Adam

I have a page with a sample of my music and I haven't noticed any spyware yet. Then my software is owrking perfectly! Thank you for letting me know. BTW, I don't find her particularly attractive.

http://www.cheetathechimp.org/

I think the problem is definition of jam ... When ropeadope's touring entourage came through SF last, definitely wasn't many rich white college kids in the audience. Avg age was above 30. Totally mixed crowd: race, ethnicity, gender, dreds, skulls, substance habits, etc. Probably highest % were Deadheads, but still a low %. But like I said, maybe that's just the SF scene. How is jam about money? You dress like a slob, have shit for wheels, smoke dope ... White college kids and whites who have graduated from college, plus dopeheads. That sounds about right.

There's also a short passage from Isoardi's book: http://www.laweekly.com/art+books/books/bo...termined/13055/ Bound and Determined An excerpt from The Dark Tree: Jazz and the Community Arts in Los Angeles By Steven L. Isoardi Wednesday, April 5, 2006 - 2:00 pm Steven L. Isoardi’s The Dark Tree: Jazz and the Community Arts in Los Angeles belongs on a shelf with the few jazz histories that do it all: John F. Szwed on Sun Ra, David Hajdu on Billy Strayhorn, Gene Santoro on Charles Mingus. Thorough, contextually insightful and crisply written, it leaves a reader knowing more not just about art life in this city, but about American life in general. The appendix by Arkestra bassist Roberto Miranda throws a warm light on Horace Tapscott’s music-making process, and the accompanying CD makes the result wonderfully tangible. All this could have disappeared. But a few people really cared. An excerpt, about African-American artists’ place in the cultural spectrum, follows. –Greg Burk Even those artists who pursued a more commercial path remained bound to their communities. Throughout the first half of the 20th century, segregation forced all African-American musicians of whatever genre preference and of whatever class into being community artists. Those few who attained national renown and toured a good part of every year spent most of their time within African-American communities around the country, leaving only to play commercial gigs. In urban areas, it was important for black musicians to gain a union card, but they were confronted by a segregated American Federation of Musicians, which maintained separate black locals in most cities. Consequently, even the most commercially successful artists remained very much a part of the larger African-American community, physically, emotionally and artistically. Whether sharing day labor in the fields, rambling from town to town, juke joint to juke joint, or traveling in buses from theater to theater, musicians carried and drew from a common reservoir of social experience and cultural attitudes. As visible members of their communities, no matter what degree of renown achieved, they provided not only inspiration and their art to the community, but also everyday accessibility to the succeeding generations, those young people gathered outside the hotels, theaters, union halls, diners and boarding houses. By the early 1960s, Horace Tapscott and other artists had concluded that an alternative value system and aesthetic that drew from the communal aspects of their history and addressed contemporary needs was necessary.

Somewhat tangential, but Session is one bad MF. His sextet (featuring, among others, Phil Ranelin) has been doing annual free concerts at LACMA. I was there last summer; it remains one of my (all time) favorite concerts--three blistering sets of powerful, heartfelt improv. These cats deserve all the support they can get. Thanks for the article, BTW--what issue of the LA Weekly is it from? I believe that it's in the current issue... Yeah, under books: http://www.laweekly.com/art+books/books/the-arkivists/13054/

Where did you get the actual list of recordings? It's not up at that link yet.

And this was a couple of weeks ago: http://www.latimes.com/news/local/la-me-fe...-home-headlines Ferrari Owner Is Minus His Second Car Stefan Eriksson's priceless Enzo was totaled in a crash last month. On Sunday, his very pricey Mercedes was impounded. By David Pierson and Richard Winton, Times Staff Writers March 28, 2006 Stefan Eriksson's famous exotic car collection keeps shrinking. First, the former European videogame executive's rare Enzo Ferrari was destroyed in a mysterious crash Feb. 21 on Pacific Coast Highway in Malibu. Then, on Sunday, he lost his 2005 Mercedes-Benz SLR McLaren, valued at more than $400,000. Beverly Hills police confiscated the vehicle after Scotland Yard said the car might have been stolen. The officers stopped Eriksson's wife, Nicole Persson, 33, about 2:30 p.m. on the corner of Beverly Drive and Wilshire Boulevard because an officer found the car's European license plate suspicious. The officer then discovered that Persson lacked a driver's license and that the car was not registered in the United States. "We contacted Scotland Yard and subsequently learned that the car was perhaps stolen" out of the United Kingdom, Lt. Mitch McCann said. The entire incident was caught on tape by a 13-year-old exotic car buff who has filmed Eriksson's vehicles in the past. Beverly Hills authorities said they didn't have details of the British police case. But Los Angeles County Sheriff's Sgt. Phil Brooks said that an unidentified financial institution says it owns the Mercedes and that a financial institution in Scotland says it was the owner of the Enzo. This leaves Eriksson with only one of the three exotic cars he imported to the United States late last year, Brooks said. "He brought in through San Diego two Ferraris and the Mercedes and said they were show cars and that he was not going to drive them on the streets," Brooks said. Last month's crash prompted both an accident investigation and a probe by the Sheriff's Department's Homeland Security Division. Although no one was injured in the crash, the investigation has generated significant attention because of the strange circumstances and the fact that it destroyed one of only 400 Enzo Ferraris ever built. Eriksson, who lives in a gated Bel-Air estate, told deputies who arrived at the scene that he was not the driver and that another man, named Dietrich, had been behind the wheel. Eriksson said Dietrich fled the scene. But detectives said they were skeptical of his version of events. Investigators have taken a swab of Eriksson's saliva to match his DNA against blood found on the Ferrari's driver's-side air bag. Eriksson also told deputies that he was a deputy commissioner of the police department of a tiny transit agency in the San Gabriel Valley. A few minutes after the crash, two men arrived at the crash scene, identified themselves as homeland security officers and spoke to Eriksson at length before leaving. According to Car & Driver magazine, the Mercedes SLR McLaren is capable to going 200 mph and can go from 0 to 60 mph in 3.8 seconds. The car didn't just capture the eye of Beverly Hills police. Spyder Dobrofsky, a 13-year-old car enthusiast, happened to be at the scene of Sunday's traffic stop and switched on his camera. The teenager has photographed cars in Eriksson's collection before and knew immediately that the McLaren was his. "The car really stands out because of the British plate," Spyder said. Spyder said Eriksson's wife was with a young child when she was pulled over. On the tape, Spyder asks the tow truck operator called to remove the Mercedes where he's taking it. The man jokes: "To my house."

News on this: http://www.latimes.com/news/local/la-me-fe...-home-headlines Ferrari Case Continues to Widen Man whose car crashed in Malibu could be deported. A firearm and possibly cocaine were found in his home. By Richard Winton and David Pierson, Times Staff Writers April 11, 2006 The investigation into a former Swedish video game executive whose rare Ferrari crashed in Malibu widened Monday as the U.S. Immigration and Customs Enforcement agency confirmed it is investigating Stefan Eriksson. Eriksson, 44, is expected to appear in court today or Wednesday after Los Angeles County sheriff's deputies arrested him over the weekend. They allege that his $3.5-million car collection — the red Ferrari Enzo, a black Enzo and a custom Mercedes — belonged to British financial institutions, not to him. Sheriff's officials told The Times on Monday that in addition to the cars, detectives who searched his Bel-Air home seized several computers, a firearm and a substance believed to be cocaine. Sheriff's Department spokesman Steve Whitmore said the substance is now being tested. Virginia Kice, a spokeswoman for the Immigration and Customs Enforcement agency, declined to provide details about the inquiry. But one question that has emerged since the crash is how Eriksson was able to get the rare cars into the United States — especially if British financial institutions claimed ownership of them. Kice said that the customs agency has placed an immigration hold on Eriksson so if he is released from the county's Men's Central Jail it will be able to take him into custody. "He is potentially subject to deportation," she said. The federal probe is just one of several into Eriksson and the crash. The Sheriff's Department is investigating the Malibu accident as well as a San Gabriel Valley transit company where Eriksson served as a member of the "anti-terrorism" unit. Scotland Yard has told local authorities it is investigating the ownership of at least one of the cars in his collection. Although no one was seriously injured in the February crash, the investigation has generated significant attention because of the strange circumstances surrounding it and the fact that it destroyed one of the only 400 Enzos ever built. Authorities believe the car was going 162 mph when it smashed into a power pole. Eriksson told deputies who arrived at the scene that he was not the driver and that a man named Dietrich had been behind the wheel. Eriksson said Dietrich fled the scene. Investigators took a swab of Eriksson's saliva in order to compare his DNA to blood found on the Ferrari's driver-side air bag. The results are back, but detectives won't release the findings. A blood-alcohol test on Eriksson at the time showed him to be above the legal limit for driving in California, so he could face several other charges if he is found to be the driver. Eriksson also told deputies at the scene that he was deputy commissioner of the police department of the San Gabriel Valley Transit Authority, a tiny private agency that provides rides to the disabled and elderly. A few minutes after the crash, two men arrived at the scene, identified themselves as Homeland Security officers and spoke to Eriksson at length before leaving. Detectives are investigating any connection Eriksson may have had to the agency. Eriksson's attorney could not be reached for comment. Detectives over the weekend spent more than six hours searching his home in the posh Bel-Air Crest gated community. Several neighbors reached Monday said they didn't notice the search and didn't know Eriksson. Before arriving in Los Angeles, Eriksson was an executive with Gizmondo, a European video game company that filed for bankruptcy earlier this year with more than $200 million in debt. According to Swedish authorities, he served prison time in the early 1990s after being convicted of financial crimes.

Ah, Jaleel Shaw makes sense. He was using a soft "j" sound not a hard "g" or a 'h" (like "Julio"). But more importantly, I'm concerned about Horace Silver and his health.

Wasn't sure where to post this article in today's LA Times. Here or Jazz in Print, and decided here. Notice the growth of vinyl. http://www.latimes.com/business/la-ft-viny...dlines-business Factory Making Record Profits From Modern-Day Nostalgia A company in eastern Germany spins out 4.5 million vinyl LPs and singles a year. By Hugh Williamson, Financial Times April 10, 2006 BERLIN — Looking for an old-style vinyl version of the latest album by your favorite band or orchestra? Then Jorg Hahn could be your man. In a remote factory in northeastern Germany, the mild-mannered businessman is keeping alive a relic of the music industry that most people assume died years ago — and many children have never even heard of. Perhaps equally surprising, he is doing so not for love of crackly sounding music but for money. Profits can be made in a segment of the recording industry written off by the big players. Music production company Optimal is a classic case of how an unlikely niche business can be exploited in an equally unlikely place — in this case Robel, a small town in the former East Germany and a 90-minute drive north of Berlin. "We moved into the niche when big companies like Sony and Universal moved out of it," says Hahn, the 42-year-old managing director. "That was 10 years ago and we have been going strong ever since." Optimal's record workshop produces 4.5 million long-playing albums (LPs) and singles a year. Hahn lists small independent music labels, exclusive classical music publishers and the music industry giants as Optimal's main vinyl clients. "The big labels often use the LPs as promotional tools but find it uneconomical to produce them in-house," he said. "Then there are the real freaks, who just love the sound and even the feel of vinyl records, with their traditional sleeves and other features." Optimal, a wholly-owned subsidiary of Hamburg-based Edel Music, makes great efforts to please such customers. Colored records, rather than the usual black vinyl, are one specialty: a pink Madonna LP was in production during a recent visit. "Picture discs," with an image of the band pressed into the vinyl, are another. Optimal is Germany's largest vinyl record producer and one of the biggest in Europe. Yet the true nature of its niche only becomes clear after a tour of all the production facilities it has developed since shortly after reunification in 1990. As well as vinyl, Optimal makes 150 million compact discs and DVDs every year, and — in another innovation rare in the music industry — the company has diversified down the production chain. Printing presses churn out colorful covers for CDs and LPs, while in the next building thousands of packages whiz around mid-air conveyor belts before being dispatched to music industry clients and private customers. "We have seen an increase in demand from music companies for logistics services, so we are responding," says Hahn, a technician by training and one of Optimal's founders. Compared with the modern electronic CD production machines, humming quietly as they produce one disc every three seconds, a visit to the vinyl workshop is like a trip back in time. Here, heavy green record-pressing machines, reminiscent of oily engineering factories of the 1970s, huff and puff, struggling, it appears, to spit out discs even at the leisurely pace of one every 25 seconds. Indeed, as a plaque above one of the machines makes clear, the equipment conjures memories of a lost industrial era precisely because it comes from that time. "On loan from the German technical museum," it reads, referring to the machine used for picture discs. The other machines also date from before the 1970s and have to be imported from Sweden, Russia and elsewhere. "No one makes these machines anymore, so we have to buy up what is on offer and use spare parts as best we can," Hahn says. The mayor of Robel, Heinz-Fritz Mueller, is certainly pleased that Hahn and his team are so industrious. Optimal has 500 employees, making it by far the largest employer in a town of 5,400. Unemployment in the area is 22%. "This is traditionally an agricultural region. We are branching into tourism but tempting companies to come here is not easy," he said. Optimal is a rare success story in the region where generous investment subsidies since 1990 often failed to generate long-term investors. Optimal has invested about 95 million euros ($1.1 billion) since 1991, with approximately 20% covered by public subsidies. Hahn notes that profit margins on records are higher than on CDs, "where the competition is much more fierce." As a result, vinyl had a "small but significant" part in the company's 10.2 million euro profit in 2004 on sales of 58.5 million euros. He is cautiously optimistic about the future. Sales of vinyl LPs in Germany (not including singles or promotional giveaways) have doubled to 1 million a year since the mid-1990s, and sales of record players are also rising, growing last year by 18% to around 100,000. As Hahn concludes: "Long live the vinyl freaks, we need their business."

I saw the Roy Haynes Quartet tonight at Catalina's in LA. Seated in the front row, right in front of the drums, was Horace Silver and his son. Horace was in a wheel chair. Many people were talking with him (including Haynes before the set), and I greeted him as well. He was friendly and could talk, but at the same time certainly seemed like he's been ill. I didn't ask him any details. Haynes recognized Silver after the set, and the crowd gave him a big hand. haynes told a story about how they were playing together with Stan Getz in 1951 or 52, and the two of them were driving together to a gig in Pittsburgh. They were testing each other on tunes. Haynes said that he was a few years older than Silver, and even though he thinks Silver could beat him now, he thinks that he (meaning Haynes) knew more tunes back then. [Tangent: Haynes closed the set with a duet with his sax player, Julio ??? Does anyone know his correc name? haynes never said it. Anyway, they played "My Little Suede Shoes," whcih Haynes said that he recorded with Charlie Parker back in teh 50s. He also said that Parker didn't really write it, but just took credit for it. But he didn't say who did write it. By the way, I think Haynes will outlive us all.]

Over whether John or Paul are punk?

Quite possibly the best website in existence ('cepting this one, of course)! Dime a dozen dot org. Get yourself a registration spot, grab an external hard drive (it'll fill quickly), and have fun! Cheers, Shane Thanks! But I haven't been able to get one of the 93,000 spots yet.

It's that danged new math.

Mnay moons ago I suggested to TomatBlueNote that he could essentially redo "The Connection" for BN, with Redd, McLean taking songs from that, and other songs. He wrote back "interesting idea" and that he woudl mention it to Michael, but nothing ever came of it. Freddie Redd is definitely around and playing, but never is well off.

LA Times calls him 73. http://www.latimes.com/news/local/la-me-mc...1,3697606.story Jackie McLean, 73; Saxophone Great Played With Jazz Legends By Jon Thurber, Times Staff Writer April 2, 2006 Jackie McLean's introduction as a player to Birdland in New York City would become a legendary story in jazz. A protege of both pianist Bud Powell and saxophonist Charlie Parker, McLean was building a solid reputation in small bands in Harlem as an emerging force on saxophone. He was not yet 21, however, and was plenty nervous when he showed up at Birdland one night, not to listen to the great musicians that came through town — as he often had over the years — but to play. He walked into the club, found the band's leader, trumpeter Miles Davis, and introduced himself. And then McLean discovered that the rest of the group that night consisted of Art Blakey on drums, Percy Heath on bass, Horace Silver on piano and Gene Ammons on tenor saxophone. All of them would become legends of jazz. "Miles pushed me out to play the first solo," McLean recalled in an interview with the Hartford Courant some years ago. About eight bars into the solo, McLean had an overwhelming feeling, and it wasn't good. He put down his horn and dashed backstage, where he found a convenient garbage can, leaned his face into it and let go. As he pulled his head out, the owner of the club, who was looking on in amazement, threw McLean a towel and said, "Get the hell back out there!" "So I wiped my mouth," McLean said, and headed back on stage. The rest of the players "were all just standing there," he said. "It was like time stopped, like a dream sequence. Nobody was playing, just the rhythm section. I went back out and finished playing my solo." McLean said the audience gave him a wild ovation. "It was like they thought, 'Hey, here's a guy who throws up and plays.' " From that mixed beginning in 1951, McLean, who died Friday at his home in Hartford, Conn., at 73, built a career as one of the great saxophonists, composers and educators in jazz. He had been in failing health for some time, family members said, but they did not announce the cause of death. The same year that he played with Davis at Birdland, he joined the great trumpeter in the recording studio for an album called "Dig." The title came from an original composition by McLean, who was on his way to building a national reputation. Over the next two decades, McLean produced an extensive body of recordings for the Prestige, New Jazz and Blue Note labels. The Blue Note recordings, including the albums "Jackie's Bag," "A Fickle Sonance" and "Let Freedom Ring," helped define the pioneering sound of the label in the early 1960s. He also worked with most of the A-list figures in jazz during that period, including bassist Charles Mingus and Art Blakey's Jazz Messengers. McLean's sound was distinctively his own: slightly sharp with a great intensity. He was one of the few bebop-oriented players from the early '50s to explore the improvisational free jazz movement of the early '60s. A New York Times critic once said McLean "expanded the language of bebop with his own musical vocabulary. He produced a searing tone and was one of jazz's most expansive innovators." McLean told writer Zan Stewart that the most distinctive quality of his playing was his tone. "It's like an alto, but it's really a tenor coming from the inside of me," he said. "If I hadn't heard Bird [Charlie Parker], I would have switched to tenor, because I was in love with Dexter [Gordon], Ben Webster, Lester Young and the others." By the late 1960s, straight-ahead jazz was in a downward cycle and so was McLean, who for several years had been dealing with a heroin addiction that he once told Chicago Tribune critic Howard Reich "happened before I knew it." McLean kicked the drugs and devoted his energies to other pursuits. He visited prisons to counsel drug users and moved to Hartford, where in the late 1960s he developed what is now the Jackie McLean Institute of Jazz at the University of Hartford's Hartt College of Music. It was one of the first strong jazz programs in the country. Throughout the rest of his life, his main focus would be on jazz education. In the 1980s and '90s, McLean returned to a more active performing schedule that included playing with his son Rene, also a saxophonist. In addition to his wife and son, McLean is survived by daughter Melonae; another son, Vernone; five grandchildren; and several great-grandchildren. Born in New York City, McLean grew up in Harlem, where his childhood friends included such future jazz stars as saxophonist Sonny Rollins, pianist Kenny Drew and drummer Art Taylor. McLean recounted much of his life in music as one of the interview subjects in Ken Burns' 10-part PBS documentary series "Jazz," which aired in 2001. That year the musician was also recognized as an American Jazz Master by the National Endowment for the Arts.

R.I.P. Sigh. Seeing Jackie with the Dynasty band at Catalina's at some point in the mid-90s was one of my most memorable shows, an event that truly turned me on to jazz. Oh, I don't know what to say.

What is Dime?

That sounds pretty darn great. there was, alas, no arm-in-arm duo singing in Los Angeles!

You should see the supersized version.

Which might lead one to extrapolate that Lion was trying to find a BN equal to Olatunji, since Drums of Passion was so popular. But Drums of Passion was 1959, five years before the Ilori sessions, a rather long gap that works against that theory.

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