Chalupa

LOVE AACM and AEOC!!! OD, I'm doing a project on the Foxhole. Do you have any remembrances that you'd lke to share??

Death of a record store Famed Rhino Records shop in L.A. has last gasp By Chris Morris The Hollywood Reporter LOS ANGELES, California (Hollywood Reporter) -- They're throwing a wake of sorts for the Rhino Records store Saturday and Sunday. Founded in 1973, the venerable record shop officially closed its doors after the turn of the year, hard on the heels of the folding of crosstown competitor Aron's Records. But, in a final gasp of Rhino tradition, old customers will gather at the Westwood Boulevard location to paw through boxes of CDs, LPs, DVDs and videocassettes at the store's final parking lot sale. Rhino, a Westside institution for three decades, never recovered its footing after moving into a large new space about five years ago. The old shop, left open as an outlet for used and budget product, closed within a year. A partnership with the Golden Apple comics store failed, and an attempt to rebrand the shop as Duck Soup with the addition of high-priced collectibles never caught fire. These stabs at instilling new life into Rhino coincided with a precipitous decline in the music business. Owner Richard Foos says: "As bad as it is for everybody, it's much worse for independents. I don't know all the reasons. It's so complicated. There's literally hundreds of reasons." Foos adds dispiritedly: "There's too many other things to do and too many ways to get your music without paying $18 for a CD. ... I don't see a great future for physical product." The demise of Rhino hits home on a very personal level for this writer. For years, it was my neighborhood record store, conveniently located between my Westwood Village apartment and the Santa Monica Boulevard office of the film exhibitor I worked for. It was the hip shop on the Westside -- one of the few places you could buy that hot import album or that cool local punk 45. There, music obsessives gathered to buy their records, socialize and, frequently, argue with the store's highly opinionated clerks. In a gambit worthy of "High Fidelity," Rhino for many years maintained a "Worst Customers List," posted prominently behind the counter; the more obstreperous patrons -- including, on more than one occasion, myself -- were duly namechecked there. As combative as things could get, the store also spawned its own tightly knit community. When Rhino's fledgling record label wanted to promote one of its early novelty acts, the Temple City Kazoo Orchestra, the store drafted some of its regulars to march through Westwood Village, where they serenaded passers-by with kazoo renditions of "Whole Lotta Love" and other classic-rock chestnuts. The era when music lovers on both sides of the retail counter bonded is long gone. Foos notes with some astonishment that there are now no free-standing independent stores selling music between West Hollywood and Santa Monica. The options are Best Buy, Borders and Barnes & Noble. "The days of going into a place like Rhino and saying, 'What's the cool new import?' -- forget it," Foos says. Things aren't any better for the big mall music operators: Witness the bankruptcy filing last week of the 869-store Musicland chain. Does this reflect a paradigm shift? Of course, but, if a new study from England's University of Leicester is to be believed, it also reflects a basic difference in the way consumers are looking at music. The school's psychologists noted last week that music had "lost its aura," and was now viewed as simply a commodity. Says Foos with a sigh: "It's really sad and dangerous. Everybody's like a silo." Ave atque vale, Rhino Records. For some, you were a way of life. Copyright 2006 Reuters. All rights reserved.This material may not be published, broadcast, rewritten, or redistributed. Find this article at: http://www.cnn.com/2006/SHOWBIZ/Music/01/2...reut/index.html

An update.... Friday, February 3 | 8pm Ethnic Heritage Ensemble with Kahil El'Zabar, drums/percussion Joseph Bowie, trombone/percussion Ernest `Khabeer' Dawkins, tenor/alto sax/percussion Please note: Corey Wilkes, trumpet/percussion, replaces Joseph Bowie for this perfromance. Is anyone familiar w/ Corey Wilkes??? Kind of bummed to missing Joseph Bowie.

I was watching Sesame Street this morning w/ my son(19months old next week) and R.E.M. was on.... REM & Sesame Street - Furry happy monsters Furry happy monsters laughing Monsters having fun Happy, happy See them jump and run Happy, happy Laughing all the while Cheerful, cheerful Flashing a big smile That's a perfect sign That they're feeling fine Furry, happy monsters feeling glad Furry, happy monsters feeling glad Furry, happy monsters laughing Something has gone wrong Sighing, sighing Faces have turned long Crying, crying Hear them sob and whine Tearful, tearful That's a real good sign That they're feeling glum Sad, sad times have come Furry sobbing monsters feeling sad Furry sobbing monsters feeling sad Furry sobbing monsters crying Michael Stipe (spoken): Come on, monsters! You don't have to cry, we can be happy! Furry happy monsters feeling glad Furry happy monsters feeling glad Furry happy monsters laughing Furry sobbing monsters feeling sad Furry sobbing monsters feeling sad Furry sobbing monsters crying Furry happy monsters feeling glad Furry happy monsters feeling glad Furry happy monsters laughing Monsters, happy monsters Happy monsters Monsters, happy monsters Happy monsters Monsters, happy monsters Happy monsters

Thanks for the info. I might have to drive up from Philly for this.

Just got an email saying that Vijay Iyer's "Reimagining" is on backorder.

Wish they would get the Verve Master Takes

Oh SWEET!! I went to a record store yesterday to buy it and they were out of it. Thanks for the info.

What an incredible 4th quarter.

http://www.hofmann.org/ From Wikipedia, the free encyclopedia. Jump to: navigation, search Dr. Albert Hofmann Dr. Albert Hofmann For the American artist, see Albert Hoffman Dr. Albert Hofmann (born January 11, 1906) is a prominent Swiss scientist and best known as the "father" of LSD. He was born in Baden, Switzerland, and studied chemistry at the University of Zurich. His main interest was the chemistry of plants and animals, and he later conducted important research regarding the chemical structure of the common animal substance chitin, for which he received his doctorate. Hofmann joined the pharmaceutical-chemical department of Sandoz Laboratories, Basel (now Novartis), studying the medicinal plants squill and ergot as part of a program to purify and synthesize active constituents for use as pharmaceuticals. His research in lysergic acid, the central shared component of ergot alkaloids, eventually led to the synthesis of LSD-25 in 1938. It was five years later, on repeating synthesis of the almost forgotten substance, that Dr. Hofmann discovered the psychedelic effects of LSD after accidentally ingesting some through his fingertips on April 16, 1943. Three days later, on April 19 (later known as Bicycle Day), Hofmann deliberately consumed 250 µg of LSD, and experienced far more intense effects (see: LSD for details). This was followed by a series of self-experiments conducted by Hofmann and his colleagues. He first wrote about these experiments on April 22. He became director of the natural products department at Sandoz and went on studying hallucinogenic substances found in Mexican mushrooms and other plants used by the aboriginal people. This led to the synthesis of psilocybin, the active agent of many "magic mushrooms". Hofmann also got interested in the seeds of the Mexican magic morning glory species Rivea corymbosa, the seeds of which are called Ololiuhqui by the natives. He was very surprised to find the active compound of Ololiuhqui chemically very similar to LSD. In 1962, he and his wife Anita travelled to southern Mexico to search for the magic plant ska Maria Pastora (leaves of Mary the shepherdess), later known as Salvia divinorum. He was able to obtain samples of this plant but never succeeded in identifying its active chemicals. He calls LSD "medicine for the soul" and is frustrated by the worldwide prohibition that has pushed it underground. "It was used very successfully for 10 years in psychoanalysis," he said, adding that the drug was hijacked by the youth movement of the 1960s and then unfairly demonized by the establishment that the movement opposed. He concedes LSD can be dangerous and calls its promotion by Timothy Leary and others "a crime." [1] He has been the author of over 100 scientific articles and has written (or co-written) a number of books, including LSD, My Problem Child, which is partly an autobiography and describes his famous bicycle ride. On the occasion of his 100th birthday on January 11, 2006, he was the focus of an international symposium and media attention for his discovery of LSD.

Interesting that this person who seeded the late show, and presumedly was at both shows, didn't seed a tape of this exchange but does remember it verbatim. I mean what happened after he allegedly said that?? I can't see anyone saying "cracker shit" at a show and not get called out on it. I'd file this story under Apocryphal.

I saw this posted on another bulletin board...... -------------------------------- Hey All, I have been searching for Lennie Tristano's "Descent into the Maelstrom" on CD for years, and after much digging around, found that Jazz Records is re-releasing his catalog, so I wrote to them. Here is the reply I received today: "Andy, Jazz Records will be issuing 'Descent into the Maelstrom' as a CD. Hopefully, this will be done within the next year. I would suggest that you check out website from time to time. URL: www.jazzrecordsinc.com Thank you for your interest. Best Regards, Lenny Popkin Jazz Records, Inc." --------------------------------- "next year" = 2006.

Wow. Keeping track of things! Yeah, working in a library has given me a slight case of OCD

02/05 - Jason Moran (Nasheet Waits) 02/05 - Frank Morgan 02/06 – Jack DeJohnette Latin Project (Don Byron, Giovanni Hidalgo, Luisito Quintero, Edsel Gomez, Jerome Harris) 02/26 – Benny Golson 03/05 – Steve Bernstein (Sam Rivers Trio, Uri Caine, Marty Ehrlich) 03/18 – Henry Grimes & Marshall Allen 03/21 – Slint 03/23 – Jennifer Gentle / Dead Meadow 04/08 – McCoy Tyner (Charnett Moffett, Lewis Nash) 04/15 – Sonic Youth / Cat Power 05/04 – Ravi Shankar & Anoushka 05/07 - Rudresh Mahanthappa 05/09 – Deerhoof / The Danielson Family 05/21 - Gang of 4 06/11 – Oliver Lake 06/16 – Bob Dylan / Willie Nelson 07/15 – Dungen 07/19 – Cecil Taylor 07/20 – Elvis Costello W/ Emmylou Harris 10/08 – Roscoe Mitchell & Muhal Richard Abrams 10/08 – Tortoise & Daniel Lanois 10/13 – Fiery Furnaces / Man Man 10/20 – Acid Mothers Temple / Bardo Pond / The Occasion 10/29 – Von Freeman (Micky Roker) 11/04 – Anthony Braxton Sextet 11/17 – Ye Ren (Gary Hassay, Toshi Makihara, William Parker) 12/03 – Wadada Leo Smith (Nasheet Waits, Vijay Iyer, John Lindberg )

I know it's way too early but when I was reading Ron's "new arrivals" post I was hoping that the Cellar Door box was one of the additions. Rats.

Robert Moog

New show added..... May 2006 Malachi Thompson's Freebop Band with Malachi Thompson, trumpet Billy Harper, saxophone Gary Bartz, saxophone Kirk Brown, piano Harrison Bankhead, bass Nasar Abadey, drums Details coming soon Event Description: Malachi Thompson is a composer, bandleader, trumpet soloist, Delmark recording artist, teacher and arts activist. Born in Princeton, Kentucky on August 21, 1949, Thompson’s jazz roots are on Chicago’s South Side. In 1968 he joined the influential Association for the Advancement of Creative Musicians (AACM) playing the music of Henry Threadgill and Richard Muhal Abrams. He was also became a member of Dr. M.L. King’s Operation Breadbasket Orchestra, the musical arm of SCLC in 1968, working for civil rights for African Americans. In 1974 after completing work for a degree in Music Composition, Thompson was encouraged to move to NYC by jazz legend Art Blakey. While in New York Thompson performed with many of the greatest names in jazz: Joe Henderson, Sam Wooding, Jackie McLean, Frank Foster, Leon Thomas, Sam Rivers, Lester Bowie and Archie Shepp to name a few. In 1978, he formed his highly acclaimed Freebop Band. After 10 years in NYC, he moved to Washington DC and later Vienna, Austria performing and composing for various bands. In 1989, Thompson was diagnosed with cancer and returned to his native Chicago. After his recovery he became an outspoken advocate for jazz and arts education. He is also a published writer and jazz historian. He conducts master classes, jazz workshops and lectures on all things jazz nationwide. In 1991 Mr. Thompson founded the Sutherland Community Arts Initiative (SCAI) a not for profit 501 c3 arts and arts education presenting organization on Chicago’s South Side. As a member of SC AI, Mr. Thompson helped found and establish the Hyde Park /Kenwood JAA Z Festival, The Visiting Jazz Artists Program and Creativity magazine. Thompson is also a published writer and jazz historian. In 1994 Thompson helped develop the cultural component of the award-winning proposal to HUD that brought 8 million dollars in federal Empowerment Zone (EZ) funds to cultural institutions in Chicago’s EZ communities. In 1997 Thompson's Freebop Band recorded 47th Street for Delmark records featuring original music from the play The Sutherland, written by playwright Charles Smith and based partly onMr. Thompson's life. The Sutherland had a successful 6-week run at Victory Gardens Theater in the fall of 1997 and won the Illinois Arts Council’s New Play Award. Thompson’s original music from The Sutherland won the prestigious Jeff award (the equivalent of a Tony in NYC). 47th Street was selected as jazz record of the year by the Chicago Sun Times and made it to the top ten of the CMJ national jazz charts. Thompson’s recordings consistently track high on jazz radio charts indicating substantial national airplay. Thompson scored the sound track for the PBS documentary Remembering 47th Street, which won an Emmy for Best Documentary in 2001. Over the past 25 years Thompson’s Freebop Band has featured jazz masters like Carter Jefferson, Billy Harper, Gary Bartz and David Murray. In 2003 Thompson received a commission from Chamber Music America to compose new works to commemorate the band’s 25th anniversary. In 1991 Thompson created Africa Brass, a 13-piece brass ensemble as a larger vehicle for his original compositions. Africa Brass was inspired by the New Orleans brass band tradition. However Africa Brass is no re-creation, but a logical extension of the brass band tradition that combines big band jazz with Afro-Cuban music forms. Africa Brass has three highly acclaimed CDs, Lift Every Voice and Buddy Bolden's Rag featuring special guest soloist Lester Bowie. In 2002 Africa Brass received a grant from the Aaron Copland Fund to record Thompson’s Black Metropolis Suite and Blues For A Saint Called Louis. These new works are featured on Thompson’s latest Delmark Records CD, Blue Jazz with Africa Brass featuring Gary Bartz and Billy Harper. Blue Jazz climbed to #2 on the CMJ jazz radio charts. A recipient of many awards and honors, in 1995 Thompson was selected as an Arts Midwest Jazz Master. Thompson was also selected as a "Chicagoan of the Year" in 1996 by the Chicago Tribune for his efforts to bring jazz to the South Side of Chicago. In 1997 the Chicago Endowment for the Arts honored Thompson for his arts activism. Mr. Thompson’s trumpet playing has been recognized in Down Beat Magazine's annual International Critic's Poll. Mr. Thompson is featured on 29 jazz recordings. He has 13 recordings as a leader with eight top ten titles. Thompson has performed in over 15 countries around the world and in 22 states across the U.S. In June 1998 Thompson’s Freebop Band performed at the St. Louis International Jazz Festival in Senegal, West Africa sponsored by the United States Information Agency. Thompson is known in international jazz circles for his exciting, innovative music and as a leading exponent of Chicago jazz.

Up.

The Coltrane/Monk finally showed up???? CRAP!! I just got this yesterday for Christmas. Oh well...

Yeah, I don't think Cornell is any "better" than many of the other late 76--early 78 stuff. It's vaunted due in part to the set list and the fact that they playing is consistently good throughout. But nothing mind boggling. The 1977 Dick's Picks seem preferable to me. And Mickey's return did not add to the band's playing; gone was the four handed interplay; Kreutzman's dynamics were weakened by the more simplistic patterns that Hart forced on him. Still--great stuff overall. I've always thought Veneta and Cornell were overrated and said so earlier in this folder. I would not place either show in my top 100 all time concerts. I think Cornell's mystique stems in part to its being one of the first Betty Boards that was available in pristine quality at a time when pristine quality soundboards were hard to find. Also, the Scarlet>Fire is an all timer and the Dancin' is letter perfect. However... I think the band loses its way during the St.Stephen>NFA>St. Stephen portion of the second set- pretty sloppy. There are better shows from this month(5/19 & 5/21) and this year(3/18, 10/29 and 11/4) - IMHO!

Word.

http://www.samorost2.net/

Someone sent this to me... ‘Twas the week 'fore Thanksgiving and all through the land, People downloaded shows from their favorite band. The files they flew off Archive.org with speed, They had every Dead soundboard an addict could need. From Cornell '77 to a jam with Grace Slick, Don't forget Fillmore East '70-- that shit was sick. All was happy for Deadheads in cyberspace, Who would never again listen to garbage like Steal Your Face. But all was not right in the Land of the Dead, The revenue had turned from black into red. The Dick's Picks they sat and collected dust, Especially 35-- Man, that was a bust! Just then the mean old grinch, who was named Bob Weir Said, "Hey, what the fuck is happening here?" "They're stealing my money-- my kid's college fund. I've been checking my portfolio and feeling quite stunned. "This cannot go on. The downloading must desist. If I lose another cent, I'm gonna be pissed." And with a wave of his hand (and his lawyer's phone call), The free downloads stopped-- once and for all. The Archive lost soundboards and audience tapes too, And Deadheads seemed to think this decision, it blew. The Deadheads were angry-- they made quite a fuss: "Why would the Dead pull this shit over on us?" "Let's boycott every CD and t-shirt and ticket. If Bob Weir needs money, we'll tell him to stick it." But then from the East there arose such a clatter, Phil Lesh had arrived to see what was the matter. Outraged he was by the Dead’s strange decision. The policy, he said, needed revision. In a wave of his hand, he released a free board tape With a long ‘Caution’ jam that left many mouths agape. And for Mickey Hart? You know he couldn’t be left out of the flap. “Remember me,” he cried. “I do the ‘Fire on the Mountain’ rap.” “I agree with Phil,” he said. “Although it makes me shiver Because I can’t stand to be near that jerk and his liver.” The foundation was shaking; they called Dennis McNally. He traveled in quickly to stop the protest rally. “On Pigpen, on T.C., on Godchaux, on Mydland, On Hornsby, on Welnick—Wait. Who’s Welnick? He ain’t in the band,” “The AUD tapes are back,” McNally had cried. “There was a misunderstanding.” But it smelled like he lied. The AUDs were returned to Archive.org, But soundboards had been assimilated into the Borg. “Bullshit!” Deadheads yelled. “Music should be free.” “Tough shit,” Bob Weir said. “It’ll cost you a fee.” “The boycott is on,” they said. “We’ll kick your butts.” “Fine,” Weir retorted. “Suck on my nuts.” When hopes were fading and the end was neigh, Someone had pointed up into the sky. Gently floating, upon a white cloud he sat. A bushy beard spoke from a big mound of fat. “Why the hell are you all acting so crazy? This looks like a scene from a film by Scorsese.” “Everyone here needs to shut up and chill. And what happened to Weir? He looks over the hill!” “Jerry,” Weir cried. “It’s so great to see ya. But hey man. We’re broke-- just like North Korea.” “I have an idea,” Jerry said. “From the days of old. Go sell my toilet. People thought I shit gold.” Then he picked up a guitar and played for the masses. And smiles were found amongst those shaking asses. The solo, it finished with ooohs and with ahhhs. Then he concluded by saying, “Where’s my Häagen-Dazs?”

That's weird I wonder why it isn't showing anymore? It was a photo(probably fake) of Elton trying on a wedding dress. Apparently he got married yesterday. Nothing against Elton or gay marriage - I just thought it was a silly photo.