A DEEP OLIVE BRANCH TO CHRISTIERN

[Guest DEEP (GET ME OUT OF MY SKULL)]

But, if the man walking toward you and your family MIGHT be a threat, and was not brandishing a huge knife, but merely said he had one, would the Glock .40 be the pre-emptive solution? 

Ya see, Patty, I spent and still spend a lot of time in NYC. I always have a knife with me. In the situation I posed, I would shoot and not ask ANY questions. Before calling the police I would place the knife in the intruder's hand.

I learned long ago that if you are threatened in your own home and you have to shoot an intruder make sure that you pull his body back in your dwelling before calling the police. Also place a weapon in the victim's hand and break glass from the outside inward to show an intrusion occurred.

I keep guns within reach at all times, including when travelling, walking on deserted paths, and especially when sleeping.

Edited January 5, 2004 by DEEP (GET ME OUT OF MY SKULL)

[clinthopson]

I keep guns within reach at all times, including when travelling, walking on deserted paths, and especially when sleeping.

Remind me not to wake you up, you scary guy.

Edited January 5, 2004 by clinthopson

[Guest DEEP (GET ME OUT OF MY SKULL)]

Remind me not to wake you up, you scary guy.

CLIT,

You're right about that. The only time I vary from it is when my kids and their families are visiting. During the "wet" season it's particularly delicate.

When the kid's are home I have to put the guns out of reach. I know where they are but they won't fall into the wrong hands.

Yeah, bringing DEEP out of a DEEP sleep during the "WET SEASON" could get pretty DEEP...DIG??

DEEP

[clinthopson]

Just because you're paranoid, doesn't mean they aren't out to get you.

[Guest DEEP (GET ME OUT OF MY SKULL)]

OK YOU DILDIES AND DILDSIES, I gotta fess up and tell you that I only got as far as the 10th grade in school and dropped out during my sophomore year to go on the road. Consequently I'm less than a completely educated man. I've been working on these notes for a little while now and could use a proof reader. If any of you are so inclined, feel free to correct my grammar, punctuation, and sentence structure.

Here's what I've come up with so far re the upcoming release:

THE PLAYERS:

As you can see by the title, "Danny D'Imperio's Big Band Bloviation - Volume 2", this is the second in what we intend to be a series of recordings (along with “special guests”) of music in which we strongly believe. For extensive biographical data on the holdovers from our 1st BBB release I refer you to my notes on Volume 1 (Rompin' Records RRCD 046).

There are, however, a few new faces with whom you should become acquainted.

Dennis "Hobart" Dotson (trumpet) and I were together on Woody Herman's band in 1976. When I arrived on the band he was affectionately called "The Toad". The origin of this endearing appellation was a result of his getting on the bus in the morning and immediately curling up in his seat, not moving a muscle until the driver announced "food stop"!! Hobart has always been a master of NO WASTED MOTION. Back in '76 self-winding watches were in style. Hobart was the proud possessor of one of these modern marvels. The problem was, HE COULDN'T KEEP IT WOUND UP!! Every third night he would give it to the bass trombone player to wear on his right wrist during the gig. At the conclusion of the performance Hobart was then confident of having the correct time for another 72 hours. His heart might not pump out a rapid pulse very often but it sure pumps out some soul. For confirmation on that check out his feature, Come Rain or Come Shine. Hobart currently resides in Houston, Texas and we were thrilled with his enthusiasm and willingness to fly in for this session.

Jason Jackson (trombone) is a regular member of the Vanguard Jazz Orchestra. Playing together on a Monday night at the Village Vanguard was how we first met. I was very impressed with his playing and commitment to excellence. It is my sincere hope that he appears with us on future recording projects.

Chris Byars (tenor) was relegated to section playing only on this session but believe me, he's a fine soloist, composer, and arranger in his own right. He has a nice octet that works in the New York City area on a regular basis. My first exposure to Chris occurred when we worked together in Tom Artin's Tom Cats, an area big band that hosts many of New York's finest players.

Chris showed up at this date attired in a black suit and tie. Now that's a throw back to the fifties.

His attitude and spirit during the session were as professional as was his appearance.

Ralph "Blotolini" Lalama (tenor), who was also relegated to the role of a section player, is no newcomer to those familiar with my previous recordings. He's participated in all of my small group CD sessions. "Blotolini" and I were together on Woody Herman's Band back in 1977. We also shared the bandstand when we played with the Buddy Rich Band and the Vanguard Jazz Orchestra (of which he's been a member for over 20 years).

SACHA PERRY (piano) is quite possibly "THE NEW YORK UNDERGROUND KING OF BEBOP PIANO". I had never laid eyes on Sacha before this session but the high accolades he received from other members of the band made his first appearance with us a must. Because of the extended solo space afforded to Barry Harris ("THE NEW YORK OVERGROUND KING OF BEBOP PIANO") Sacha only gets brief statements but, as anticipated, they are gems.

I'm not familiar with his past recorded output but I do know that he performs with The Chris Byars Octet and has recorded with that group. If my ears tell me anything at all they tell me you'll be hearing more from this youngster.

LEW TABACKIN (Guest Tenor Soloist) needs no introduction to big band aficionados.

He's been involved with a big band experiment with his wife, Toshiko Akiyoshi, for over 30 years.

I don't know how often he steps out of character from her band but we were very excited to have him perform with us. He's featured extensively on Sweet Georgia Upside Down and Bill's Blues.

I'll let you experience for yourself the exhilaration he generates with his two showcases.

ADVANCE *CLASP* FOR ANYONE WHO WANTS TO HELP ME OUT.

DEEP

Edited January 5, 2004 by DEEP (GET ME OUT OF MY SKULL)

[SGUD missile]

Wow ..so Dotson came up from TX to do the date? didn't know that ..

and the late Bill Stapleton was a good friend of mine as well .. when he was at NTSU in the 60s, we played a lot of gigs and I peent some time with him trying to get him to use his talent to make some coin, but he wanted to go out with Woody and the rest unfortunately is history ..what a criminal waste of talent when he went ..

It's funny, but I'm using Bills chart of" Come Rain" to pad out my book for the release parties as well

small world department continues ..

Cant wait to hear what your " NY junkies and Lew T did to SGUD ..

[Guest DEEP (GET ME OUT OF MY SKULL)]

Wow ..so Dotson came up from TX to do the date? didn't know that ..

and  the late Bill Stapleton was a good friend of mine as well .. when he was at NTSU in the 60s, we played a lot of gigs and I peent some time with him trying to get him to use his talent to make some coin, but he wanted to go out with Woody and the rest unfortunately is history ..what a criminal waste of talent when he went ..

It's funny, but I'm using Bills chart of" Come Rain" to pad out my book for the release parties as well

small world department continues ..  

Cant wait to hear what your " NY junkies and Lew T did to SGUD ..

(Muff) Missile,

What took Stapleton out? (God I don't like typing that name here....almost sacrilegious)

I know Klatka OD'd with BS&T but I wasn't sure about Stapleton. Was it booze??

BTW: How many pump parts do you have for Rain or Shine? I could only come up with three.

DEEP

Edited January 5, 2004 by DEEP (GET ME OUT OF MY SKULL)

[connoisseur series500]

For extensive biographical data on the holdovers from our 1st BBB release I refer you to my notes on Volume 1 (Rompin' Records RRCD 046).

Patty: come put some of your book-learning to use here.

Help DEEP out. It's the DRY SEASON and he's suffering.

Nothing duller than proofreading something.

"For extensive biographical data on the holdovers from our first BBB release, please refer to my notes..." etc.

Edited January 6, 2004 by connoisseur series500

[connoisseur series500]

He's participated

tense is incorrect.

He has participated...

Same with the paragraph on Lew Tabackin: "He has been involved..." is better.

And the second to last sentence: "He's featured extensively..." doesn't work.

Try: He is extensively featured...

okay?

That's all the nitpicking I've got time for.

Patty:

Your Turn!

Edited January 6, 2004 by connoisseur series500

[Guest DEEP (GET ME OUT OF MY SKULL)]

He's participated

tense is incorrect.

He has participated...

Same with the paragraph on Lew Tabackin: "He has been involved..." is better.

And the second to last sentence: "He's featured extensively..." doesn't work.

Try: He is extensively featured...

okay?

That's all the nitpicking I've got time for.

Patty:

Your Turn!

Conn (definitely a linguist),

Corrections made.

CLASP !!

DEEP

[connoisseur series500]

My pleasure, DEEP.

Entertaining liner notes, I might add...

[Guest DEEP (GET ME OUT OF MY SKULL)]

Conn (a linguist),

How 'bout some help on this one. Bear in mind that at times I'm speaking as I normally would.

I've been working on this all day.

-------------------------------------------------

THE MUSIC

1. Sweet Georgia Upside Down (a.k.a. Sweet Georgia Brown) - This is an "upstairs" romp that features Lew Tabackin in his first of two guest appearances on this CD. It gets things fired up right out of the gate. Tabackin doesn't hesitate to sink his teeth into it even though it's not in the standard key that most jazz players prefer. This version is in "F" rather than the preferred "Ab". Upon first viewing the chart Lew asked for "a minute to think about the key signature". That's all it took was about a minute. I counted off the tempo and WE WERE OFF!! After Lew's lengthy statement the saxes come in with an impressive soli section which leads into the final full ensemble. Our lead trumpet player, Dave Stahl, took a little liberty with the final 8 bars of the tune by taking the part up an octave. As you can hear....IT WORKED!!

BTW On Lew’s last chorus he and I played a little game of badminton. We batted the birdie around pretty good but when all was said and done there wasn’t a feather out of place.

2. Brotherhood of Man - A two trumpet feature was what Tony Klatka originally had in mind when he arranged this Frank Loesser tune from the Broadway show “How To Succeed In Business Without Really Trying”. Since we already had a two trumpet vehicle in the program I thought the chart would make for a nice dialogue between trumpet and baritone. Greg “Baby Gisby” Gisbert and Gary Smulyan are about the baddest cats around on their respective axes so it was a logical decision. I think you’ll concur. Sacha Perry ushers in the proceedings with a couple out front.

3. Come Rain or Come Shine - The reason that Dennis “Hobart” Dotson was imported from Houston, Texas to New York City on November 10th 2003 was specifically to play this song. Come Rain or Come Shine was “Hobarts” feature on Woody Herman’s Band but he did it on flugelhorn and I always wanted to hear him on trumpet. It’s been a long time coming - Dennis “Hobart” Dotson, a trumpet, and the late Bill Stapleton’s arrangement of Come Rain or Come Shine. In my NOT so humble opinion, “Hobart’s” rendering of this time tested threnody stamps the receipt for his round trip ticket, PAID IN FULL.

4. Groovin’ High - The thing that I like most about the writing on this tune is that it’s simple. It serves its purpose. The big band is just a framework for the soloists. Rob McConnell basically took Diz and Bird’s small group version and expanded it to a large ensemble. It’s all there – the alto break, the key change into the trumpet break, the only thing we did differently was to insert a solo for the greatest bebop pianist alive today. Take it from me folks, if you’re gonna play Groovin’ High, the cat to have on piano is Barry Harris. You Bopaholics gotta dig this one. Pribek is right out of Bird and Stitt. Joe Magnarelli comes from among others, Kenny Dorham and Fats Navarro, and then there’s Mr. Barry Harris. No further explanation….dig?

5. Fox Hunt - Pianist Mike Abene penned this one while he was a member of Maynard Ferguson’s Orchestra. It was designed to feature Ferguson and one other trumpet player. I got to play it almost every night during my tenure with the band back in 1974-75. As is the case with many road bands, the more familiar and comfortable they become with a chart the faster it gets.

On Maynard Ferguson’s Band this one wound up on the sky roof. Played too fast the tune can sound like a “fire in a pet shop”. Don’t get me wrong, the tempo here is way above the mezzanine but the tune makes more sense at a less frantic pace. Greg “Baby Gisby” Gisbert and Chris Persad executed this one on the money. Persad goes first and tells his story. After the band backgrounds, “Gisby” takes his trumpet break and, as usual, proceeds to unload. The exchanges follow the same order into the final 8 bar a cappella colloquy. The band hollers its way through the final out chorus. The two trumpets nail the ending and take special note – the double C on the end is “BABY GISBY” (He nailed it on all three takes too).

Sidelight: This was the last tune recorded and we got the final take within the last 10 minutes of the session. However, it did involve one minor physical energizer. I had two jugs of liquor in the studio for the entire session. Before the last take “Baby Gisby” walked over to the table and took a couple stiff pulls and then passed the bottle over to Persad. God bless “Old Overholt Straight Rye” and “Philadelphia Blended Whiskey”. (I wouldn’t consider recording without ’em)

6. Bill’s Blues - Sacha Perry blows some “pretty close to the bone” piano choruses to set up this second Lew Tabackin feature. Even though Lew is one of the finest flute players in jazz, the flute played in the opening ensemble is by Joe “Hardcore” Corello. Lew joins in on the second band chorus and then it’s him all the way. This was the first of two tunes recorded featuring his tenor and it got a nice feel. It was just a relaxed groove and Lew floated over the top of it.

Not much to explain here. Just sit back and enjoy it….we did.

7. Ceora – This is one of Lee Morgan’s most beautiful melodies. It was originally recorded on his “Cornbread” LP for Blue Note. The trombones are prominently featured in this John Fetchock arrangement. It begins with Peter Bernstein setting the mood in his only appearance on this CD. The band follows his opening statement and then it’s turned over to Joe Magnarelli. “Mags” is no stranger to these changes and it shows. When he’s done romancing Ceora, it’s Eric Alexander’s turn. Alexander blows some convincing macho overtures in her ear. I don’t know who copped on this performance but Bernstein, “Mags” and Alexander were all hittin’ on her pretty hard. The details behind Ceora’s identity are not known but my guess is she’d have a hard time choosing between these three mugs as to who gets the invite.

8. Yardbird Suite – What better way to close out a program of this type than with a Charlie Parker composition, a Jimmy Heath arrangement, some New York beboppers, and Barry Harris.

In addition to the piano solo,Pribek, Persad and John Mosca all make nice contributions on this one. BIRD LIVES!

All good things must come to an end and so is the case with this CD. The nice option that the listener has is to pour another taste, sit back, take a DEEP breath, hold it, exhale, press track 1, play, and the experience starts all over again.

GONE!!

Edited January 6, 2004 by DEEP (GET ME OUT OF MY SKULL)

[Guest DEEP (GET ME OUT OF MY SKULL)]

The part on THE MUSIC is my first pass at it.

I may change some ot the wording (after all....I'm doing this acoustic [sans liquor] )

Any help will be appreciated. I've gotta have this shit buttoned up by Jan. 10th.

ADVANCE CLASP !!

DEEP

[connoisseur series500]

Conn (a linguist),

How 'bout some help on this one. Bear in mind that at times I'm speaking as I normally would.

I've been working on this all day.

-------------------------------------------------

THE MUSIC

1. Sweet Georgia Upside Down (a.k.a. Sweet Georgia Brown) - This is an "upstairs" romp that features Lew Tabackin in his first of two guest appearances on this CD. It gets things fired up right out of the gate. Tabackin doesn't hesitate to sink his teeth into it even though it's not in the standard key that most jazz players prefer. This version is in "F" rather than the preferred "Ab". Upon first viewing the chart Lew asked for "a minute to think about the key signature". That's all it took was about a minute. I counted off the tempo and WE WERE OFF!! After Lew's lengthy statement the saxes come in with an impressive soli section which leads into the final full ensemble. Our lead trumpet player, Dave Stahl, took a little liberty with the final 8 bars of the tune by taking the part up an octave. As you can hear....IT WORKED!!

BTW On Lew’s last chorus he and I played a little game of badminton. We batted the birdie around pretty good but when all was said and done there wasn’t a feather out of place.

2. Brotherhood of Man - A two trumpet feature was what Tony Klatka originally had in mind when he arranged this Frank Loesser tune from the Broadway show “How To Succeed In Business Without Really Trying”. Since we already had a two trumpet vehicle in the program I thought the chart would make for a nice dialogue between trumpet and baritone. Greg “Baby Gisby” Gisbert and Gary Smulyan are about the baddest cats around on their respective axes so it was a logical decision. I think you’ll concur. Sacha Perry ushers in the proceedings with a couple out front.

3. Come Rain or Come Shine - The reason that Dennis “Hobart” Dotson was imported from Houston, Texas to New York City on November 10th 2003 was specifically to play this song. Come Rain or Come Shine was “Hobarts” feature on Woody Herman’s Band but he did it on flugelhorn and I always wanted to hear him on trumpet. It’s been a long time coming - Dennis “Hobart” Dotson, a trumpet, and the late Bill Stapleton’s arrangement of Come Rain or Come Shine. In my NOT so humble opinion, “Hobart’s” rendering of this time tested threnody stamps the receipt for his round trip ticket, PAID IN FULL.

4. Groovin’ High - The thing that I like most about the writing on this tune is that it’s simple. It serves its purpose. The big band is just a framework for the soloists. Rob McConnell basically took Diz and Bird’s small group version and expanded it to a large ensemble. It’s all there – the alto break, the key change into the trumpet break, the only thing we did differently was to insert a solo for the greatest bebop pianist alive today. Take it from me folks, if you’re gonna play Groovin’ High, the cat to have on piano is Barry Harris. You Bopaholics gotta dig this one. Pribek is right out of Bird and Stitt. Joe Magnarelli comes from among others, Kenny Dorham and Fats Navarro, and then there’s Mr. Barry Harris. No further explanation….dig?

5. Fox Hunt - Pianist Mike Abene penned this one while he was a member of Maynard Ferguson’s Orchestra. It was designed to feature Ferguson and one other trumpet player. I got to play it almost every night during my tenure with the band back in 1974-75. As is the case with many road bands, the more familiar and comfortable they become with a chart the faster it gets.

On Maynard Ferguson’s Band this one wound up on the sky roof. Played too fast the tune can sound like a “fire in a pet shop”. Don’t get me wrong, the tempo here is way above the mezzanine but the tune makes more sense at a less frantic pace. Greg “Baby Gisby” Gisbert and Chris Persad executed this one on the money. Persad goes first and tells his story. After the band backgrounds, “Gisby” takes his trumpet break and, as usual, proceeds to unload. The exchanges follow the same order into the final 8 bar a cappella colloquy. The band hollers its way through the final out chorus. The two trumpets nail the ending and take special note – the double C on the end is “BABY GISBY” (He nailed it on all three takes too).

Sidelight: This was the last tune recorded and we got the final take within the last 10 minutes of the session. However, it did involve one minor physical energizer. I had two jugs of liquor in the studio for the entire session. Before the last take “Baby Gisby” walked over to the table and took a couple stiff pulls and then passed the bottle over to Persad. God bless “Old Overholt Straight Rye” and “Philadelphia Blended Whiskey”. (I wouldn’t consider recording without ’em)

6. Bill’s Blues - Sacha Perry blows some “pretty close to the bone” piano choruses to set up this second Lew Tabackin feature. Even though Lew is one of the finest flute players in jazz, the flute played in the opening ensemble is by Joe “Hardcore” Corello. Lew joins in on the second band chorus and then it’s him all the way. This was the first of two tunes recorded featuring his tenor and it got a nice feel. It was just a relaxed groove and Lew floated over the top of it.

Not much to explain here. Just sit back and enjoy it….we did.

7. Ceora – This is one of Lee Morgan’s most beautiful melodies. It was originally recorded on his “Cornbread” LP for Blue Note. The trombones are prominently featured in this John Fetchock arrangement. It begins with Peter Bernstein setting the mood in his only appearance on this CD. The band follows his opening statement and then it’s turned over to Joe Magnarelli. “Mags” is no stranger to these changes and it shows. When he’s done romancing Ceora, it’s Eric Alexander’s turn. Alexander blows some convincing macho overtures in her ear. I don’t know who copped on this performance but Bernstein, “Mags” and Alexander were all hittin’ on her pretty hard. The details behind Ceora’s identity are not known but my guess is she’d have a hard time choosing between these three mugs as to who gets the invite.

8. Yardbird Suite – What better way to close out a program of this type than with a Charlie Parker composition, a Jimmy Heath arrangement, some New York beboppers, and Barry Harris.

In addition to the piano solo,Pribek, Persad and John Mosca all make nice contributions on this one. BIRD LIVES!

All good things must come to an end and so is the case with this CD. The nice option that the listener has is to pour another taste, sit back, take a DEEP breath, hold it, exhale, press track 1, play, and the experience starts all over again.

GONE!!

Pretty good overall, DEEP. You tend to leave out commas, but lets' just correct the more egregious omissions:

on Sweet Georgia paragraph: "That's all it took..." Change to "All it took..."

on Brotherhood of man paragraph: place a comma after "Broadway show,"

on Groovin High paragraphs: "Joe M comes from amongst others,

after "Fats Navarro" place a ; instead of , so... "Fats Navarro; and then there's Mr. Barry Harris." Grammar squirrels would call this a comma splice.

on Foxhunt: place a comma thus: "Before the last take, 'Baby Gisby' walked over..."

Final paragraph: "The nice option that the listener has is..." What grammar squirrels call a passive sentence.

Suggested change: The listener has the nice option of pouring another taste, sitting back...etc. Make sure you change all the remaining verb tenses in that sentence to stay consistent.

Other than that, I'd

Ride with it!

[Guest DEEP (GET ME OUT OF MY SKULL)]

Conn (a linguist),

Quadruple CLASP!!

Are you an English professor?

BTW: These are not the body of the liner notes. Someone else is writing them.

These are just the personnel and tune run downs.

I DEEPLY appreciate your proof read.

DEEP

Edited January 6, 2004 by DEEP (GET ME OUT OF MY SKULL)

[connoisseur series500]

Are you an English professor?

No, I live in the real world,not an ivory tower. B)

I have a Master's degree in Literature (which is NOT Grammar!!)

Taught writing (yuck!) for a few years in Thailand. Hated it.

I no longer teach.

[jazzypaul]

minor thing here...the nicknames. If you're going to use them, use them. Don't put quotations around them everytime. Trust me, when all of my friends call me Hippie (my nickname) they don't do the quotation thing every time, because a nick name is a name. Just like no one calls you "Danny." So, use nicknames the same way you'd use regular names. Does this make any sense?

[clinthopson]

I think I'll enroll in English comp 302.

You guys are pretty damned good.

[Guest DEEP (GET ME OUT OF MY SKULL)]

School me this.

Greg Baby Gisby Gisbert

or

Greg "Baby Gisby" Gisbert

and therafter just Baby Gisby???

Man, I feel like I'm working on my online diploma.

DEEP

[randissimo]

yo Deep, how's the weather in your neighborhood? Michigan weather right now blows! There's a real strong "lake effect" that has set up in west Michigan.. As luck would have it, we're starting a steady Tuesday gig tonight in a brew pub in Grand Rapids and the hi temp right now is about 10 with strong wind gusts and way too much snow coming down! ,, Lot's of white out action & snow drifting across the highways & freeways..

Problem is B3er & Joe G live in Lansing, an hour's drive from GR,, and with the wind gusts, the plows can't keep the salt on the roads and the snow just keeps drifting, along with the white outs... This time of the year sure can suck!

Edited January 6, 2004 by randissimo

[Guest DEEP (GET ME OUT OF MY SKULL)]

yo Deep, how's the weather in your neighborhood? Michigan weather right now blows! There's a real strong "lake effect" that has set up in west Michigan.. As luck would have it, we're starting a steady Tuesday gig tonight in a brew pub in Grand Rapids and the hi temp right now is about 10 with strong wind gusts and way too much snow coming down! ,, Lot's of white out action & snow drifting across the highways & freeways..

Problem is B3er & Joe G live in Lansing, an hour's drive from GR,, and with the wind gusts, the plows can't keep the salt on the roads and the snow just keeps drifting, along with the white outs... This time of the year sure can suck!

Randall,

About the same here but I don't give a shit because since I rarely play for "SPECTATORS" I don't have to drive in it.

Believe me, I paid my dues driving through snow storms to get to gigs.

NO MORE.

Happy Motoring

DEEP

[SGUD missile]

Conn (a linguist),

How 'bout some help on this one. Bear in mind that at times I'm speaking as I normally would.

I've been working on this all day.

-------------------------------------------------

THE MUSIC

1. Sweet Georgia Upside Down (a.k.a. Sweet Georgia Brown) -

GONE!!

Deep: The liner notes are quite good and very entertaining ( I especially liked the description of Dotson )

however: one small point:

Sweet Georgia Upside Down is NOT ALSO KNOWN AS Sweet Georgia Brown ..is is a separate

and original composition based on the CHANGES of SGB ,,in the Manner of "Dig" or other similar

pieces ..

it has it's own copyright and publisher ( moi, naturally in the DBA Fee Seize Music ASCAP ) nad if you use the term AKA, I may lose some performance royalties when your no doubt screaming NY junkie band CD is released ..( your definition, as you recall )

thank you for yer supp hort ...

BTW: I'm currently buried up to the ying-yang in goddam SNOW!! ( about 8 " with more

to come today ) VErey unusual for NW WA ..and I have bad cabin fever ...

[Guest DEEP (GET ME OUT OF MY SKULL)]

Conn (a linguist),

How 'bout some help on this one. Bear in mind that at times I'm speaking as I normally would.

I've been working on this all day.

-------------------------------------------------

THE MUSIC

1. Sweet Georgia Upside Down (a.k.a. Sweet Georgia Brown) -

GONE!!

Deep: The liner notes are quite good and very entertaining ( I especially liked the description of Dotson )

however: one small point:

Sweet Georgia Upside Down is NOT ALSO KNOWN AS Sweet Georgia Brown ..is is a separate

and original composition based on the CHANGES of SGB ,,in the Manner of "Dig" or other similar

pieces ..

it has it's own copyright and publisher ( moi, naturally in the DBA Fee Seize Music ASCAP ) nad if you use the term AKA, I may lose some performance royalties when your no doubt screaming NY junkie band CD is released ..( your definition, as you recall )

thank you for yer supp hort ...

BTW: I'm currently buried up to the ying-yang in goddam SNOW!! ( about 8 " with more

to come today ) VErey unusual for NW WA ..and I have bad cabin fever ...

Missile,

How come Watrous used (aka Sweet Georgia Brown)??

How does this read out?

1. Sweet Georgia Upside Down - This is an "upstairs" romp that features Lew Tabackin in his first of two guest appearances on this CD. It gets things fired up right out of the gate. Sweet Georgia Brown, upon which this tune is largely based, is usually played in the key of "Ab". This version is in "F" and upon first viewing the chart, Lew asked for "a minute to think about the key signature". All it took was about a minute. I counted off the tempo and WE WERE OFF!! Tabackin doesn't hesitate to sink his teeth into it. After Lew's lengthy statement the saxes come in with an impressive soli section which leads into the final full ensemble. Our lead trumpet player, Dave Stahl, took a little liberty with the last 8 bars of the tune by taking the part up an octave. As you can hear....IT WORKED!!

BTW On Lew’s last chorus he and I played a little game of badminton. We batted the birdie around pretty good but when all was said and done there wasn’t a feather out of place.

What took Stapleton out? (Bill not Bev...I took Bev out...duh!)

DEEP

Edited January 6, 2004 by DEEP (GET ME OUT OF MY SKULL)

[connoisseur series500]

yo Deep, how's the weather in your neighborhood? Michigan weather right now blows! There's a real strong "lake effect" that has set up in west Michigan.. As luck would have it, we're starting a steady Tuesday gig tonight in a brew pub in Grand Rapids and the hi temp right now is about 10 with strong wind gusts and way too much snow coming down! ,, Lot's of white out action & snow drifting across the highways & freeways..

Problem is B3er & Joe G live in Lansing, an hour's drive from GR,, and with the wind gusts, the plows can't keep the salt on the roads and the snow just keeps drifting, along with the white outs... This time of the year sure can suck!

We don't have the snow down here in Toledo, Randy, but it is frigging cold.

Not fit for man nor beast.

[Ron Thorne]

What a bunch of pikers when it comes to winter weather!

I empathize with 8" of snow in Bellingham, Washington, cool temps in Canada, and lake effect snow in the upper midwest, but please ...

It's currently 10°F at our house, with expectations of 5° overnight and winds gusting to 75mph for possible wind chill factors of minus 40-50F. That's COLD, folks! We're expecting lows in the minus double digits tomorrow night. That's very unusual for Anchorage, however.

Oh yeah, we had record snowfall in December (a whole season in a month), with over two feet standing on our property.

Some things are beautiful given these conditions, however.