marcello

The only person I've asked to autograph something was Art Blakey. I really can't remember what drove me to do it, because I think it's a terribly lame thing to do.

I have this one in my cd player right now!

I always like Ray Nance on this (Vo 1?): Blues for Max.

The Rodriguez Brothers: Part 1 Mood Swing Mike Rodriguez Trumpet-Flugelhorn Rob Rodriguez Piano Carlos Henriquez Bass Clarence Penn Drum

The Vibesworkshop.com website might be a big help to you in both your purchase and lessons.

I agree with Chuck. I'll never download a mp3 again, although I've only done it when the download was a gift. I just got a full electronic package of Jim Rotondi's "1000 Rainbows" from his label. It has the whole magilla including all hi-res song files and art ( as good as it gets in this form, and it's great for promotional purposes), but I'd rather have the cd any day. I'll buy the regular cd soon.

Happy Birthday, Brooks!!

Happy Birthday, Elissa!! I enjoy your posts.

Bertand, I have Bob's email if you send me a PM. Otherwise, you can contact him though his office at Local 802.

I'm glad Bob Cranshaw is around to tell his tales. There's a lot of history in that head and under those fingers.

Like all of us here, I'm very sorry for your loss. All the best to you and your family. Tom

I found this: "From what I've heard, Alfred Lion had fifty copies each pressed of the first two records. He wasn't sure how well they'd sell. They sold quickly enough for him to continue pressing the rest of the sides and do more recording as well. Anyhooooo....those first fifty copies used a pink and black label. Here's one of those records:"

That's FRANK WILSON on DRUMS and jimmy and HERMAN RILEY on sax and TERRY EVANS on guitar I cheated.

Ted, I believe it was a church in Brooklyn...

From the Warne Marsh Information Site : 4 October 2010. A PREVIOUSLY UNISSUED RECORDING BY WARNE MARSH. Warne Marsh Trio. “New York City Live” – Riverworks Records. Reviewed by Jack Goodwin. This 2CD set brings together two old friends. Keith “Red” Mitchell and Warne Marsh first met when both were in the army in 1946, with Red playing piano at that time. They first recorded together in September 1957 in Los Angeles and this was released as “Music for Prancing” on the Mode label. However in 1980 they played and toured together both in New York and Europe. Firstly, they played a concert at Alice Tully Hall, Lincoln Center, NYC sponsored by the Lennie Tristano Foundation, then moved on to Norway where they recorded with Karin Krog, and made a radio broadcast the following day. Next stop was Stockholm where they played and broadcast several times. Concerts at the Fasching Club, Stockholm were recorded and subsequently tracks were released by Storyville Records under the title “The Big Two” - Volumes 1 & 2. Returning to New York, they played a week at Sweet Basil on Seventh Avenue, and tracks recorded at this venue have been released on Fresh Sound Records. This set of two CD’s recorded live in New York, have a total of fifteen tracks and give a playing time of about ninety minutes. They capture both Warne and Red at their peak. Warne is instantly recognisable and plays some gloriously inventive solos. Red’s sonorous and always perfectly pitched sound blends perfectly with Warne and it is as though they are communicating telepathically, they integrate so well. Drummer Pete Scattaretico studied with Lennie Tristano and played regularly with Warne Marsh from 1979. He plays with drive and perfect taste and the Trio members are obviously listening to each other and appreciating the result. This music is pure jazz improvisation of the highest quality and I cannot recommend this CD issue enough. Pete Scattaretico has put in a lot of work in producing these CD’s and is to be congratulated in putting together an excellent package. The sound quality is excellent, and the liner notes and graphics compliment the whole thing. These CD’s will soon be available from the usual sources at around $22.00 but you can enquire about their availability from Pete at http://www.peterscattaretico.com/

Happy Birthday Paul!!

Happy Birthday Connnnnnnnnnnnnnnnnnn!!!

Here they are: Before the dawn of water is clear and quiet, the small movement of the waves rhythmic it is a stillness in itself. The birds are silent, and the beach is as empty as the sky, except for a few small crabs that poke among the rocks, looking for food tinier than they. As the first hint of gray suffuses the horizon and imperceptibly lightens the deep black waters, a light wind ruffles the tips of the wavelets, whitening their crests with tongues of foam. Slowly the sand gains life, the grayness of the starry night becoming faintly yellow, a forerunner to the blazing white of noon. In this empty hour the busy world is shrouded in loneliness. Half-buried cans glint weakly in the diffused light, and as the day grows broader, the whole length of the beach slowly becomes visible, vast and silent, the discarded residue of humanity scarring its desert purity. Metal wastebaskets are dotted over the landscape as far as the eye can see, looking strange and useless, as desolate as gravestones. A single ship, perhaps on her maiden voyage, her mast a black spike against the sky, hovers near the horizon, until the curving waters sink her sail from view. The sand twinkles in the growing day, but all too soon the sea will break on a shore of people. Gone will be the huge, secret silence, as the masses stream from the city behind, scurrying madly like lemmings to the waiting strand. But through the land may submit, the sea is yet implacable, changeless, and though the people, deeming themselves brave, tiptoe out from the edge of the land and splash in the shallows, tasting the salt, they can but shiver on the fringes of her mystery. Her vastness remains dark and secret, a misty world of silence and beauty and fluid grace. From the great sluggish sea turtles gliding in slow motion through the depths, to the swift and playful dolphins, jesters and intelligentsia of her kingdom, everything in the sea moves constantly in flight or pursuit. To us a playground or a symbol of peace, to her creatures the sea is a water jungle, a world of swift life and swifter death, whose silence cloaks a lurking danger. Killer whales, cruel kings of the sea, cruise slowly about, slaying for the love of blood and battle. Sea anemones, beautiful and deadly, wave their tentacles, beckoning small fish to death by poison. Like the land, it is a world where the small and timid must be swift and clever at hiding, where the strong prey on the weak, the weak on those more defenseless than themselves, a world where only the fittest survive. Ancient tales speak of its beauty and danger, of nameless terrors that lurk in the shadows, awaiting the unwary, of fantastic monsters rearing vast and hideous heads from the depths, crunching ships in tow with one snap of their jaws. They speak too of the wondrous cities built by men of old under the sea, that appear only once in a hundred years, only to sink beneath the surface again, leaving no trace. Yet in truth, no cities of man exist beneath the sea, and lost Atlantis is but a woman’s tale. The sea yet holds her secrets, and it will be many a long year ere man plumbs her depths, ravaging her beauty, imprisoning her creatures, usurping her throne with a savage hand. – Nora Kelly

The Herbie Mann/Bill Evans record has it charms, but I recently played the Village Gate recordings and realized that you really just had to be there, I guess. But then again, those were basically dance records for the middle class hipsters of the day. Here's one of my photos: Here's another ( with Will Lee):

Hell, I thought it was a trick question when you said "hands down", hence the "Horacescope" cover. Too many crossword puzzles, I guess!

Mjzee, you forgot to mention Performance Royalties. If the artist has his own publishing company, they receive 100%: The songwriter and publisher split mechanical royalties 50/50 for each recording sold, and the recording artist also gets a mechanical royalty for each recording sold (although that deal is set up differently). In addition to the mechanical royalties, however, our songwriter and publisher are also paid performance royalties, which means they make money based on how often the song is played on the radio, in restaurants or bars, or in other types of broadcasts. These royalties are monitored, collected, and paid out by a performing rights organization like ASCAP, BMI, or SESAC; our artist is paid by the organization with which he registered the song. For subscription digital "performances," the recording artist now gets paid royalties as well.

Real Jazz is programmed and hosted by Mark Ruffin. Also, Real Jazz/Sirius has a relationship with JALC (the Sirius studios are on the same floor as JALC) , so there are broadcast concerts from the venues there, including Dizzy' Club Coca Cola.

Unless you have a business application that requires PC software, I don't know why anyone wouldn't by a Mac, which is so carefree. I've had mine for eight years and not a single problem. With a PC, I probably would have to scrap at least one machine in that time because of problems. No viruses, no constant shutdowns and a fast operating system. Every once in a while I read story about how Mac are really only free of hacking and viruses because hackers don't write attacking programs for them. It's the Mac OS itself, and they way it's structured to work, that keeps it safe. Maybe Chris or someone else can expand on the reasons better than I.