SGUD missile

WAIT A MINUTE!!! thats MY handle However ..I'll be willing to trade it in for: " ass kissing brown nosing uber selfpromoting brown-nosing uber media twat "..

My Ongoing gratitude for all the nice words, support, and reviews that keep popping up as varios folks discover the CZ CD ( Peter Johnson, B3er, and Bright M et al ) And yes, I'm busily at work on a second CD ..I have seven charts done which we're gonna shake down LIVE @ Tulas in Seattle on Feb 5th ..hope to get into the studio by fall next year, all things being equal ..

Was Bud Shank mentioned? also: Jimmy Ford Randy Lee Dan Higgins Lanny Morgan Med Flory Arnie Lawrence Charlie Mariano

I know people who have spent 25k on a independent cd, radio, print promotion, and have little to nothing to show for it. Maybe that wasn't the right move for them. I would add that with a larger group, $25K for production and mastering ALONE would be considered a very frugal budget ( assuming that all involved were paid a reasonable amount for their efforts ) I did my first ( and only ) CD turnkey for $23.5 ..and considering that Origins help and a lot of compter and emailing time, I managed to get the sucker up to the #50 spot on the JazzWeek airplay list ..plus gained a Grammy nomination much to my surprise .. and yes, I do still have about 500 units in the garage and no, I wasn't silly enough to assume I'd likely break even .. but it's a calling card ..and may gain me some "participation" in the next CD! who knows ??

I'll add another 24 hr station in St. Louis. http://www.siue.edu/WSIE/frames.html A godsend during the commute! The Standards in Jazz timeslot always has in studio spots throughout the week. Most of the late night slots are sindicated though.

I've been contacted by two different promoters. The problem is they are extremely expensive. $2500 for 8 weeks of promoting one record on 100 jazz stations.

Happy Festivus to all .. and may the Christmas goose fly up a bodily orifice of your own choosing!!

Here in the Pacific NW, the big signal is KPLU /FM ( www.kplu.org) And considering the amount of Jimmy Smith they play, I'd add them to your list. Dick Stein and Nick Morrison are the main daytime DJs, and Jim Wilke does a weekend all night jazz show: "Jazz after Hours" that's syndicated nationally on PRI. (http://www.jazzafterhours.org/)

Mike Melvoin Mike Manieri Mezz Mezzrow Bud Brisbois Pete Petersen Steve Sample ( my copyist ) Steve Sonday ( Dallas piano player and full time crazy person ) Dennis Durick ( Dallas drummer ..very good ) Chris Connor

Gene Goe ( lead tpt w/ Basie in 70s ..RIP ) Hey Hey Humphrey Tom Talbert Karl Kiffe Grant Geissman Tony Terran Paul Plimley Butch Ballard King Kolax Buddy Bolden Bobby Breaux Bill Bruford note: Buck and Bubbles .. BZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZT ..wrong!! chitlin circuit song/dance duo, not musicians

Well .. I sure as hell have heard of Jay ..in addition to being a good friend and all over MY Convergence Zone CD he's on many other NW jazz projects as well ..including mant of his own! In fact, his solo on Joe LaBarberas' beautiful tribute to Conte Condoli "Bella Luce" is the real reason my arrangement got a Grammy nod ( that and Joes haunting song ) You can check out a partial clip of it on my website: www.philkellymusic.com Other than his well deserved fame in the pacific NW, he is also a jazz star in Japan , visiting there several times a year. and yes, he is also very proficient on saxes and flute as well ..a real Ira Sullivan for the 21st century ..( although I prefer Jays trumpet approach WAY over Iras ..)

Tell Pete B Phil Kelly sez "hi" when you hear the group ..he's an old friend and he'll shit! and you're right ..Durick is a real m!#$%@%^*@% er drummer! other names are new to me ..been gone too long

Also, Dave Zoller is doing some very interesting stuff with a fairly out sextet lately ..although according tohim, there haven't been many gigs since the Denton Jazz festival ..plus, his drummer is leaving to join the Airmen of Note ..so some regroouping is going on..

Gee ..thanks y'all .. I thot I was inches from a clean getaway on this one

bingo ..that's it according to my musician buddies still there, the owners really screwed over a bunch of guys several years ago ..

Actually, the guy who owned/ran it, Rod Stasick, is a member here. I've asked him to drop by this thread and reminisce. The store was a gas, what can I tell you? If you wanted it, he'd get it. And what he got that you didn't even know you wanted...Plus, it was a great place to just hang out and shoot the bull. All sorts of people dropped in, players, fans, freaks, you name it. Ain't nothing like now, at least not for this type of musical eclecticism. BTW, Rod's a terrifically talented cat in his own right. Do a Google search and see. Hell, here's a link! http://www.google.com/search?hl=en&q=%22rod+stasick%22 Former Dallasite of some 35 years here: Now happily ensconsed in the PNW since '98 with no thought of ever going back! I read the whole thread and it gave me the willys ..Dallas has been growing outward like a big chancre on your dick for years ( a spreading fetid ring of urban tackysprawl surrounding a very dead center) I remember when there were actual jazz clubs were in TOWN ..on Cedar Springs and McKinney, like the Fink Mink, the Recovery Room, the Strictly Tabu on Lemmon ..and down south of downtown the sessions at the Woodsman ..the 651 Club out on Forest Lane ..and Lou Fischers great short lived place on Greenville .. by the time I finally escaped, what was left of the jazz scene had dwindled to that joint that had a venue out on Beltline and one down in Deep Ellum ( can't recall the name,cuz it was just as I left ..but it finally fucked over the musicians to the point of them boycotting it ..) and a couple joints on lower Greenville .. but I DO recall the store out in FB ..I bought several Lutoslowski CDs out there! only place in the area that ever heard of him! Now is filled in all the way out to Frisco? Holy crap ..what a drag .. BTW: I seem to recall Rod Stasik ..I used to work on some industrial film stuff w/ Jerry Hunt ..and I seem to recall his showing up when we were working on something .. small whirled

Hi Jim: Tell Terry I said Hi .. Too bad the 52nd St /Bwy CD didn't make the Grammy cut .. Phil Kelly

Funny you should mention that .. This very AM,I got a call from a local publicist here who used to work for Arif Mardin for 15 or so years ( so she says ) I'll be tickled pink if I just get a couple nice arranging /recording gigs outta all this in the coming year!

Gee Chris: I didnt realize I'd get a runner-up " Miss Congealing-ality " medal! I guess I can hang it around the neck of my iMac .. (now working on CD#2 with renewed vigor ..)

Thanks for the props, guys .. Even though I'm fairly certain that Slide ( possibly McNeely ) will probably win this, it's a trip just being considered in such august company .. I'm just happy to have gotten this far with the first CD of my own.. after some 38 years of writing widget cheeze-whiz music for the suits .. This 'll really keep the fire lit to do the next CD ..( seven charts done so far! ) geez ..an overnight success ..at 67

Another factor involving studio drummers in the 60s ( when I actually was one ) was dealing with a much more open recording environment where bleed became a big factor if you played too loud ..everyone was in the room at once, and in many cases, gobos and baffling-were somewhat rudimentary. Couple that with" listening" to the ensemble ( without any cue ) which was most likely spread out over an area, and factoring in the delay time in the room, most studio guys I knew learned to play VERY lightly to achieve a good drum sound. All that , coupled with the fact that minimal drum miking was used ( usually one or two overheads, a snare/hi hat mike, and a BD mike ), it was part of the drummers gig to achieve his own balances live. as an aside and somewhat off subject: one of my pet peeves these days is that very few mixers on jazz dates have a conception of what a jazz drum kit should actually sound like especially the proper sound of a ride cymbal. :rsmile:

It's fun. And maybe easier to get a gig with them! I bet you could get even more gigs if you were to play with a belly dancer I'll look into that.... I can dig it ..drop about five "ludes and start that thumb poppin .. ..at about MM= 2 BPM

I was certain this was gonna be a Rod Stewart thread.. :rsmile:

Same here Jim ..and my thoughts are with you and your wife during this difficult time. I know how frustrating dealing with the medical "establishment" can become ..it brings back many memories of having to deal with it when my late wife had to deal with Breast C and an Aortic Valve replacement within three months . Dr. J is correct , however ..keep plugging and you'll eventually find the "good" guys in the medical establishment ..just keep bitching and taking copouis notes.. heres hoping for the best for you and your wife ..

Hi Jim: As far as "listening" is concerned, my biggest problem is compensating for the changes in my hearing some 40 years of studio work ( as a player, producer and arranger /composer ) have brought ( along with age and a spot of tinntiniius as well ) I like "bright " mixes ..but being aware of my age, I always tell mixers to "keep me honest" because left to my own devices, I will tend to overdo the top end of mixes ( especially on stuff like cymbals, high end acoustic guitar sounds and percussion ) The way I judge mixes these days ( especially master dubs ) is to bring them home and listen to everything through the same head set ( a med. priced Sennheiser ..dunno the model # ) and a set of JBL 4313 (?) monitors in a different room .. do you have any more suggestions along these lines.. for us "aging" jazz producers ?