[Dixielandjazz] Dixielandjazz Digest, Vol 45, Issue 46
billsharp
sharp-b at clearwire.net
Thu Sep 28 13:18:20 PDT 2006
On Sep 28, 2006, at 12:00 PM, dixielandjazz-request at ml.islandnet.com
wrote:
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> Today's Topics:
>
> 1. Re: FW: Condon Style (dingle at baldwin-net.com)
> 2. Coast styles (Jim Kashishian)
> 3. Re: "Mickey" Music (Larry Walton Entertainment - St. Louis)
> 4. Young audience hungry for Dixieland - Was Red Sea Jazz
> Festival (Steve Barbone)
> 5. Re: "Mickey" Music (Steve Barbone)
> 6. Re: The Red Sea Jazz Festival-2007 (Gluetje1 at aol.com)
> 7. Re: The Red Sea Jazz Festival-2007 (David Richoux)
> 8. Re: Condon Style Ensemble (Stan Brager)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 28 Sep 2006 12:14:46 -0400
> From: dingle at baldwin-net.com
> Subject: Re: [Dixielandjazz] FW: Condon Style
> To: jim at kashprod.com
> Cc: dixielandjazz at ml.islandnet.com
> Message-ID: <451BF4F6.8070206 at baldwin-net.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Jim Kashishian wrote:
>
>>> The sound of Condon's band of the 1950s is always what I have in my
>>> mind
>>>
>>>
>> for the perfect >band ensemble sound.
>>
>> There have been two posts making the above comment, and expressing
>> surprise
>> at someone saying that "ensemble work" was not the main aim of the
>> band, or
>> words to that sort.
>>
>> I suspect that Steve was probably comparing Condon's style vs. the
>> U.S. West
>> Coast style fashioned after Lu Watters, where the band plays few or
>> even no
>> solos. I doubt if he meant that the Condon band had no ensemble work
>> to
>> speak of.
>>
>> A band can have very intricate head ensemble arrangements (where a
>> sit-in
>> would be completely lost!), but be more based around the solos of the
>> individual musicians.
>>
>> Jim
>>
>>
>>
>>
>> _______________________________________________
>> Dixielandjazz mailing list
>> Dixielandjazz at ml.islandnet.com
>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>
>>
>>
>>
> For years I have wanted to point out that there were TWO schools of
> West
> Coast Jazz, not just one that centered on the Waters/Scober/Murphy
> two cornet approach. There was at the same time far more jazz of the
> Chiicago-New York approach, thanks to the presence of so many people
> associated with the Crosby era Bobcats and related Chciago styles. In
> the late 40's in the LA area you could hear bands led by Red Nichols,
> Pete Daily, Ben Pollack, Eddie Miller or Matty Matlock, Kid Ory, Clyde
> Hurley, Nappy LaMare, Ted Vesley, Eddie Skravanic, Rosey McHargue, and
> others. Jack Teagarden played in small bistro's on Hollywood Blvd., and
> even Louis held down the stand at the Streets of Paris there for a
> time.
> These were not bands in the San Francisco/Turk style, and for those of
> us growing up and entering the ranks of this other style, the learning
> curve was wide and wonderful for a student-jazzer-in-preparation. Yet,
> these days mention "West Coast" jazz and most only think Turk or
> Scobey or similar styled bands.
> There were other faces to West Coast jazz, and for that....and for
> people like Clyde Acker and his Jump Records saving that style on
> records, it made it even more easy to lean to the "other West Coast"
> school of jazz -- one that is often overlooked.
> Ah, such is the world's attention span -- here today, forgotten
> tomorrow. But not by this child. (Card me please, barkeep -- it's been
> so long!)
> Don Ingle
>
>
>
> ------------------------------
>
> Message: 2
> Date: Thu, 28 Sep 2006 18:30:12 +0200
> From: "Jim Kashishian" <jim at kashprod.com>
> Subject: [Dixielandjazz] Coast styles
> To: <dixielandjazz at ml.islandnet.com>
> Message-ID:
> <mailman.22.1159470007.56665.dixielandjazz at ml.islandnet.com>
> Content-Type: text/plain; charset="us-ascii"
>
>
>> For years I have wanted to point out that there were TWO schools of
>> West
> Coast Jazz, not just one that centered on the Waters/Scober/Murphy two
> cornet approach.
> Don Ingle
>
>
>
> Of course, you're very right, Don. At least in the Los Angeles area,
> one
> could find the "other school" you mentioned, and my brightest memory
> of that
> style was played by Teddy Buckner's band at the Beverly Caverns.
>
> At the same time (end of the 1950's), in Northern California, you had
> the
> style now commonly referred to as West Coast. I believe that this
> style won
> over as being that particular coast's style due to all the bands that
> started up in the 1960's playing that style.
>
> So, rightfully, we should refer to Southern Calif & Northern Calif
> styles
> rather than West Coast. However, as in many other matters in the
> U.S., the
> two coasts just love to try to outdo each other in being
> different/better/whatever, so that's probably why it ended up a "Coast"
> thing.
>
> Jim
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Thu, 28 Sep 2006 11:45:38 -0500
> From: "Larry Walton Entertainment - St. Louis"
> <larrys.bands at charter.net>
> Subject: Re: [Dixielandjazz] "Mickey" Music
> To: "Steve Barbone" <barbonestreet at earthlink.net>, "DJML"
> <dixielandjazz at ml.islandnet.com>
> Message-ID: <00e601c6e31d$87a03ca0$96fab844 at COMPACSR1320NX>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=original
>
> We used to call it the business man's bounce at 120 bpm. I have been
> playing with a Mickey band that is at this point a rehearsal band and
> doesn't seem to be going anywhere. Occasionally I pick up work from
> touring
> groups that come through. I'm not real thrilled playing with them and
> have
> been turning down some work. I prefer playing a little more (read a
> lot)
> laid back and that stuff is very rigid and you have to be very
> precise. If
> you miss a dot or tiddle you are playing solos. Mickey is just the
> opposite
> of swing. While I know it's not good to generalize I think it's the
> opposite of jazz too.
>
> Some of the guys that have played it for years do it naturally but for
> me
> it's too much like work. The only place in the country that it seems
> to
> still be popular is from about Chicago through the upper mid west,
> Canada,
> Northern Illinois, Michigan and Wisconsin. Then again you won't be
> able to
> find a polka band in St. Louis either. Some of those bands
> occasionally
> touch the Ballrooms on the East side around St. Louis (Belleville,
> Staunton,
> Alton). St. Louis is still a bastion of swing so far as ballroom is
> concerned.
> Larry
> St. Louis
>
> ----- Original Message -----
> From: "Steve Barbone" <barbonestreet at earthlink.net>
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Sent: Wednesday, September 27, 2006 3:14 PM
> Subject: [Dixielandjazz] "Mickey" Music
>
>
>> Given the recent "Mickey" thread below is musician Tony Agostinelli's
>> take
>> from the Stan Kenton chat list. Most of the OKOM Jazz Musicians in
>> NYC and
>> Philadelphia also played lots of "Mickey" with the Lanin brothers and
>> Meyer
>> Davis in order to make a living 50 years ago. And, as many know, they
>> played
>> a lot of 2 beat Dixieland which the Society folks adored as dance
>> music.
>>
>> Cheers,
>> Steve Barbone
>>
>>
>> "MICKEY" comes from Mickey Mouse...the music for those early cartoons
>> was
>> similar to the music of some of those early dance bands....hence,
>> "Mickey
>> Bands," or "Mickey Mouse Music."
>>
>> I played accordion at a gig, where the leader, a drummer (brushes
>> only)
>> called a trumpet player, a saxophone player, a bass player, and
>> me...everything, he said in "2/4 or 3/4". The leader would call the
>> tunes
>> and we play continuously, just some transitional chords to get to the
>> standard keys. First tune, first set..."S'Wonderful." Few guest had
>> arrived...after the first chorus, trumpet player plays a beautiful
>> muted
>> jazz chorus, I lay in eight chords per measure, bass player plays in
>> four!
>>
>> The leader, brought us to a close after an out chorus...took us off
>> the
>> stand, and lashed out at us something fierce....no jazz, no multiple
>> bebop
>> chording within measures, and no 4/4 beat....got that? Or you won't
>> work
>> with me again, says he. The money was above scale for gigs like
>> that...we
>> went back to the stand, and for the next 3 hours, plus another (they
>> liked
>> us)....we played all the music "mickey mouse" style -- but walked away
>> with
>> good bread, as we did many other times.
>>
>> The insufferable general business gigs (read "mickey"), kept us in
>> good
>> walking around money...so we could afford to play some jazz gigs.
>>
>> Oh -- I never gave up my day gig!
>>
>> All the best, stay well and in touch,
>>
>> Tony
>>
>>
>> _______________________________________________
>> Dixielandjazz mailing list
>> Dixielandjazz at ml.islandnet.com
>> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>>
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Thu, 28 Sep 2006 13:16:17 -0400
> From: Steve Barbone <barbonestreet at earthlink.net>
> Subject: [Dixielandjazz] Young audience hungry for Dixieland - Was Red
> Sea Jazz Festival
> To: <dixielandjazz at ml.islandnet.com>
> Message-ID: <C1417BA1.71C0%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> "Bob Romans" <cellblk7 at comcast.net> wrote:
>
>> Hi Listmates...
>> My .02 worth, a month after the fact!
>> The trip to play at the Red Sea Jazz Festival with Tom Wiggins band
>> was a real
>> eye opener! If our acceptance in Israel is any indication of the rest
>> of the
>> countries in that part of the world, then it's obvious they are
>> hungry for a
>> type of music that is fun, happy, exciting, and danceable, and not
>> just
>> cerebral...these kids in Israel let us know after evey performance
>> that they
>> longed for more music like we gave them...I've never seen such joy in
>> the
>> faces of fans, letting us know they wanted more...all we could do was
>> tell
>> them to get on the Internet and search for early, hot, New Orleans
>> Jazz!
>> After our performances, sometimes they were 3 or 4 deep wanting to
>> talk to us,
>> shake our hands, get autographs, and say thank you! They always asked
>> us where
>> they could hear more jazz like this! They, my friends are STARVING
>> for OKOM!
>> After our sets were over, on our walk to our bus, we would look into
>> the other
>> venues and the sound was nothing like the rip-roaring sound we put
>> out! There
>> was no fire and passion! I looked in and saw people sitting in their
>> plastic
>> chairs like zombies! I swear they were pretending to enjoy the music
>> because
>> it was a happening! It was the place to be! No tapping toes!
>> Remember the
>> story of the Emperor's Clothes? At those venues it seemed like they
>> were
>> pretending to know and understand the music because it was a
>> happening! When
>> we played, everyone in the whole place had their hands in the air
>> screaming!
>>
>> Paul Grant, the lead trumpet player was great! He had just finished
>> playing in
>> a musical-- "A Tribute To Louis Armstrong", in Philadelphia, where he
>> played
>> Satchmo's most famous solos off stage while the main actor mimed his
>> playing
>> in front of the audience...an eight week run, somedays playing a
>> matinee plus
>> an evening performance!
>>
>> Buddy Apfel, on tuba, was on fire! John Wilder on piano was tearing
>> up the
>> keys, and the two drummers, our fearless leader Tom Wiggins and James
>> Levi,
>> the regular drummer in Tom's St. Gabriel's Celestial Brass Band, were
>> hot! The
>> crowd went NUTZ!! There were security people there keeping the fans
>> off the
>> stage, (darn it! :~) Got to hand it to Steve Barbone, who did
>> excellent work
>> on clarinet and the mike, plus vocals!
>>
>> The Ambassadors of New Orleans Jazz were on Israeli TV for three
>> days! Walking
>> through the terminal at Ben-Gurion Airport in Tel Aviv on the way
>> home, we had
>> people come up to tell us that they had seen us on TV!! WOW! What an
>> ego trip
>> that was! Now I'm back to reality in Lodi...
>> It was fun and a memorable experiance working with those fantastic
>> musicians
>> in "The Ambassadores Of New Orleans Jazz" which is what we were
>> called there!
>> BTW! The RED SEA isn't red...it's turquoise...
>> Wiggins really put his money where his mouth is!!!
>> Warmest regards,
>> Bob Romans,
>
>
> Thanks for that post Bob. No question about it, The Ambassadors of New
> Orleans were THE HIT of this modern jazz festival. In THE MAJOR VENUE,
> drawing THE MOST PEOPLE, and wildly appreciated by all those young
> people
> who paid about $35 a pop to see us for an hour & 15 minute show.
>
> One of the keys to our best performance, the second show, was the
> appearance
> of Buddy Apfel, Paul Grant, John Wilder and me at the jam session the
> morning before. (1AM to 6AM Wednesday). That was a beautiful setting
> in the
> courtyard of the Riviera Hotel with about 1000 listeners scattered
> around a
> huge pool, under palm trees and green grass etc. Most between 17 and 35
> years old.
>
> The four of us got up to play after a couple of modern jazz jams. We
> borrowed Frank Lacy (Mingus dynasty) on trombone, an Israeli drummer
> and a
> Russian Bass player. (Apfel on pocket trumpet). They completed our
> Dixieland
> jam band superbly.
>
> We got the kids involved. Brought them on stage, sang songs to them,
> let
> them sing songs (Sweet Georgia Brown) with us. Joked with the audience
> and
> asked them to come and see us Wednesday night at 10:30 PM. They cheered
> wildly at the jam and promised to come see us at the Festival.
>
> And they did. We went through the same routines with girls from the
> audience
> there and about 300 kids formed a sort of mosh pit between the edge of
> the
> stage and the first row of seats. They rushed the stage as Bob said,
> and
> were gently pushed back by security. Never the less, we managed to bend
> down, shake hands and kiss the girls from the edge of the stage.
>
> It was as if they were at a Rolling Stones concert. Swaying to the
> music,
> dancing and when I said "Todah Rabah" after each number (thank you in
> Hebrew), they shouted back in English, "NO, NO, THANK YOU!"
>
> Nobody else got that reaction at the Festival. Nobody else connected
> like we
> did. Nobody got the audience involved like we did with our
> presentation.
>
> Perhaps not entirely because it was an Israeli or European audience
> that
> knew and appreciated Dixieland, but somewhat because we knew how to
> turn the
> audience on by making love to them. You should have seen them jump out
> of
> their seats, all 3000, when we said we're here because; ANACHNU OHAVIM
> ET
> CHEM (spelling?) which means "We Love You" in Hebrew. It was very much
> like
> the reaction Barbone Street gets at Sydney's Jazz Club in Rehoboth
> from a
> young audience except that in the Red Sea case, we had 3000 people per
> show
> instead of 150.
>
> Yes indeed, it doesn't get any better than what happened in Eilat,
> Israel
> the last week of August.
>
> One of the modern guys, a "serious" musician said to me; "You don't
> seem to
> be serious." I replied; "Some of the best advice I ever got was from a
> hip
> jazz musician who said 'take the music seriously, but never yourself'."
>
> Where can those Israeli kids hear this music? I don't know about the
> rest of
> the guys in the band, but I sent 12 CDs from what is left of my OKOM
> collection to the jazz radio station there, "The Voice of The Red
> Sea". They
> are hearing Condon, Barbone Street, St Gabriel, Randy Reinhart, Kenny
> Davern
> and others right now.
>
> Cheers,
> Steve Barbone
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Thu, 28 Sep 2006 13:28:23 -0400
> From: Steve Barbone <barbonestreet at earthlink.net>
> Subject: Re: [Dixielandjazz] "Mickey" Music
> To: "Larry Walton Entertainment - St. Louis"
> <larrys.bands at charter.net>, DJML <dixielandjazz at ml.islandnet.com>
> Message-ID: <C1417E77.71C5%barbonestreet at earthlink.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> on 9/28/06 12:45 PM, Larry Walton Entertainment - St. Louis at
> larrys.bands at charter.net wrote:
>
>> We used to call it the business man's bounce at 120 bpm. I have been
>> playing with a Mickey band that is at this point a rehearsal band and
>> doesn't seem to be going anywhere. Occasionally I pick up work from
>> touring
>> groups that come through. I'm not real thrilled playing with them
>> and have
>> been turning down some work. I prefer playing a little more (read a
>> lot)
>> laid back and that stuff is very rigid and you have to be very
>> precise. If
>> you miss a dot or tiddle you are playing solos. Mickey is just the
>> opposite
>> of swing. While I know it's not good to generalize I think it's the
>> opposite of jazz too.
>>
>> Some of the guys that have played it for years do it naturally but
>> for me
>> it's too much like work. The only place in the country that it seems
>> to
>> still be popular is from about Chicago through the upper mid west,
>> Canada,
>> Northern Illinois, Michigan and Wisconsin. Then again you won't be
>> able to
>> find a polka band in St. Louis either. Some of those bands
>> occasionally
>> touch the Ballrooms on the East side around St. Louis (Belleville,
>> Staunton,
>> Alton). St. Louis is still a bastion of swing so far as ballroom is
>> concerned.
>
>
> BTW, I have, courtesy of another list mate who shall remain unnamed,
> an MP3
> of this wonderful "Mickey parody" by Charlie Barnet & Billy May, "The
> Wrong
> Idea". Anyone who wants to hear it might write off list and I'll
> forward.
>
> Just put "Wrong Idea" in the subject line and ignore my spam filter
> because
> I'll see it anyway and sent the attachment.
>
> It may remind you of some bands you've heard over the years.
>
> Cheers,
> Steve Barbone
>
> Cheers,
> Steve
>
>
>
>
> ------------------------------
>
> Message: 6
> Date: Thu, 28 Sep 2006 13:44:23 EDT
> From: Gluetje1 at aol.com
> Subject: Re: [Dixielandjazz] The Red Sea Jazz Festival-2007
> To: cellblk7 at comcast.net, dixielandjazz at ml.islandnet.com
> Message-ID: <c11.5cb656d.324d63f7 at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
>
>
> Hi Bob,
> Are you saying below that there are no CDs being made today by any
> groups
> that are representative of the music Tom Wiggins band provided at the
> Red Sea
> Jazz Festival? I'm asking because you said you could only tell them
> to search
> for "early, hot, New Orleans Jazz". I just tried those exact words
> in a
> keyword search and indeed the first entry I got was the Red Hot Jazz
> Archive.
> No entries in the first few that came up to any current working
> groups. I'm
> stewing over this one as it seems if we want the younger set to give
> a listen
> there needs to be something current to suggest they "give a listen"
> to.
> Ginny
>
> The snip I'm referring to:
> In a message dated 9/28/2006 12:19:11 A.M. Central Daylight Time,
> cellblk7 at comcast.net writes:
>
> Hi Listmates...
> My .02 worth, a month after the fact!
> The trip to play at the Red Sea Jazz Festival with Tom Wiggins band
> was a
> real eye opener! If our acceptance in Israel is any indication of the
> rest of
> the countries in that part of the world, then it's obvious they are
> hungry for
> a type of music that is fun, happy, exciting, and danceable, and not
> just
> cerebral...these kids in Israel let us know after evey performance
> that they
> longed for more music like we gave them...I've never seen such joy in
> the faces
> of fans, letting us know they wanted more...all we could do was tell
> them to
> get on the Internet and search for early, hot, New Orleans Jazz!
> After our
> performances, sometimes they were 3 or 4 deep wanting to talk to us,
> shake
> our hands
>
>
>
>
>
> ------------------------------
>
> Message: 7
> Date: Thu, 28 Sep 2006 11:27:26 -0700
> From: David Richoux <tubaman at tubatoast.com>
> Subject: Re: [Dixielandjazz] The Red Sea Jazz Festival-2007
> To: DJML Jazz <dixielandjazz at ml.islandnet.com>
> Message-ID: <F04F78B1-0785-4E01-BAAA-BA6F1EBA9695 at tubatoast.com>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> Here are a couple of current "hot" New Orleans jazz bands I know of
> that most definitely appeal to the "yoot."
>
> http://www.panoramajazzband.com/ and
> http://www.bonerama.net/newsevents.html
>
> (Bonerama is maybe a bit more outside of what a lot of us call OKOM,
> but they do go there sometimes. Panorama covers all of the bases!)
>
> Dave Richoux
>
> On Sep 28, 2006, at 10:44 AM, Gluetje1 at aol.com wrote:
>
>>
>> Hi Bob,
>> Are you saying below that there are no CDs being made today by any
>> groups
>> that are representative of the music Tom Wiggins band provided at
>> the Red Sea
>> Jazz Festival? I'm asking because you said you could only tell
>> them to search
>> for "early, hot, New Orleans Jazz". I just tried those exact
>> words in a
>> keyword search and indeed the first entry I got was the Red Hot
>> Jazz Archive.
>> No entries in the first few that came up to any current working
>> groups. I'm
>> stewing over this one as it seems if we want the younger set to
>> give a listen
>> there needs to be something current to suggest they "give a
>> listen" to.
>> Ginny
>>
>
>
>
>
> ------------------------------
>
> Message: 8
> Date: Thu, 28 Sep 2006 11:42:13 -0700
> From: "Stan Brager" <sbrager at socal.rr.com>
> Subject: Re: [Dixielandjazz] Condon Style Ensemble
> To: "Steve Barbone" <barbonestreet at earthlink.net>, "DJML"
> <dixielandjazz at ml.islandnet.com>
> Message-ID: <00b301c6e32d$d8f583c0$6601a8c0 at jazzman>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Steve;
>
> Billy May's "The Wrong Idea" was a parody of the Kay Kyser and other
> "Mickey
> Mouse" bands and, in no way, a reference to other forms of jazz.
> Listen to
> some of the Chicago Style blowing of Billy May on the Capitol Jazzmen
> recording of November 16, 1943 of "Clambake In B-Flat" and others.
>
> Stan
> Stan Brager
> ----- Original Message -----
> From: "Steve Barbone" <barbonestreet at earthlink.net>
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Sent: Thursday, September 28, 2006 7:47 AM
> Subject: [Dixielandjazz] Condon Style Ensemble
>
>
>> Dear me, there seems to be some question of what I mean by "less
>> emphasis
> on
>> ensemble" as applied to Condon Style vs. other Dixieland styles.
>>
>> Kash hit it right on the head. I simple mean exactly what the words
>> said,
>> "less emphasis on ensemble" than other styles. Please do not read more
> that
>> that into those four words.
>>
>> I did not mean that their ensemble work sucked, or was of lesser
>> musical
>> quality that other styles. Just that they emphasized it LESS THAN THE
>> SOLO
>> CONTENT in the total context of their song performance.
>>
>> Certainly virtually all of Condon's recorded legacy, and his live
>> performances, with a huge variety of musicians over the years, had
> EXCELLENT
>> ENSEMBLE performances along with EXCELLENT SOLO performances.
>>
>> The reason for this was relatively simple. Condon worked with superb
>> jazz
>> musicians who were all first rate improvisers. They were a relaxed,
>> free
>> blowing, group that even though "formulaic", were a blast to see and
>> hear.
>>
>> Their basic approach, in chorus, solos, out chorus made it relatively
>> easy
>> for the kind of competent jazz musicians Condon hired, to walk into a
>> gig
>> cold and swing their asses off in both ensemble and in solos. Without
>> charts, and or ricky, tricky, over arranging.
>>
>> So what you hear is, IMO, the best OKOM there is, with more solo
>> content
> and
>> less ensemble content than the other styles.
>>
>> I think Charlie Barnet and Bill May, (perhaps after hearing Condon
>> Groups)
>
>> wrote a parody song "The Wrong Idea" somewhat descriptive of that.
>> Late
>> 1930s or so.
>>
>> Cheers,
>> Steve Barbone
>>
>>
>>
>>
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
> End of Dixielandjazz Digest, Vol 45, Issue 46
> *********************************************
>
>
You don't eat enough,you don't drink enough,
and you exercise way too much - -eat dessert first!
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