Chalupa

Well the reason why I did not include that one is that the Inn is undergoing a $9 million renovation right now do to mold. Yuck. Somebody hasn't been reading the DP http://www.dailypennsylvanian.com/vnews/di...8f?in_archive=1

I'm going. I've received two emails in the past week from the promoter(Ars Nova Workshop) saying that they were quite confident that the show would sell out. It was supposed to be the last show in tribute series to 40 years of the AACM(They have added two more shows in May.) And the other shows have been pretty well attended but I don't think any of them have sold out (Maybe the Braxton.) I wouldn't wait too long though. Venue is a little theatre in the International House. The sound is fine, aesthetically... it's okay I guess if you're into the New Brutalism architecture style that was popular on college campuses back in the 60's/70's. There's a Shearaton about a block away. You can get a "deal" if you click on the I House link. And if you want to save a few bucks there's always the Divine Tracy Hotel right around the corner from the IH.

Hmm IMDB.com has this... "Always" (1925) Music and Lyrics by Irving Berlin Played by Ray Noble and His Orchestra and sung by Bettye Avery at the Moon Terrace Nightclub, with Ray Noble on the piano Played as dance music and danced by Gary Cooper and Teresa Wright and other couples Whistled by Gary Cooper Played as background music often and during the end credits Just did another search and listened to versions(30 second samples) by Getz, Hampton, and Marian McPartland. I still can't be sure but I think this is it.

I just got a pre-fm of this show on cd. The last song"I'll Be Loving You Always" is NOT the Stevie Wonder tune. I did a little google search and came up w/ this... IRVING BERLIN WROTE "I'LL BE LOVING YOU, ALWAYS" IN 1925. JOSEPHINE BAKER MADE THE FIRST RECORDING IN 1926. FRANK SINATRA RECORDED THE SONG IN 1942. THAT SAME YEAR, THE SONG BECAME THE THEME MUSIC FOR "PRIDE OF THE YANKEES", http://www.homestead.com/deenotes/belovingyou.html Now I just went on AllMusic and I couldn't find any mention of Berlin, Baker, or Sinatra being associated w/ the song. The mystery deepens......

Thanks for posting that article. I will pass it on to a local promoter who wants to book Walt.

My mother bought my 20 month old son(that's him in avatar) some Sesame Street cds yesterday. As we were listening and dancing to them I glanced through the credits and saw that Bob Cranshaw played bass on one of the Elmo cds.

Happy 37th birthday to my favorite Dark Star - 2/27/69!! Sure, some may be longer, more intense, etc. but, this is the one for me. I've listened to it so many times it's been indelibly etched into my DNA.

What a coincidence that you should bring Formanek's name up. I just noticed today that he's playing in a duo w/ Dave Burrell here in Philly in a few weeks.

Wolff, This Definitive release is illegal in the US. It can be stopped at the US border. I don't know who is importing these CDs in the US (wholesalers or the CD stores themselves), but it's the well known US stores (including CD Universe and Tower records) that are selling them. They are doing it because they can be quite sure that nobody does anything about it. The sad fact of the matter is that as long as customers in the USA keep buying these cds manufacturers in the EU and else where will keep making them.

There's more of Val's photos here: http://www.andyw.com/sunra/elsaturn.htm Click on option #4

The Rebirth of the Hot Jazz Violin LEISURE & ARTS By Nat Hentoff 1120 Words 21 February 2006 The Wall Street Journal D8 English (Copyright © 2006, Dow Jones & Company, Inc.) Until I heard the now legendary Stuff Smith (1909-76), I had no idea that a jazz violinist could more than hold his own in a powerfully swinging jazz combo's front line. Smith, who had played with Jelly Roll Morton, recorded with Nat "King" Cole and Dizzy Gillespie, and toured with Norman Granz's dueling horn virtuosi, told jazz historian Stanley Dance: "You can swing more on a violin than on any instrument ever made. You've got all those octaves on the violin. You can slur like a trombone, play staccato like a trumpet, or moan like a tenor." As Jo Jones with the Count Basie band put it: "Stuff was the cat who took the apron strings off the fiddle." Ardently exemplifying Stuff Smith's credo is 20-year-old Aaron Weinstein in his first CD as a leader, "A Handful of Stars" on Arbors Records (arborsrecords.com, available in major records stores and at Amazon.com). This session should bring renewed interest in the often overlooked heritage of the jazz violin while heralding the advent of an unmistakably personal improviser who can be intimately tender (as on the Frank Loesser-Jimmy McHugh "Let's Get Lost") as well as so fierily invigorating that you have to move to his music. A third-year student at Boston's Berklee College of Music, Mr. Weinstein has already performed at the Wolf Trap Center for the Performing Arts and such jazz rooms as Birdland and the Django Reinhardt festivals in France and New York. Starting at age eight, with lessons on a rented violin in a music-loving home in Wilmette, Ill., Mr. Weinstein first began to find his vocation five years later when he came upon a cassette tape of Joe Venuti, the first internationally renowned jazz violinist. "The power and authority with which he played," Mr. Weinstein happily recalls, "was so dominating that every note Venuti produced struck me as the absolutely definitive note to have been played at each given moment. It was the first time I had actively listened to a jazz recording." He went on to the sunnily lyrical Stephane Grappelli, a colleague of the mercurial Django Reinhardt in the Quintet of the Hot Club of France. Describing Grappelli's impact on his own development, Mr. Weinstein indicates he could have had a notable career as a jazz critic, though without having the much greater fun of being inside the music: "By the time he was in his musical prime, Grappelli had created a completely unique style epitomized by long lines of flowing eighth notes that he flawlessly executed at any tempo while always maintaining a feather-light touch." Then Aaron Weinstein discovered what he calls Stuff Smith's "revolutionary playing." I asked him to elaborate on what he means by "revolutionary." What follows is the most penetrating description of that jazz master I have seen: "Stuff Smith, more than any other jazz violinist of his day, blended rhythmic elements at the heart of the jazz idiom to the violin. At times, he used his instrument as a full big band, playing call and response between his violin's upper and lower registers. Every phrase Stuff played was pure jazz. He was first and foremost a jazz musician who happened to play the violin. Because of this, he broke the barrier that once separated violinists from other jazz musicians. He earned the respect of other jazz masters of his day, who treated him as a peer rather than an oddity. That is something to which all violinists should aspire." The growing number of jazz musicians who have played with Mr. Weinstein -- among them the richly lyrical tenor saxophonist Houston Person and the agelessly buoyant guitarist Bucky Pizzarelli on Mr. Weinstein's debut Arbors recording -- regard him as a peer. As Mr. Person says: "Aaron will really go a long way because he's well grounded, and he really has a sense of jazz as it should be." Among other established jazz violinists who helped ground Mr. Weinstein were Sven Asmussen, Johnny Frigo and Claude "Fiddler" Williams, who made jazz violin history with Count Basie in the 1930s and later with Jay McShann and beyond. Eventually, however, Mr. Weinstein realized that "I needed to go further than the ideas of the idiom's greatest violinists. For me to understand the ideals at the heart of the jazz idiom, I began to look at many of my other favorite jazz musicians in the same way that I had re-examined the violinists who had made an impact on me." Absorbing the self-discoveries of Zoot Sims, Lester Young, Bud Freeman, Warren Vache and Scott Hamilton, says Mr. Weinstein, "made me feel like my blinders had been removed. This was the beginning of my true development as a jazz musician." Also part of that development is Mr. Weinstein's mining of the classic American songbook, bringing back to life evocative melodies and moods far removed from the currently popular boiling cauldron of largely graceless rock, rap and hip hop. Aiding him in this discovery of the quality of ballads that used to attract jazz improvisers is Houston Person, of whom the young violinist says: "He has an incredible respect for melody. Whether he is interpreting a Gershwin song or improvising on an Ellington tune, he's always playing some kind of a great melody -- and he constantly seeks out interesting songs from the depths of the American songbook and is always eager to share his finds." On his CD, "A Handful of Stars" -- the rewarding result of Mr. Weinstein's discovery of songs that, as he puts it, "have fallen through the cracks," or have otherwise faded from many musicians' memories -- are "A Dream Is a Wish Your Heart Makes," "A Handful of Stars," "Someone to Watch Over Me," "If Dreams Come True" and "Pennies From Heaven." This celebration of the timeless pleasures of jazz's sounds of surprise ends with the very definition of a jazz groove, a mellow musical conversation between Messrs. Weinstein and Person that transcends the players' ages and styles, achieving the joyous act of communion that has made this music an international language. Credit for this enduring recording is due Mat Domber, the owner and executive producer of Arbors Records, who not only immediately felt the need to record Mr. Weinstein but made this 20-year-old the producer of his first album, in charge of choosing the musicians and the repertory. The rest of the Arbors catalog also reflects Mr. Domber's faith in what he accurately calls "classic jazz." --- Mr. Hentoff writes about jazz for the Journal.

Count me in as one of the ones wanting to hear: Trompeta Toccata Wahoo! Leapin' and Lopin' Flight To Jordan

HOLY CRAP!!!! The Prime Rib is a 10 minute walk from my house. Thanks for the info - I had no idea he was still in Philly.

Slightly off topic but the following article does have some Dead related content... http://sfgate.com/cgi-bin/article.cgi?f=/c...DDGPMH7OT91.DTL

"Cylinder recordings, the first commercially produced sound recordings, are a snapshot of musical and popular culture in the decades around the turn of the 20th century. They have long held the fascination of collectors and have presented challenges for playback and preservation by archives and collectors alike." http://cylinders.library.ucsb.edu/index.php Make sure you give a listen to the Cakewalks and Rags link too. http://cylinders.library.ucsb.edu/cakewalks.php

Just build yourself an igloo in Central Park

Check out these horns!!

Which? A chiropractor or a lap dance?

I've had two MRIs and two CAT scans. The two CAT scan were for a sinus condition. The CAT scans were a piece of cake. Probably 15 minutes for each and they only stick you in up to your shoulders. The first MRI I had was for a lump on my jaw(turned out to be a muscle that has bunched together from grinding my teeth/clenching my jaw) - that sucked. First they stuck a needle in me and injected me w/some kind of dye. Each scan took about 40 minutes - 4 total. It was hot, LOUD(I had to wear earphones and the docs got to pick the music - lame top 40 station, ugh.) and uncomfortable. Even though they were looking at my jaw I had to have my whole body in the machine. The other one was on my knee(torn meniscus) and that was fine - probably took 5 minutes total and I only had to stick my legs in. You can get an "open" MRI if you are claustrophobic. I'm not claustrophobic but I can see how if someone was that they would have a very hard time getting scanned. The heat, noise, and the tiny little coffin space - yikes. However, for me the worst part of it was the boredom factor. http://www.mayoclinic.org/checkup-2004/oct-mri.html

Check this out. They even have some Miles! http://www.wolfgangsvault.com/Static.aspx?...io/RadioNav.htm Bill Graham and his concert promotion company, Bill Graham Presents, produced more than 35,000 concerts all over the world. His first venue, the legendary Fillmore Auditorium, was home to many of rock's greatest performers - Jimi Hendrix, Janis Joplin, The Doors, The Grateful Dead, Jefferson Airplane, Otis Redding, Marvin Gaye, Led Zeppelin, Eric Clapton, Bob Dylan, Prince - and the list goes on and on. Graham taped thousands of live performances and stored the tapes in the basement of the BGP headquarters. These tapes and the concerts they captured lay dormant until the Bill Graham archive was acquired by Wolfgang's Vault (Bill Graham's given first name was Wolfgang) in 2003. Vault Radio is now playing selected tracks from these concerts in an FM-quality, 128K digital radio stream. Songs will be added to and removed from the radio show on a regular basis. We will be broadcasting unaltered live performance music from many of the greatest bands of the last 40 years. The music you hear on Vault Radio has not been sweetened or polished. You'll be listening to what the band played that night - nothing more, nothing less.

Actually , 6 of the 9 tracks from Now Hear This appeared as bonus tracks on Introducing Duke Pearson's Big Band which came out on CD in 1998 . And the 3 that didn't make it are not to be mourned too greatly, unless you're a completist. How about "Wahoo" by Duke Pearson??

I guess I gotta track down a copy of that Krupa drum solo ....

Plaxico must be kicking himself this morning.

I have to respectfully disagree w/ you. I think that at that point of the game(up 3-0, in the early 2nd Q.) that it was a battle for field position and Holmgren made the correct call by choosing to punt the ball away. Regardless, could you imagine the psychological impact that turning the ball over on downs deep in your side of the field would have had on Seattle? Or Pittsburgh?? That would have been a huge momentum shift. Conversely, if Seattle goes for it and makes it I don't think it would have affected either team as much. And if Pittsburgh gets the ball and scores a TD(FG, is almost a given from there in the dome) that could have killed Seattle.