marcello

Here, I agree with you Joel. By the way, "I'm Always Drunk in San Francisco" is also on the Great American Music Hall recording I mentioned above. My link to the song You should here that one.

Both Chuck and alocispepraluger102 are correct. The rates that are paid by services like these are so ridiculously low (fractions of pennies), it would take forever for a artist to make a buck from their efforts.

Happy Birthday, Ronald!!

Now. there ya go! That's news.

"Dedicated to You" is really fine and as Larry says, the presence of Horn and her group make for a little looser than usual setting. To me, the greatest Carmen McRae recording is one that has not been issued on cd in the states. Carmen McRae At The Great American Music Hall.

Yes to both. Don't know the others. Here's photo of mine with Birks, Mickey and Ben:

I'd look on Flicker.

Ron, if I was there I'd go with you!

Yes, but what he doesn't understand that a booker's memory is short and paranoia rules! I bet Spike said something like " Well, I can give you a Tuesday, but I can only pay the band $450", and the manager couldn't or wouldn't accept those terms. Then he basically told him what a fool he was (and worse). Then the artist would have the option to play for expenses and hope that he would eventually draw a following and press. I'm not saying that he should, but that's his option. I'm sure that this artist is a worthy musician, but since it seems that he's spent quite a few years in Philly and in academia, he's really starting at the bottom of the name recognition ladder. You would believe how many small venues make deals for a percentage of the door, by the way. No guarantee. Now, there's lots of young artists who will travel around the world and play as many dates, in as many venues that they can stuff in their schedule with those kind of terms and hope to come out ahead when they get home after the splits and cd sales, but I don't expect a artist of this particular age to enjoy roughing it for minimal economic and artistic gains.

Smalls, as the suggests, does not have a large seating capacity. Even though it's in a cellar, it's still in the West Village, and rents are high. It's not the bohemian neighborhood that it once was. There' a freakin' Marc Jacobs store around the corner, for christsakes! I'm sure the landlord could rent out the space for a lot more money than Spike can afford, so he, like all of the clubs in the USA, stick to a combination of what they know will pay the rent and at a reasonable price. The Manager better get used to it.

I've never heard of him.

Naw, that's a novice "manager" who can't believe that he can't even get his client a gig at Smalls, much less anywhere else in NYC. I'm sure he's been turned down everywhere else up the line.

A useless note here: I happened to see Bill Evans at his last gig at Fat Tuesday. Joe La Barbera is a old friend, so I spent the entire evening there talking and listening. I remember Michel Legrand in the audience, front and center. Evens looked very bad and had to be helped, with a person on each arm, getting into the room. He played great, though. I believe there is a private recording of at least one set.

Happy Birthday, Dan!!

Why don't you try a Translator Google or: Free Translator

On a lighter note, here's a photo that I took of Ricky Ford when he was with Mercer Ellington, about 1975: I believe he spits his time between Paris and Istanbul these days.

I gave that recording to Woody3, here is the correct personnel. I recorded it myself.: Elvin Jones - Drums Andrew White - Tenor Ari Brown - Tenor Andy McCloud - Bass Marvin Horne - Guitar Woody Shaw - Trumpet 11/18/80

Maybe all of those recording went to Wolfgang's Vault.

Thanks Ted. That was pretty funny. I wonder how Jon Faddis would do?

I remember seeing a early Rolling Stone back in the day with a article on Joe south and the headline was "Joe South says Country Music is shit", or something like that. I always loved him for that.

OK, Jumbo... (; You pose a more complex question, though: what about the proliferation of youtube videos put up unauthorized by sneaky cell phone recorders. Performer nor especially (often deceased) composer whose work is so cavalierly posted are paid a penny. Theft, pure and simple-and way worse than a bootleg b/c they are viewable world wide w/a click. How about a rule concerning THAT? Moral folk IMO don't steal-or allow posting of the booty. My-strongly felt-opinion. Nobody is selling a YouTube video. The rule is very easy to understand. You can discuss a possible or probable boot recording, but don't post a link so someone can easily buy the recording.

That was a tribute to John Hammond special. Goddard Lieberson hosted. Benson was great on "Seven Come Eleven". Dylan also showed up. The details are in the link above.

Yeah, that's Greg Fields. Bobby Platter and Danny Turner on altos. Cleveland Eaton on bass. It was kinda lame though.

I'm trying to remember what Eddie's wife calls herself now. Something "new aged". Flawless clarinetist. Eddie, that is.

Antonio had something relevant to say? AMAZING!