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Re: Attachments
HI Jim, it appears we are still seeing some strangeness from yahoo
or somewhere. As I was opening my msg, on attachments to you, I noticed that it arrived with some dashes instead of my attachments. Not only that but a duplicate of my post arrived while I was looking at the screen. Just noticed a post from someone who doesn't give his name saying yahoo is still a bit boohoo when it comes to attachments. The nuts and bolts should still be the same if they get it working again. They used to just show up in a post. Now it sounds like someone is worried we'll post pictures of our crotch or, preferably someone lots younger than the median age of this group, so attachments will be posted else where if I understand what I read. Hey why doesn't utube buy yahoo then they could call it all yoohoo. I remember drinking those when I was a kid and didn't know any better. Ron On Oct 15, 2010, at 9:39 AM, Ron Becker wrote: Living and playing outside the box. |
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Re: Attachments
--- In jazz_guitar@..., "JamesM" <jmings2003@...> wrote:
Jim - What used to happen: If you attach a file to your email and posted it to the group then: 1/ the email ended up in the group with the attachment AND 2/ the attachment is placed in the attachment folder with a link to the original email. PROBLEM IS: Yahoo's recent remodelling messed up the ability to send attachments. So unfortunately it doesn't currently work. :( Hopefully Yahoo will get round to fixing what they broke! |
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Re: Attachments
Hi Jim, I don't know which puter you use, on a mac the window wants
toggle quoted message
Show quoted text
you to navigate to the file you want to attach. The is a megabyte limit but I don't know what it is. My ISP has a file size limit and probably out group server has one. So some song files may be too big. To get to this pic of Lena I had to go to the hard drive where her pic lives, then to the folder and select from the guitar porn sub folder and there she is. Wet and ready to go. If I could just get to know it off with the fingernails... Once you double click your selection it should appear in your email page in a few seconds or less. ---------- Hot Stuff commin' or goin' ---------- I got a mac to do music and I know how to use it for that fairly well, but everything else is catch as catch can. I find out stuff all the time that amazes me. If I have a long list of stuff to search thru, if I type the first letter of what I'm looking for mac highlights all possible choices and moves the screen to the first one. If I could just teach it to........ Ron
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OT: New Gear POD HD Series
Jeff Shirkey
A while back there was a discussion about the Axe-Fx on the list, so I thought I'd mention a new product that, in my view, is pretty much its equal. It's a little scaled back (in a good way) compared to the Axe- Fx, and doesn't have as many amp models (yet), but the sound quality of both the amp models and the fx is stellar. I'm very, very impressed, and I am a tube amp snob (I own 16 or 17 exceptional tube amps, including 6 vintage AC30s).
Anyway, for those of you who are interested, check out the new POD HD products from line 6. You may find that one of them suits your needs quite well. Jeff |
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gigs:NYC - and it's all free!
sheryl
Dear Friends:
If you happen to be in NYC this weekend come hear some boogaloo and funk with myself, organist Kyle Koehler and drummer Sylvia Cuenca at the Garage (99 7th Ave S, just down from the Christopher Street 1/9 train) late show: 10:45-2:45am - ABSOLUTELY FREE! That's this Friday October 15 Sunday October 16 I'll be playing an early show at the 55 Bar with Vic Juris, Mary Ann McSweeney on bass, and Mark Ferber on drums - 6-9pm 55 Christopher Street - also No Cover! We'll be recording a few of our collective original compositions and trying to play our best for you! Hope to see you there thanks for letting me post here :-) Sheryl Bailey www.sherylbailey.com |
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Re: Demise of Jimmy Bruno Guitar Institute
Chris Smart
At 02:23 PM 10/13/2010, you wrote:
Well, I'm not sure how to do that. It's a flash video and doesn't seem to have a URL to copy from. Any ideas?What browser are you using? I'm using Firefox and a plug-in for it called Download Helper. You still have to name the file yourself, but it does allow you to save the video content. Chris |
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Re: Demise of Jimmy Bruno Guitar Institute
--- In jazz_guitar@..., Chris Smart <chris_s@...> wrote:
Well, I'm not sure how to do that. It's a flash video and doesn't seem to have a URL to copy from. Any ideas? |
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Learning gypsy jazz
Will
I am currently very honoured to be rehearsing with a
terrific violinist - she and her husband are both players for the Liverpool Philharmonic. I have been introduced to genuine Hungarian and other gypsy jazz. Suddenly I have realised just how good those rhythm guitar players are! It is also wonderful playing with a person who can sight read perfectly and also improvise on-the-fly, any key with no hesitation. This is a real challenge for me to keep up but it is a great way to learn. Will |
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Re: Demise of Jimmy Bruno Guitar Institute
--- In jazz_guitar@..., George Hess <ghess1000@...> wrote:
In my own music teaching experience and research on music teaching I do think the medium as well as the method are important. Each medium has benefits and drawbacks and varies by the subjects being taught. The proportions of how much each medium should be used or is useful also varies by subject.Are video conferencing, on-line courses, DVDs, and so forth helpful? OfExactly. My point is that it's not the medium but the method that Jazz music is an auditory art form. From the very beginning I think it is essential that musicians develop their ear. Many jazz musicians learnt by record or radio copying or transcribing music. Hours and hours spent listening without visual distraction to the sound, teasing out the lines, harmonies, ornamentation, feel etc. I feel this is essential and ongoing (and cannot be skipped over) part of a jazz musicians development. The other essential component in a jazz musicians development was learning by "call and response", listening to a melody, a line, harmony etc and then playing it back. With regard to the brain, there are two distinct areas one which process auditory information the other visual information. MRI studies have shown that only one area can be dominant at one time and furthermore, visual stimulation such flickering video imagery will override auditory stimulation. Some one posted this abc news video report here (thanks!) and I made a note of it, it also mentions these studies: In ones own experience you can find this in action. Watch a movie which has dialog, sound effects and music versus listening to the same sound track without the visual. One become much more aware of the sounds, effects and music. It is different experience. Video learning has its place, but as a main method of learning music, IMO, distracts from developing the ear and thereby short changes oneself from developing the necessary skills to become a jazz musician. If there is as Juan puts it a "secret decoder ring" to playing jazz music then it is to switch off the visual and learn by listening without visual distraction. I had the fortune to teach many blind and visually impaired musicians, I say fortunate because it forced me to expand my teaching methods and approach, and learn from that expansion and reapply those ideas and concepts to my sighted students. I think it would be useful for all music teachers to have that experience. A useful concept to apply to ones learning/teaching is think what it would be like if you were blind. I have found that many students, particularly younger students, who have grown up in the visual Internet/MTV/YouTube world and have learnt by video and visual means it takes a considerable time to wean them of their visual addiction and the need to see and be shown lines, patterns etc. and get them to hear, explore and find the sounds themselves. -- Alisdair MacRae Birch Guitarist/Bassist/Educator/Arranger |
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Blog: The Top 13 Things We've Discovered In the Digital New World...
Hey, we couldn't resist - hope you enjoyed the Columbus Day weekend. Here are the top lessons the music industry has 'discovered' in the early days of this 'digital new world'.
(1) It's really, really hard to sell music to fans online. Whether the iTunes Store or Rdio, getting fans to allocate even modest amounts of their income to music is an extremely difficult challenge. Competing with free has proven a hard game indeed. (2) But it's not as hard to engage fans, as long as they're not paying. In fact, they love music more than ever! Welcome to the Digital New World riddle. (3) DRM is an awful idea, at least for downloads. Other platforms like YouTube, subscription services, and streaming radio are still fair game. (4) Sound quality doesn't matter. At least to most fans. That would explain why few have complaints with MP3s, though Jimmy Iovine and T. Bone Burnett have serious problems with the fidelity freefall. (5) An official release date means very little. Almost everything is leaked in advance, and even half-baked copies find their way online long before a scheduled drop. (6) Licensing content is a great way to squander an investment. VCs are largely out of this game, though others are still slogging through horrific licensing processes and nosebleed costs (ie, Spotify). Or, running the red light and dealing with the consequences (ie, Grooveshark). (7) Email addresses are more important than Facebook, Twitter and MySpace connections. Or, at least that's what pros like Ian Rogers are saying. Sounds a bit counterintuitive, but according to what rulebook? (8) If you're hot right now, just wait 5 minutes. Attention spans are shorter than ever, and fan relationships with bands can be fickle and short-lived. (9) Direct-to-fan distribution is a seriously double-edged sword. Sure, you can create powerful direct-to-fan relationships, but so can millions of other bands. Welcome to the horrific content glut that results from digital democracy. (10) There's an app for that. Good luck selling ringtones or OTA downloads on a mobile device. But those that understand app culture have done well, including Tapulous, Smule, and T-Pain. (11) 360-degree deals can really kill your musical mojo. We're just starting to see some of the problems associated with these label land grabs. Smart artists like Arcade Fire and Metric are rolling their own multi-national deals, though sometimes the 360-degree paycheck is worth the handcuffs. (12) Digital disruption is not just for record labels. Nearly every other sector - including publishing and touring - are also trudging through tough transitions. (13) The music is still the most important thing. Artists over-dialed into their Twitter followings and play counts are often missing the most important part of the equation. Written by publisher Paul Resnikoff while listening to Mozart, AZ, Xzibit, A Tribe Called Quest, Sepultura, Verdi, Rick Ross, and some Taiko drumming. |
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Article: Up to three million searches a day for pirated e-books
Up to three million searches a day for pirated e-books
08.10.10 | Tom Tivnan There may be as many as three million searches a day for pirated e-books and digital book piracy has risen 20% since the iPad launch earlier this year, according to figures released this week. Internet monitoring company Attributor undertook a two-stage study of e-book piracy in September. From 17th¨C22nd September, it monitored the relative importance of file-sharing sites such as Rapidshare, Hotfile and Megaupload, creating "landing" pages and a site mirroring file-sharing websites to track how people try to illegally download e-books. The report said: "We are looking for the 'Napster moment' in e-books¡ªthe point at which ?uncontrolled distribution threatens the legitimate revenue stream for publishers." Using key words generated through Google ad words for search terms such as "free downloads" and "file download", Attributor reached a "conservative" estimate that the global demand for pirated e-books was from 1.5 million to three million searches a day. The geographic spread for Attributor's landing site showed the greatest demand for pirated e-books came from the US and India, both with 11% of searches. Perhaps unsurprisingly, the most searched-for e-book was Stephenie Meyer's Breaking Dawn, with more than 40,000 page impressions and 280 attempted illegal downloads on the Attributor landing site. Apple users are more interested in book piracy, the study suggests. The global demand for book piracy increased 20% since the beginning of June when the iPad was made generally available, through the peer-to-peer sites Rapidshare, 4shared and Megaupload. And despite users representing only 1.18% of all web browsing, more than 5% of visitors to Attributor's landing site used Apple's operating system. The study also suggests that the importance of Rapidshare, one of the older P2P sites, has diminished for book piracy after a programme by Attributor in 2009 led to a decrease in the availability of illegal books on the site. Yet there has been a rise in other sharing sites such as Megaupload. "This finding suggests that although one source is eliminated, other sources will emerge to meet the demand for pirated e-books," said the report. Yet the report suggests that publishers can direct consumers to legal e-books. Attributor randomly assigned "download file" or "Amazon link" on the landing page. One in five (19.6%) of users clicked through to Amazon to buy the legal e-books. |
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RIP: Geoffrey Burgon, Composer & Jazz Trumpet
Geoffrey Burgon
Geoffrey Burgon, who has died aged 69, was the composer of many instantly recognisable television and film scores, including music for Brideshead Revisited, The Chronicles of Narnia, Doctor Who and Monty Python's Life of Brian. Published: 5:59PM BST 23 Sep 2010 He also attracted a strong following as a "serious" composer, with a vast oeuvre that includes an often-performed Requiem from 1976, a concerto for the percussionist Evelyn Glennie and music for the pianist Joanna MacGregor. His Nunc Dimittis, taken from the closing minutes of Tinker, Tailor, Soldier, Spy (starring Alec Guinness as George Smiley) and sung by a boy treble, reached the Top 40 of the popular music charts in 1979. As with the Brideshead music, which he conducted for television, Burgon received an Ivor Novello Award for the Tinker, Tailor theme. He also won Baftas for his themes for the remake of The Forsyte Saga (Granada TV) and Longitude (Channel 4). Burgon was unusual among composers in being able to appeal to both the commercial and the purist markets. In the latter he was even more remarkable by swimming successfully against the modernist tide that dominated serious music-making in the 1970s and 1980s. His music, whether for an Evelyn Waugh adaptation or for the concert platform, was invariably accessible and tuneful. Evocative and somewhat wistful in character, it conjured up an atmosphere of nostalgia, depicting a sepia scene of a gone but not forgotten era of English life. If the television and concert audiences enjoyed his works, however, the music establishment and the critics ¨C especially the British ones ¨C were none too kind. "While credit is due to the composer for raising his sights, it cannot be said that his new concerto is a roaring success," sneered one about his trumpet concerto when it was first performed by Crispian Steele-Perkins under Richard Hickox; while another dismissed him as "one of the most commercially-minded of our composers". In fact, Burgon's first love was, he insisted, the music he wrote for "choirs, orchestras, dance, operas even"; he began to compose for television only "to subsidise the rest, literally" ¨C even though it became an albatross of sorts. "It doesn't happen in America," he lamented of such musical snobbery. "Leonard Bernstein was taken seriously as a conductor and as a serious composer although he also wrote West Side Story." Geoffrey Alan Burgon was born in Hampshire on July 15 1941 and educated at Pewley Grammar School, Guildford. One of his school friends was Nigel Jones, elder brother of the actor Terry Jones who would later ask Burgon to write the music for Life of Brian. He came to music relatively late, teaching himself jazz trumpet in his mid-teens and subsequently entering the Guildhall School of Music and Drama, where he studied composition with Peter Wishart, and later privately with Lennox Berkeley. After scraping a living as a jazz and orchestral trumpeter ¨C working with the likes of the London Mozart Players and Northern Sinfonia ¨C he marked his 30th birthday by selling his collection of instruments and declaring that henceforth he would dedicate himself to composition. As a result, "I had 10 years of being incredibly poor." His first successes were with the serious repertoire. There was some early music for Ballet Rambert; a setting of the Five Sonnets of John Donne in 1968, which won the Prince Pierre of Monaco Award; the Requiem, which was written for the Three Choirs Festival of 1976 and described by The Times as "this year's most important new work"; and, also in 1976, The Fall of Lucifer, based on a medieval Chichester miracle play. An opportunity to write the incidental music for the "Terror of the Zygons" miniseries within Doctor Who came his way out of the blue in 1975 because Douglas Camfield, the director, felt that the storyline called for an entirely new sound. It was followed by "The Seeds of Doom" (also a Doctor Who miniseries) in 1976. After Tinker, Tailor, Soldier, Spy in 1979 the television opportunities kept on rolling in, including Testament of Youth (1979), Bleak House (1985), Martin Chuzzlewit (1994) and Silent Witness (1996). Although Hollywood beckoned, Burgon declined ¨C claiming that he still wanted to keep the majority of his time available for serious music. The countertenor voice fascinated him, and he wrote Merciless Beauty (1997) for James Bowman; he also penned Heavenly Things ¨C another Donne setting ¨C for the baritone Christopher Maltman. Alleluia Pasallat, for chorus and orchestra, was commissioned by the Newbury Spring Festival to mark its 25th anniversary in 2003 and was given its first performance there in the presence of the Queen. There was also a cello concerto, an opera based on the novels of Charles Dickens and music for St Paul's Cathedral. Burgon recalled that not all was plain sailing on the Life of Brian score: "[Terry Jones] liked what I did, but we did have some tussles," he reminisced in 2006. "There were places where he wanted the music to be comic rather than serious. I hate to admit it, but I think he was right." Jones later confessed he felt that at one point the music was not climactic enough, "so I took the horns from an earlier part of the score... I don't know if he noticed." Appropriately for a composer who lived near Stroud, Burgon also wrote the music for Cider with Rosie (1998). Indeed, he was a distinctive figure in Gloucestershire: tall, silver-haired and driving one of his collection of fast cars ¨C at various times he kept Bristols, a Chrysler V8 and a Ferrari Dino. "I had a Porsche 911 that did everything perfectly, but I just sort of got bored," he observed. He was also an enthusiastic cricketer, turning out regularly for his local club, and in his spare time wrote detective novels ¨C featuring a musician who drives a fast car. In a career of many musical high points, Burgon identified one in particular: "I was standing at the checkout in Tesco and a little girl about 10 years old started singing the theme from [the television version of] Narnia and I thought, 'Wow, that is really nice'." Geoffrey Burgon, who died on September 21, married first, in 1963, Janice Garwood. He is survived by his second wife, the Canadian pianist and singer Jacqueline Kroft, whom he married in 1992, by their son, and by a son and a daughter of his first marriage. |
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RIP: T. Lavitz, Keyboards
Keyboardist T. Lavitz died unexpectedly in his sleep on the evening of Thursday, October 7. He was 54 years old.
In 1978, Lavitz was invited to join the Dixie Dregs, where he would remain as a keyboardist until their breakup in 1983. Since then, Lavitz released 7 solo albums and worked with Widespread Panic on their 1991 self-titled album for Capricorn Records and subsequent tour. Along with Jimmy Herring, Alphonso Johnson and Billy Cobham, Lavitz formed Jazz is Dead, a band that reworked Grateful Dead classics in an instrumental jazz format. Lavitz also worked with Endangered Species alongside Richie Hayward and Kenny Gradney. |
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