[Dixielandjazz] Re: Dixielandjazz Digest, Vol 26, Issue 40

[Ken Brown]

I have already requested on 2 occasions to be taken off the mailing  through 
the address listed and i am still getting them.

My name is Ken Brown and my password is "beau".

Please take me off your mailing list.
----- Original Message ----- 
From: <dixielandjazz-request at ml.islandnet.com>
To: <dixielandjazz at ml.islandnet.com>
Sent: Wednesday, February 23, 2005 7:00 AM
Subject: Dixielandjazz Digest, Vol 26, Issue 40


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>
> Today's Topics:
>
>   1. Re: Jam Bands (baglady4 at juno.com)
>   2. The Impact of Kenny G. (Steve barbone)
>   3. "Jazz on the Beach" (Len Nielsen)
>   4. Re: The Impact of Kenny G. (TCASHWIGG at aol.com)
>   5. Re: "Jazz on the Beach" (TCASHWIGG at aol.com)
>   6. IT'S THE PRESENTATION . . . . . .was where is the music
>      going.  (Steve barbone)
>   7. THE OKOM of BARBARA CARROLL  (Steve barbone)
>   8. Monterey Hot Jazz Society Newsletter, March issue is online
>      (John Jamieson)
>   9. New hits for Baby Boomers
>      (LARRY'S Signs and Large Format Printing)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 22 Feb 2005 02:50:47 GMT
> From: "baglady4 at juno.com" <baglady4 at juno.com>
> Subject: [Dixielandjazz] Re: Jam Bands
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <20050221.185053.23307.145730 at webmail03.lax.untd.com>
> Content-Type: text/plain
>
>
> Steve Barbone writes:
>
> <<<Often, we get posts about jam bands, how they are disorganized etc., 
> and even when composed of GIANTS, how they sometime disintegrate into: 
> "What Shall We Play", and other indecision that wastes time and mars the 
> gig.
>
> And on the other hand, sometimes they produce some magic.>>>>
>
> and magic it was!!!!
>
> I was there, and everything Steve says is true and more!!!  I have been to 
> many NJ Jazz Society, and a handfull of PA Jazz Society events...and
> never have seen members hang in until the end.....let's face it...most of 
> the members are older that the musicians in Steve's band!!!!
>
> But hang in they did...and for good reason....not just Jonathan Russell, 
> who is everything Steve  says, and more (those who can get to the Greater 
> CT Jazz Fest, in Moodus,CT  the end of July this summer can see him 
> playing with the Galvanized Jazz Band and maybe also the Bearcats) but 
> because the Barbone Street Jazz Band delivered outstanding music!!!!!
>
> Nancie Beaven
> Professional OKOM Appreciater
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Mon, 21 Feb 2005 22:17:36 -0500
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] The Impact of Kenny G.
> To: <dixielandjazz at ml.islandnet.com>
> Message-ID: <BE400E80.1C60%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> Click!!! Tom, you just turned the light on for many of us.
>
> Not only that, but did you notice that Metheny opines that what the G man
> plays is indeed jazz? At least he had the sense to differentiate G's
> abilities from Grover Washington Jr., who invented the smooth jazz genre 
> in
> the early 1970s.
>
> Grover was a master of his horn, and a fellow Philadelphia reed man. G 
> made
> smooth jazz popular, but Grover was the innovator. Kind of the Buddy 
> Bolden
> - ODJB story all over again.
>
> Cheers,
> Steve Barbone
>
>
>
> Tom Wiggins at TCASHWIGG at aol.com wrote (polite snip)
>
>> We have bantered that article by Pat Metheny
>
>> Perhaps if Pat and all of us on this list looked at it from a
>> different perspective we might actually one day thank Kenny G.
>>
>> You say, What Wiggins, have you lost your ever lovin' mind??
>>
>> Not at all folks, just adjusted the broadness of it again, :))
>>
>> I would venture to say that since Kenny G committed his unpardonable sin 
>> of
>> recording over a Louis Armstrong track, that it is quite possible it 
>> launched
>> a whole new series of Louis Armstrong recording sales and not to OKOM 
>> fans and
>> musicians either.
>
>> For instance I have heard that song played repeatedly ever since it came 
>> out
>> on SMOOTH JAZZ Stations that you could not pay to play a Louis Armstrong
>> record or Lu Watters, or Turk Murphy, Wild Bill Davidson Buddy Bolden or
>> anybody else so revered on this list.
>>
>> I would also venture to say that today as a result of it's impact, there 
>> are
>> several million more Louis Armstrong fans in the world who might 
>> otherwise
>> have never discovered Louis and his music.
>>
>> Kenny G  did in one fell swoop more for OKOM and Jazz than probably 80% 
>> of
>> all the rest of the Jazz World.  But like Ken Burns and Wynton Marsallis, 
>> he
>> is just too easy to HATE because he had the ingenuity to go out and do
>> something about it instead of sitting at home bitching about there is no 
>> good
>> Jazz or any place to play it.
>
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Mon, 21 Feb 2005 21:30:42 -0800
> From: Len Nielsen <lennielsen at telus.net>
> Subject: [Dixielandjazz] "Jazz on the Beach"
> To: DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <421AC382.2020803 at telus.net>
> Content-Type: text/plain; charset=us-ascii; format=flowed
>
> The 22nd edition of the Oregon Dixieland Jubilee will be blowing the
> roof off in Seaside Ore this coming weekend Feb 25, 26, 27th.
>
> Last year at the closing ceremony they announced the largest crowd ever
> and when we started looking for accommodations in December for this year
> rooms were in short supply so we eventually settled on renting a house.
> There are 10 of us, in our group, from this area in Canada and as there
> is also a birthday involved, we are going to party until we drop. I hope
> that is later than the 8 o'clock that Tom Wiggins mentioned. :)
>
> This is an especially nice festival because of the beautiful location
> and the great bands and the dance floor is always full. It promises to
> be another great one.
>
> If I meet any of you there I will buy you a drink.
>
> Len Nielsen
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Tue, 22 Feb 2005 04:08:14 EST
> From: TCASHWIGG at aol.com
> Subject: Re: [Dixielandjazz] The Impact of Kenny G.
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <12e.5815f68a.2f4c507e at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> In a message dated 2/21/05 7:14:40 PM Pacific Standard Time,
> barbonestreet at earthlink.net writes:
>
>>
>> Click!!! Tom, you just turned the light on for many of us.
>>
>> Not only that, but did you notice that Metheny opines that what the G man
>> plays is indeed jazz? At least he had the sense to differentiate G's
>> abilities from Grover Washington Jr., who invented the smooth jazz genre 
>> in
>> the early 1970s.
>>
>> Grover was a master of his horn, and a fellow Philadelphia reed man. G 
>> made
>> smooth jazz popular, but Grover was the innovator. Kind of the Buddy 
>> Bolden
>> - ODJB story all over again.
>>
>> Cheers,
>> Steve Barbone
>
>
> Thanks Steve:
>
>  I hope so, as much as I hope others will see the simplicity in this
> situation, if we can all just back up and look at it with reality in mind 
> we can I
> think and figure out what has happened and change the course of history 
> more
> than we might imagine.
>
> Hi folks I just came back from an interesting evening listening to Mike 
> Vax
> and his Big Band at world renowned Jazz Club Yoshi's in Oakland California 
> :))
> A high brow Sushi joint that has a nice Jazz room on the side.  They bring
> in the best of the Academic Set of Jazz on a regular basis.  Master 
> players
> with recognizable names that play a lot of pretty mundane crap to an 
> academic
> crowd of about two to three hundred folks who think they are Hip but that 
> really
> could not swing from a rope in their own back yard.
>
> Mike took on some interesting things in his repertoire this evening that
> surprised me and did something that usually does not happen.  I stayed for 
> the
> second show.
>
> Mike does not try to imitate Stan Kenton nor is he proclaiming to be a 
> Ghost
> band playing Kenton Charts.  Mike is trying very hard to do his OWN thing 
> with
> music and it is a hard thing to do when you have an audience of 
> preconceived
> notions of what the Hell BIG BAND JAZZ is supposed to sound like and what 
> the
> Band is supposed to play.
>
> Does this sound familiar to all you Dixieland and Traditional Jazz Bands 
> on
> the list?
>
> I was standing talking with Mike when an over zealous FAN approached him 
> with
> her schpeil about how he needed a promoter and she had all the right ideas
> She thought to make the band big Stars. :))  Have any of you heard this 
> before
> ?? :))
>
> Mike and I just exchanged one of those knowing looks as he asked her if 
> she
> would like the job.  ROTFLOL.  Again.  They all think it is so easy to be 
> a
> band leader and all we really need is their advice to become Michael 
> Jacksons and
> Ray Charles and Benny Goodman and Harry James etc.
>
> Now on this area I have to agree with Artie Shaw that the audience is 
> mostly
> absolutely clueless, ( not Artie's Words ) which makes us as band leaders 
> walk
> a very fine line between the urge to slap them sillier than they already 
> are
> and bite our lip and smile and find a gracious way to thank them for 
> coming
> and hope they enjoyed the show and please do bring your money and friends 
> and
> come back and pay again.
>
> It does unfortunately take all kinds to make the cash register ring.
>
> But back to the music, Mike dropped a totally unexpected number on the
> audience more than once in the second set that I would have loved to see 
> the
> reaction from the first show audiences for.
>
> He played a Big Band arrangement of Procol Harem's Whiter Shade of Pale 
> that
> would have blown away the first show audience if they had bothered to stay 
> for
> the second show which by the way they were invited to do for free.  There 
> was
> also an excellent number from the Carlos Santana song book.  Now the big
> surprise folks, It was indeed OKOM, but you would have to open your ears 
> to
> embrace it and respect what Mike and his folks did to make it OKOM.  Back 
> to the old
> saying there are only two kinds of Music Good and Band, tonight I heard 
> some
> good music by a guy who gives a damn and is not afraid to take chances and 
> not
> stay locked into 1930.
>
> As I said in an earlier post today, if you want to change and broaden the
> audience for OKOM you have to go reach out musically to the younger crowd 
> that
> has first of all most likely never heard of any of the tunes you are 
> playing nor
> the artist who made them famous.
>
> Just like Kenny G did with his desecration of Louis Armstrong, but bottom
> line folks is this there are now millions of young folks making love to 
> Louis
> Armstrong music because of Kenny G than teenage girls who got pregnant to 
> the
> smooth jazz sounds of Johnny Mathis in the back seat of Buicks in the 
> 1960, s.
>
> Chances Are if we pay attention to letting the younger generations 
> DISCOVER
> our kind of music and then encourage them they will also embrace it just 
> like
> we did.
>
> I think the secret lies in the packaging and marketing of it point blank.
>
> Just being good musicians and players is not diddley squat, nobody gives a
> damn, high school and college bands turn out thousands of such players 
> every
> semester with absolutely no place to go.
>
> There is no shortage of GOOD musicians, but there sure as Hell is a 
> shortage
> of good professional promoters and people who have any clue at all what to 
> do
> with any of them or how to properly market and present them to the
> unsophisticated hungry audience begging for a place and situation to see 
> and hear them.
>
> As for successful Big Bands these days we all need to take a look at Harry
> ConnickJr., to see what the younger generation is into and will pay to see 
> and
> hear.  Harry's band has that fire in the belly sound and Look while most 
> big
> bands look and sound like exactly what they are, a bunch of High School 
> music
> teachers gettin' together to try and impress their students and their 
> parents.
>
> The lady who was trying to lay into Mike was trying to tell him what his 
> band
> needed, like a young high school chick singer in front, to attract all the
> high school band members to come out to his concerts.  Mike just rolled 
> his eyes
> and I bit my lip to stay out of the conversation politely.  Mike told her 
> he
> had already tried all of that and more and the kids had been invited to 
> the
> concerts for free and they still would not show up.
>
> Well, the answer lies in how you approach the High school kids and make 
> them
> an intricate part of the music and the program, it MUST be COOL for them 
> or
> they will run from it lest they be considered as NERDS, The answer folks 
> is that
> what was COOL in our day is not perceived to be COOL today.  Many 
> Musicians
> are simply totally out of step with the reality of today and the kids and 
> young
> folks who go out and party and spend money.
>
> No self respecting high school or college kid wants to go out on a date 
> and
> see a band of guys that look like his or his dates Mom & Dad, however they 
> will
> go out and spring $30.00 or more to see a COOL Hip Cat Like Harry 
> ConnickJr.,
> some hip lookin'  dudes who dress like today's fashions.
>
> The visual impact is much more important to most bands than they will ever
> think, as it has been said on this list recently, today's music listeners 
> do not
> hear it they see it first.
>
> I know this goes against the grain of all the hipsters from the sixties 
> who
> got away with that dress as you want style.  Well, Reality check folks,
> dressing up is back in style and dressing to look better than your 
> audience is a
> winner.  Look like you are Somebody, Walk like you are Somebody, Talk Like 
> you are
> Somebody and then Play like you are Somebody and by God you can soon be
> SOMEBODY.
>
> Don't believe me, did any of you watch the Grammies, Take a look at the
> Oscars coming up and see if I don't suddenly make sense.  Like it or not 
> IMAGE is a
> major part of show business if not all of it for some folks.
>
> Well enough rambling for tonight,
>
> Cheers,
>
> Tom Wiggins
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Tue, 22 Feb 2005 04:24:30 EST
> From: TCASHWIGG at aol.com
> Subject: Re: [Dixielandjazz] "Jazz on the Beach"
> To: lennielsen at telus.net, dixielandjazz at ml.islandnet.com
> Message-ID: <92.2118ef5d.2f4c544e at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> In a message dated 2/21/05 9:31:09 PM Pacific Standard Time,
> lennielsen at telus.net writes:
>
>> I hope
>> that is later than the 8 o'clock that Tom Wiggins mentioned. :)
>>
>
> Me too Len"
>
> That was a very rare occasion for me, to be to a concert, out to dinner 
> and
> back home before 8:00.  Hell I thought I had died or something, :))   I 
> can't
> believe I was actually lying in bed waiting for Saturday Night Live to 
> come on
> on a Saturday Night.
>
> Well I just made up for it I went out to hang with Mike Vax on a Monday 
> when
> I should have been in bed early, but stayed till they ran us out of the 
> joint
> at 11:00
>
> Sadly I can remember when the clubs in that city were just getting started
> good at 11:00.And they did not serve sushi there either.  It is indeed a 
> sad day
> in Oakland when the only Jazz Club in the city is a Japanese Sushi
> restaurant.
>
> Cheers,
>
> Tom Wiggins  1:30 a.m. shift.
>
>
> ------------------------------
>
> Message: 6
> Date: Tue, 22 Feb 2005 09:17:01 -0500
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] IT'S THE PRESENTATION . . . . . .was where is
> the music going.
> To: DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <BE40A90D.1C73%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> Where is the music going? HERE. . . .
>
> Have You Played YOUR Dance Music Today? Your can play high spirited OKOM 
> for
> this audience. They'll adore it if you do it right. But please, no warmed
> over pop music from the 1920s-1930s, and use Mardi Gras beads instead of
> quartz crystals.
>
> Cheers,
> Steve Barbone
>
>
> February 21, MUSIC REVIEW | SOUND TRIBE SECTOR NINE NY TIMES  (condensed)
>
> Providing Energy for Dancing (and Metaphysical Energy From Quartz 
> Crystals)
> By JON PARELES
>
> ....Baggy, shaggy jam-band fans bob and weave to live bands. ... at the
> Irving Plaza on Friday night, the instrumental band Sound Tribe Sector 
> Nine
> opened its two-night stand there.
>
> In latter-day hippie style, the band performed alongside an onstage 
> display
> of crystals, quartz spheres and elaborate foliage, while perched on top of
> the club's large floor speakers were two easels, where Oliver Vernon and
> another painter worked on canvases as the band played.
>
> But the music came less from the hippie roots metamorphoses of the 
> Grateful
> Dead, the jam-band fountainhead, than from later, more fixed idioms: funk,
> jazz-rock fusion, down tempo acid jazz, minor-key trip-hop and house 
> music.
> The one borrowed song came from hip-hop: Deee-Lite's buoyant 1990 "What Is
> Love?," minus the words.
>
> The music set out to do a job - to get heads shaking and bodies moving - 
> in
> its two sets on Friday. Onstage the music was genial and straightforward.
>
> Some jam bands start in one musical zone and head for another in the 
> course
> of a song, or let members egg one another on with elaborate solos. But 
> Sound
> Tribe Sector Nine prefers steady vamps and self-effacing ensemble work 
> that
> unfolds riff after riff. It's closer in structure to disc-jockey dance 
> music
> than to rock songs. It was up to the rhythm section to stoke the music, 
> and
> periodically the drummer, Zach Velmer, whipped up cymbal crescendos or
> double-time break beats that made the crowd cheer.
>
>
>
>
> ------------------------------
>
> Message: 7
> Date: Tue, 22 Feb 2005 09:26:56 -0500
> From: Steve barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] THE OKOM of BARBARA CARROLL
> To: DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <BE40AB5F.1C74%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> Don't miss Barbara Carroll if you are visiting NYC on a Sunday. Especially
> if with your main squeeze. She is a real treat on piano. Her treatment of
> the music of Harold Arlen is always superb.
>
> Cheers,
> Steve Barbone
>
> PS. Jay Leonhart is mostly bowing his bass which is another treat.
>
>
> February 22, 2005 NY TIMES CABARET REVIEW | BARBARA CARROLL
>
> An Impressionist's Harold Arlen, Graceful and Blue By STEPHEN HOLDEN
>
> If the pianist and sometime singer Barbara Carroll isn't on intimate 
> musical
> terms with any song you could name from the catalog of American pop and 
> jazz
> standards, chances are that the song isn't worth remembering. In her 
> return
> engagement at the Oak Room of the Algonquin Hotel, where she and the 
> bassist
> Jay Leonhart are performing brunch and evening shows on Sundays, she is
> concentrating on the music of this year's centennial kid, Harold Arlen, 
> with
> brief side trips to the legacy of Cy Coleman and to songs with lyrics by
> Dorothy Parker.
>
> Arlen's sprawling dyed-in-the-blues songs lend themselves to Ms. Carroll's
> graceful, melodic piano style. She incorporates elements of blues and 
> swing
> into her music, but her hallmark is a precise, clear-toned impressionism
> that at its most effulgent suggests autumn foliage cascading into a
> well-kept garden. Songs are often prefaced with semiclassical 
> introductions
> reminiscent of Ravel or Rachmaninoff. Once a tune is unfurled, it usually
> progresses from a full-bodied two-handed statement into a politely frisky
> swing rendition with Erroll Garner-like flourishes.
>
> You'll rarely find Ms. Carroll crunching the keyboard or making startling
> tempo changes. For connective musical tissue, she favors thickly 
> harmonized
> descents in the whole-tone scale.
>
> On Sunday afternoon her supremely relaxed renditions of "Last Night When 
> We
> Were Young" and "Don't Like Goodbyes" were particularly satisfying. The
> intensely chromatic "Last Night When We Were Young" almost demands 
> romantic
> melodrama, but Ms. Carroll stood back and made it a wistful reflection on
> the past regarded from a secure niche of peace and quiet. Mr. Leonhart's
> mostly bowed bass seamlessly filled out the song's musical profile.
>
> The mood of the concert and the quality of Ms. Carroll's rapport with Mr.
> Leonhart were both epitomized by the final number, Stephen Sondheim's "Old
> Friends." If great songs could be called friends, Ms. Carroll is one of 
> the
> most popular women in town.
>
> Barbara Carroll performs on Sundays at the Oak Room of the Algonquin 
> Hotel,
> 59 West 44th Street, Manhattan; (212) 419-9331.
>
>
>
>
> ------------------------------
>
> Message: 8
> Date: Tue, 22 Feb 2005 07:33:01 -0800
> From: John Jamieson <jamie at surfnetusa.com>
> Subject: [Dixielandjazz] Monterey Hot Jazz Society Newsletter, March
> issue is online
> To: DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <421B50AD.4040403 at surfnetusa.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
>
> The March issue of HotNotes, the Monterey Hot Jazz Society Newsletter is
> Online at
>
> http://www.surfnetusa.com/jamie/hotnotes/33-03/index.html
>
> On page 5 John Chalmers helps you to live it up at dixieland monterey
>
>
>
>
>
>
>
> -- 
> No virus found in this outgoing message.
> Checked by AVG Anti-Virus.
> Version: 7.0.300 / Virus Database: 266.3.0 - Release Date: 2/21/2005
>
>
>
>
> ------------------------------
>
> Message: 9
> Date: Tue, 22 Feb 2005 13:11:29 -0600
> From: "LARRY'S Signs and Large Format Printing" <sign.guy at charter.net>
> Subject: [Dixielandjazz] New hits for Baby Boomers
> To: "1-DIXIELAND JAZZ POST" <dixielandjazz at ml.islandnet.com>, "TOM
> GASSAWAY" <tgtubaman at aol.com>, "'Tom Bell'" <tomabell at swbell.net>,
> "STEVE LILLY" <trumpeter at lincolnco.net>, "PAUL DeMERATH"
> <icebowl at accessus.net>, "MARY ANN SCHULTIE" <pianjoe at swbell.net>,
> "Linda Haill" <jrseygrl at swbell.net>, "KEVIN WALSH" <kpjk at charter.net>,
> "JUDI GITEL" <jgitel at charter.net>, "KAY LOVE" <klove at tiaa-cref.org>,
> "KAREN GUGLIELMO HOME" <karen.guglielmo at sbcglobal.net>, "Hadley Haux"
> <hhaux at sbcglobal.net>, "GARY DAMMER" <planenut2 at msn.com>, "EDDIE
> PLITT" <eplitt at sbcglobal.net>, "Earl Dille"
> <sgigmissouri at sbcglobal.net>, "Dick Beckman" <REB488 at midwest.net>,
> "DAN SMITH" <djstrpt at hotmail.com>, "Curry J. Baker"
> <jcbaker at surffirst.net>, "CRAIG SERGEL" <csergel at swbell.net>, "CHRIS
> PUTSCHE" <cputsche at aol.com>, "BUTCH GRAY" <rgray7602 at yahoo.com>, "BOB
> LORD -drums" <Rlorddrums at aol.com>, "BEN ASH Banjo"
> <classicalcomp at charter.net>
> Message-ID: <006101c51912$50ba0080$a5e1d918 at gateway2000>
> Content-Type: text/plain; charset="Windows-1252"
>
> Some of the artists of the '60s are revising their hits with
> new lyrics to accommodate aging baby boomers. They include:
>
> 1.Herman's Hermits -  Mrs. Brown, You've Got a Lovely Walker
>
> 2.The Bee Gees - How Can You Mend a Broken Hip
>
> 3.Bobby Darin - Splish, Splash, I Was Havin' a Flash
>
> 4.Ringo Starr - I Get By With a Little Help from Depends
>
> 5.Roberta Flack - The First Time Ever I Forgot Your Face
>
> 6.Johnny Nash - I Can't See Clearly Now
>
> 7.Paul Simon - Fifty Ways to Lose Your Liver
>
> 8.Commodores - Once, Twice, Three Times to the Bathroom
>
> 9.Marvin Gaye - Heard it Through the Grape Nuts
>
> 10.Procol Harem - A White Shade of Hair
>
> 11.Leo Sayer - You Make Me Feel Like Napping
>
> 12.The Temptations - Papa's Got a Kidney Stone
>
> 13.Abba - Denture Queen
>
> 14. Tony Orlando - Knock 3 Times on the Ceiling if you Hear
> Me Fall
>
> 15.Helen Reddy - I am Woman, Hear me Snore
>
> 16.Willie Nelson - On the Throne Again
>
> 17.Leslie Gore - It's My Procedure and I'll Cry if I Want To
>
> ------------------------------
>
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> End of Dixielandjazz Digest, Vol 26, Issue 40
> *********************************************
>