Hello Patrick! Thanks for collecting this and putting it together. I think there were one or two numbers I didn't listen to yet. And all the others are very good to hear again. I think it's a great collection. Of course that implies a praise to all artists there! :-) Kindest regards Julien -------- Music was my first love and it will be my last (John Miles) ======== FIND MY WEB-PROJECT AT: ======== http://ltsb.sourceforge.net the Linux TextBased Studio guide ======= AND MY PERSONAL PAGES AT: ======= http://www.juliencoder.de

On Sun, Dec 6, 2009 at 4:29 AM, Patrick Shirkey <pshirkey(a)boosthardware.com> wrote: awesome! thank you for including me. how should we go about getting all of the tracks? just wget the directory that the individual tracks are in? -- Josh Lawrence http://www.hardbop200.com

On Sun, 06 Dec 2009 21:29:29 +1100 Patrick Shirkey <pshirkey(a)boosthardware.com> wrote: I am stunned to get not one, but three entries. Thanks a lot. However, I think 'Summertime' got dropped in the wrong section. It's not a solo at all, and there is no piano part :o I was surprised at how many other entries I had somehow managed to miss. I will of course be correcting that oversight! -- Will J Godfrey http://www.musically.me.uk Say you have a poem and I have a tune. Exchange them and we can both have a poem, a tune, and a song.

Thanks, Patrick for this !! And to think this was all done with an old Radio Shack boombox and Audacity! ;-) Actually the truth is a bit more complicated, so I'll give you guys an overview. My brother and I have been talking for years about throwing a 'Recognition' party for an old jazz trumpet/flugelhorn player from Fayetteville, NC named Ray Codrington that all the jazz heavyweights in the area know, love, and have played with. You may have heard some of his recorded work because of his recordings in the mid-60s with Eddie Harris, Stanley Turrinetine, and others. He recorded what later became the 'jazz standard' called 'Freedom Jazz Dance'. Well, my brother's wife got tired of hearing us go on and on about what we wanted to do and told me to 'make it happen'. It was easy, because Ray has a lot of musical fans and everyone was getting tired of getting together every decade or so for someone's death or because of some other severe crisis. We ended up holding the event in the upstairs above a local woodwind repair shop. The owner (Rodney Marsh) is a jazz player and has fixed up the upstairs to look like a nightclub so that the aspiring jazz players who take lessons at his shop will have a place to play. A classical musician may aspire to a concert hall, but all a jazz guy is looking for is a gig in a nightclub. What Rodney has created is a 'faux' nightclub because he doesn't have any liquor licenses (and there aren't any nightclubs around here suitable to play in). There were about 120 attendees of the party over the 4 hours, and the place was always at its capacity of about 80. Rodney is also a gourmet chef and only got to play a little bit during the evening. He's played the flute lead on 'Night in Tunisia'. It was recommended by someone else that I use a local sound guy who had recorded Nine Inch Nails, American Idol, Matchbox 50, etc. He is all about ProTools and he has an elaborate sound setup which included putting 5 mics on the drums, a $6k Neumann 'head' mic at the back of the room, etc. As part of the deal, he captured the sound he mixed and gave me a download (on my disk) of the 16 tracks of raw WAV files. After a lot of noodling around, I took a few selections from the 4 hours of music and put them in Ardour where I got a rough mix and eventually converted it to an MP3 so it would be small enough to download. I hadn't figured out how to use the effects on 'Night In Tunisia' and I never figured out how to use the automation on any of them, so I would just 'set it and forget it'. I'll eventually figure all of it out, and post some more stuff. I've just got to find a block of time to do this. You would be surprised at how 'unaware' the jazz guys are of basic recording. They often wandered around on the stage and one string bass player literally refused to plug into the DI box for some reason (which means about 30 minutes of the recording doesn't have a direct bass input. Here are a few pictures of the event: http://www.flickr.com/groups/1143697@N22/ http://www.facebook.com/album.php?aid=2054294&id=66106565&l=096dd86… Just so you know, the 'which B3 clone is this?' is actually a real B3 and leslie. If you listen carefully, you can hear when the tube went out, taking out the upper keyboard. It was being played by a monster keyboard player named Chip Crawford. Here's a YouTube of one of his performances: http://www.youtube.com/watch?v=mSadt0OYsNw The singer is his wife Eve Cornelius. She's a real 'diva' and both of them believe it is very important that I get a 'release' from everyone who performed because of her recording contract (a near impossibility and by no means worth the effort). Which leads me to what my evil plans are... ;-) April Fool's is coming. You can get in on this joke if you want to. Even though all these guys are at least in their 50s and many have been thru this at least once, all of them are convinced some record company is going to recognize their innate talent a give them a gazillion bucks for a recording contract. They all still have stars in their eyes. Here's the deal: I need somebody (else I'll have to figure out how) to write an email message to me telling me that their recording has had 25,000 downloads and is very popular with the Rave crowd in Prague and Poland. Naturally, the eastern European promoters want to know if someone can perform live for about $10,000 plus travel expenses for a show or two, with a concert tour likely. The email message must have kremvax somewhere in the header and be released at 12:01 AM April 1 Prague local time. They will want to know if I have releases for this to make sure it can be promoted properly and meet the European Labor commissions standards so that visas can be issued. Later on April 1, I will need to get a second email from ASCAP stating that anyone who has signed a release is personally liable for the $.05/copy 'mechanical rights' for the 25,000 downloads and asks me will I forward the names of the people who have signed releases so ASCAP can deduct the royalties from their pay. Maybe at this stage the European promoters become angry and withdraw from the deal, but ASCAP still wants to be paid... ... Around midnight after this dialog with the 120 people is finished and everyone is stirred up properly, we'll have to put out a giant 'April Fool' from Kremvax. -Mike