 215-232-4485.

http://www.philly.com/philly/entertainment/9916627.html Posted on Sun, Sep. 23, 2007 Odean Pope carries jazz legacy gracefully By David R. Adler For The Inquirer It's twilight, the evening before Labor Day, and the weather is ideal. Odean Pope's tenor sax resounds in the verdant hills of the Awbury Arboretum, the site of Germantown's second annual John Coltrane Jazz Festival. Fronting his Saxophone Choir - a unique group consisting of nine saxophones, piano, bass and drums - Pope conducts and plays several signature pieces, attacking the breakneck tempo of "Prince Lasha," then easing into an unaccompanied solo on the dark, glowing ballad "Epitome." (These cuts and more can be heard on the brilliant 2006 release Locked and Loaded: Live at the Blue Note.) Like the surrounding trees, and like Coltrane, Pope has roots deep in the Philadelphia ground. Born in 1938 in Ninety Six, S.C., he moved here at age 12 with his parents and older brother. "It was a breath of fresh air," says Pope, who is performing today at a John Coltrane tribute at the Church of the Advocate in Philadelphia. "After being in the country, suddenly you're in one of the major cities. Bright lights, really inspiring. It changed my life drastically." Pope's love of music, however, was kindled down South. Both of his parents were musicians in the local Baptist church. Starting on keyboard, then clarinet, Pope took up tenor sax after hearing Illinois Jacquet and Arnett Cobb with Lionel Hampton's band at the Earle Theatre (demolished in 1953). Venturing into public with gigs in and around Philly, Pope soon gained an important mentor. All modern saxophonists are in some sense Coltrane's heirs, but Pope was his friend. In the mid-'50s, the two transplanted Carolinians would practice together, often joined by the (obscure) piano innovator Hasaan Ibn-Ali. "Coltrane got me my first major gig, with [organist] Jimmy Smith," says Pope, 68, seated at the kitchen table of his Mount Airy home, where he lives with Cis, his wife of nearly 40 years. His grown son and daughter live out of town. Following Coltrane's example, Pope forged an identity as focused as it was multifaceted. He spent 1967 working with the legendary drummer Max Roach. In the early '70s, he co-led the early fusion band Catalyst, which recorded four albums. Then, in 1979, Roach invited Pope to join his innovative quartet - a gig that lasted until 2002. Roach died on Aug. 15. Speaking two days before the New York funeral, Pope was mournful but full of gratitude: "There was so much information, traveling with this great man. When I reflect back on all those beautiful memories, I feel he's still here." Pope's latest quartet album, To the Roach, is a poignant tribute to the last originator of bebop. Mentored by the prophets of jazz modernism, Pope is now something of an icon himself, though he lives by Coltrane's humble creed. "Trane made you realize you're only a small part of this whole thing here," Pope insists. But humility doesn't preclude what is arguably the most important task for a jazz musician: finding one's own voice, the quest of a lifetime. "Every morning," Pope declares, "I get up and try to develop Odean Pope. It might mean taking one little fragment and drilling on it, over and over, until I can say, 'This sounds like me.' " With a burly, low-register tenor sound, Pope works in the interstitial space between mainstream and avant-garde jazz, a space that Coltrane did much to create. He expounds radiant melodies, intricate themes and swinging tempos alongside more free-form concepts. In recent years, he has made a number of fine recordings for the audiophile CIMP label. Pope's next CIMP recording, slated for early next year, will feature alto saxophonist Bobby Zankel, another Philly-based musician. But before that, today at the Church of the Advocate (18th and Diamond), Pope will appear as a guest soloist with Zankel's big band, the Warriors of the Wonderful Sound. The performance falls on Coltrane's birthday and commemorates the 40th year since his death in 1967. "I'd like to bring out the great variety of things that Odean does so beautifully," Zankel says. "Odean is a great example of someone who defied categories. We used to play Latin gigs together. He could play behind [soul singer] Millie Jackson, or with organ groups, or with Catalyst, or [avant-garde drummer] Sunny Murray. It was no problem." If a single sound captures Pope's musical identity, is is the Saxophone Choir, formed in 1977. Liken it to a big band and and Pope will correct you: "It's a choir. It derives from my hometown in South Carolina. When I came to Philly, I was always looking for something that could recapture all the bright moments I shared in the Baptist church." The tenor sax alone reminded Pope of church vocals. Adding eight more saxes seemed natural. Over the course of 15 years, the choir released three compelling, if unheralded, albums (The Saxophone Shop, The Ponderer, Epitome) on the Italian Soul Note label. Then, in December 2004, during a three-night stint at the Blue Note in New York, the choir secured some of its rightful glory. Subsequently released on the Half Note label as Locked & Loaded, the Blue Note shows featured three guest saxophone soloists: James Carter, Joe Lovano, and Philadelphia-born Michael Brecker, who was soon diagnosed with the blood disease that ended his life in January. In an immortal performance, Pope and Brecker go head-to-head on the feverish track "Coltrane Time." Stocked with such players as Elliot Levin, Julian Pressley and Terrence Brown, the choir has a sinewy musical texture, robust without being shrill. It can blow with gale force or supple grace, as Pope's music demands. "I want my work with the choir to be coordinated and very thought-out," Pope says. "Sometimes it takes me a whole year to write one tune." In preparing Locked & Loaded for release, Pope and his producers got a surprise: Ornette Coleman, arguably the father of avant-garde jazz, asked to write the liner notes. In the '50s, when the controversial Coleman came to play Philadelphia's Showboat Lounge, a young Odean Pope was in the audience. In 2004, Coleman reciprocated, coming to hear Pope at the Blue Note. In his inimitably cryptic notes, Coleman praises Pope's "non-resolutional ideas" and hears the choir's music as a "sound map" for "the installation of new territories." There's enough material in the can for a second Blue Note volume. The choir sings on. To hear Odean Pope and his Saxophone Choir, go to http://go.philly. com/albums If You Go Jazz in the Sanctuary: A John Coltrane Tribute is at 4 p.m. today at the Church of the Advocate, 18th and Diamond Streets. Featuring Bobby Zankel and the Warriors of the Wonderful Sound, with special guests Odean Pope, Ruth Naomi Floyd, and Maugawane Mahoele. Tickets are $15 at the door. Information: 215-232-4485.

According to this guy the eyes keep growing until somewhere around 8-13 years. Granted, we're only talking about 6mm of growth. http://www.madsci.org/posts/archives/feb20...62929.An.r.html

Bonds won't return with Giants for '08, team confirms

Mike Osborne, R.I.P. It is with great sadness that we announce the passing of alto saxophonist Mike Osborne, or Ozzy as he was affectionately known, less than a fortnight before what would have been his 65th birthday. The cause was lung cancer. Osborne, often referred to as the Jackie McLean of Britain, an appellation of which he would be most proud, came to prominence in the fertile English jazz scene of the mid '60s. He was a member of the progressive Mike Westbrook Concert Band and participated in the small ensemble recordings of John Surman, Ric Colbeck, Harry Beckett and Alan Skidmore. He showed his versatility playing in the rock projects of Mike Cooper concurrently with being a member of the hornline of Chris McGregor's Brotherhood of Breath. Osborne released several recordings under his own name from 1970 to 1977 on the Turtle and Ogun labels. Notable associations included a trio with bassist Harry Miller and drummer Louis Moholo, a duo with pianist Stan Tracey and the horn trio SOS with Surman and Skidmore, one of the first of its kind. Osborne's playing was marked by several qualities: excellent articulation and time, wonderful invention that absorbed both traditional and free playing (despite his affiliations, he was far more the former than the latter) and an enthusiasm that manifested itself in some of the most incendiary playing on the instrument in jazz history. Whether it in an intimate setting or as part of a large ensemble, Osborne was an unmistakable voice, one of the finest to come out of a long tradition of British saxophonists. Sadly, drug use and mental illness would take its toll by the beginning of the '80s. Documents exist of Osborne actively playing at least until 1982 but after that police troubles forced him back to his childhood home of Hereford (near the Welsh border) where he remained, first at home then in hospital care, until his death. Though he did not record after the '70s, recent issues of older material have brought Osborne's career back into focus - albums by Harry Miller's Isipingo, the Brotherhood of Breath and John Stevens. To view his discography is to witness the development of British jazz into a creative and enduring legacy. A complete list is available at www.jazzlab.iwarp.com. Jazz is filled with tragic stories like Osborne's. At the end of his life, he greatly appreciated that people still remembered him and his music and still retained some of the beautiful spirit heard on his recordings. Farewell Ozzy. - Andrey Henkin / Editor, All About Jazz NY

I *finally* got this one yesterday from Honest Jon's. I've only played it 3 times but I'm loving it. Thanks for the recommendation.

I have these and I love them. You should be able to find them new for less than $600/pair now that the new line is out. Try audiogon if you want to go the used route.

Man. The Phils were up 11-0 midway through the 6th tonight and almost gave it away. They finally won 13-11. It should never have been that close. Sheesh.

Golden Anniversary A couple was celebrating their golden wedding anniversary. Their domestic tranquility had long been known about the town, and on this very special occasion, a local newspaper reporter paid them a visit. He inquired as to the secret of their long and happy marriage. "Well"...explained the husband..."it all goes all the way back to our honeymoon, you see, we visited the Grand Canyon and we took a trip down to the bottom of the canyon by pack mule." He continues..."well now, we hadn't gone too far when my wife's mule stumbled, she quietly said...that's once." "We proceeded a little further when the mule stumbled again and my wife quietly spoke...that's twice." "You know, that mule hadn't gone a half-mile when it stumbled a third time." My wife promptly removed a gun from her purse, hopped off the beast, and shot the mule dead." "I protested over her treatment of the mule, she slowly turned to me and quietly said...that's once."

There's this young single guy on a cruise ship, having the time of his life. On the second day of the cruise, the ship slams into an iceberg and begins to sink. Passengers around him are screaming, flailing, and drowning but our guy manages to grab on to a piece of driftwood and, using every last ounce of strength, swims a few miles through the shark-infested sea to a remote, deserted island. Sprawled on the shore nearly passed out from exhaustion, he turns his head and sees a woman lying near him, unconscious, barely breathing. She's also managed to wash up on shore from the sinking ship. He makes his way to her, and with some mouth-to-mouth assistance he manages to get her breathing again. She looks up at him, wide-eyed and grateful, "My God, you saved my life!" He suddenly realizes the woman is Cindy Crawford! Days and weeks go by. Cindy and our guy are living on the island together. They've set up a hut, there's fruit on the trees, and they're in heaven. Cindy's fallen madly in love with our man, and they're making passionate love morning, noon and night. Alas, one day she notices he's looking kind of glum. "What's the matter, sweetheart?" she asks, "We have a wonderful life together, I'm in love with you. Is there something wrong? Is there anything I can do?" He says, "Actually, Cin, there is. Would you mind, um, putting on my shirt?" "Uh, sure," she says, "if this will help." He takes off his shirt and she puts it on. "Now would you put on my pants?" he asks. "Sure, honey, if it's really going to make you feel better," she says. "Um, OK, would you put on my hat now, and draw a little mustache on your face?" he asks. "Whatever you want, honey," she says, and does. Then he says, "Now, would you start walking around the edge of the island?" She starts walking around the perimeter of the island. He sets off in the other direction. They meet up halfway around the island a few minutes later. He rushes up to her, grabs her by the shoulders, and says, "Dude! You'll never believe who I'm sleeping with!"