Category Archives: the MisterG-laneous

Boston Red Sox catcher Jason Varitek leaps in the arms of pitcher Jonathan Papelbon (58) after the final out in Game 4 of the baseball World Series against the Colorado Rockies Sunday, Oct. 28, 2007, at Coors Field in Denver. The Red Sox won 4-3 to sweep the series.
(AP Photo/Eric Gay)
October 28, 2007

2007 World Series Champion Boston Red Sox

Final Game Box Score here.

Entitled:The Patience Bossa:

I am always interested in what Mr. Farrell gets into. Does he have his own line of clothes yet, cuz I too wanna be like PERRY. It is not too surprising to me that this song is really a fantastic choice for these two. The video production really makes it for me. I hope you enjoy!

G

there is just something very odd about this eh?

Whatever, everyone I know goes away in the end…

The staff of Gallo Record Company are devastated by the news of the tragic passing of reggae legend Lucky Dube. Lucky was slain in an attempted hijacking in Rosettenville in Johannesburg last night, at approximately 8pm, whilst dropping off his children at a family members house. Although Lucky attempted to escape the scene, he had been fatally wounded from the hijacker’s attempt to steal his motor vehicle, and he died almost instantly.
Senseless and random, the death of Lucky Dube leaves a great void in the music industry, as 25 years of music suddenly ends in tragedy. South African born but globally revered, Lucky Dube was one of the country’s most toured and beloved artists ever. His music touched millions around the world, primarily through his 22 recorded albums – in Zulu, English and even Afrikaans – many of which have been record breakers with phenomenal sales from around the globe. As a frontline artist in the reggae genre, Lucky’s creativity and inventiveness kept growing. Compelling in his musicianship and intriguing in his lyrical content, Lucky’s sonic daring to take his genre to new heights never failed to amaze even the most ardent fans, whilst reigning in new devotees to his magic every day. His energetic band toured with him from continent to continent as South African musical ambassadors, and his live performances have earned him fans and accolades the world over. Lucky joined Teal Records (later to become Gallo) as a fresh-faced young Mbaqanga singer in 1982. Five albums later he found a genre that spoke to his soul and changed the way he viewed the world. This genre was Reggae. With his long-time sound engineer and best friend Dave Segal, he created some of the most legendary pieces of reggae music ever recorded, including the tracks Prisoner, Taxman, Slave, Victims, Together As One and Respect – all social anthems that garnered him the adoration of the people of his country – and across the globe.
Lucky was an artist that continued to break international barriers and recently just signed a deal with Warner Music International, securing him album releases across Europe of his latest album Respect. Ivor J. Haarburger, CEO of Gallo Music Group is deeply saddened by the loss. “Lucky was not just an extraordinary artist, he was a personal friend. We go back over twenty years and had both a business and personal relationship. It’s so sad to lose such a great friend and so tragically, why?” There are very few words that capture the magnitude of this devastating loss. As a musician, father and colleague, Lucky was one of the most charming, respected, selfless and dedicated people to have lived. He will be sorely missed. Lucky Dube was survived by his new wife Zanele and his 7 children Bongi, Nonkululeko, Thokozani, Laura, Siyanda, Philani and his brand new three-month old baby Melokuhle.

Should you wish to send a message of condolence to Lucky’s family, please email Lucky@gallo.co.za or fax on +27 (0) 11 340 9471

Chris DeWolfe, CEO of MySpace, on stage with his boss of two years, News Corp. Chairman Rupert Murdoch, finally announced to the world at the Web 2.0 Summit tonight that MySpace will have an open platform “within a couple of months.” After the platform opens to developers, it will open to a subset of users, about two million, to see if the “sandbox” that keeps that platform safe is reliable. Before we all get MySpace apps, we’ll get a catalog of widgets that we can add to your pages. Widgets aren’t apps, though. Of course, there are platforms and there are platforms. It wasn’t clear at all how much of the MySpace social database will be exposed to developers, nor what data MySpace will let developers export to non-MySpace pages. DeWolfe did say, however, that developers will be able to monetize their apps, and that MySpace perhaps will help them sell advertising.

–as reported on news.com

Going to see Mister Tommy Emmanuel C.G.P. this Saturday night and just thought I would share a preview, review or first view:

If you dig this check out my conversation with Tommy a little while back here.

Janis Lyn Joplin (January 19, 1943 – October 4, 1970)

Today was a beautiful day for a battle…..a civil war reenactment that is. At a local park just outside of Madison city limits, the Union and the Confederate soldiers clashed. In the real event, the fighting started around 4:30 in the morning and lasted after the midnight hour, until the battlefield fell silent. The confederates retreated to a new line of works 800 yards to the rear. Suddenly the silent post midnight air was broken by the sound of a Confederate band playing “The Dead March” from Handel’s Saul, followed by a Union band playing “Nearer My God to Thee“. The Rebel band answered with “The Bonnie Blue Flag” with the South proudly sharing “Dixie Land” and the North ended the concert with “Home, Sweet Home,” which brought a tear to many an eye. The numbers of dead, wounded and captured combined for over 20,000 people for this one evenings battle with the fighting lasting about a weeks or so, with the numbers of those lost upwards to 70,000. The best part for me was that I arrived early and was able to stroll around both camps and pick the brains of the participants, and they were quite convincing in their roles. I learned about the many behind the scene aspects of equipment, artillery and certainly most of interest to me were the people and their facts….

“In the future, there will be so much going on that no one will be able to keep track of it,” David Byrne says during the final song from The Knee Plays, a series of vignettes backed by brass band orchestrations composed in 1985 for Robert Wilson’s opera the CIVIL warS. Perhaps this prediction is best applied to the “Rennaisance Man of Rock” himself, who – in the span of a single week – will soon host an event dedicated to New York Bikers (Oct 6) and contribute to a public discussion with evolutionary psychologist Geoffrey Miller (Oct. 10). And on Oct. 30, the very Knee Plays that doubt us will be available on CD, courtesy of Nonesuch, for the first time. Originally conceived as interludes for a multinational, six-part work inspired by Matthew Brady’s American Civil War photography, intended for use during 1984 Olympic Games, featuring music from Philip Glass and other composers, Music For The Knee Plays was eventually released on vinyl after Wilson’s opus failed to transpire in its entirety. However, Byrne performed the largely instrumental pieces a handful of times, with one London concert recorded by the BBC and — happily yet probably illegally — available almost in full on YouTube. Here’s play four, titled “Social Studies,” in which he considers the effects of stealing other people’s groceries.
According to Talking-Heads.net, the liner notes for Knee Plays states “This music was inspired by the Dirty Dozen Jazz Band of New Orleans” — a claim more apparent on songs like “In the Upper Room.” The upcoming CD will include eight unreleased cuts and a DVD with 400 black & white photographs of the production by JoAnn Verburg.

Music for the Knee Plays track list:

1. “Tree (Today Is An Important Occasion)”
2. “In the Upper Room”
3. “The Sound of Business”
4. “Social Studies”
5. “(The Gift of Sound) Where the Sun Never Goes Down”
6. “Theadora Is Dozing”
7. “Admiral Perry”
8. “I Big You Goodnight”
9. “Things To Do (I’ve Tried)”
10. “Winter”
11. “Jungle Book”
12. “In the Future”
13. “Tree (Reprise)” (previously unreleased)
14. “I’ve Tried (Things To Do)” (previously unreleased)
15. “Tic Toc 2 (In the Future)” (previously unreleased)
16. “Whisper” (previously unreleased)
17. “Misterias” (previously unreleased)
18. “Faust Dance” (previously unreleased)
19. “Ghost” (previously unreleased)
20. “Super Natural” (previously unreleased)

DJ Sara – 8 years old
DJ Ryusei – 5 years old

Ummmmmmmm…What can I say?

?

Pioneering Austrian jazz pianist Joe Zawinul was one of the front runners in the development of jazz fusion along with Chick Corea, Herbie Hancock, John McLaughlin and Miles Davis. Best known as the founder of the band Weather Report, with Miroslav Vitous and Wayne Shorter with whom he had previously recorded two albums as part of Davis’ studio band, in his final years he headed the ensemble called The Zawinul Syndicate.Mr. Zawinul is often credited with aiding revolutionary fretless bass virtuoso Jaco Pastorius rise to popularity by giving him the position as bassist for Weather Report in the mid 1970s. Pastorus debuted on the track Cannonball, which is a tribute to Cannonball Adderley.Several artists have honoured Zawinul with songs, notably Brian Eno‘s instrumental “Zawinul/Lava”, McLaughlin’s instrumental “Jozy” and Warren Cuccurullo’s “Hey Zawinul“. Zawinul, along with Corea and Hancock, was one of the first to integrate electric pianos and early synthesizers like the ARP 2600 in 1973’s Sweetnighter. He was among the first to use a Fender-Rhodes with a Phasing effect and a Wah-Wah pedal. His creativity and attention to detail resulted in a very contemporary and modern sound. He also has played the kalimba on Weather Report’s Mysterious Traveller and Mr. Gone. Classically trained at the Vienna Conservatoire, Zawinul played in various broadcasting and studio bands before emigrating to the U.S. in 1959, where he played with Maynard Ferguson and Dinah Washington before joining the Cannonball Adderley Quintet in 1961. Zawinul’s biggest commercial success [citation needed] came from his composition “Birdland”, a 6-minute opus featured on Weather Report’s 1977 album Heavy Weather. “Birdland” is one of the most recognizable jazz pieces of the 1970s, covered by many prominent artists from The Manhattan Transfer to Maynard Ferguson. Even Weather Report’s version received significant mainstream radio airplay — unusual for them — and served to convert many new fans to music which they may never have heard otherwise.

Zawinul was hospitalized in his native Vienna on August 7, 2007, only one week after concluding a six-week tour in Hungary. He died of cancer on September 11, 2007.

Mr. Joe Zawinul

Two unbelievable performers in a nearly flawless performance. This is just something to behold and hold onto tightly.

Thanks for taking the time to be a part of it.

The power of music and sound? A reverse of the forward ways? Philosophy Major? Just follow the bouncing ball.

misterG

I really dig this video. I always wished to have had the chance to see Tito Puente play live. That wish never quite came true. I have seen Sheila E. in a live setting and she is more talented than stunning. I hope this drumming sequence fills your Latin Jazz amazement fix for the day.

And don’t forget…tomorrow is yet another day.

MisterG

This is a hott mix…man…I wonder when it’ll hit those commercial radio station’s playlists??

Go Go Gadget Beatbox Machine..

Now this is beautiful and brings a new meaning to the ability to multi-task.

Enjoy.

Holy snapshots…this is pretty cool and the music with it is well chosen.

ENJOY.

MisterG

Remember Eddie Mathews‘ dramatic 10th-inning homer from game four of the 1957 World Series, or Paul Molitor’s record-setting five hits in the opener of the 1982 World Series? Relive the excitement of the zenith years of Milwaukee’s champion baseball teams — the Braves and the Brewers — in the new exhibition, World Series Wisconsin, available for view July 17 through December 2, 2007 at the Wisconsin Historical Museum. Included are dozens of authentic, game-used objects — jerseys, jackets, caps, helmets, bats, balls, gloves, spikes, and more — many of them from the peak seasons of 1957 and 1982, and many actually worn and used by such baseball greats as true homerun champion (IMO) Hank Aaron, Eddie Mathews, Red Schoendienst, and Warren Spahn of the Braves, and Rollie Fingers, Paul Molitor, and one of my personal favorites, Robin Yount of the Brewers. Original artifacts from Milwaukee County Stadium, fan souvenirs, historical photographs, and original radio broadcast clips and television footage also help bring the excitement of these victory seasons to life. It is a very cool collection and I was pleased to get the opportunity to make it apart of my day. If you are in the area and like baseball, you’ll dig it. Unless perhaps you were are a fan of the 1957 New York Yankees, who after calling the 1957 Milwaukee Braves “BUSH LEAGUE” lost to that very same team to lose the World Series.

’56 & ’57 Road Jersey worn and autographed by Hank Aaron

By his 30th birthday, Max Roach was already considered the greatest jazz drummer ever by his peers. By the time he died this week, the 83-year-old master percussionist was known worldwide as much more: innovator, activist, teacher, genius. Roach, whose rhythmic innovations and improvisations defined bebop jazz during a career marked by expectations defied and musical boundaries ignored, died late Wednesday in a Manhattan hospital after a long illness. “Max was one of the founders and original members of the A-Team of bebop,” said fellow music legend Quincy Jones. “Outside of losing a giant and an innovator, I’ve lost a great, great friend. Thank God he left a piece of his soul on his recordings so that we’ll always have a part of him with us.” In 1988, he became the first jazz musician ever honored with a MacArthur Fellowship – receiving a $372,000 “genius grant.” The creatively restless Roach, who debuted with Ellington’s band as a self-taught 16-year-old drummer in 1940, challenged his listeners and himself by making music that connected the jazz of the pre-World War II era with the beats of the hip-hop generation. His place in the pantheon of jazz greats long since secured, Roach collaborated with drummers from around the world, with a string quartet that featured daughter Maxine, and with rapper Fab Five Freddy. “I try to show my students the correlation between hip-hop and Louis Armstrong,” he once said. “That’s how well-rooted hip-hop is, coming out of an environment where people were denied any kind of cultural enrichment.” The North Carolina native was born on Jan. 10, 1924, and moved to Brooklyn with his family four years later. A player piano left by the previous tenants gave Roach his musical introduction. But he was looking for another instrument while singing with the children’s choir at the Concord Baptist Church. Roach found a snare drum, and was quickly hooked. His father gave the eighth-grader his first set of drums, and Roach was drumming professionally while still in high school. He would take often the nickel train ride from Brooklyn to Harlem, listening to the music spilling out of the Apollo Theater or the Savoy Ballroom. While there, he befriended saxophonist Charlie Parker and trumpeter Dizzie Gillespie as the burgeoning bop movement took flight. By 1942, he was playing behind Parker in a Harlem after-hours club; two years later, Roach joined Gillespie and Coleman Hawkins in one of the first bebop recording sessions. What distinguished Roach from other drummers were his fast hands and ability to simultaneously maintain several rhythms. By layering different beats and varying the meter, Roach pushed jazz beyond the boundaries of standard 4/4 time. His dislocated beats helped define bebop.Roach’s innovative use of cymbals for melodic lines, and tom-toms and bass drums for accents, helped elevate the percussionist from mere timekeeper to featured performer – on a par with the trumpeter and saxophonist. “One of the grand masters of our music,” Gillespie once said. Through the jazz upheaval of the 1940s and ’50s, Roach played bebop with the Charlie Parker Quintet and cool bop with the Miles Davis Capitol Orchestra. He joined trumpeter Clifford Brown in playing hard bop, a jazz form that maintained bebop’s rhythmic drive while incorporating the blues and gospel.
In 1952, Roach and bassist-composer Charles Mingus founded Debut Records. Among the short-lived label’s releases was a famed 1953 Toronto performance in Massey Hall, featuring Roach, Mingus, Parker, Gillespie and pianist Bud Powell. Roach eventually expanded his repertoire and explored new challenges. He taught at the University of Massachusetts, traveled to Ghana in search of new music, and performed with groups from Japan and Cuba. He also formed an all-percussion ensemble known as M’Boom, an ensemble of eight percussionists; a quartet that performed with a 22-member gospel choir; and a double quartet – his band, plus a string quartet – that included Roach’s daughter Maxine Roach on viola. Ignoring critics, Roach insisted rap had a place on music’s “boundless palette.” He is survived by five children: sons Daryl and Raoul, and daughters Maxine, Ayo and Dara.

Thank you Max Roach, R.I.P.

Thursday, August 16, 2007 through Sunday, August 19, 2007. Event time varies per day. The festival kicks off with a parade Thursday night; Thursday/Friday feature carnival, vendor booths and Friday night band in beer tent; Sat/Sunday = full activities with carnival, entertainment stage, steamed corn, fresh corn, vendor booths and games, live bands, petting zoo, craft fair, beer tent, kiddie korner and midget auto races Sunday night. $1 admission Sat / Sun. Angell Park, 100 Park St, Sun Prairie, Dane County. Call 608-837-4547. Man, the Midwest has such simple fun events for the entire family, I almost want to adopt a family for the end of this week to take here…well, I guess I won’t go that far.