trane_fanatic

Yup, all three boxes for under 100 bux shipped is sweeeeet.

Just ordered the Dolphy & the 2 Evans boxes. I had bought almost all of the Dolphy material on OJC CD last year too. Same thing happened with the Henderson box. Guess it's time to sell those. Hate when that happens. But this is too good a price to pass up. Had to change my shipping address from work to home though. Don't wanna get in trouble.

*Duh* for me... 31 Flavors. Lemme change the title.

http://www.baskinrobbins.com/

Yea, these guys are constantly on tour. Probably the hardest working band in hip-hop too.

Probably the most progressive hip-hop band ever. Who has the new album? Thoughts?

PM sent on following: Lonnie Liston Smith and The Cosmic Echoes Expansions Lonnie Liston Smith and The Cosmic Echoes Cosmic Funk Roy Haynes Trio featuring Danillo Perez and John Pattitucci Sealed Cannonball Adderley Bohemia After Dark Phineas Newborn Here is Phineas Weary Blues with Langston Hughes, Charles Mingus and Leonard Feather Sealed

Good luck, but after a successful first date, is it best to ask her out via email the next time? That's just my way. On the initial first ask after the date, I try not to put people on the spot (and tell them that via e-mail). If they have any further interest at all, they'll write back with some type of response. I see. I assume its worked in the past, so ... hope you get that second date. Thanks Dan!

Good luck, but after a successful first date, is it best to ask her out via email the next time? That's just my way. On the initial first ask after the date, I try not to put people on the spot (and tell them that via e-mail). If they have any further interest at all, they'll write back with some type of response.

I just contacted a lady that I went on a first date with this past weekend about a 2nd date a few minutes ago. I thought the first time went pretty well, so cross your fingers for me, guys. Just a wee bit nervous.

At 90, she just keeps on going. Congrats. ------------------------------------------------------------------------------- 2 articles from the Wall Street Journal... http://online.wsj.com/article/SB120579772720443531.html http://online.wsj.com/article/SB120579919942343669.html

http://www.sfgate.com/cgi-bin/article.cgi?...0/PK8BVNEEN.DTL ------------------------------------------------------------------------------------------------------------------------------------------------- Trumpeter Freddie Hubbard celebrates 70th DAVID RUBIEN Sunday, March 30, 2008 For a guy who's considered to be one of the four or five greatest trumpet players in jazz history, Freddie Hubbard sure has taken some lumps. Back in the '70s, when adopting electric instruments and rock stylings earned jazz artists the scarlet "sellout" S - unlike today, when it's a badge of innovation - it seemed Hubbard took the most flak, even though many of his peers were doing it. It was as if a collective "Freddie, say it ain't so!" went up. It's why Hubbard's producer and arranger, trumpeter David Weiss, calls Hubbard the Barry Bonds of jazz. "He's the one guy who seems to be taking the brunt of the s- for everybody's whatever," Weiss says, "whether it's fusion, irresponsibility, drug use." Hubbard doesn't get too exercised over it, though. "They've got to jump on somebody," he says. Fact is, he's got bigger things to worry about. For example, his own trumpet turned on him. This occurred in 1992, when Hubbard was on a pressure-cooker tour that brought him to New York, Finland and Japan in a single week. At the Blue Note in New York, "I was playing so hard, my lip popped," he says. A blister formed, but instead of taking some time off, Hubbard flew straight to Finland for another gig, and the blister popped onstage. "Blood was everywhere, man," Hubbard says. Then the lip became infected. When it failed to heal, a doctor ordered a biopsy. It came back negative, but Hubbard kept trying to play, which wasn't good for his lip or his reputation. Eventually, he slowed down so much it looked as if he was going to cash in his career, at which point, in the late '90s, Weiss rode to the rescue. "I call him my baby," Hubbard says, chortling heartily. "He brought me back to work. He called me out of the blue and said, 'C'mon, Freddie, you've got to play some more.' " On April 7, Hubbard turns 70, and he's celebrating with a series of shows Thursday through Saturday at the San Francisco Yoshi's. Four of his band members - vibraphonist Bobby Hutcherson, alto saxophonist James Spaulding, drummer Lenny White and pianist George Cables - have been playing with Hubbard since the '60s, and Spaulding grew up with him in Indianapolis. The other players for the birthday shows are tenor saxophonist Craig Handy, bassist Dwayne Burno and Weiss. "It'll be good to be back at Yoshi's. I used to play there all the time, But what with my lip, they've been scared to book me," he says, laughing. Hubbard is speaking by phone from his Sherman Oaks home in Southern California's San Fernando Valley. He's lived in the area since the early '70s, the period of his brightest stardom, when he was putting out big-selling records such as "Sky Dive," "Red Clay" and "First Light," which won a Grammy for the title song. By then he had already made dozens of records as a leader and played on hundreds of others. He wasn't only the hardest-working trumpeter in show business, he was also the best, with a gleaming, quicksilver sound that combined the brass of Louis Armstrong with the bebop power of Clifford Brown and the melodic grace of Miles Davis. "Nobody's played longer, higher, harder or faster than Freddie Hubbard, for more years," Weiss says by phone from New York. "Nobody. Not even close. There's nobody you can compare him to." Hubbard was lucky, of course, to come up in an era where jazz giants not only roamed the Earth, but a lot of them also lived around the corner. That was the '60s, when the Crown Heights section of Brooklyn was something of a mecca for jazz artists. "I lived with (saxophonist) Eric Dolphy for a year and a half," Hubbard says. "(Pianist) McCoy Tyner lived down the block." He ticks off the name of his neighbors: "(Bassist) Paul Chambers, (pianists) Cedar Walton, Bobby Timmons, Kenny Barron, Wynton Kelly." The critical mass of these artists and the camaraderie among them are what distinguishes that era from today's, according to Hubbard. "We would play with each other and study," he says. "I used to go over to somebody's house every day. Sonny Rollins. I would go over to his house and ask him questions, practice with him. Coltrane, too." Not that it was easy for Hubbard to get accepted by this crowd when he first arrived in New York from Indianapolis in 1958. "It took about a month before I had a chance to sit in" at the jam sessions, he says "They wouldn't let me. Finally, I just took my horn and walked up on the bandstand." He made his mark, but paid gigs came slowly at first because, he says, everyone wanted trumpet players to sound like Dizzy Gillespie or Davis. "I was playing like Clifford, and I met Miles, and he said (Hubbard imitates Davis' raspy growl), 'You like Clifford?' And I said, 'Yeah, I think he's the baddest around.' And Miles said, 'Nah, he plays too much. He's too staccato. He plays too many notes.' "Then he said to me, 'Freddie, you play too many notes. Ain't nobody can hear all that s-.' But he got me my first gig with Blue Note records." Hubbard cut about a dozen records for Blue Note, including "Hub Cap" and "Ready for Freddie," and he played on countless classics for the label: Wayne Shorter's "Speak No Evil," Dolphy's "Out to Lunch," Herbie Hancock's "Takin' Off." It wasn't just Blue Note, of course. Hubbard played on John Coltrane's "Ascension," Ornette Coleman's "Free Jazz," Oliver Nelson's "The Blues and the Abstract Truth" and far too many more albums to name. "As a trumpet player, nobody's been able to do what he can do on the instrument," Weiss says. "It's just ridiculous." Musicians who hired Hubbard "could expand how they wrote things because they knew Freddie would be able to play them," Weiss adds. "And that makes great records possible." Now, of course, the spiel on Hubbard is that he's lost his chops. But, Weiss says, "he's still capable of doing things weakened that nobody else can do." For proof, listen to Hubbard's comeback album, "New Colors," released in 2001 on Hip Bop. Backed by Weiss' New Jazz Composers Octet, Hubbard's genius comes through on flugelhorn played on several of his classic tunes. Some of the pyrotechnics are missing from his arsenal, but his sense of melody and rhythm are 100 percent. Hubbard has another CD with the octet in the can and an all-star date with drummer Louis Hayes, pianist Roland Hanna and bassist Ron Carter due for Blue Note. "The trumpet is rough, man, especially the way I play," Hubbard says. "I used to play all over the horn, like a saxophone. It takes a little more stamina. I used to play so long ... 30 choruses. People don't do that s- no more." So, yes, his trumpet struck back at him. Not that he holds it against the instrument. "I was lucky. I got to play with everybody I wanted to play with. And that trumpet took me all over the world, man. I really appreciate it."

http://music.msn.com/music/article.aspx?news=307582 Jazz Singer Nancy Wilson Hospitalized March 31, 2008, 5:49 PM EST JOSHUA TREE, Calif. (AP) -- Nancy Wilson was hospitalized Monday for treatment of a collapsed lung, a spokeswoman said. The 71-year-old Grammy-winning singer was expected to recover but will not be able to make a performance scheduled in Memphis, Tenn., next weekend, said Devra Levy, wife of Wilson's manager, John Levy. Wilson's lung was being reinflated at Hi-Desert Medical Center in Joshua Tree and she was in good spirits, Devra Levy told The Associated Press. Wilson, who lives in the Southern California high desert, began experiencing pain and was taken to the hospital by her husband, Wiley Burton. Devra Levy said she did not know the cause of the collapsed lung. She said Wilson has had some respiratory problems over the years. Wilson has been singing professionally for more than 50 years and is semiretired. Last year, her album "Turned to Blue" won the Grammy for best jazz vocal album. She also won that category at the 2005 Grammys for the album "R.S.V.P. (Rare Songs, Very Personal)." In 1965 she was presented the Grammy for best rhythm & blues recording for "How Glad I Am."

1 of 10 is otherwise also known as 10%, so go figure... Right, what about the added free shipping though? I guess it depends on how many items you are ordering... $15 max... never mind my rambling...

I am too tired to do the math. Which deal is slightly better?, the Buy 9, Get the 10th Free w/ Free Shipping from a while back or this 20% Off Deal? It's late. ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ

http://blog.wired.com/music/2008/03/sonybmg-under-i.html Sony/BMG Under Investigation for Software Piracy By Eliot Van Buskirk March 31, 2008 | 10:38:57 AM Categories: Digital Music News A small software company has accused major label Sony/BMG of software piracy, in a reversal of the normal orientation of piracy cases between major labels and the rest of the world. PointDev, which makes Windows administration software, claims that a raid on Sony/BMG servers revealed that as much as 47 percent of the software used by the company can be considered to have been pirated under French law, according to Zeropaid's Google translation of the initial report: We are not interested in an amicable settlement. It is not just a question of money but more importantly in principle. The rate of software piracy in the company is very high. According to the Business Software Alliance, a association of the major publishers in the market, 47 percent of programs used in the company would be [unlawful] in France... The Business Software Alliance raid that uncovered the programs on Sony/BMG's servers was apparently triggered by Sony IT worker's request for assistance with a program called Ideal Migration. When the PointDev tech support person tried to help, he or she seems to have discovered that the key provided by Sony/BMG was pirated. Sony/BMG apparently asked La Provence not to pick up on the story, which, of course, it did. The case will surely provide no small amount of glee to file sharing activists and RIAA boycotters as it unfolds.

PM sent on the Selects.

Sent PM on: Dizzy Gillespie GILLESPIANA/CARNEGIE HALL CONCERT Duke Ellington ELLINGTON UPTOWN (Legacy)

Your fears are valid. My mom had her optic nerve destroyed and lost her vision in one eye last year due to a cataract surgeon's error. The pain she had to endure and the two subsequent procedures she had to go through along with the various shots in the eye left her suicidal. These types of things are always supposed to be pretty routine, but there is always that risk and, in our case, the worst happened.

Goodbye, '65-'68 set. The era of the Miles Davis Columbia sets on Mosaic vinyl is officially over.

http://www.nytimes.com/2008/03/07/arts/mus...ETERSO_BRF.html --------------------------------------------------------------------------------------------------------------------------------------- Arts, Briefly Oscar Peterson Proposal in Montreal Causes Flap Compiled by LAWRENCE VAN GELDER Published: March 7, 2008 A grass-roots movement to rename a busy Montreal subway station in honor of the jazz pianist Oscar Peterson, below, has run into a snag, The Globe and Mail of Toronto reported. The station, around the corner from where Peterson was born and reared, already memorializes Lionel-Adolphe Groulx (1878-1967), a Canadian priest, historian and powerful influence on the Quebec nationalist movement who was also known for anti-Semitism. “Oscar Peterson is important as a symbol of success over adversity,” said Michael Citrome, a Montreal graduate student in law whose campaign on Facebook on behalf of Peterson, who died in December, has attracted 5,000 members. “Lionel Groulx has a message that immediately divided Quebeckers. He’s the symbol of an era that we need to put behind us.” Mr. Citrome’s supporters point out that renaming the station would honor Peterson and give overdue recognition to Montreal’s black community. None of the city’s 68 Métro stations is named for a member of a minority. City Hall says a committee will study the matter. Jarrett Rudy, director of the Quebec Studies Program at McGill University, proposed a compromise: calling the subway stop Station Oscar Peterson-Lionel Groulx.

And this relates to what? Do you have a comment on the music? Are comments like that really necessary?

I've used this for a while now, has never failed me... http://www.stepvoice.com

Thanks for the nice, thoughtful review. I appreciate it. Looks like I'll pass on this.

Just received this in the mail minutes ago; will report back later. So how was it?