Chalupa

Bad news.. Friday, December 8 at 8pm Spiritual Unity – Philadelphia Premiere performance with Marc Ribot, guitar; Roy Campbell, trumpet; Henry Grimes, bass; Chad Taylor, drums Cancelled. ---------------------------------------- Good News.... Friday, December 8 | 8pm Spaceship on the Highway with Fred Anderson, tenor saxophone Marshall Allen, alto saxophone Henry Grimes, bass Avreeayl Ra, percussion Co-presented with: International House Philadelphia 3701 Chestnut Street Philadelphia Debut $22.50 Students $24.00 Members + Seniors $30.00 General Admission 3-concert subscription for this concert, David S. Ware, and Rova's Ascension $50.50 Students $54.00 Members + Seniors $67.50 General Admission Event Description: A "free-form summit...dominated by stratospheric eruptions." -Downbeat Please join us for the east coast debut of Spaceship on the Highway, a new quartet of jazz masters and elder statesmen. Philadelphia native Henry Grimes performed with Anita O'Day, Sonny Rollins, and the Gerry Mulligan Quartet. A versatile instrumentalist, Grimes (quite remarkably) performed at the 1958 Newport Jazz Festival with the Benny Goodman Big Band, Lee Konitz, Sonny Rollins, and Thelonious Monk. In 1961 he became a respected contributor to the Free Jazz movement, working regularly with Cecil Taylor, Perry Robinson, Sonny Rollins, Albert Ayler and Don Cherry. By 1967, however, Grimes disappeared completely from jazz. Following three and half decades of destitution, he resurfaced in 2003, after residing in a South Central Los Angeles hotel for nearly 20 years. He now performs regularly with many of the leaders of modern Jazz. Chicago's Fred Anderson, an "old-school" musician in terms of grounding and early influences, was a founding member of the Association for the Advancement of Creative Musicians (AACM). He studied with Gene Ammons, Coleman Hawkins, and Lester Young, and has reflected that training throughout his career, while also easily absorbing the new ideas pioneered by Ornette Coleman and other free theorists. It is this ability to merge old and new that has made Anderson a seminal figure in this music. Beginning in the early 90s, Anderson has frequently recorded, often with drummer Hamid Drake, on labels such as Thrill Jockey. Spaceship also includes Sun Ra Arkestra maestro Marshall Allen, who performed with pianist Art Simmons, Don Byas and James Moody before joining the Arkestra in 1958 and leading Sun Ra's formidable reed section for next 40 years. Marshall, along with John Gilmore, June Tyson and James Jacson, lived, rehearsed, toured and recorded with Sun Ra almost exclusively for much of Ra's musical career. As a member of the Arkestra, Marshall Allen pioneered the Free Jazz movement of the early sixties, having remarkable influence on most of the leading voices in the avant-garde. He is featured on over 200 Sun Ra recordings in addition to collaborating with Phish, Sonic Youth, Digable Planets and Medeski, Martin & Wood. Percussionist Avreeayl Ra was described by the Chicago Tribune as “An indispensable innovator", who "shapes the music-making swirling around him with remarkable precision and poise; extraordinarily sensitive percussion.” Avreeayl is a long-term member of the Chicago AACM, his relationship with the seminal music organization having begun with early studies with co-founder Kelan Philip Cohran. He has performed Amiri Baraka, Fontella Bass, Lester Bowie, Henry Byrd (”Professor Longhair”), Malachi Favors, Sun Ra, and Pharoah Sanders.

I ordered two copies over the weekend and they arrived here this morning. That's faster then ordering domestically.

Posted on Wed, Nov. 15, 2006 An Allen Iverson fan to the end Kevin Johnson gave up his health and mobility for a Sixers jersey. Now, he'll wear one when he is laid to rest. By Natalie Pompilio Inquirer Staff Writer Kevin Johnson was shot wearing an Allen Iverson jersey. He will be buried wearing an Allen Iverson jersey. And Allen Iverson will pay for his funeral. The Sixers all-star contacted Johnson's mother yesterday, expressing his condolences and offering to pick up any costs. "I know Kevin hears that," said Johnson's mother, Janice Jackson-Burke. "I know Kevin is happy." Last week, Jackson-Burke said, her son, 22, suffered irreparable brain damage after his breathing machine failed. He died about 4:40 a.m. yesterday after being removed from life support Monday night, she said. In a way, the story will come full circle, starting on a Southwest Philadelphia corner in 2003 - when armed robbers demanded that Johnson give up his Sixers jersey - and ending when Johnson, once again wearing his favorite player's shirt, is laid to rest next Wednesday. When the five teenagers - including a romantic rival - approached Johnson from behind and demanded he "give it up," Johnson refused. One of the teens opened fire. Johnson was shot once in the neck and was left a quadriplegic. That small piece of metal robbed him of his health and mobility. Johnson's five assailants could face more serious charges. After the medical examiner determines the cause of Johnson's death, prosecutors will decide whether a homicide charge is appropriate. For Johnson, the shooting - which many people may have viewed as an ending - became a new beginning. Strapped into his wheelchair, he and his mother spoke at schools and rallies, advising their audience to stay away from guns: One bullet - fired without a thought - could change or destroy a life. Johnson's family says the injury changed, not ruined, his life. True, his mother had to bathe and dress him. He could no longer lace up his sneakers to play basketball or grab a video game controller. His plans to go to college were put on hold. But Johnson was the same positive thinker he'd always been, they say. He forgave his assailants, even befriending one of them and giving advice as the man played video games at his bedside. He cherished and teased his sisters while lying prone on his bed. His mother's spaghetti was still his favorite food, although she now had to feed it to him. And, until the end, Iverson was his favorite player.

I'm not totally convinced about Zito being a #1 either but his numbers were pretty similar to Schill's last year. He would still be better than anyone currently wearing pinstripes. Yes, I guess if the Sox see signing Maz as a way of getting into the Japanese market then this deal does make sense for them. It's hard to put a dollar amount on things like having an image as a good, friendly team for overseas ballplayers. If it helps them sign more stars in the future then it will definitely be worth it.

I agree w/ most of what you wrote. However, I think Pig's keyboard style was better suited for the blues and not psychedelic explorations. He would just play that little riff on Dark Star over and over and over( and....) TC opened them up to the true possiblities of lengthly, improvised jams. I loved Keith the best but he had a more serious failing than his wife - his heroin addiction. The last 12 months he was w/ the band were brutal for the most part. I basically stopped collecting shows after '77 in large part to the Keith's nodding off behind the keyboard. But in 72 - 74 he was just playing pure gold.

The Yanks need him badly. Right now they have a bunch of #2 and #3 starters but no #1 guy. They need a #1 especially if the Sox have two #1 guys next year. And Zito is the best available. I can't see George losing out to both the Sox and the Mets in the same off season. Not after October's debacle. His ego won't stand for it. Not to mention he probably see this as his last best chance to get another championship before he hands over the reins. Got to hand it to Zito he picked the perfect year to become a FA. Both the Yanks and Mets have a huge pitching spot to fill and money to burn.

Well that's one way of looking at it. I think that Boras is still in a very good position. Here's why - Yes, he can only negotiate w/ the Sox - this year. If they don't cough up the money for him Boras can always say,"Hey let's try again next year" He already did that once before with, ahem, J.D. Drew I generally agree w/ this analysis but remember he's only going to play in 25 - 30 games. It would be different if they were signing an everday player. Are Japanese sponsors going to broadcast the 130 games when he doesn't play? I can't imagine there would be a lot of support for that either from the fans or the sponsors. So while there's money to recoup from this part of the deal I don't think it will be as much to offset his asking price compared to Zito. I hope the Sox are able to sign him. If that happens then Zito goes to Yanks and not the Mets

To keep him out of a Yankees' uniform would be my guess. It is pretty amazing how much money they are going to invest in this guy. There's no way Boras is gonna take less than $50M for this guy. I bet he will wind up costing the Sox over $100M when all is said and done. That's a lot of cash to throwing around on a guy who has never pitched in the majors. What if he turns out to be anothe FPT??? I think I would have gone after Zito and used the money saved to go after another arm for the bullpen.

Here's a nice FU to Theo.... National League Rookie of the Year Hanley Ramirez told ESPNdeportes.com's Enrique Rojas that he feels "blessed" and thanked the Red Sox for giving him a chance by trading him to the Marlins.

From Wolfgang's post dated Nov. 1, 2006..... In the next 60 days we will add new functionality to the Concert Vault. For example, listeners will soon be able to create and share their own playlists from our live performances. In the next 90 to 120 days we intend to offer full-concert downloads and, in 180 days we will present never-before-seen live performance video from the thousands of concert videos we have in our archive. AMEN!!!!!

I love this album. The first album of his that I really got into after Mingusx5. Does anyone know which piano parts are played by Mingus?

I didn't catch the game so maybe someone who did could answer the following questions - How do you lose - at home - when you're winning 28-7 at halftime?? And how do you let the other team score 42 points in the second half???

Dan: Download RealPlayer and choose the option to avoid the gap. On MP3, you will always have a split second gap--but that ain't bad. That Atlanta show you refer to--the last one I went to. It was at the fabulous Fox--Atlanta's premier place for music. Initimate, beautiful, great sound. Will you always have the gap w/MP3s?? I thought Apple just released a new version of Itunes that addressed that problem. Dan are you burning TAO or DAO??? If you are burning cds TAO will cause those two second gaps.

Did you see them in Philly at the Opera House on 3rd and Brown??? The Dead Milkmen opened. It was supposed to be Billy Bragg but he had visa problems. Anyway, great show.

Ah, I knew it was too good to be true. See, this is what happens when you have 70 degree days in November in Philly. I'm stupid by nature but I'm super stupid when it gets warm outside Still $38 is insane. You might as well buy 2 for that price. Hey Kirby--sorry I couldn't answer your question earlier, but I just got in. BTW, I've been investigating the various releases of Schnabel, including listening to online samples. It looks like the general consensus is that the EMI box has too much NR, whereas the Pearl releases have virtually no NR, but a lot of high end surface noise, which could be a bit fatiguing after a while. Naxos has released all of Schnabel's Beethoven sonata recordings on 9 separate discs, and apparently went to great lengths to locate multiple copies of the original 78s to ensure it had the best sources. Additionally, Naxos used much less NR than EMI, providing sort of a compromise between the approaches of EMI and Pearl. The best price I've found for the Naxos discs is $6.64 each at JPC.de. Incidentally, like its price for the Kempff set, Amazon.co.uk also has an insanely low price for the EMI box: 15.31 pounds (that's POUNDS, Kirby, not Euros ), which is equal to about $29! Personally, I haven't quite decided which way to go on this. At that price I think I might have to pick up the Naxosas well. I'd like to compare it to the EMI version.

Actually that was Ron's recommendation. I ended up buying two copies of the Kempff 50's set. Ron - they should give you a comission.

Ah, I knew it was too good to be true. See, this is what happens when you have 70 degree days in November in Philly. I'm stupid by nature but I'm super stupid when it gets warm outside Still $38 is insane. You might as well buy 2 for that price.

Hey Ron I Googled the Euro/US Dollar exchange rates and I've tried 4 or 5 different converters and the final price(including air mail) of £21.78 is approximately $28 give or take a quarter. Am I missing something? I mean $38 bucks is a steal but $28 is down right obscene!!

Wait a minute.. Lemme see if I got this straight.... The Yankees just traded one of the best hitters in baseball to the team that steam rolled them in the playoffs and all they got were 3 prospects???? At least when Gillick traded Abreu for prospects he traded him to the other league.

Posted on Fri, Nov. 10, 2006 TV pioneer mixed tenacity with style By Gail Shister Inquirer TV Columnist For a reporter who lived for the big story, 60 Minutes correspondent Ed Bradley kept the most important story of his life to himself. Mr. Bradley, known as "Butch" in his old West Philadelphia neighborhood, died yesterday at New York's Mt. Sinai Hospital from leukemia. Most of his CBS colleagues were not aware he had the disease. "To my knowledge, no one knew," says Mike Wallace, 88, an original 60 Minutes correspondent now in his 39th season. "We knew he was sick, but he was in good shape. He was a strong man." Mr. Bradley, 65, a fitness fanatic and former football player at Cheyney State University, underwent bypass surgery in 2003. Over the last year, coworkers say, he began to look thinner and less robust. 60 Minutes' first - and only - African American regular correspondent, Mr. Bradley won 20 Emmy Awards during his 26 seasons there. His reports ranged from Columbine to AIDS in Africa to Lena Horne (his favorite story). His was the only TV interview with the condemned Oklahoma City bomber Timothy McVeigh. More recently, his investigation last month of the Duke University lacrosse rape case, including the first interviews with the defendants, drew 60 Minutes' largest audience in 10 months. News was not Mr. Bradley's only passion. A serious jazzman, he occasionally went on the road with pal Jimmy Buffett and played with the band. At 60 Minutes, the staff knew Mr. Bradley was in town when jazz was playing softly in his dimly lit, plant-filled office. For more than a decade, he hosted NPR's syndicated weekly series Jazz at Lincoln Center, heard locally on WRTI-FM. He even wore an earring. "I think he was the coolest person I ever knew," says Bob Schieffer, CBS's chief Washington correspondent and moderator of Face the Nation. "He was very hip, and he knew about things that nobody else knew about." How hip? At the 1988 Republican National Convention in New Orleans, Schieffer says, he remembers his two teenage daughters (CBS interns at the event) turning down a night out with Dad. "Susan said, 'I'd love to, but Mr. Bradley is taking a group of us to see Little Feat,' " he says. "I didn't know who Little Feat was. It reminded me how totally out of the loop I was." Mr. Bradley, who left teaching elementary school to join WDAS radio in the early '60s, was an icon to Philadelphia's black community, says Inquirer editor emeritus Acel Moore, a friend for more than 30 years. "He never forgot from where he came. For African Americans from Philadelphia, he was one of the pioneers. He inspired a lot of people and he touched a lot of lives. This is a major loss." Longtime local radio talk-show host Mary Mason recalls Mr. Bradley as "top of the heap, man... . He was always so helpful. He'd do anything in the world for people. Even when he got [his New York job], he would never, ever forget us." When Mason introduced Mr. Bradley at a school assembly in Philadelphia, he sat on the steps and spoke to students instead of standing behind a lectern, she says. "I told him he could speak for 20, 25 minutes. He talked for an hour and a half. I figured he had a car waiting for him outside. He told me he took the train." Mr. Bradley's public speaking prowess was well known inside CBS, Schieffer says. "He could preach a better sermon than a Baptist preacher." Mr. Bradley was equally devoted to mentoring young African Americans, Schieffer says. "He always had some kid following him around. He was the softest touch in town." Bryan Monroe, president of the National Association of Black Journalists, praised Mr. Bradley in a statement as "a consummate professional who defined investigative journalism for a generation. His interviewing skills were second to none. As a member and a friend, we will miss him greatly." NABJ presented Mr. Bradley with its Lifetime Achievement Award last year. At 60 Minutes' offices yesterday, staffers were weeping and in shock, says Jeff Fager, executive producer of the groundbreaking newsmagazine. Fager says he knew about Mr. Bradley's leukemia. "We've never had a loss like this. It's a tragedy. Not only did he make us look better every time he touched a story, he made our lives better by his decency and his manner and his ability to care." "Everybody loved him," says Wallace. "He was a good, honest, straightforward guy. "And he had the most beautiful mother I had ever seen in my life. She came into the office on one occasion. She was as tall as he. Her hair was pure white, and there was a lot of it. She was an absolutely stunning woman." What made Mr. Bradley's death even more shocking, Fager says, was how quickly he spiraled downward. Just over a week ago, Mr. Bradley was in the office recording narration for his piece the following day on the explosion of an oil tanker in Texas. 60 Minutes' entire broadcast Sunday will be devoted to Mr. Bradley, Fager says. That has happened only once before, when Wallace retired from the show in May. Mr. Bradley joined CBS in 1971 as a part-time correspondent in the Paris bureau after a stint at CBS-owned WCBS Radio in New York. A year later, he was transferred to the Saigon bureau and became one of the most visible African Americans covering the Vietnam War. He was wounded while on assignment in Cambodia in 1973. In 1974, Mr. Bradley moved to the Washington bureau. Over the next seven years, he covered the Jimmy Carter White House, anchored the Sunday-evening news, and was principal correspondent for CBS Reports before arriving at 60 Minutes. Three weeks ago, Mr. Bradley was to have received an award from Temple University's School of Communications. When he had to cancel, he told organizers not to have anyone accept on his behalf because he would pick it up himself when he could travel, according to dean Conchetta Stewart. "He is emblematic of the kind of newsperson we want our students to be," she says. "We all admired him deeply. He was the real deal." Mr. Bradley is survived by his wife, Patricia Blanchet. No funeral arrangements were announced yesterday. To view a slide show of Ed Bradley's career, visit http://go.philly.com/edbradley

I know I mentioned this in a previous post but I have to put in another plug for the Schnabel. Yes, he took some liberities w/ his use of rubato and he makes a mistake here and there, but these are some of the finest interpretations ever recorded, imho. The sound is ok although you have to remember that he made his recordings back in the 30's and they exhibit all of the aural limitations and quirks that recordings from that period usually display. I got the EMI box back in the early 90's and I think there are cheaper versions out on the market. I don't know how the other label's versions stack up sonically..

Friday night early Kahil El'Zabar's Ritual Trio featuring Billy Bang + Sonic Liberation Front — Ritual Trio: Kahil El'Zabar (drums, percussion), Billy Bang (violin), Renee McLean (reeds) and Yoseph Ben Israel (double bass) — Ritual Trio: Kevin Diehl, drums/Yoruba-Cuban percussion; Chuckie Joseph, Yoruba-Cuban percussion; Rich Robinson, Yoruba-Cuban percussion; Ira Bond, Yoruba-Cuban percussion; Matt Engle, bass; Dan Scofield, alto saxophone; Todd Margasak, cornet Later that night Sonny Fortune Saturday night early Andrea Centazzo, acoustic & digital percussion Perry Robinson, clarinet Nobu Stowe, piano Saturday late - Sonny Fortune again!!

THAT is in verrrry short supply this year- I wonder what the winning bid will be for that Japanese pitcher(forget his name)everyone is raving about- I hear it may go to $25-30m, just for exclusive negotiating rights, then there's a contract(with Scott Boras as his agent!) above that. I'm a Yankee fan, and I almost puked when I saw that the Yanks are considering a return of Clemens & Pettite, one old guy who can't pitch a full season and another guy who's had elbow surgery and still has elbow problems! Huge mistake if they go that way.

I wonder if his time at WDAS overlapped w/ the Mighty Burner???