In order to shorten download time, let's start over here.

-Lynn

-- Lynn Fuston (go3daudio@aol.com), June 17, 1998

Answers

During the day off from my new job I came across this web site that I'm sure everyone will love... just cut and paste it.

http://pfaol.for.net/pfaol/index.html

There it is, the ultimate ao-hell bashing site. Definatley worth at least 10 minutes of your time. Some of the stuff isn't that funny, but a fair amount of it is great. Especially the parody of Whole Lotta Love...

-- Jay Kahrs (BrownSnd14@aol.com), June 22, 1998.

ElevenShad@aol.com In a message dated 6/21/98 10:04:57 PM, you wrote:

>>I'd be curious to know how many people read these boards. One less now, so I guess it's down to ten and counting. It's sad to see Craig's SSS go from idea to fruitation and then ultimately to just a few guys rambling about what losers they are.

>>I'm mixed up.<<

>>So am I.<<

You fellas need to get a life.

>>It is funny, though...I thought there'd be many more responses to the ten jazz questions than what actually occurred.<<

Personally I considered that post to be the final nail in SSS's coffin. If it was supposed to be funny, it wasn't. If it wasn't supposed to be funny, it was pathetic. Not because you're ignorant about jazz or the fact that you're asking questions, but because you're expecting to get an education that will take you years of studying and personal involvement in an art form and you expected the volumes to just flow to you as if that would make you understand the answers. Music is a life work. Once you've learned the basics of all the music that has gone before you, learnd how to speak the language on at least one instrument and played in all the different styles then you can begin to understand yourself and your music. All the knowledge you gain in this process won't be fully understood in one lifetime and persuing it can mean a lot of hard, sometimes frustrating, work. I started playing music in 1959, wrote my first piece in 1965, earned several degrees in music, play in Symphonies, Jazz bands, even still do GB work as well as teach and I wake up everyday with the knowledge that I will uncover yet another new musical experience to be explored. So it pisses me off that someone will convience themselves that they will understand an art form if they can just get some simple answers and not have to apply themselves. Thus this rather coarse response!! The truth is never candy coated. I hope you take it to heart.

So Long SSS,

-- Sheryl Silva (Joonbi@aol.com), June 22, 1998.

>>Personally I considered that post to be the final nail in SSS's coffin. If it was supposed to be funny, it wasn't. If it wasn't supposed to be funny, it was pathetic. Not because you're ignorant about jazz or the fact that you're asking questions, but because you're expecting to get an education that will take you years of studying and personal involvement in an art form and you expected the volumes to just flow to you as if that would make you understand the answers. Music is a life work..<<

This is utter nonsense. I learned about jazz by asking these same questions. --please, as a professional jazz musician who has composed and performed the music for many years, don't let this response from the embittered Sheryl offend you. You foks weren't asking for and education in "how to play jazz?" You asked some reasonable questions--good ones--about the music you hear occasionally. It's true that the answer to some of them will probably be "You gotta have some experience and knowledge before you can fully grok it" but other questions will be very easy to communicate.

As for the low response, I'd say there are few SSSers qualified to respond in depth, and one of us has been very busy helping his mother decide whether she wants to live or die for the past few weeks. Sorry, Sheryl, for my off-base priorities. Imagine, someone who has never even posted here signing off so rudely...

-- Doug Robinson (Jazzooo@aol.com), June 22, 1998.

Ken et al,

This Sheryl really got under my skin--it's hard to belive I wasted my time responding to her, but I did. As I went to send the message, AOL told me that no one by her address was an AOL user. Figures.

I'll print the response she would have read if she had entered her e-mail address correctly.

Doug

"Sheryl--

I don't know you, but I have strong disagreements with your post. I am also a professional jazz composer and musician, and I was delighted by the questions asked by Ken. I suppose you have no relationship with Ken or anyone else at SSS, but he is not a flake who expects "an education" without doing hard work. He is quite a serious and dedicated composer and artist himself. I thought your post was needlessly belittling, and bitter to boot.

I hope you don't do that to every person who, after hearing some cats play in a club one night, want to ask a few questions about what they heard. But my guess is you probably do say the same things, and this contributes to the image of jazz musicians being self-involved, strident centers of their own universes, who ridicule novices' attempts to understand a little about the artform.

Finally, what an aggressively harsh commentary on SSS, especially (and you may correct me if I'm wrong) since I've never seen a single post from you about any topic in the 2 1/2 years I've been a member. Talk about not being part of a solution.

Sorry--you brought out the worst in me today, Sheryl.

Doug Robinson

I don't know you, but I have a strong disagreement with your post. I am also a professional jazz composer and musician, and I wqas delighted by the questions asked by Ken. I suppose you have no relationship with Ken or anyone else at SSS, but he is not a flake who expects "an education" without doing hard work. He is quite a serious and edicated composer and artist himself. I thought your post was needlessly belittling, and bitter to boot.

I hope you don't do that to every person who, after hearing some cats play in a club one night, want to ask a few questions about what they heard. But my guess is you probably do say the same things, and this contributes to the image of jazz musicians being self-involved, strident centers of their own universes, who ridicule novices' attempts to understand a little about the artform.

Finally, what an aggressively harsh commentary on SSS, especially (and you may correct me if I'm wrong) since I've never seen a single post from you about any topic in the 2 1/2 years I've been a member. Talk about not being part of a solution.

Sorry--you brought out the worst in me today, Sheryl.

Doug Robinson"

-- DOug Robinson (Jazzooo@aol.com), June 22, 1998.

I agree with Doug. No matter how much each of us works at our daily tasks, there is always so much we can not learn ourselves and if asking a question becomes objectionable we're all in a lot of trouble. I always learn something from the posts here and isn't that the idea?

John Chiara

-- John Chiara (Blindjoni@aol.com), June 22, 1998.

I don't consider "Sheryl's" response to be anything more than lightweight flamebait, especially in light of the fact that this person has either never or rarely posted in SSS, doesn't know me or where I'm coming from, and apparently doesn't have the guts to post a real email address. I imagine that I might be a little upset if I gave any weight to "Sheryl's" opinions, but I don't.

Detracting from your weightless opinion even further is the fact that apparently, for an alleged teacher and an alleged recipient of several degrees, you cannot even spell or use proper grammar. Normally I would not make note of this, but since you are pompous enough to throw your credentials around, I must point out that your ungrounded opinions, anonymity, name-calling, mean-spiritedness, and reckless grammar/spelling are an insult to everyone who truly is a teacher and a recipient of college degrees. If you intended to elicit any emotion from me, you have failed in all but one category -- pity. It must be a serious drag to be embittered, jaded, and clueless of the fact that your students snicker at your writing skills while you are teaching.

>> Music is a life work (sic). Once you've learned the basics of all the music that has gone before you, learnd (sic) how to speak the language on at least one instrument and played in all the different styles then you can begin to understand yourself and your music.All the knowledge you gain in this process won't be fully understood in one lifetime >>

Since you posit that this reasoning is true, how do you know that I was not a jazz player in a previous life?

-- Ken/Eleven Shadows (ElevenShad@aol.com), June 24, 1998.

So, Lynn, I just noticed something...all the grin emoticon signs that I put in here do not seem to translate onto the screen. Any reason for this?

-- Ken/Eleven Shadows (ElevenShad@aol.com), June 24, 1998.

>>So, Lynn, I just noticed something...all the grin emoticon signs that I put in here do not seem to translate onto the screen. Any reason for this?<<

maybe you're not really that happy, and the computer knows?

;)

-- Doug Robinson (Jazzooo@aol.com), June 25, 1998.

Here's a topic to discuss. I found this on AOL's daily news highlights.

OK Given Not To Fund Indecent Art

WASHINGTON (AP) - The government can deny cash grants to artists because their work is considered indecent, the Supreme Court ruled today. The 8-1 decision said that the policy does not violate artists' free-speech rights. ``Congress may selectively fund a program to encourage certain activities it believes to be in the public interest,'' Justice Sandra Day O'Connor wrote for the court. Congress set the decency standard in 1990 after a furor over the NEA's role in funding the controversial works of Robert Mapplethorpe and Andres Serrano.

-- Lynn Fuston (go3daudio@mindspring.com), June 25, 1998.

Remember that anything posted between "<<" and ">>" will disappear in this software version. I would recommend using quotation marks instead. Also, if you put the letter "i" in brackets <> then everything that follows will be in italics. You gotta hate that. So, remember to use "quotes" or >inverse brackets<.

Thanks,

Lynn Fuston 3D Audio Inc.

-- Lynn Fuston (go3daudio@mindspring.com), June 25, 1998.

In a message dated 6/13/98 2:31:59 AM, Ken/Eleven Shadows asks some really perceptive and pertinent questions:

>1. How the hell do they know when to come back in after the drum solo? I >don't think I could for the life of me keep track of where the groove is during >one of those drum solos!!!

Often a drummer will solo on the form of the tune just like everyone else. Learning to hear and feel the form going by without actually counting comes with experience. Good drummers will make the form clear, unless obscuring and distorting the form is the intent, in which case one must learn to listen for the end of their story, which, again, good drummers will make clear. Some drummers will approximate the pitches and rhythms of the tune as an out-head to their own solo, or at least the last four or eight bars; this can help to cue the end of their solo.

But some drummers rush like crazy or otherwise compromise the form of the tune when they solo, and not toward a musical end, either; this drummer will always be hard to follow. And a few drummers think it's cute to mess with the other players, trying to trip them up, which buys into that whole "cutting contest" mentality aspect of the jazz world that I don't personally dig. I prefer clarity and camaraderie, as I do in all communication. My favorite kind of drum solo is one that is effortless to follow yet infinitely interesting to listen to.

>2. Is it mandatory that *everyone* must take a solo on every song?

Damn good question, I've been asking it ever since I first starting listening to and playing jazz. It's the tyranny of the "democracy" of jazz at the expense of the big musical picture. Even worse, the obligatory solo order: horn, piano, bass, drums, maybe trade fours/eights. Generally, I prefer one or two soloists, possibly even soloing on different material or different sections of the composition.

Of course, there are situations, jam sessions and such, in which the tradition is entirely appropriate, in fact necessary as socio-musical lubricant.

>3. Sometimes it seems like the band will get a really great groove going for two >or four measures, and then suddenly disrupt it by doing odd time signatures, going >to a different groove, or something else...so do they have short attention spans, >or am I just so used to dunderheaded rock and pop grooves that I want something >that I can continually groove to?

There are several possible answers to this question: 1) The musicians who are constantly shifting are doing it poorly, or purely to be clever, or both. 2) The musicians who are constantly shifting are doing it extremely well, challenging the listener to hear how it *does* fit the groove. 3) There's plenty of great jazz that does just lay down a constant groove. 4) I personally find it very interesting when complex melodic, harmonic, and rhythmic ideas are floating on top of a steady bed of groove, although I also dig the shifting stuff when done well and toward a musical end.

>4. Maybe I am just seeing pretty good jazz musicians, but even when I, let's say, >just go to a bar for a drink with a couple of friends and some people are playing >jazz, they seem to be pretty good musicians -- maybe not great, but at least fairly >competent. So it makes me wonder -- is there some unsaid criteria that keeps all >the beginning jazz musicians off the stage? There doesn't seem to be any sort >of similar criteria for rock musicians. Basically, the criteria for rock musicians >is whether or not he can borrow an amp to use for the gig and get transportation >down to the club...and this isn't actually a criticism of rock, either...I largely >grew up with a punk ethic, and without that ethic, we wouldn't have incredible >bands like Nirvana.

There are several answers to this question, as well: 1) Don't kid yourself ... there are plenty of awful jazz musicians roaming the earth. 2) The rudiments of the language of jazz are more complex than those of rock (although I think it's equally difficult to "speak" each fluently). 3) Rock music, at its core, is more a Folk music, which is, above all else, an egalitarian proposition. Jazz, at least as played in the last 40 or so years, is more an Art music, which is a fairly exclusive world. (Just to be clear, I personally find art in all forms of music).

-- fred simon (frednow@aol.com), June 29, 1998.

Answers to Ken's questions #5-10:

>5. Although I see some attitudes shifting as of late, it seems that from my admittedly >very limited perspective of jazz, it is largely steeped in tradition. Is this >true, and if so, why? When I talk to jazz musicians, a lot of them seem to like >playing "standards" at gigs over and over and listening to many 30 year old jazz >records. So do I just meet the wrong jazz people, or what? I'm not trying >to be critical, but rather to gain perspective!

Again, several answers: 1) The habit of playing standards, and the same standards, over and over IS extremely tedious when indulged by mediocre musicians. 2) Standards are mostly wonderful gems of composition, and truly great musicians can illuminate those songs in ever fresh ways, The best current example of this as far as I'm concerned is Keith Jarrett's Standards Trio with Jack DeJohnette and Gary Peacock, especially the recent six CD set at The Blue Note; three master musicians brilliantly reinventing these wonderful tunes in their own voice, set after set after set. 3) Jazz, even though it can be notated, has been largely an oral heritage, passed down by ear through the generations, young "lions" learning from old masters. As such, tradition is important, and rightly so ... you gotta come from somewhere, even if you go way out. 4) Nevertheless, for close to 20 years now there has been a death grip on jazz evolution by a revisionist retrogressive movement that eschews any developments in jazz since the early 60s, such as the incorporation of electric instruments, elements of rock, funk, R&B, pop, free jazz, etc. These musicians are listening and adhering only to that earlier canon. 5) On the other hand, my motto is: "If it ever was good, it's still good." Era means little to me ... Bach can sound fresh (or not). A lot of those 30 year old records (and 60 year old records) are fantastic, and always worth hearing again and again.

>6. And lastly, I am wondering: are many jazz enthusiasts disdainful of pop music? > If so, why? I have encountered this attitude more than a few times, and it makes >me sad. I mention a group, and a couple of people who are decked out in turtlenecks >and listening to jazz will wrinkle their noses or look at each other and shrug >slightly...

Some jazz enthusiasts are disdainful of pop, some are not. And I find this attitude reprehensible. Their reasons are varied -- here are some: 1) They confuse complexity with quality; on the other hand, they don't hear complexity in pop when it's there. 2) They like to keep their club private; meanwhile, they wonder why jazz isn't more popular. Related to this, they confuse popularity for mediocrity, and vice versa. 3) They have short memories for the disdain some classical enthusiasts traditionally have had for jazz, and short memories for a time when jazz *was* popular music, not "Art." 4) Not subscribing to the maxim that there are only two kinds of music, good and bad, they believe jazz to be superior ... a musical manifestation of social intolerance as far as I'm concerned -- "genre-ism," if you will. 5) Class struggles ... pop, R&B, rock, etc. is for the masses, the huddled, tired, and poor, with whom they don't want to associate. 6) Pop is for sex, which is "base;" jazz is for thinking, which is "enlightened."

>7. Why is it that every time I hear an incredibly lyrical piano solo that makes >me sit up and take note, it almost always turns out to be McCoy Tyner? And is >Bruce Hornsby considered a really great jazz pianist? If not, I think he should >be -- he plays with great feeling on his piano solos that I've heard!

Especially in his early years, through his stint with Coltrane, McCoy was a lyrical player; perhaps not as much later on. But there are other pianists considerably more lyrical than he: Bill Evans and Keith Jarrett are only two among others.

Not even Bruce Hornsby would consider himself a really great jazz pianist; after all, he has heard Jarrett, Evans, Tyner, and Hancock, and he seems to have an accurate sense of self-assessment. But he is a good musician and does play and write with feeling.

>8. Is Dixieland jazz music for schizophrenics? Is it possible to follow what >sounds like 9 flugelhorn solos simultaneously?

When Dixieland is played well (try Louis Armstrong's Hot 5 and Hot 7 groups), it is improvised counterpoint, much like Bach's music, in which the harmony is described not by simultaneous vertical chords but by moving lines crossing each other in the moment. When played well, no one gets in an other's way, all the gears mesh and flow is achieved. Don't try to follow everything all together at first -- start with one instrument and follow it all the way through the piece, then another instrument, and so on. Then listen once (or twice) more and put it all together; the clarity of your perception should improve. This works for any style of music, by the way.

>9. I've [liked] what little I've heard of Charlie Parker. What are some records >that you would recommend?

Almost anything, really; you can hardly go wrong. Concert at Massey Hall, the Savoy sessions, Bird With Strings, etc.

>10. Why are jazz musicians' guitars, basses, and drum sets always so fresh looking >and shiny?

Man, you ought to get out more (insert emoticon here).

-- fred simon (frednow@aol.com), June 29, 1998.

Well, I am humbled by Fred's answers--you said what I wanted to express and more, had I had the time to collect my thoughts.

I would also like to add that it IS possible to have sex while listening to jazz!

-- Doug Robinson (Jazzooo@aol.com), June 29, 1998.

>>Well, I am humbled by Fred's answers--you said what I wanted to >>express and more, had I had the time to collect my thoughts.

And I had way too much time.

>>I would also like to add that it IS possible to have sex while >>listening to jazz!

I have two answers for this. First, the smartass answer: Not if you're *really* listening.

The real answer: Of course, sex goes with any music. But what I meant was that through the years, some streams of jazz have unfortunately become more and more cerebral, and less about heart and sex. For myself, I like a balance of all three. But I've always had the suspicion that detractors of pop/rock, etc. are embarrassed by the more primal and sexual nature of those musics; there is potent release in surrendering to the mighty groove.

-- fred simon (frednow@aol.com), June 29, 1998.

Those are cool answers, Fred. Obviously, some of my questions were a bit tongue in cheek, although my intent was serious in that I wanted to start a discussion about jazz. And I have created some atmospheric percussion music that I think is ideal for lovemaking!

Another comment that I wanted to bring up is that here in Los Angeles, there used to be a jazz station called KKGO. I don't know of any exclusively jazz station now, although there are college stations that play jazz occasionally. However, we have The Wave (KTWV 94.7 FM), which plays what they call "smooth jazz". They used to be a New Age sort of station. What seems appalling is that there are probably scores of people who listen to this station and believe this is really jazz.

-- Ken/Eleven Shadows (ElevenShad@aol.com), June 30, 1998.

<,What seems appalling is that there are probably scores of people who listen to this station and believe this is really jazz. >>

Yes, it is.

-- Doug Robinson (jazzooo@aol.com), July 02, 1998.

Okay, we've had a flame, talked about having sex to music, and had lots of questions about jazz. What does it take to stir up a little traffic in here?

I'm performing this afternoon on KXLU (88.9 FM Los Angeles) as part of an experimental improvisational thing called Paramecial Wedding. Later this evening, we are performing live at The Chorus Club with Volume Eleven in what will probably be a poorly attended show since it hasn't been advertised or listed in the LA Weekly, to be best of my knowledge!

-- Ken/Eleven Shadows (ElevenShad@aol.com), July 03, 1998.

Just keeping the flame alive.

DR

-- Doug Robinson (jazzooo@aol.com), July 16, 1998.

It's truly incredible!! See Eleven Shadows perform -- again! -- in direct light! We are playing with two really good bands, The Violet Hour and Desmo Donti. The gala occasion is The Violet Hour's CD release party!!!!! All three bands will be doing a very special, once-in-a-lifetime intimate performance -- you do not want to miss it! And get there on time!!!!!

Eleven Shadows will be performing songs from the "Sangsara" CD with Esther Tessil on vocals, Connie Deeter on acoustic bass, Richard Lanchester on Tibetan bowls and bells and assorted percussion, and me on keyboards and atmosphere guitar!!! With any luck, we will actually *play* the mysterious third song that somehow didn't get played at the Museum of Arts performance, and (gasp) actually add another song or two!! This will be our second performance ever!!

The Raven Playhouse is in the NoHo Arts District in N Hollywood on the W side of Lankershim just N of Magnolia. Whatever you're doing on Friday, July 31st -- getting married, going to bat mitzvahs, waxing the turtle, performing at your band's own record release party, dating the Doublemint Twins, or whatever -- needs to be canceled so you can attend this!! Quick, break out the calendar and write these down!!!! Details follow:

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

Violet Hour CD release party. Featuring special acoustic performances by The Violet Hour, Desmo Donti, and Eleven Shadows. Free hors d'oeuvres and beverages will be served. ______________________________________ Info:

The Raven Playhouse 5233 Lankershim, North Hollywood 1 Blk. North of Magnolia (818) 509-9519 Friday, July 31st Doors open at 8:30pm, show begins at 9:00pm All Ages Cost: $5 ______________________________________

Hope to see you there!

- Torin

(Check out our web-page under the link "news" to find out about other show information: http://www.pacmult.com/pride/violet/violet.htm)

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

Ken/Eleven Shadows ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Eleven Shadows * ES songs on Real Audio * Music Reviews Travels: Ladakh-Kashmir-India-HK * Tibet * Real Audio Radio Shows http://www.theeleventhhour.com/elevenshadows ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

-- Ken/Eleven Shadows (ElevenShad@aol.com), July 18, 1998.

Hope you all can catch the show (who are in close proximity, anyway). So what's going on? Is anyone doing anything interesting? Any cool bands that you are recording? Any great albums you've purchased?

-- Ken/Eleven Shadows (ElevenShad@aol.com), July 18, 1998.

Ken,

Looks like it's just you and me for now! Sorry I can't check your band out live, though I hope you're having fun.

I'm just trying to gear myself up to finsih my new album--one tiny vocal performance and that's it. But I've been in this state for 3 weeks. Distractions, lack of focus, performance anxiety, etc. Maybe today is the day.

Then, of course, the monkey chatter sets in: here's a very good new jazz CD. What the #^&%$** am I supposed to do with it once its done?

I wish people just loved music a little more than they seem to.

-- Doug Robinson (jazzooo@aol.com), July 19, 1998.

Is this now the JES (Jazzooo/Eleven Shadows) Board now?

I'd like to meet other people who are really into listening to different, new kinds of music. Y'know, burning with curiosity about music in general. Or better yet, playing and listening...

Did drums at someone else's studio earlier today. Really small room, and it was really ringy, but the guy actually preferred his sound that way. Weird. He had the EQ for the high-end on his Studiomaster 8 x 4 board cranked up all the way, too. Yiiiiikes. I calmed it down a little bit and rearranged a few mics to get a little more whooomph out of his drum kit.

Just made some really good potato burritos. Sluuuuuurp.

Gotta run off to a gig now...

-- Ken/Eleven Shadows (ElevenShad@aol.com), July 19, 1998.

Testing. I haven't seen any new postings to the temp SSS since the 19th. Just making sure this works.

-- Kevin Hennessey (pianoman@ntplx.net), July 25, 1998.

Yes, it still works. But traffic has gotten dreadfully slow. I think most people, including myself, are eagerly awaiting the InfiniteMusic BB. I spoke with Craig several weeks ago when he was here in town and he told me they were definitely getting closer. Timetables are sketchy still though. It's a moving target from what I understand. This forum will stay here indefinitely and is open to all discussions. Or you can join us for tech-talk at 3D Audio Inc's "Ask 3D" message board. http:3daudioinc.com is the URL.

Lynn Fuston 3D Audio Inc.

-- Lynn Fuston (go3daudio@mindspring.com), July 25, 1998.

well, how about a movie review to pass the time?

Something About Mary, a review by Doug Robinson

This is 110 minutes of gross behavior, childish pranks, disgusting sight gags, cruel and politically incorrect writing, and bad treament of animalsIt's almost too bad that it's also the funniest movie I've seen in the last few years. I howled all the way through it.

Not recommended for the faint at heart.It's almost too bad that it's also the funniest movie I've seen in the last few years. I howled all the way through it.

Not recommended for the faint at heart.

-- Doug Robinson (Jazzooo@aol.com), July 25, 1998.

I saw "Something About Mary" last night as well. Really funny! The whole audience, as well as us, laughed all the way through it! It's exactly as Jazzooo describes.

Is Cameron Diaz charming or what?

-- Ken/Eleven Shadows (ElevenShad@aol.com), July 26, 1998.

Recorded a song by Desmo Donte literally all day today. Long, intense, but productive and satisfying session with a few problems along the way. One of my condenser mics was completely inoperative. Don't know what's wrong, but what's scary is that on a previous session, I used it on toms for a hardcore band...I don't think it got whacked by a drumstick, but the decibel level maybe farted it out? It's an ATM 33R (Audio Technica) small diaphragm condenser, which I had used on the toms to try and avoid anemic toms since for some reason the 421s just weren't cutting it. Sigh...

This session went really well. No toms were used on this song at all, making micing the drum set infinitely simpler. The snare in particular sounds really great, cutting through everything with plenty of high end, but really natural, slightly ringy, and very full. Very live room. Had to use blankets to cover the windows to cut down on the pinging.

Everything is coming out really well so far, and it looks like the mix will not require a whole lot of EQ. I'll probably be able to leave quite a lot of the tracks with the EQ completely out.

-- Ken/Eleven Shadows (ElevenShad@aol.com), July 26, 1998.

Ken, sounds like fun.

How about a movie review?

SOmething About Mary, a review by Doug Robinson.

Stupid, childish, gross, offensive. Too bad it's also the funniest movie I've seen in years, literally.

Bob wouldn't like it. Lynn, I'm concerned it might offend you. Ken--I don't know. I think you'd love it.

-- Doug Robinson (jazzooo@aol.com), July 26, 1998.

Wow--that's weird--two reviews in one night. I must have been distracted! Glad you liked it, Ken.

-- DR (jazzooo@aol.com), July 29, 1998.

> Wow--that's weird--two reviews in one night. I must have been > distracted! Glad you liked it, Ken.

You kiddin'? Funny stuff!

Gearing up for the second-ever Eleven Shadows gig on Friday. Rehearsal last night went well. Then, off to Peru for most of August!

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), July 30, 1998.

The Eleven Shadows gig -- the second ever! -- went really well, and we got an encore! Purty cool! I'm packing and getting ready for the Peru trip. I'll be leaving on Tuesday and returning on the 24th. I'll try and take a lot of pictures and post a few on my website along with the other pictures from previous trips (Ladakh, Kashmir, India, Hong Kong, etc. at http://www.theeleventhhour.com/elevenshadows).

Anyone seen the new Rolling Stone cover? I was thinkin', is this Playboy? Or Details? What's going on here?

Is anyone here going to the AES Convention in SF in September? Just curious. I think I'm going.

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), August 03, 1998.

I finally made it back here!!! So what has everyone been up to recently? I bought some new gear, rewired my patchbays, and In the processof planing to buy foam for the studio. Now I need to find some more busneiss, any suggestions? Ken?

>One of my condenser mics was completely inoperative. Don't know what's wrong, but what's scary is that on a previous session, I used it on toms for a hardcore band...I don't think it got whacked by a drumstick, but the decibel level maybe farted it out? It's an ATM 33R (Audio Technica) small diaphragm condenser, which I had used on the toms to try and avoid anemic toms since for some reason the 421s just weren't cutting it. Sigh... <

On/Off switch? Maybe a loose wire? I thought one of my Beta Green 4.0's was broken, truns out I hit the switch while I was putting it in the clip. I hate usuing condensors on the toms when it's for a metal band. I will sometimes if the drummer is pretty serious and I feel like I can trust him. But usually it's just one 57 per tom.

-- Jay Kahrs (BrownSnd14@aol.com), August 04, 1998.

More business? I don't know. Since my studio is primarily for my use, and I don't use it as a primary source of income, I'd be a bad one to ask. Mine is 100% word of mouth. I get just enough business in here to be able to finance new equipment and go on trips to Peru or India! I don't have to dip into the paycheck for repairs or new purchases.

There's no on/off switch on an ATM 33R, and I tried everything. The connection seems perfectly fine. I switched wires, jacks, you name it -- nothing. No change. I even checked the phantom power. Nothing. It sounds broken. I just UPS'd it to Audio Technica in Stow, OH for servicing. Hopefully I'll have it back by the time I get back from Peru. I leave tomorrow morning! Yippeeeeee! Gotta get some shuteye. Talk to you all in a few weeks!

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), August 04, 1998.

Just checking in, knocking a few cobwebs off the furniture.

-- Doug Rpbinson (jazzooo@aol.com), August 12, 1998.

I just got this email from Ken (Eleven Shadows). Here it is:

Lynn, I tried to post this in the lefsetz section, but it wouldn{t post. I{m in Peru. Thanks!

-Ken

Hey, I sent email to my family and thought I'd check in. I'm in a internet cafe in the Plaza de Armas in Cuzco, and having a great time with my friend Nancy. Hope to talk to you all when I get back on the 24th. Take care!!

(And yes, I walked the Inca Trail to Macchu Picchu, and yes, it is beautiful!)

-- Lynn Fuston (go3daudio@mindspring.com), August 14, 1998.

Thanks for posting that, Lynn! I am now back from Peru! Fun trip! I ended up going to Lake Titicaca after Macchu Picchu/Cuzco, which was further fun! I found the Peruvians to be very kind and friendly, and the whole trip was quite fun! Met quite a lot of interesting travelers as well.

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), August 24, 1998.

I'm gone for a week and the place died. It seems like a morgue... I started writing for an on-line magizine recently. www.prorec.com It's geared towards computers and stuff but it's still pretty cool. I also bought a new car recently. Picked it up last friday. '98 Dodge Avenger in paprika with a tan interior. My second car and my first new one, so i'm really happy. Now I need more busneiss...

-- Jay Kahrs (BrownSnd14@aol.com), August 26, 1998.

Welcome home, Ken, and congrats on the car, Jay. We definitely need a Craig Anderton-hosted forum to get some momentum, I believe. But I'm happy there is still a network of old aquaintances who are waiting for it.

Doug

-- Doug Robinson (Jazzooo@aol.com), August 26, 1998.

It does seem eerily quiet here. I've been fortunate that after getting back from Peru (I've been back for three days now), I still don't have to go back to work right away. I've been either getting the pictures from the trip in order, posting some of the pictures on my web site, and visiting friends. Earlier today, I co-hosted my friend's last summer radio show on KXLU, playing all sorts of weird, eclectic stuff. Been eating out a fair amount since I can't seem to get into the swing of cooking yet, plus I haven't been home very much. What are you people up to as of late? Any cool recording projects? Anything fun that we should see or do? What's going on?

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), August 28, 1998.

What was interesting was being isolated for so long, being up in the Andes, and staying on the remote islands on Lake Titicaca. When I got back to Puno, a city on the shores of the lake, I walked past a newspaper stand and saw Clinton's mug on the front page. I thought that it was a bit odd that his face would be plastered all over "El Comercio", one of Peru's leading papers, so I had a closer look.

Clinton had a very somber, serious look in the picture, with his trademark clenched jaw. My Spanish is pretty poor, and I understood usually only about every fourth or fifth word out of the paper article, but it was enough for me to get the main idea. Seeing phrases like "television", "lunes", "relacion inaproprio", and other key phrases made the meaning fairly obvious. Then, as I glanced to another part of the newspaper, I realized that it stated that "los Estados Unidos" had a "conflicto militario con Afghanistan" -- what was going on here? So in two weeks of not hearing *any* current news outside of the tension between Ecuador and Peru, it was interesting to hear that suddenly, we had bombed Afghanistan and Sudan in response to an earlier embassy bombing in Kenya (which I also had not heard about!!!), the ruble was plummeting, the Asian economy was taking a dump, Clinton had quasi-apologized on public television...what a week for news!!!

-- Ken/Eleven Shadows (ElevenShad@aol.com), August 28, 1998.

Welcome back, Ken. You sure do go to some fascinating locales for vacations. I'm still monitoring this site frequently with hopes for a new SSS someday. R.A.P. just isn't the same. Kevin

-- Kevin Hennessey (pianoman@ntplx.net), August 30, 1998.

Thanks for the welcome back. There are really a lot of fascinating places to go to, and Peru is one of them. It is a country with very differing climates -- it has rainforests, deserts, high mountainous regions, tropical coastlines, and more. I also think that it's fun to buy a roundtrip ticket and land there and see what's up. Obviously, I have an idea what I want to do, but it's not a pre-packaged tour. I don't know where I'm going to stay, and in many cases, how I'm going to get there, or most importantly, how long I'm going to be there. What interests me is the ability to linger as long (or as short) as I care to, and as much flexibility as possible. Built in with this kind of traveling is, of course, room for a little frustration, but I think that occurs with the pre-packaged trips as well. BTW, I'm not putting down pre-packaged trips, because they are very good for certain kinds of people, and for certain kinds of situations. They certainly don't interest me as much, but it's more of a personality thing than what is better or worse or whatever.

There is a chance, although it's still just all talk, that I may be able to go to Guatemala in Dec., and central Mexico (mostly the small colonial villages in the remote regions) and Yucutan Peninsula in the spring. I don't know yet. Both of the trips would be with someone who has lived there and has family there, so in the case of both, that should greatly minimize the chances of getting held up -- Guatemala has quite a reputation for that, and the crime rate in Mexico has unfortunately risen sharply recently.

I will not be able to go anywhere this summer, so I am trying to squeeze in some shorter trips to ease the pangs of wanderlust. There are few things that keep me from wandering more -- a good job and recording music would be two large reasons. Otherwise, it would be tempting to just go to some region and just keep traveling for six months or a year or more.

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), September 01, 1998.

Man, that's cool that you get to go on all those trips. It must really be quite a treat. Do it now while you're young! Yeah, that's cool. I went to see "Modulations", a movie about techno/electronica and its evolution. The approach was quite "MTV-ish" and not really to my liking.

-- Ken of Eleven Shadows (ElevenShad@aol.com), September 05, 1998.

Hmmmm....I had wanted to see "Modulations", but was a little put off by the previews...your description sinks it -- doesn't sound like something I would like very much at all. Thanks for the tip.

I'd like to know if anyone here is going to AES in SF at the end of the month. A trip to SF is always fun, and I'm looking forward to meeting some of the people on rec.audio.pro and hopefully from here as well. I imagine Craig would be there? Haven't spoken to him about this.

Next weekend, I'm going camping at McGrath State Beach! Cool!

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), September 05, 1998.

Anyone ever been to Morroco? Glenda and I may go over Thanksgiving for 15 days, a Mountain Travel Sobek tour. Pretty adventurous stuff, we've done it before with the Galapagos.

-- Doug Robinson (jazzooo@aol.com), September 06, 1998.

Doug,

I've never been to Morocco, but I really want to go. The music, architecture, and art are all unbelievably beautiful. Fortunately for us (not so good for them, though) is the fact that the dollar stretches pretty far over there, although this won't be as much of a factor if you are taking a tour. A really great trip would be to go there and then cross over to Spain and continue up around the Mediterranean, something that I really badly want to do. That whole region of the world is fascinating, and the food is deeeee-licious! If you do go, please post back here and describe in glorious detail about your trip!

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), September 06, 1998.

In the event that anyone is interested, I believe I am done messing around with the Peru stuff on my web site. It's all there for your viewing pleasure, along with some descriptions of the trip. Let me know what you think of it! Comments, questions, critiques, pointing out grammatical/spelling errors, etc. are all encouraged!!!

http://www.theeleventhhour.com/elevenshadows and then click on "Travels", and then again on "Peru". There are I think about 25 pictures in total. Thanks!!!

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), September 06, 1998.

Man, I feel really bad. First SSS dries up and blows away--what a disappointment. Now my only other online site to talk about music, Jazz Central Station, has been overrun by anonymous internet jerks who simply post nonsense, or random attack threads having nothing to do with music. Cyberspace at it's worst.

It hurts to lose a community. I've got all this new music, and no one to share it with. I guess I just have to start over...again.

I'm not cutting out, but...you know.

Doug

-- Doug Robinson (jazzooo@aol.com), September 08, 1998.

That is sad. It doesn't sound like SSS is going to fly anytime soon due to funding, I think it was. This is it. Really, if people want an SSS community, they should attempt to build it right here. The community is about interaction, and not so much about the kind of software being used.

Going camping this weekend at McGrath State Beach up by Ventura. Should be very fun! And I have a friend who will be going with me as well who is visiting from Illinois.

Is anyone going to the AES Convention in SF at the end of the month? I will be going, and staying up at a friend's house in Berkeley. I haven't reviewed the schedule yet, so I don't know what sort of activities I will be going to during the evening, much less during the day time!!!!

-- Ken of Eleven Shadows (ElevenShadows@theeleventhhour.com), September 10, 1998.

<, It doesn't sound like SSS is going to fly anytime soon due to funding, I think it was.>>

What? Where did you hear this. Ken?

-- Doug Robinson (jazzooo@aol.com), September 14, 1998.

Craig told me that he was waiting for the funding to go through in one of his recent emails. However (and I am judging from the TONE of his email), it didn't sound like he was expecting this to go through soon. Soooooo...don't hold your breath. I hope that I'm wrong!!!!!!!

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), September 15, 1998.

<, It doesn't sound like SSS is going to fly anytime soon due to funding, I think it was.>

This would be a major bummer!!!

-- Kevin Hennessey (pianoman@ntplx.net), September 15, 1998.

I'm back from the AES show, which was great fun. For those of you who haven't heard, Neumann has a new microphone that will be allegedly available in January. It's called the M-147, and is a large diaphragm tube condenser that is approximately the same size as their TLM 103, and uses the same capsule as their U 47 and U 47 FET microphones (the K47 capsule). It has a low selfnoise for a tube mic, at about 13 db-A_ and can handle 130 dB SPL without distortion (all this taken directly off the Neumann News Release). It is cardioid only, and will sell for $2000 list, including standard mount, power supply, and cable , as well as a "robust aluminum carrying case".

I was particularly impressed with the Lawson L47 MP (multi-pattern), which was fat, gorgeous-sounding, and had that certain undefinable magic. It has variable polar patterns, allowing you to fine-tune an exact sound. This variable polar pattern quality drastically alters the EQ bump, and seems to be very useful. Personally, If I were going to spend $2000 on a microphone, this mic would be at the top of my list. It's really impressive!!!!! As an added bonus, Gene Lawson is one heck of a nice guy!!!!!!

I did not see Craig while stumbling around on the AES floor. He gave a seminar on something to do with choosing the right digital format or some such thing, but I did not attend.

I severely tweaked my back Tuesday night, so I am having difficulty even walking, and have taken off work!! Ouch!!!!!! Most everything is painful -- sitting, walking, standing, even lying down after a while. When I am a little better, I will see a doctor, probably a chiropractor, and start floating around in the pool to alleviate the effects of gravity. All that stuff. Get massages, too.

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), October 01, 1998.

Ken,

Great to hear from you. Sorry 'bout your back. Even though it's just the two of us here ;) I'm gonna post the offer for my new CD. I couldn't be prouder.

My friends and fellow music lovers:

Right now, I am in an incredible position (hey, it looked easy in the sex manual!)

Ahem...

Sitting in front of me are the first shipments of TWO new CD titles: Doug Robinson...Plays Well With Others, and The Andy Robinson Band. And I would like to offer you your very own copies. If you are interested in hearing what I've been happily slaving over for the last 14 months while we've chatted, read on. If not, thanks for reading this far.

First, let me say that these CDs are very different from Spinner, and from each other. I will tell you a little about each one, and then make you a special offer. OK?

Plays Well With Others is the jazz album I have always wanted to make: my best writing, brought to life by two all-star bands featuring players such as guitarist Mike Stern (Miles Davis, The Brecker Brothers, Atlantic Records solo artist); bassists John Patitucci (Chick Corea, Dave Grusin) and Dave Carpenter (Peter Erskine, Lounge Art Ensemble); drummers Ben Perowsky (Lost Tribe, Spanish Fly) and Scott Amendola (TJ Kirk, Charlie Hunter); keyboardist Rob Mounsey (Steely Dan, Aztec Camera); and more. I played acoustic piano and synths, and even though these guys could have kicked my ass, I hope I held my own. At least that's what they said when I handed them their checks...

10 of the 13 tracks were recorded live in the studio (a day in NY and a day in L.A.) by the extremely talented Josiah Gluck on 2" analog. While some of the tunes play just like they went down, on others I did some significant overdubs on both my VS880 and my 1680. There are 3 other tunes which are all-VS productions, and to my ears stand up just fine.

The last tune, Man With the Horn, is a tribute to my late music mentor and friend, bebop trombone legend Frank Rehak. 6 months before he died in 1987, I wrote and recorded this song (which features his amazing playing) on a Tascam 424, using a bunch of cheesy midi stuff. Last month, I re-recorded all of my parts (piano, electric upright bass and acoustic drums) onto my 1680 and merged the old and new tracks together--quite a challenge. The end result is probably the most fulfilling work I've ever done.

So that's Plays Well With Others--68 minutes of my brand of modern jazz. No drum machines, no sleepy tinkling cocktail pianos, just lots o' energy and strong melodies and killer solos.

Now, there's the debut album from my brother, called The Andy Robinson Band. This couldn't be more different from Plays Well...My older brother is great singer/songwriter, in the John Sebastion/Dan Hicks tradition. He is also quite the dulcimer player (not the hammered dulcimer, but a lap version which he strums--sometimes very hard).

On this album, recorded completely on ONE VS880 (and rescued from the clutches of a Jaz drive by the fabled MegaChew), Andy is joined by Scott Colby on electric and acoustic dobro, and Babs Parent on vocals. I produced, and as is my way, arranged and played bass, drums, keys and a few other thingamabobs.

While my arrangements are not as complex as what appeared on Spinner, they are suitably odd to fit the song material. Lots of ironic and memorable songs with great hooks, mostly acoustic instruments with some electronic textures, and that great MT1 sound. I think this album is profoundly enjoyable, in the way a subtle glance from the right person can make you feel good all over. It's also a very clear example of the best acoustic recording I can do on the VS880. It sounds very...realistic...to me.

Anyway, I'd like as many people on this planet to hear *both* of these albums. A bigass record label isn't knocking on my door right now, so I'm taking matters into my own hands. How about this:

Both CDs for only $20, shipping and handling included. I'll also sell 'em individually if you want (Plays Well for $15, Andy Robinson for $12).

If you're interested, please e-mail me at Jazzooo@aol.com. Include your mailing address and I'll get your CDs out right away. I hope you'll enjoy the experience of hearing two more sides of my musical work.

As always, I thank you for your guidance, your good humor, your patience, and your enthusiasm.

Best,

Doug Robinson

-- Doug Robinson (jazzooo@aol.com), October 02, 1998.

As one of the first to hear Doug's new CD, I will say that is definitely worth a listen. First rate writing, and some very serious playing. I've enjoyed it thoroughly. Buy it. You won't be disappointed.

Lynn Fuston 3D Audio Inc http://www.3daudioinc.com

-- Lynn Fuston (go3daudio@mindspring.com), October 02, 1998.