Craig23

On the flip side, some feel that feedback should be left when the transaction is complete to the buyer’s satisfaction. That wouldn’t occur until the item is received and the buyer lets the seller know everthing is okay – either through feedback or an email. As an eBay seller, I usually don’t leave feedback until I hear from the buyer that everything is okay. It’s not a holding them hostage type of thing, its just that I want to make the transaction right if there is some sort of error. Just as the idea that not all sellers are honest, not all buyers are honest. Anyone who has worked retail can attest to the fact that many customers are assholes (and vice versa). If a seller leaves feedback too early (i.e. the transaction is not complete), the buyer can claim some type of fraud. Of the 7 years I’ve sold stuff on eBay I’ve had less than a handful of buyers who have (in all probability) lied about the condition of an item I sold them, so maybe I’m just a little paranoid, but it seems better to be safe than sorry. As a seller, one shouldn’t be soliciting feedback from his/her buyers, as it is totally voluntary. I personally wouldn’t leave feedback for a seller who asks for it. But as a seller, I usually don’t leave feedback until the buyer has done so. Feedback can’t be erased, so I feel its better to wait and make sure everything is okay before leaving it. I see it from a buyer’s standpoint as well (because I’ve bought a lot on ebay over the years). Having sold things, though, I see it from both sides. If a seller keeps in contact throughout the transaction (confirming payment, letting the buyer know the item is on the way, and possibly a follow-up email in a week or so asking if the item was received) then neither party would fear negative feedback. This is an interesting topic because there is a “Seller’s Central” board on eBay in which seller’s are constantly complaining that eBay is biased toward buyers. I guess if both buyers and sellers feel as though eBay is biased toward the other then it’s a good thing. Some policies must favor buyers while other policies favor sellers - I think that is definitely the case.

Just received my first order: 45018j Lou Bennett ______________________ CD 4.99 1 4.99 --- Jazz In Paris -- Pentacostal Feeling 45020j Art Blakey _______________________ CD 5.99 1 5.99 --- Jazz In Paris -- 1958 Paris Olympia 37452j Art Blakey with Barney Wilen _____ CD 5.99 1 5.99 --- Jazz In Paris -- Paris Jam Session 37503j Art Blakey/Georges Arvanitas/JATP CD 5.99 1 5.99 --- Jazz In Paris -- Jazz Et Cinema Vol 2 -- Des Femmes Disparaissent/Les Tricheurs/La Bride Sur Le Cou 37458j Donald Byrd ______________________ CD 5.99 1 5.99 --- Jazz In Paris -- Byrd In Paris 37462j Donald Byrd ______________________ CD 5.99 1 5.99 --- Jazz In Paris -- Parisian Thoroughfare 39003j Oscar Peterson ___________________ CD 5.99 1 5.99 --- Jazz In Paris -- Oscar Peterson/Stephane Grapelli Quartet Vol 2 62761j Max Roach ________________________ CD 5.99 1 5.99 --- Jazz In Paris -- Parisian Sketches So I couldn’t resist and placed a second this morning: 62745j Gerard Badini ____________________ CD 4.99 1 4.99 --- Jazz In Paris -- The Swing Machine 45015j Chet Baker _______________________ CD 5.99 1 5.99 --- Jazz In Paris -- Chet Baker Quartet Plays Standards 371355j Sidney Bechet ____________________ CD 5.99 1 5.99 --- Jazz In Paris -- Sidney Bechet et Claude Luter 37480j Kenny Clarke _____________________ CD 5.99 1 5.99 --- Jazz In Paris -- Kenny Clarke Plays Andre Hodeir 53840j Stan Getz Quartet ________________ CD 5.99 1 5.99 --- Jazz In Paris -- Stan Getz In Paris 45031j Alain Goraguer/Andre Hodeir/Daniel CD 5.99 1 5.99 --- Jazz In Paris -- Jazz Et Cinema Vol 3 -- Les Loups Dans La Bergerie/Les Tripes Au Soleil/The Connection 37502j Barney Wilen/Alain Gouraguer _____ CD 5.99 1 5.99 --- Jazz In Paris -- Jazz Et Cinema Vol 1 -- Un Temoin Dans La Ville/J'irai Cracher Sur Vos Tombes 62757j Various __________________________ CD 4.99 1 4.99 --- Jazz In Paris -- Jazz Et Cinema Vol 4

Jerry Orbach dead at 69. From CNN: Jerry Orbach dead at 69 Actor best known for 'Law & Order' NEW YORK (AP) -- "Law & Order" star Jerry Orbach has died of prostate cancer at 69, a representative of the show said Wednesday. Orbach died Tuesday night in Manhattan after several weeks of treatment, Audrey Davis of the public relations agency Lippin Group said. When his illness was diagnosed, he had begun production on NBC's upcoming spinoff "Law & Order: Trial By Jury," after 12 seasons playing Detective Lennie Briscoe in the original series. His return to the new show had been expected early next year. On Broadway, the Bronx-born Orbach starred in hit musicals including "Carnival," "Promises, Promises" (for which he won a Tony Award), "Chicago" and "42nd Street." Among his film appearances were roles in "Dirty Dancing," "Prince of the City" and "Crimes and Misdemeanors."

From various family and gift certificates: The Invisible Man (Legacy Collection set) Creature From the Black Lagoon (Legacy Collection set) There’s Something About Mary Meet The Parents Elf Anchorman Napoleon Dynamite

Maybe he was a good person to his friends. We are all good to our friends and our friends would say good things about us. While everyone is entitled to say what they believe and feel that what they say is “for the good” of whatever, some ideas and some beliefs hurt or harm other people. He is a person who thought he was doing good but hurt groups of people while he was at it. I guess that can’t be avoided, but just because someone is really, really good at a sport doesn’t make him/her a good person. A biggoted guy who was good to people who felt the same way as him and was a Great Football Player died young.

As an aside: While you are at the Relapse Records link John provided, listen to the Negrophagist song samples just under Mastodon. I'm not big on the vocals but they have the fastest most tight sounding rhythm guitar work I have ever heard.

Listened to the disc with Sonny Rollins and the disc with Sarah Vaughan last night. I loved them both (though I’ve always been drawn more toward instrumental music than that with vocals - with any type of music). I do have the Blue Note/Pacific Jazz set also. I’ve listened to that set extensively. Shortly I’ll be listening to the Merrill disc in the Brownie set. Thanks for the rundown on the discs.

As I've stated before, I'm relatively new to jazz. Clifford Brown was the first trumpet player I listented to and, since I started listening, have loved his playing. About a year and a half ago I bought the Complete EmArcy Recordings of Clifford Brown box set. Its almost embarassing to admit, but I've never listened to any of the set save disc 1. The set is so daunting due to its size and the amount of versions of several of the tracks that I don't know where to start. Who can suggest where to start?

Mine is like that also. You may want to forward a link to this thread to the buyer, to put him/her at ease.

Thank you. I have been looking in the help/index and internet for about an hour and couldn't find anything.

I have Windows XP. I accidentally set the default player to RealPlayer. Whenever I put a disc into the computer RealPlayer automatically pops up and starts playing the disc. I don't have any options when I insert a disc anymore. How do I change the settings so that there is NO default player when I insert a CD into the computer?

I agree that you need to be very prepared. Always have enough work for the kids and always know what objectives you are attempting to teach. The more prepared you are the better. In the beginning, go in knowing exactly what you want to do (it probably won't end up that way, but that is a good thing). You will always have the opportunity to connect with your students once you find your teaching style/voice. By being overly prepared when you start you will cover your ass when you have "extra time" and you will one less thing to stress over each day. My first student teaching experience was horrible. I nearly quit the program. I lost 20 pounds in two and a half weeks and slept 2-4 hours per night. My master teacher and I didn't get along. It was a fourth grade class that he did not want to give up any control over. As a result I felt like a visitor the entire time. I saw a teacher who I did not want to be like. The teacher yelled and was very disrespectful. The more honest and respectful you are to your kids the more honest and respectful they will be to you. Be firm but fair. My second placement was in a third grade class. It was then that I knew this was the job for me. I jumped right in and started teaching full days after about a week in the classroom (aside from the fourth grade placement, this was my only experience in a classroom in the teacher role). My teacher gave me all of the independence I needed and respected my decisions. I learned so much during this placement because the the teacher let me feel like it was my classroom. She answered all my questions, and, better yet, got me to answer my own questions. Don't be afraid to get advice from many sources because it will make your life easier. I was told that there is no such thing as a new lesson plan. With the internet, you don't need to think of your own lessons. Take ideas from other teachers and the internet and use what you can to fit the character of your class. Always, always, always, have lunch in the teacher lunchroom and talk with the other teachers. The more connections and the more friendly you are in the beginning the easier it will be to find a job later. Plus, in the lunchroom, while you are, um, eavesdropping you will learn the most useful little techniques to help run your class that school will not teach you. Visit as many other classrooms as you can and take pictures of good ideas that you see in various classrooms. Obviously, you will have easy days and hard days but stick with it if for nothing but the days off you get throughout the year: Today was my last day of official work for two weeks.

Anyone? Did not work for me either.

No kidding, my list keeps getting bigger and bigger also. Maybe its time we try to get Mosaic to release bad sets so people can catch up.

Great link. Some of those on the list actually sound like they would have been better than some of the specials that have been on this year: A Clay Aiken Christmas.

Here is a recent (yet short) thread on the set. I really like the set for the first disc alone.

I had the same problem last year. Student Teaching. I kept a list for the year I was jobless. Finished student teaching, got a job. Instantly bought half of the recordings on my list. Got laid off. Started another list. Am working as a substitute teacher so I can still chip away at my list. Good luck.

Stupid trivia: The 1990's indie band The Jesus Lizard named themselves after the water walking lizard.

From The Wire: The Wire has now reached its landmark 250th issue (December 2004). To celebrate we bring you one of our very first interviews, with the saxophonist Steve Lacy, whose approach to music clearly inspired The Wire's founders. In fact, The Wire was named so after 'The Wire', a Steve Lacy composition. STEVE LACY ISSUE 1, Summer 1982 Words: Brian Case The man who liberated the soprano sax talks about the spark, the gap - and the leap. Brian Case watches the road "Music has a mind of its own, and at the time you have to just watch the road. Something like that... "The spark... the gap... the leap. Robert Musil talks about that for three big books. (The Man Without Qualities). Zen literature, too. What we're talking about is magic. That's what's interesting in any kind of art - or athletes, or cooks. "When I used to work with Monk, he used to say, 'Let's lift the bandstand'. That's magic, man, when the bandstand levitates. I didn't know how to do it - but I knew what he was talking about. Old dreams but they're still valid." Any artist sharing Steve Lacy's above-stated belief in the near-priestly function of art is in for a thin time in our society. Touring England with Company, Steve has been occasionally depressed by sparse audiences. "In the kind of music we do together, the whole thing is - is it interesting? Is it alive? There's nothing else to say. All the other criteria fall by the wayside. "England is rough because of the quantity of rock'n'roll going on, the proportions. It's hard to cope with all that. I used to love Hendrix, Stevie Wonder, the Beatles, Otis Redding, but the ordinary bulk just makes me sick. I can't stomach it at all. "Last night, I was walking by the university here, and I heard some ordinary rock they had coming out of a party there - just some typical stuff - and loud, you could hear it for three blocks! "Me, personally I got sick to my stomach. I couldn't stand it. It's just like everything I do is against what this is. And that was current normal stuff with loads of people having a good time to it, no problem - except I was walking down the street and I was suffering, and I was the only one who was. "It's hard to deal with a phenomenon like that. You have to consider that you're a specialist, you're a freak - and you have to live with it. "The only thing important in music, as in anything else, is life and death. Any kind of style, any kind of way is valid, if it's alive. Life and interest are two things I equate. Once a thing is sufficiently interesting, it becomes alive. I don't care whether it's Dixieland, Flixieland, Pixieland, or a private or public joke or no joke at all - if it's alive, I'm for it. "In my own case, I don't want to be put to sleep, so I don't want to put others to sleep." You can sometimes judge a man by the company he keeps. In the case of Steve Lacy, it is possible to infer a high seriousness and heft from his title dedications. A man of vast cultural grasp, tributes to writers like Elias Canetti, Kafka and Dostoyevsky and painters like Paul Klee appear alongside the more expected jazz masters in his personal pantheon. What they all have in common goes a long way towards explaining why the pioneer of the modern soprano saxophone, whose original inspiration was the Bechet of 'The Mooche', should have deserted steady gigs with the likes of Pee Wee Russell, George Wettling, Miff Mole, Henry Red Allen, Max Kaminski and Lips Page for the financial void of the undiscovered Cecil Taylor. Canetti's Auto De Fe, a novel of nightmarish intensity which foresaw the rise of Nazi Germany, started our trace. "He was beyond even what he knew himself," said Steve. "The power of observation, the burning inspiration, the prophecy. I've read everything I can get my hands on in English, which is not much. My wife reads German, so she was able to tell me about the journals and other stuff. "To me, writing has to get to a certain level, a certain heat, before it interests me really. The greatest writers and the greatest players are the ones who write or play beyond themselves - above and beyond the rational. For example, Gombrovitch said that after he'd read something he'd written, he became that - but before writing it, he didn't know what that was." And Klee? 'I studied his lecture notes and works like 'The Thinking Eye', and I think I learned as much from him as I did from many musicians. He's all about rhythm and proportion and structure, thicknesses and thinnesses of lines, the effect of one thing on another, visually. "I've translated this into my own musical terms. Klee is trying to seize something and fix it and put it down. His work covers a vast area of human dealings and endeavours, and he's found ways of dealing with all these phenomena in plastic terms. That's what a musician does too, so it's very close." Continual practice and periods of totally free playing armour him for his role as a vehicle for the music. 'It's good to have something in the bank, as it were, before you make that leap. It's good to be steeped in the technical aspects, because otherwise you're going to break your neck. Free playing is a kinda research for me, a kinda pushing. You extend the language and you come up with a few things, but I find it hard. 'The danger is dryness, the drying up, a tendency towards aridity. For me, these are a way of ensuring variety, wetness, a kinda fertility, I can do it in addition to what I normally do, but I can't only do that. The thing is to change up - play on a theme, off a theme. I like a variety of approaches in conjunction with each other. Few musicians have Steve Lacy's iron determination. He worked with Thelonious Monk for four months, and spent the next 12 years working out the possibilities of Monk's compositions. He and Roswell Rudd, an ex-Dixielander trombonist, concentrated exclusively on the Monk repertoire from 1962-65, and Lacy has recently returned to it again. 'It became like a kind of Dixieland, yeah. Part of learning that stuff is to fool with it, and to arbitrarily change certain aspects of it so as to see what will happen. It's a way of orientation, and I do that with my own material too. I try and play it in different tempos and see why it won't work. 'I don't worry about the Monk stuff like I used to. I try and get the theme right, but once that's over. I don't have to take to too seriously. I used to try to get each measure correct, but now it's sort of behind me, and I can relax with it more. I think I do a better job now.' Two major influences in the emancipation of Steve Lacy were Cecil Taylor and Don Cherry. The period with Taylor from 1958-59 was seminal but both men have since developed apart. "That influence isn't apparent now in what I'm doing - if it was, there'd be something wrong - but it is chemically related. Some of the stuff that he was writing back in the 50s that we used to rehearse has disappeared, and he never went back to it. On the contrary, for me, it formed an integral part of what I did, and was the basis of some of my own writing. "Those pieces on a record like 'Into The Hot', they gave me a key. That was kind of a gift to me. I really got into that kind of composition, whereas he got out of it, and went beyond that. Even the titles, 'Bulbs', 'Mixed', they're kinda like my titles, too." Cherry's arrival in New York with Ornette in 1959 bowled him over. "To me, he was the vanguard of the vanguard - the freest edge of the free thing they had going then. We got used to fast friends and sort of brothers, and we spent a lot of time playing together in my house in New York. "He'd say 'Well - let's play', and I'd say 'OK - what do you want to play?' - and he'd say, 'No, let's just play'. This was revolutionary to me at the time because I was into Monk tunes, and thought you had to have a tune, a structure and chord changes, the whole thing. He didn't have any problem that way. He'd just play, and when he played it was really alive. "This started me thinking a lot, and it took me over five years before I reached that point myself, and a lot of hard work and struggle to break the shackles. His way of going into the beyond and just taking off - to not worry about where you were coming from, but just to go - I wanted to be able to do that myself. It had something to do with my own concepts of life and death and music." The late 50s found Lacy playing in the Gil Evans Orchestra, sharing a shortlived quartet with Jimmy Giuffre, inspiring Coltrane to take up the soprano, playing with Rollins on the Williamburg Bridge. "One day, Rollins said, 'I have a good place to play - why don't you come out to practise?' I didn't know where he was going to take me. It was out on the bridge, you know - and that was it. "During that period, we practised two or three times a week. It was very fruitful for me, and he said he learned something from it too, because he needed stimulation from other people at that time. "It was then that I realised that it was hard to get a sound outside, but if you persist at it, you can - and then when you go indoors, it's easy. I still find that valuable. When I first started as a kid, I played in a tiled bathroom and it sounded great - then when I got in a normal dead room, it sounded terrible. This is the opposite.' In 1965 he left America for Europe, and has been settled in Paris since 1970. He prefers the depth of experience in the Old World, though occasionally returns to New York to recharge the batteries. Born to Russian emigrant parents, he feels his nationality strongly. "It's in the blood. Very strong. I feel it in my appetites, in the way I seek out certain kinds of music, certain kinds of books, in the way that I respond. In my music there's a certain lyric thrust. I think the Russians have a power in their language and a rhythmic vitality. Negative aspects: there's a sloppiness, too. I've got to watch it! There's some sticky stuff, too - a treacly quality." Sloppy is the last thing one associates with Lacy. The steadiness of his musical advance and the single-mindedness of his compositional output indicates a methodical mind. Example: why do you use an off-station radio on 'Stations'? Answer. "It had several aspects to it. One was a desire to get into the now, to keep the music absolutely now, and have nothing to do with them. When you turn the radio on, it's really now. Whatever you catch, you have to deal with. Next, the element of inspiration from John Cage. Thirdly, it was dedicated to Monk, and the structure, harmony and rhythm that I superimposed upon the radio is very Monkish. So that's what that was all about." That species of QED makes it difficult to relate to Lacy's leap beyond logic. "It's a progressive appetite for wanting to take the leap, because unless you do, you're not really alive. If you're not secure enough to take the plunge, then you're really in trouble, and you'd better go back and practice until you are secure enough to drop the security. It isn't random at all." But the concept of the leap conjures up associations of a bracing of the muscles, of strain. Don't most musicians report that, during the creative act, their minds are a blank? 'Not exactly a blank - more like a blink. You try and stay out of the way. You try and not lose touch with the music, and let the thing happen. It's not you that does it - it's IT that wants to be done. You get yourself in good shape and be in tune and on your toes, have good chops - and not mess it up. It can only go one way, and it's not you who decides, it's IT.' This article first appeared in Issue 1, Summer 82. © The Wire

Just ordered a bunch from BMG: Miles Davis In Person Friday And Saturday Nights At The Blackhawk, Complete Miles Davis The Complete Jack Johnson Sessions Dave Brubeck For All Time Charlie Parker The Complete Verve Master Takes John Coltrane The Complete 1961 Village Vanguard Recordings Modern Jazz Quartet The Complete Modern Jazz Quartet Prestige & Pablo Recordings

(7/4, thanks for the link to the original thread) I was mainly looking at the price between iPod and Nomad as the main factor between looking at the two of those. iRiver is about the same price for same storage size as the iPod. What do you like about the iRiver?

I remember a thread a little while back, which I actually can't find, that had information about the pros and cons of the iPod. The thread eventually evolved to talking about the Nomad Zen. Nomad now has a fairly new 60 gig model for a pretty good price. Anyway, I'm wondering if anyone has any new thoughts on the Zen player?

Bet the CD that is available at Cadence is the previous Hat reissue! It is definitely/definately the the new reissue. Cadence has been out of the old reissue for a long time.

There are really too many free things for me to list them at The Wire. Here is a sample: Terry Riley - Music for the Gift (part 1) (Terry Riley) Lee Dorsey - Give It Up (Saturday Night Fish Fry: New Orleans Funk and Soul) Herbie Hancock - Palm Grease (Thrust) Tony Conrad - Four Violins (1964) [Edit #1] (Early Minimalism Sampler) Rhys Chatham - Guitar Trio [Edit] (A Rhys Chatham Compendium) Matmos - Verber: Amplified Synapse (Matmos) George Russell - Electronic Sonata For Souls Loved By Nature (Essence Of George Russell) Master Musicians Of Jajouka - Your Eyes Are Like a Cup of Tea (Al Yunic Sharbouni Ate) (Brian Jones Presents the Pipes of Pan at Jajouka (Bonus Disc)) Richard Youngs - Part I (Advent) Son House - My Black Mama (The Voice Of The Delta: The Charley Patton Legacy) They also have every episode of The Wire On The Air which is billed as "Since January 2003, The Wire has been hosting a weekly show of new music on London's arts/community access station, Resonance 104.4 FM. The show is broadcast across central London on 104.4 FM every Thursday, 9:30-11pm GMT (and repeated every Wednesday, 7-8:30am GMT), with simultaneous streaming at resonancefm.com" Anyway, I found a lot of really good music on the above pages that I hadn't been exposed to in the past.

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