Best posts made by J. Jericho

My wife once worked for a Canadian company whose motto was "QED". When she asked, the answer was "Quite Easily Done".

@BigDub said in If you've got it, flaunt it...:

@Dr-GO said in If you've got it, flaunt it...:

@BigDub said in If you've got it, flaunt it...:

I don’t think I’d be able to really stretch out in those cramped conditions...

And with the $117,xxx monthly mortgage, what am I going to do with the extra cash I would have?

See if you can get WeatherTech's David MacNeil to part with his new acquisition:

cnbc.com

Here's the story of the $70M transaction: https://www.cnbc.com/2018/06/01/this-ferrari-just-became-the-most-expensive-car-ever-sold.html

Here's another one:

@dr-go said in Olds Recording:

I love them so much that when I move on to the next plane, I made sure my wife knows to place my ashes in the '67 Recording.

... giving it that authentic "smoky sound"....

@Bob-Pixley Not exactly the version I remember, but it's a good one!

Thanks for the suggestions. Alan Jackson has a great sense of humor, and the Bessie Smith collection is a good one.

"I Want To Be Your Mechanic" is about a guy inspecting a woman's car, looking up under her hood and having the right tool for the job, among other things.

"Beef, Potatoes, And Beer" is a man bringing home to his woman the essential ingredients for a party. Think about it.

There is another one I thought of that I haven't found, either: "Why Can't I Have The Blues?", a wry, humorous song about an extremely successful guy who has the means to have everything he could ever want and then some, lamenting that he can't seem to acquire the Blues.

@SSmith1226 said in A little humour:

@J-Jericho said in A little humour:

An oldie, but it gives me a chance/excuse to comment:

Q. What is the shortest period of time ever measured?
A. The period of time between the traffic light changing to green and the driver behind you blowing their horn in New York City (a.k.a. a New York second).

My uncle (since deceased) never had this problem, as he would always launch before the light changed to green.

He lived in Brooklyn, not far at all from John Gotti's home. He and my aunt lived in a co-op, and he had to park his car on the street. Well, one day his car wouldn't start. He checked to see what was wrong, and the battery was gone. He replaced the battery, and the next time he went to his car, it was gone. Apparently the thieves didn't want starting problems, so they made sure my uncle's car had a new battery before they stole it.

I lived in Manhattan between 1970 and 1974. I would park my car between E23rd Street and the East River. After I lost my first battery I put a cable hood lock on the car. On a couple of occasions I found the hood unlatched but the cable saved my battery from being stolen.
After my car radio disappeared I replaced it with a RadioShack radio that I installed myself under the dash with duct tape. The geniuses who tried to steal the radio cut all my wires to the radio rather then pull the connectors apart, as they were designed to do, but didn’t have the technical ability to figure out how to cut the many layers of duct tape that I used to secure the radio under the dash board. I never could understand how the original thieves were sophisticated enough to remove the factory installed radio but the follow up thieves couldn’t figure out how to cut the duct tape or uncouple the connectors. I guess they were amateurs.

Maybe they had the shakes from withdrawal from whatever drugs they were addicted to and coudn't concentrate.

@ssmith1226 Hot! A nice, tight ensemble. The piano player ain't too bad, either. I like his Mannix theme every bit as much as Mission Impossible.

I think we can all agree that the difference between trumpet and cornet is............................................ the spelling!

Here's an interesting, logical way to practice:

@SSmith1226 Thanks, Steve.

"Beef, Potatoes, And Beer" is similar to "All That Meat And No Potatoes" in the sense that it's allegorical, but it refers to the anatomy of a member of the XY chromosome group instead of members of the XX group.

"Why Can't I Have The Blues?" is very similar to "Can't Play The Blues No More", but the voice is distinctly Caucasian, and I think a reference to that characteristic may be in the lyrics as well. I'd post the most memorable lyrics, except that I'm concerned that, while they're not "X" Rated, they are "PG", and I don't want the appearance of impropriety on TrumpetBoards (or anywhere else, for that matter).

@trumpetb "...no trumpet really needs the third slide...". Uhhhhh... you might want to rephrase this.

@SSmith1226 said in The New Reality:

Another musical innovation of self isolation:

I ran across an article by Anthony Tommasini in the New York Times that was titled “A Jazz Pianist Flips Bach Upside Down”.
According to Mr. Tomassini, “ In March, the jazz pianist and composer Dan Tepfer found himself confined to his apartment in Brooklyn with all his bookings canceled for the foreseeable future, like musicians everywhere. So he decided to work seriously on an idea he had long been toying with.
Mr. Tepfer, 38, who also excels in classical music and has an undergraduate degree in astrophysics as well as sophisticated technology skills, wrote a computer program. He recorded himself playing Bach’s “Goldberg” Variations, beautifully, on a Yamaha Disklavier, a full grand piano with a high-tech player piano function; his program then played back each variation, but flipped.”

For those interested, the entire article can be found here:

https://www.nytimes.com/2020/05/15/arts/music/dan-tepfer-bach.html

Examples of this music are below:

A similar fun exercise is to play a piece of music backward, starting at the end and ending at the beginning.

IMO acoustics at a venue requires a balance of science, art, and experience to be successful. It's impractical to test-fill the space with the anticipated number of warm bodies prior to the performance and to replicate in advance air density, temperature, and humidity.

Two events stick in my memory, with lessons to be learned from each.

The first time I played in front of a microphone was an ear-opener. I have a good sense of balance, as all good musicians have, so I can correctly judge how my volume and projection relates to the rest of the ensemble. On this occasion I was featured soloist in front of the band, and the sound crew insisted on turning up my mic, forcing me to play softer and softer, while they kept turning up my volume, making my sound drown out the band no matter what I did to compensate, including backing away from the mic. During rehearsal I mentioned this to the director, who assured me that everything would be OK when the audience was in the auditorium. Well, come concert time, a good friend of mine recorded the show from the audience, and in spite of me playing from pp to m, guess what?... I drowned out the band! Awkward. I learned to be more assertive about my perception, but the ultimate decision is made by the sound crew. Plus, no matter how much you'd like to dent the rim of the bell of your horn on the thick skulls of some inept AV people, you have to remain diplomatic and fatalistic about the situation, because if you're at odds with them, they can make you sound even worse out of spite.

The other event was a sold out Rodney Dangerfield performance at a vintage local theater, capacity 4500+. My wife and I were in the loge, and when Rodney came on, his words were garbled to the point that we couldn't understand what he was saying. It didn't get better, and when other patrons started complaining too, we went downstairs to the orchestra level, as the laughs were coming from there. Luckily we found standing room before there was no more. The patrons from the loge, mezzanine, box seats, and gallery flooded the lobby and stormed the theater manager's office, demanding refunds. Sooo... the outcome was that the theater refunded approximately half of the money of what could have been a lucrative event, but wasn't, because the sound crew got it really, really wrong. The lesson to be learned here is that even experienced, professional sound crews can be caught out in a venue that was built before acoustics were given the consideration that they receive today.

@GeorgeB said in Artist on BOARD:

@BigDub
At first glance I could have sworn I was looking at a photograph.

My reaction exactly.

https://www.allaboutjazz.com/mr-fabulous-in-every-way-an-alan-rubin-retrospective

I hear timbre and intonation changes with different valve combinations, but the timbre changes aren't enough to sound like a different horn. I just write the phenomenon off to "nature of the beast".

@SSmith1226 said in The New Reality:

I have done that with Clark 2 and scale variations of Clark 2 when I feel masochistic.

If you want to indulge in masochism, play a tune in every key.