BFrank

Same number of cuts. I dumped my LP and picked up the CD last year.

This has been a really interesting adventure. Forget the rediculous "manned Mars initiative" by our 'appointed one', this is exciting and it is happening NOW! It's really great to go to their website - Mars Exploration Rover Mission - and look at all the latest news. Not to mention pictures......LOTS of them. If you dig into the site, you can find a page that gives you the opportunity to see every single picture downloaded from Mars. There are literally thousands of them.

Only half of this disc is ultra-cheesy. The other half is pretty decent. Give it a chance sometime. Oh, yeah. I'll get to it, for sure...............it's just kinda nice having something "on ice" for later on.

Hmmmm.........yeah.........I think that would work.

It's kind of amazing how consistenly BAD "Best Songs" tend to be. What's up with THAT??

... or Jimi for that matter!

The only thing I have that's unopened is disk #5 of the Gerald Wilson set (the one with the pop tunes that most people complain about). I'll get around to it eventually......when I'm in the mood.

All those tunes were pretty awful, I thought. Even though I really enjoyed Eugene Levy & Catherine O'Hara (as "Mitch & Mickey") doing their Mighty Wind tune, I don't think it is a great song. Otherwise, not much to say about the show tonight. Pretty boring this time around. Too much LOTR, if you ask me (not that any one did ... )

Sssssssssssshhhhhhh......don't tell anyone!

Yeah, I only liked the early stuff, myself - "Yes Album", "Fragile", etc ...

One of 'em better be that Bartz album!!

I didn't go to see this, but I thought it might be interesting for Jimi fans. +++ Santana channels Hendrix best Joel Selvin, Chronicle Senior Pop Music Critic Saturday, February 28, 2004 ©2004 San Francisco Chronicle Jimi Hendrix left behind some big shoes. An entire platoon of gifted guitarists trooped onstage Thursday at the Warfield theater and waddled around in those oversize boots until surprise guest star Carlos Santana stepped up and paid Hendrix the greatest tribute of all simply by being himself. The brief three-city swing, put together by Experience Hendrix, the production company run by the late guitarist's estate, revolved around a repertory company that featured some astonishing ringers -- 29-year-old Memphis guitarist Eric Gales, like Hendrix, an African American who played left-handed and backward, and Guitar World magazine editor Andy Aledort, who has transcribed Hendrix solos for music books. A couple of Hendrix rhythm section veterans -- drummer Mitch Mitchell of the Jimi Hendrix Experience and bassist Billy Cox of the Band of Gypsies -- played a few numbers with the guest guitarists. Other guest guitarists included Buddy Guy, Joe Satriani, Neal Schon of Journey and Jerry Cantrell of Alice in Chains, who supplied some fine vocals to "Hey Joe" along with his guitar work. Paul Rodgers of Bad Company, trim and groovy in white turtleneck, pendant and what looked like one of Frank Sinatra's old toupees, sang some songs without bringing much to the party. The Byronic rock guitarist, who died at age 27 in 1970, recorded only three albums. But those albums sound as contemporary and fresh today as they did when they were recorded more than 35 years ago. He is the definitive rock guitarist as much today as he was when he burst on the U.S. scene at the Monterey Pop Festival during the Summer of Love. A cottage industry has grown up around his legacy, helped in no small part by the tireless efforts of Experience Hendrix, run by the guitarist's much younger half-sister, Janie Hendrix, who barely knew him. The sleek 32- page merchandise catalog handed out at the show advertises no fewer than 26 CDs (plus a separate four-CD boxed set), miraculously expanding on Hendrix's actual body of work. These concerts had their beginnings in a 2000 tribute concert at the Rock and Roll Hall of Fame in Cleveland, where many of the participants first played together, a loose grouping that reconvened for a 60th birthday celebration in Hendrix's Seattle hometown in 2002. Guitarist Sheldon Reynolds, a veteran of latter-era Earth, Wind and Fire, opened with a dandy impression on "Foxy Lady," followed by another eerie evocation from guitarist Mato Nanji of American Indian blues-rockers Indigenous. Gales waved a lyric sheet in his hand while he sang "Manic Depression," and hack British rock veteran Rodgers tried to coax the capacity crowd into singing along to "Angel," with Hendrix vets Cox and Mitchell playing behind him. After more than an hour and a half of these reverent impersonations, that left it to bluesman Buddy Guy to lay some jive on the cats. Always a guaranteed scene-stealer, the Chicago blues guitar great didn't so much channel Hendrix as he did run his own, well-practiced show business game on the crowd, which ate him up. But it wasn't until Santana took the stage as the evening's unannounced headliner that the presence of greatness was felt. Spitting fire from his instrument, Santana played a couple of extended improvisational crescendos that, through their sheer imagination and passion, invoked the spirit of Hendrix. He didn't sound like Hendrix or play like him (although he did wear Hendrix on his shirt). He played like himself, as only Santana can, and in doing so honored Hendrix all the more. He wrapped up his appearance in an unaccustomed supporting role, giving bluesman Guy some stately accompaniment -- and ripping off a couple of mean solos of his own -- on Guy's signature song, "Damn Right I've Got the Blues, " slipping a Thelonious Monk quote into his gnarly vernacular blues. He didn't even bother to stick around for the obligatory guitar showdown and train wreck that followed, as the entire ensemble filled the stage to close the night with eight guitarists clanging out "Voodoo Chile (Slight Return)."

Congratulations. ENJOY!

How about "Come Together" - Richard Groove Holmes and Ernie Watts? Some smokin' stuff on World Pacific Jazz Records! ... although, I doubt if this has ever been on CD. I have the vinyl.

Sorry, Berigan.

Grover Sales -- jazz historian, publicist, critic Jesse Hamlin, Chronicle Staff Writer Wednesday, February 25, 2004 Grover Sales, a veteran Bay Area critic, author and teacher who wrote about jazz, movies and cultural politics with passion, knowledge and biting wit, has died of kidney failure at Marin Convalescent Hospital in Tiburon. He was 84 when he died on Feb. 14. Mr. Sales, who lived in Belvedere, was a lucid, literate and opinionated man whose gift for language and pleasure in expressing his often contrarian views delighted and sometimes infuriated readers of his essays and reviews. His work appeared in a wide range of publications over the last 50 years, including The Chronicle, San Francisco Magazine, the Los Angeles Times, the Tiburon Ark and Gene Lee's Jazzletter. As publicist for the Monterey Jazz Festival from its inception in 1958 until 1965, and for the hungry i nightclub, Mr. Sales became friends with and did promotional work for many artists who performed at those venues, among them Duke Ellington, Louis Armstrong, Lenny Bruce, Judy Garland and Dick Gregory. He went on to produce and narrate concerts by artists such as Earl Hines, produce award-winning radio programs and serve as the film, theater and music critic for KQED TV's "Newsroom'' and "Critics Circle.'' He was a jazz historian who taught at one time or another at Stanford University, the San Francisco Conservatory of Music, San Francisco State University, the JazzSchool and Elderhostel. Mr. Sales, who looked professorially hip in turtlenecks and tweeds and spoke in syncopated stentorian tones, also wrote authoritative record liner notes. He did several for Berkeley's Fantasy, including essays for the soundtrack albums of "Amadeus'' and "The Unbearable Lightness of Being,'' and for a two-CD reissue of Lenny Bruce's classic 1958-60 live San Francisco performances. "I admired his enthusiasm. He had passionate opinions, and it's hard to find that kind of passion,'' said Fantasy CEO and movie producer Saul Zaentz, a longtime friend who tapped Mr. Sales for many projects. "We had friendly arguments about many things through the years. When Grover said something, he believed it.'' Mr. Sales always did his homework, added Zaentz, "and he fashioned something that didn't read like research. It just flowed. You gave him a job, and you knew it was going to be good. He wasn't out to just get paid; he was going to give you at least a dollar's worth of work for a dollar's worth of pay.'' Mr. Sales wrote three books: "Jazz: America's Classical Music,'' an introductory text in which he called jazz "a bouillabaisse of sound from every culture washed up on these shores''; a biography of Delancey Street founder John Maher; and "The Clay-pot Cookbook,'' written with his wife Georgia, which has sold some 860,000 copies since 1974. At the time of his death, he was writing "Video Sleepers: A Guide to Overlooked Movies.'' Mr. Sales was born in Louisville, Ky., where at 16 he fell under jazz's spell listening to a radio broadcast of Benny Goodman's band with drummer Gene Krupa. "It was a religious experience,'' Mr. Sales told interviewer Bob Tate of JazzWest.com. "I'd never heard anything like it. I went to bed and had a high fever. My mother had to rub my chest with Musterol, and I've never been the same since.'' A few years later, living in Boston, he became "an inveterate Ellington groupie (before there was such a word),'' he recalled in a 1999 Chronicle piece, upon hearing a recording of Ellington's "Black and Tan Fantasy'' -- "an eerie and hypnotic minor blues that went far beyond Goodman. "Immediately I ran to the local record store screaming, 'What have you got by Ellington? Give me all of it,'" he recalled. "I have never lost the fever.'' After serving in the Army Air Corps in the China-Burma-India theater during World War II, Mr. Sales studied for two years at Reed College in Portland before getting a bachelor's degree in history from UC Berkeley. He began writing for various publications, including City Lights, the little magazine that published Pauline Kael's first movie reviews, and hanging out in Fog City joints where the hippest jazz musicians and comics worked. Mr. Sales cropped up often in Herb Caen's column, attached to some withering witticism, anecdote or quote from Lenny Bruce or Grover Cleveland relating to the news of the day. In 1990, when Dianne Feinstein ran unsuccessfully for governor of California, Caen noted that she "has really whiplashed her opponents with her pro-choice (on abortion) and pro-capital punishment stance. 'Now,' muses Grover Sales, 'all she had to do is endorse mixed dancing at state-owned nude beaches.' " Mr. Sales ruffled a few feathers in his time, as when he wrote a long essay for the Jazzletter musing on the gay influence on Broadway music and what he claimed was the paucity of gay jazz musicians. When somebody pointed out that Duke Ellington's alter ego Billy Strayhorn was gay, Mr. Sales sniffed, "Well, he was an arranger.'' Mr. Sales was also an inveterate writer of letters to the editor, dashing off stylish diatribes on everything from Michael Krasny's firing from KGO radio in 1993 - "another in a long and ominous trend toward mediocrity at every level," he wrote, "an example of what C. Wright Mills years ago decried as 'the grim trivialization of American life' '' - to the leaf blower. "The leaf blower is a useless, destructive machine that simply blows leaves from one area to another. It symbolizes our enslavement to machines,'' Mr. Sales told the Belvedere City Council in 1987, three years after he'd stirred up a leaf blower debate by cranking one up one of the infernal machines outside the council chamber window. "He either loved you or hated you, and you always knew which it was,'' said his wife, Georgia. "He loved a lot of people.'' One of them was film reviewer Judy Stone, who said Mr. Sales could be "a very acerbic writer. He didn't pull any punches, and that's what made him a good critic.'' In addition to his wife, Mr. Sales is survived by a daughter, Rachel of Montana; and two step-sons, Grant Altenburg and Jeff Altenburg. A memorial service is pending.

An Andrew Hill just sold for $370 and a Sam Rivers for $167.50!! I've never seen a Rivers go for anywhere NEAR that much before.

GOTTA get it! Gary Bartz NTU Troop -- Harlem Bush Music - Taifa/Harlem Bush Music - Uhuru . . . CD . . . $18.99 Dusty Groove - Gary Bartz

That IS the order in the box set, FWIW.

That "Experience Hendrix" show is coming to SF this week. Here's the lineup they have listed: Buddy Guy, Paul Rodgers, Joe Satriani, Jerry Cantrell, Indigenous, Mitch Mitchell and Billy Cox.

I hear THAT!

Simulated image of the RAT on the arm of the rover as it grinds a rock target. In order to look at the interior of rocks, a field geologist on Earth uses a rock hammer. On the Athena payload, the job of a rock hammer is done by the RAT -- the Rock Abrasion Tool. The RAT is positioned against a rock by the rover's instrument arm, and uses a grinding wheel to remove dust and weathered rock, exposing fresh rock underneath. The RAT exposes an area nearly 5 cm (2 inches) in diameter, and grinds down to a depth of about 5 mm (0.2 inches).