DTMX

I'd hate the last thing I heard before I died to be David Lee Roth yelling "Everybody clear! Boobadee bop!"

Micky Dolenz? Oh man - this changes everything! /doesn't really.

Tonight it's the McCoy Tyner Trio with Ravi Coltrane and Pharoah Sanders in Atlanta.

Not jazz, but the first instrumental that caught my attention...

He toured Europe, loved Europe, stayed in Europe. He's said in interviews that had he stayed in America after leaving Blakey he could have had a bigger career and higher profile, but he dropped off the radar at the height of his success. Schnitter turns up on drummer Jimmy Madison's recording 90 Degrees with 100% Humidity which is nice set of neo-bop, circa 1996.

I've put Dave Liebman in that group where if I saw his name in the credits of a recording, I'd take more of an interest in it and might purchase it. Oh, who am I kidding - I'll buy a CD just because it's round. But I think what pushed me over from I'll-listen-to-him-if-he's-there to I'll-make-an-effort-to-listen-to-him were his performances on Elvin Jones' Live at the Lighthouse recordings, included in the Mosiac box set. Actually, it was two performances in particular: his flutework on My Ship and his soprano sax on Fancy Free. I had a lot of stuff, like Dark Magus, that Liebman played sideman on, and I'd always liked reading any articles, reviews, or linernotes that he had written (especially for the Elvin Mosaic) but nothing really connected with me until I heard those live performances. I don't think he's ever surpassed those performances, but I'll keep an ear out in case he does. I'm still listening to the Mosaic Liebman/Beirach set, nothing's hooked me yet, but nothing's put me off either. I played My Ship and Fancy Free for my sax teacher, who is considerably younger than me (he was about 23 or so) and his reaction was "Meh". Then he told me about an IAJE convention (I think) where his friend talked him into skipping a Lovano performance to see Liebman. He said he should have gone with Lovano instead. For an interesting contrast, check out the Tribute to Coltrane DVD which has Liebman, Wayne Shorter, Richie Beirach, Eddie Gomez and Jack DeJohnnette playing some Trane tunes (Mr. PC, India, Impressions, etc) live in Japan. Shorter and Liebman both stick to soprano for all songs so it's interesting to contrast the styles of these two 'cerebral' players. Speaking of contrasts, tonight I get to contrast the saxophone stylings of Pharoah Sanders and Ravi Coltrane, both sitting in with the McCoy Tyner Trio. Hot damn.

Picked that one up last week, along with Rudresh Mahanthappa's Mother Tongue. Today I bought Black Sabbath's Dehumanizer. I don't know why.

Was that written by the same Jared that does the Subway commercials?

I may not write for the New York Times, but at least I know the difference between your and you're.

I was on that flight and I specifically called ahead to order the Lizard Breyani, and all I got was the Vegetable Breyani.

If they acquitted him, I was going to go out and riot. I need a new television.

Been there, done that.

You weren't dreaming - you were sleepwalking!

I just bought London Calling and the live set From Here To Eternity. After 25 years of only hearing Train in Vain, Rock The Casbah, and Should I Stay or Should I Go on the radio I had forgotten how great their other material was. My vinyl copy of London Calling had so many scratches and skips that I never learned some of the words to the songs because whole sentences were being skipped by the record player. Now waiting for my CD replacements of the Gang of Four's first two LPs and EPs.

You and I must be in the same class! I think that's a subconscious "unfinished business" thing working itself out. I have had that one a couple of times a year, for the past 15 years (since I was 25). The strange thing is, I always end up back in the same high school, except it looks nothing like any high school I have ever attended or visited - I guess it's my personal image of "HIGH SCHOOL". College however, looks like the college I went to - except it's always dark and and there's one classroom filled with homeless people. Which, now that I think of it, is kinda like the college I attended.

When I was researching copyright laws and licensing practices for my own CD (which had an arrangment of the James Bond Theme on it) I read up on copyrights in the visual arts and I couldn't figure it out for shit. A while back, I spilled some paint on my carport floor and never bothered to clean it up. Jackson Pollack's estate may have a case.

The best thing about cranberry sauce is that moment when it breaks free from the can and hits the saucer with a hearty "plop". /Prefer my cranberry sauce in cylindrical form.

The record company owns the sound recordings. If you use a sound recording you have to pay the owner of said recording. It doesn't matter who or what the recording is of. I designed cellular telephones fifteen years ago. My company built and sold tons of them. I got paid to do the design, but I didn't make a penny for the phones that were sold. And although I got to put my name on a couple of patents (like an artist copywriting a song), the company owns the design (a document, like a sound recording) and the company can do whatever they want with it. If they wanted to hand it over to another company to make cheapass green Teenage Mutant Ninja phones, that's their right and there's nothing I can do to stop my creation (which was created on their dollar) from being whored out. The Beastie Boys paid the licensing fee to the record company. When Newton protested the BB offered him some money - something they were not obligated to do - but he called it "insulting". [Edited: Newton would have received royalties as the composer of the music, except that the courts decided "three notes separated by a half-step over a background C note" doesn't constitute a "composition". If that were the case, I'd copyright the 12-tone scale and all of the major and minor chords, then wait for the royalty checks to roll in.] Note to James Newton: if you don't want your recordings whored out, then start your own publishing company, your own record label, and retain the rights to your master tapes. Lennon and McCartney lost the publishing rights to their own material, Michael Jackson scooped them up, and licensed the sound recording of "Revolution" to Nike. Artists work for the record company like a cow works for a farmer - and when the milk dries up, it's time for steak. ---------------------- Edited to add: The last sentence applies to the greedy corporations that only care about moving product, not the smaller independent labels who work with their artists for a mutually-satisfying and artistically-valid outcome. \rant off.

Napoleon's was .... Hitler's too, IIRC. Alexander the Great - wasn't.

This catchphrase won't get stale...

Maybe this will spur an interest in Herbie Hancock's Fat Albert Rotunda.

Happy Birfday

In related news, Hummer dealerships in Germany report record sales.

Rainier Wolfcastle issues a statement...

Lightcap's Lay-Up on FSNT also has the same line up and is equally as tight.