SGUD missile

Chris: How to you like the 20" LCD monitors ? mine has spoiled me completely! Now I can blow up scores enough to be able to take off my glasses while wworking ...

See if you can locate any of the ( probably OOP) Nancy King / Glen ( Oregon ) Moore duet stuff. Xcellent-sio !

I was seriously "shop challenged " as well.. In the eighth grade , I worked a WHOLE F@%^%$^!ING YEAR on a pair of bookends.. ..and they never DID meet at a ninety degree angle!

In addition to all the aforementioned additional scene snippage being dimviewed here, they've also develope a more subtle digital means of compressing the show and speeding it up so an ADDITIONAL :30 spot can be shoehorned in. Of course, everyone is focused on the heavy handed re-editing , so the usually don't notice the speedup. ( posted by one who has usually been a casualty of the the high speed credit crawl throughout most of my working life! )

If in fact the engineer Terry was regularly employed ( a trusted ) by RC, the lawyers explanation makes sense. Engineers regularly take safeties ( or these days ,backup hard drives ) home to both do cleanup work and/or tweaking . It would be interesting to know what other factors are in play here ...

My vote goes to Bavaria ( Munich et al ) ,Switzerland, and Ireland ..in that order. actually ..on second thought, probably in reverse order Bushmills cuts beer ten ways to sunday!

According to my friends who used to participate in the so called "studio scene" ( as did I wwhen I lived there ), it's pretty much gone these days. the drum machines ate all the drummers, the samplers finished off everybody else ,and general overall bad taste in music administered the coup de grace ( or in good ol 'boy Texan terms: "shuvved thet ol' beer bottle uppen the poop chute " ) I look back fondly upon my early days in Dallas in the 60s, when there were LOTs of gigs to be had, several recording studios were going full tilt, and sessions were going on practically every day. PLUS ..there were several places going where you could find jazz happening: The Fink Mink, The Recovery Room , Strictly Tabu, the Arandes, the Villager, the Woodsman , all come to mind ...

same here .. ( I'm surprised that no one has remarked on the irony involved in our posting the AAJ hiatus on this site ) probably be back soon ..

Ditto Here: On another list, I offered to spring for dinner at Tulas in Seattle for the producer, his sound guy and cameraman if he'd come out west, and give the Northwest Prevailing Winds a half hour of network airplay! its the cheapest promo deal I could ever hope to get!

Last Night when we were young Ill Wind I didnt know what time it was Daydream Everything I've got ( Cole Porter ..who incidenatally wrote "I wont dance" as well , I believe ) Change Partners Lazy Afternoon Then I'll be tired of You The meaning of the Blues and from the "younger" masters All in Love is fair Too High Sir Duke

Out here in the green Northwest .. we're bless to have Bud's records downtown in Belltown in Seattle .. one of the BEST jazz stores in the USA ..and ol' Bud Young KNOWS his shit!!

Jim: This is utter bullshit! One cure might be to ONLY play original material ..and if a customer requests a specific ASCAP/BMI song, tell him the new manager will add $15 bucks to their tab for the Royalities .. that way, you can have the patrons kill the M!!#$^%@$%^$T!er!

Okay. You're right. Schonberg's post-Transfigured Night work is very obviously dissonant...atonal...whatever. I was simply trying to make a point regarding the use of the word "atonal". I think that too often it gets used in relation to the 12-tone row when, (again) as I understand it, the 12-tone row was developed as a method of composing progressions, not harmonies (e.g. the organization of multiple tones at any one given moment). You see what I'm saying...? close ..but: The serial procedures were primariy designed to AVOID the remaining restrictions of very advanced ( although triadically based ) chromatic harmonic practices ( eg: Transfigured Night was a latter example of the "before" picture ) They were based on rule and sets designed to bring an equality to the twelve tones by linear and contrapuntal means in the basic sense ..progressions were not a feature of the style ..harmonies resulted from: 1. a concurrence of any number of contrapuntal horizontal lines or 2. clusters of pitches drawn from the basic pitch" sets " ( pitch sets being the 48 tone configuration resulting from the four twelve tone row forms : original , backwards [retrograde], inverted [ a mirror of the original row where the interval between two pitches goes UP equally where it went DOWN in the original row] and retrograde of the inversion .. gee ..wasn't that pedantic of me? serial musically definitely did NOT feel greasy

Looks like an open tuning for an Organissimo. please show me where the U string is placed

"Atonal Chromaticism" is criticspeak bloviating pure -dee word processor masturbating bullshit ... Besides sorta being a non sequitir.....

Nope ..I didnt expect to .. I predicted Slide and I was right ..good for him ..he really deserved it after all the years of great charts. Besides, being in the "loser" column with Corea, McNeely and Calandrelli is excellent company! Also, good for Maria S and CITG ..her best work so far .. BTW: been outta town nfor a couple days ..whuppin' some funky horn stuff on an upcoming Stix ( Crusaders) Hooper CD ..a good time was had by all ..Six was dancin .. more later as things develop!

I'm waiting for the CITG scores!! ( already have EVanescence )

After listening to the sample, I really had to go to the john when it got into the bottom octave ....... I bet you'd have to play this thing seated on a raised porta potty!

I'm of several minds about this Magazine: 1. Some of the interviews are excellent, as are some of the columns. The record reviews are fairly good, but they all seem tied to advertising revenue somehow .. 2. The transcriptions vary in quality and accuracy ( from what I can tell ) and some of them aren't printed in the concert keys ..( maybe this is for playalong purposes, but what if you play a horn with a different transposition ?) 3. The theoretical stuff seems kind of strange and sometimes I'm not sure exactly what they're trying to teach someone. Same for the excercises on changes ..what good does it do to just run up and down arpeggiated chords ( usually all in root position ) ? my $0.02 cents ...

The other thing I forgot to mention: Sstan preferred a sax sound with basically no vibrato ..thereby making the organ resemblance even more so.

very true ..there are FAR more hostile environments than this one!!

All that you say has merit as far as provenance of the alleged quote is concerned: What tends to offset it somewhat are the many ACTUAL on-camera pontifications and observable superior attitude evinced while making these statements .. the actual evidence leads one to believe that POSSIBLY .nay, PROBABLY WM might have said something very similar to what was "quoted" .. BTW: Grabbing a big left turn ..Branford has laid out some cold shit over the years himself ..but the combination of the WAY he does it ..and the fact he continues to back it upu with superior playing and writing IN MANY STYLES and approaches gives me reason to cut him a lotta slack! BM WM

One reason for this goes back to the early 40s Kenton band ..Stan always favored a real"wide open " saxophone section voicing with the parts widely spread out like a string section ( Especially on ballads ) whereas other bands of the time favored the "close voicings" ( basically thirds with a doubled lead in the bari ..or in the case of Glenn Miller, a clarinet on top with the melody doubled by tenor 2 ) i.e: Fmaj 9th ( spelling up from the bottom ) F(or G ) below middle C/A/C/E/G ..basically a mid register close sound, Kenton preferrred same chord Fma 9: F-Bass clef Space C- Bass clef 2nd space A-Bass clef top line E- Treble clef 1st line G -Treble clef 2nd line Later arrangers generally found these kind of voicings somewhat cumbersome and only used them sparingly ..preferring the lighter sounds of fourth voicings, drop 2 voicings, cluster voicings, and the like ..as being more mobile ..

This reminds me...I heard part of Wynton's take on A Love Supreme today on the radio. I didn't think anything could make the original sound better than it already did, but somehow... That's so weird. I am by no means a big Wynton supporter, but I was sitting around with some buddies over the weekend checking out Wynton's take on Acknowledgement, and really diggin' it. The soloists are okay (Nash's solo is awesome), but the arranged sections (save the little bouncing love supreme at the end...that was pretty puke-a-riffic) are pretty damned well bad ass. The rest of the CD rates a solid comme-ci, comme-ca as far as I'm concerned. But, man, here I was thinking Wynton had almost written something close to moving... Giving the devil his due ..I have heard a couple ..read A COUPLE ..of his septet charts that weren't too bad .. But the rest of his ouevre ...( sfx: gagging and retching sounds )

I'll bet you meant to say Barry Ries, didn't you Phil? mea culpa ..typing too fast ..touch of CRS syndrome