[Dixielandjazz] Verses
rorel at aol.com
rorel at aol.com
Fri Mar 25 12:11:53 PDT 2011
With our little Vintage Dance Orchestra, The South Shore Syncopators, if we don't have the lyrics to the verse, we don't do the song. They really set up the chorus and often are quite touching in the story they tell.
That said, does anyone have the complete set of lyrics to BIG BOY JESS OF THE WESTERN AIR EXPRESS and the verse to LOUISIANA FAIRY TALE?
Ray Osnato
Leader of the French Dixieland Band - The Moselle Toughs
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Sent: Fri, Mar 25, 2011 2:54 pm
Subject: Dixielandjazz Digest, Vol 99, Issue 64
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Today's Topics:
1. Re: Verses (Pat Ladd)
2. Improvising (Eric Holroyd)
3. improvising (Jim Kashishian)
4. Diary/ before going to the big band in the sky (Kent Murdick)
5. The guitar player in Trad Jazz Bands (Kent Murdick)
6. Re: an Improviser (Janie McCue Lynch)
7. Re: Band Loyalty (Stephen G Barbone)
8. Diary of an Improviser. (Stephen G Barbone)
9. Dave Frishberg back in New York City at The Oak Room.
(Stephen G Barbone)
10. CD Supplier (Robert Ringwald)
11. Re: Private (Harry Callaghan)
12. Bohem Festival just starting at (Robert Ringwald)
13. Re: Bohem Festival just starting at (Harry Callaghan)
14. Re: Bohem Festival, Drop Outs (Janie McCue Lynch)
----------------------------------------------------------------------
Message: 1
Date: Fri, 25 Mar 2011 11:30:31 -0700
From: "Pat Ladd" <pj.ladd at btinternet.com>
To: <Gluetje1 at aol.com>
Cc: dixieland jazz <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Verses
Message-ID: <C3BAC2F8849A432FA7BEE1A5CAEDCDA8 at patb7aee10db77>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
I finally read that "throw'd her down" was slang for left, >>
Hi,
What version of Bill Bailey is that? It is Bill who is thrown out, not
the woman.
"when I throwed you out, with nothin` but a fine tooth comb"
Why else is Bill being asked to come home?
Interested.
Pat
------------------------------
Message: 2
Date: Fri, 25 Mar 2011 22:49:09 +1100
From: "Eric Holroyd" <eholroyd at optusnet.com.au>
To: <Dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Improvising
Message-ID: <2DEA74B7FABA46F0B6E5956240FDE7A5 at EricPC>
Content-Type: text/plain; charset="UTF-8"
As many of my musical friends and colleagues would agree, I can improvise OK on
?real jazz? numbers, ie not bebop, funk jazz, or any other of that modern stuff.
I rarely think about chords ? except on tunes like China Boy, where if you?re in
F the bridge goes to Ab ? but prefer to use my ear, which rarely lets me down.
It helps me a lot of the bass player is solid and plays a proper bass line in
the lower register of the instrument, which is where he should be anyway most of
the time.
As to playing arpeggios, my best suggestion is to leave them at home in the
practice room ? for that is where they belong.
I?ve always like to play tunes in different keys now and again, just to get a
fresh slant on it as it were.
Having done the scales practice all those years ago, I don?t have too much
trouble with weird keys ? although I must be honest and admit that I never
enjoyed backing a hotshot guitar soloist whose charts called for a hot trumpet
break in A major.
But I?m happy in Db or G or D etc and can usually come up with a pretty straight
melody in an odd key if required.
Some years ago I was playing at the Noosa (QLD) Jazz Festival and was put with a
nice piano, bass and drums rhythm section to back a chick singer.
We played an up-tempo number to start her set, and she called Stardust for her
second number.
She turned to me and asked if I knew the melody to the verse, and I said that I
did.
She then suggested that I play the verse Colla Voce with the piano, then she
would bring in the chorus in tempo.
Then she started the count-in: One, Two, IN G, Three, Four.
So I had a split second to bring in Stardust?s verse in a key in which I?d never
played it before, and of course there was no music anywhere to be seen ? this
was all coming straight out of our heads.
I?m proud to say that I nailed that verse, and didn?t miss a note.
She, poor thing, didn?t know what she?d just done as she had no knowledge of
music other than that some guys and gals are more proficient than others.
And all that ? plus good solid jazz improvising ? comes from years of just doing
it. And trying not to fall into a cliched rut either, which some players do.
But I?d rather hear cliches than endless scales and arpeggios trotted out by
those who got sucked in to buying Improvising Tutors with play along CDs.
Without mentioning any names, the Sydney Conservatorium Of Music?s jazz course
was run for quite a few years by a guy who had never played a note of real jazz
in his life.
In fact I went along to an advertised jazz gig where he was fronting a five or
six piece band.
I was quite near the front, and was able to see that he read all of his ?jazz?
solos from the music stand in front of him.
Well I never!
To cut a long ? and probably boring to some ? story short, I should say that I
retired from professional music almost two years ago and haven?t played a jazz
gig since doing so.
Eric Holroyd
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------------------------------
Message: 3
Date: Fri, 25 Mar 2011 13:40:49 +0100
From: "Jim Kashishian" <jim at kashprod.com>
To: <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] improvising
Message-ID: <613BCCBC145C4B2BB011403BF1AAE4EF at JIM>
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Pat wrote:
>As you play, there is a point in your growing experience when you know the
tune and can hear a chord change coming.. Is being able to improvise around
that chord, which is what I imagine improvisers do, just the next stage?
If you recall, the Sheik wrote the other day about suggesting The Dukes &
FH5 for ear training.
That thread quickly turned into a different thread about whether either band
was any good or not!
The point I believe the Sheik was making is the following: Listen, listen,
listen, and then play along, play along, play along.
Following is my take on the matter. It may or may not be right, but it can
work. Did for me.
I suggest playing along with the Dukes listening & playing along with the
bass line. So you play clarinet? So what, make believe you're a bass or
tuba over & over & over, until you hear that hint as to when a key change is
coming.
Eventually, you can start playing, simple, around your own instrument's
part...still paying close attention to the bass line.
That is why the Dukes & the FH5 are so important, because the bass line is
very, very evident, and the keys are good, and the arrangements are
sensible.
The mind is a very clever thing, and you can train it to put the trombonist
on the recording (in my case!), in the background and take over his
part...always with that bass in mind, and start filling in the spaces left
by the trumpet, etc.
And, for your first solo, try honking over the piano player's solo (or, in
my case, playing along with the trombonist's solo, blocking him mentally
into the background. Make it simple, and play close to the melody...always
following the bass line.
If you combine this with study of chords & arpeggios, etc., all the better,
but the listening is the core.
Do it for a year, practicing everyday. After that, if you still can't get
through 32 bars, it might be better to try hockey, or soccer...or, go watch
the tv! :>
Jim
------------------------------
Message: 4
Date: Fri, 25 Mar 2011 07:41:44 -0500
From: Kent Murdick <kmurdick at jaguar1.usouthal.edu>
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Diary/ before going to the big band in the
sky
Message-ID: <4D8C8D88.1040600 at jaguar1.usouthal.edu>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>>>>Pat said, "The question is, how do you get to the point where
instinct takes over?
As you play, there is a point in your growing experience when you know the
tune and can hear a chord change coming.. Is being able to improvise
around
that chord, which is what I imagine improvisers do, just the next stage?
Some attain it and some don`t. .......I live
in hope that in the few years left to me I might, going downhill with a
following wind, just be able to improvise around the chords over eight or
twelve bars. If that is not the way it is done I might as well give up
now."<<<<<
I think everyone learns it differently but you must end up in the same
place. I have a friend who has the type of perfect pitch that allows
him to improvise naturally - no work! It has taken me several years,
but I think I'm as good as he is now.; again he doesn't work at it. I
still "play by the numbers", so to speak, but it is starting get into my
ear. I make a lot of mistakes, I'm still lerning the instrument, I need
a new sax (mines a 40 year old beginner's instrument), etc., but it's
going to happen before I go to "the big band in the sky". To answer
Pat, I've been teaching mathematics and music for about 50 years. I
could teach you how to do it to point where you coould have a lot of fun
and fool all the people most of the time. Maybe I'll make a series of
videos on the Diary and put them on youtube.
------------------------------
Message: 5
Date: Fri, 25 Mar 2011 07:49:24 -0500
From: Kent Murdick <kmurdick at jaguar1.usouthal.edu>
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] The guitar player in Trad Jazz Bands
Message-ID: <4D8C8F54.5050801 at jaguar1.usouthal.edu>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
I've taught quite few guitarists how to function in Trad Jazz/ swing
band settings. Anyone interested in learning the style can do a search
on youtube for : murdick rhythm guitar. There are 17 videos, I
think. Here the address for the first one.
http://www.youtube.com/watch?v=5WcB5IM-gGc
------------------------------
Message: 6
Date: Fri, 25 Mar 2011 06:12:09 -0700
From: "Janie McCue Lynch" <janie39 at socal.rr.com>
To: <jim at kashprod.com>
Cc: 'Dixieland Jazz Mailing List' <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] an Improviser
Message-ID: <002a01cbeaee$3f6c2880$be447980$@rr.com>
Content-Type: text/plain; charset="us-ascii"
Jim K wrote:
"The no mention of ear training (listening!) in our listmate's Improviser
chart sent to the list a few days ago was the one thing lacking, I thought,
and was going to mention it, but didn't wish to be criticizing."
Hi, Jim--I would bet that Kent would not consider a good-faith comment re:
adding the valuable component of ear training to his improvisational study
chart to be a negative "criticism!"
My Best,
Janie
Jane Lynch
Janie39 at socal.rr.com
Janiemc39 at yahoo.com
------------------------------
Message: 7
Date: Fri, 25 Mar 2011 10:29:27 -0400
From: Stephen G Barbone <barbonestreet at earthlink.net>
To: "Bob Romans" <cellblk7 at comcast.net>
Cc: DJML <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Band Loyalty
Message-ID: <8C93AC79-FF73-45E7-AF0D-EB7548F30C7E at earthlink.net>
Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
Hey Bob.
Why are you raggin on me? I'm not raggin on you. I haven't sight read
a chart in 20 years. Not because I can't but because I chose not to
bother with that chore any more. I play for MY enjoyment, not because
I want to stick my head in a chart and prove musical virtuosity.
Obviously I would neither be able to sight read your charts, nor want
to because that is not my kind of jazz. Fine for those who like that
stuff, but not for me
I am not upset that you and other bands chose complicated arrangements
as your thing, and do not rag on those who do. Good for you. I merely
agreed with Bert that among the WORKING PROFESSIONAL MUSiCIANS, the
musicians gravitate to the higher paying gigs whenever possible
because that is the way they make their living.
And stated that if a muso takes a gig he is obligated to play that gig
unless the leader allows him to beg off. And in my case, said that
often I will allow a regular to get off a gig when a higher paying gig
becomes available, and I use a sub. Same goes for my regulars when one
of my gigs gets booked and they have a prior booking. They ask
permission to play mine, and usually it is given.
In your case, your band has a particular sound which your audience
appreciates and I can readily understand why you do not want to
deviate from it. And therefore why you do not want subs. In my case,
with a much more diversified audience, I am interested only in
providing good music which they will appreciate. Thus I can book
several bands, with various types of jazz, in various venues using no
arrangements at all except hand signals on stage, or a quick
discussion before we start playing.
There is a big difference between the way OKOM is presented in the
East, and out there in the West. Here, we go after the general
audience, not the blue hairs in jazz societies. Or the so-called
knowledgeable fans. Thus we play more soloist oriented OKOM because
that's how our audiences hear most jazz genres these days. So please
don't look down your nose at professional jazz musicians and how they
operate. Instead, celebrate the difference.
BTW. if you want a challenge? Come East and we'll do a concert
together. Say at the Ocean City NJ Music Pier in front of 750 people.
If my band can 't blow yours off the stage, based upon audience
reaction, I'll pay your way.
Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband
On Mar 25, 2011, at 2:47 AM, Bob Romans wrote:
> Hi Steve...I stick by my guns on this one!
> We can jam with the best of
> anyone, but we also use some charts that are very well written and
> the best
> pros in the world aren't going to be able to sit in with us and read
> some of
> the charts with all of the repeats, skips, key changes, breaks, etc,
> unless
> he's cross-eyed and can read the road-map on the bottom of the page
> while
> reading his/her part!
> I'm issuing you an invitation to sit in with us
> sometime and read the chart perfectly and not stumble before the
> gig is over!
> Back-up your big-talk, my friend.
>
> Warm regards,
> Bob Romans,
> 209-747-1148
> 1617 Lakeshore Dr.,
> Lodi, California,95242,
> www.cellblock7.biz
> "Puritanism - The haunting fear
> that someone, somewhere,
> may be happy."
>
Steve Barbone
www.barbonestreet.com
www.myspace.com/barbonestreetjazzband
------------------------------
Message: 8
Date: Fri, 25 Mar 2011 11:31:14 -0400
From: Stephen G Barbone <barbonestreet at earthlink.net>
To: DJML <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Diary of an Improviser.
Message-ID: <2B5E8102-E680-48B0-8BA3-F6FB58844360 at earthlink.net>
Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
Dear Allan and Pat:
There comes a time in most improviser's history where instinct takes
over. One can start by memorizing the chord changes and then working
out a coherent new melody using those chords. Or one can just play
chord arpeggios on each change, or scales on each change (like John
Coltrane). Or one can simply hear the changes coming in advance and
devise a melodic line that fits.
Pat, you can take a tune like Five Foot Two, memorize the chords, and
then realize that Darkness on the Delta uses the same changes for most
of it, or that Please Don't Talk About Me When I'm Gone uses exactly
the same changes, just a different key etc. Then with a little
practice, you should be able to construct your own tune over these
changes. by humming a new melody.
Over time, it becomes second nature and one doesn't have to think so
technically as Kent did in the Diary. But one must practice all those
chords and scales in order to get a working knowledge of the horn, how
the chords/scales sound and thus where the improvisation can go.
I'll never forget the late tuba player Norm Burbank. He was a monster
tubist who could not read music and did everything by ear. He did,
however, know his chords and scales in all permutations. He could hear
a tune once, and then play a coherent / swinging bass line on the
second chorus.
His son studied Tuba at West Chester University and was an outstanding
award winning student. Yet he couldn't play on gigs as well as his dad
and he asked Norm about it.
"Say dad, I am an accomplished tubist, great formal music education,
know the horn etc., and yet I cannot play on gigs as well as you do.
Why is that? What's the difference?"
"The difference;" said Norm, is the 10,000 gigs I played before you
played your first one. "
Nothing succeeds like on the job training. But my suggestion is to
play Five Foot Two, or Darkness on the Delta, or Please Don't Talk
About Me When I'm Gone very slowly and sing a different melody over
those changes. (in the same key) Start by the singing the first 2
bars of 5 ft 2, then the second two bars of Please Don't Talk and the
third 2 bars of Darkness, repeat etc. and voila, with a few
modifications you will have a new melody. That's melodic
improvisation, not where you embellish on the existing melody, but
where you construct a NEW melody over the existing changes
Remember, two of the greatest improvisers, Louis Armstrong and Sidney
Bechet were doing it 100 years ago without that technical knowledge.
They probably started with the Blues and sang the melody from there.
Then they started on their OJT and 10,000 gigs. <grin>
Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband
------------------------------
Message: 9
Date: Fri, 25 Mar 2011 11:41:37 -0400
From: Stephen G Barbone <barbonestreet at earthlink.net>
To: DJML <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Dave Frishberg back in New York City at The
Oak Room.
Message-ID: <0930DEE6-3BCB-4646-930D-ED1EF815B357 at earthlink.net>
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed;
delsp=yes
Don't miss Dave's & Jessica's show if you are around NYC between now
and April 2.
Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband
Bernie, Dorothy and That Interior Voice
NY TIMES - March 22, 2011 - By STEPHEN HOLDEN
Some might call the pesky inner voice that nags us to do the right
thing a conscience, others a guardian angel. In the language of Dave
Frishberg, the great jazz songwriter, who is playing a rare engagement
at the Oak Room of the Algonquin Hotel with the singer Jessica
Molaskey, it is the singular sense of self invoked in ?Listen Here,?
his final number in the show.
Accompanying himself on piano and singing in the dry, avuncular voice
of a dedicated teacher imparting his wisdom to a fidgety class, Mr.
Frishberg last week delivered it as offhand scripture. ?You can run,
you can hide, oh but sometime, someplace, we each of us winds up face
to face with that little voice inside,? the song declares.
That depth of insight distilled in extremely polished phrases is what
Mr. Frishberg?s best songs offer. Another is ?Heart?s Desire,? which
Ms. Molaskey performed. Sung to a child, the song, with a wistful
chromatic tune by Alan Broadbent, urges the youngster to pursue ?your
special dream? but warns of the risks: ?If you seek your heart?s
desire, your heart may break.?
The show, ?Do You Miss New York?,? includes many of Mr. Frishberg?s
standards, among them ?My Attorney Bernie,? sung with mischievous glee
by Ms. Molaskey, who implicates the narrator as much as her sleazy
lawyer in the perpetration of legal skullduggery. The latest update of
the sly ?I?m Hip? (music by Bob Dorough), the ultimate put-down of
poseurs everywhere, dropped the name Jamie Cullum as a dubious hip
signifier.
Mr. Frishberg?s pianism, with its knotty chords and staccato phrases,
was as spiky and emphatic as his personality. Lest we forget, his
playing reminds us that these are jazz songs in an early ?60s
tradition; their musical and lyrical diction has a high-strung nervous
energy. Ms. Molaskey is as sympathetic an interpreter of his work as
Blossom Dearie, with whom he used to perform.
Two recent songs, ?Will You Die?? and ?Excuse Me for Living,? come
from ?The New Yorkers,? a ?semi-musical? (as Mr. Frishberg describes
it) about the Algonquin Round Table; they focus on the self-
destructive behavior of Dorothy Parker, who was always threatening
suicide. ?Excuse Me for Living? is Parker?s scathing retort to voyeurs
poking into her private life.
In the pop and jazz sphere, the level of craftsmanship in Mr.
Frishberg?s songs is equaled only by that of Stephen Sondheim. Every
phrase is chiseled, each word sealed into place, the better to allow
that ?little voice that whispers crystal clear? to have its say.
?Do You Miss New York?? continues through April 2 at the Oak Room of
the Algonquin Hotel, 59 West 44th Street, Manhattan; (212) 419-9331,
algonquinhotel.com.
------------------------------
Message: 10
Date: Fri, 25 Mar 2011 10:20:20 -0700
From: "Robert Ringwald" <rsr at ringwald.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] CD Supplier
Message-ID: <1EC2EF70A9ED4284B8554F7304961B78 at hplap>
Content-Type: text/plain; charset="iso-8859-1"
>From another email list.
Might be some early Jazz here, I haven't checked it out.
Under its new management, CCMusic seems to be clearing out a number of
"exclusive"
releases, with some good buys on the Sammy Davis, Jr. CDs ($4.99), a few of the
Nat
King Coles, and many others. The link to the sale items is:
http://www.ccmusic.com/room.cfm?id=210
If you don't want to pay CCM's shipping, check at Deep Discount. Also under the
same
new owner, they have reduced prices on selected CCM titles as well. They've
changed
their policy to free (ground) shipping for orders over $15 (it used to be free
no
matter what the total was), but if you're not in a hurry....
--Bob Ringwald
www.ringwald.com
Fulton Street Jazz Band
530/ 642-9551 Office
916/ 806-9551 Cell
Amateur (Ham) Radio K6YBV
If 4 out of 5 people SUFFER from diarrhea
does that mean that one enjoys it?
------------------------------
Message: 11
Date: Fri, 25 Mar 2011 13:12:29 -0500
From: Harry Callaghan <meetmrcallaghan at gmail.com>
To: Robert Ringwald <rsr at ringwald.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Private
Message-ID:
<AANLkTikPTPk9VUhq+dJbd6xvvpGRLQ_9c=Jg1s49hgjk at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
Yup, he shur do pile it high, don't he?
Didja evah notice that there is only one letter that differentiates the
spelling of "mature" and "manure"
On Fri, Mar 25, 2011 at 1:04 PM, Robert Ringwald <rsr at ringwald.com> wrote:
> There is a big difference between the way OKOM is presented in the
> East, and out there in the West. Here, we go after the general
> audience, not the blue hairs in jazz societies. Or the so-called
> knowledgeable fans. Thus we play more soloist oriented OKOM because
>
>
>
> Gawd, what a bunch of shit.
>
> There are bands on the East coast that play the same Watters style music
> that Romans band does.
>
> And there are bands on the west coast that play the more lose Eddie Condon
> style, but better than SB's pick up bands.
>
>
> --Bob Ringwald
> www.ringwald.com
> Fulton Street Jazz Band
> 530/ 642-9551 Office
> 916/ 806-9551 Cell
> Amateur (Ham) Radio K6YBV
>
> If 4 out of 5 people SUFFER from diarrhea
> does that mean that one enjoys it?
>
>
--
Didja evah wonder why there are more horses' asses than there are
horses?
- Norvel Jackson (1921-1990)
------------------------------
Message: 12
Date: Fri, 25 Mar 2011 11:17:39 -0700
From: "Robert Ringwald" <rsr at ringwald.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Bohem Festival just starting at
Message-ID: <3B116F50E35A49F9A224EA8D7F2D7CFE at hplap>
Content-Type: text/plain; charset="iso-8859-1"
http://www.jazzfestivalmarketing.com
Unfortunately I am getting some drop outs about every 10 seconds.
My friend Mad Dawg in ND is not getting any drop outs.
I am curious if anyone else is?
Tune in it is going right now.
--Bob Ringwald
www.ringwald.com
Fulton Street Jazz Band
530/ 642-9551 Office
916/ 806-9551 Cell
Amateur (Ham) Radio K6YBV
If 4 out of 5 people SUFFER from diarrhea
does that mean that one enjoys it?
------------------------------
Message: 13
Date: Fri, 25 Mar 2011 13:32:01 -0500
From: Harry Callaghan <meetmrcallaghan at gmail.com>
To: Robert Ringwald <rsr at ringwald.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Bohem Festival just starting at
Message-ID:
<AANLkTikOMRt3T3SJWVeENS0P8UBgoY44A=wtsw5GyUau at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
I ran the test as Tamas prescribed whenever I received the e-mail and
perhaps listened for more than an hour with no interruptions whatsoever.
We'll now have to see what happens on "the big day"
HC
On Fri, Mar 25, 2011 at 1:17 PM, Robert Ringwald <rsr at ringwald.com> wrote:
> http://www.jazzfestivalmarketing.com
>
> Unfortunately I am getting some drop outs about every 10 seconds.
>
> My friend Mad Dawg in ND is not getting any drop outs.
>
> I am curious if anyone else is?
>
> Tune in it is going right now.
>
>
>
> --Bob Ringwald
> www.ringwald.com
> Fulton Street Jazz Band
> 530/ 642-9551 Office
> 916/ 806-9551 Cell
> Amateur (Ham) Radio K6YBV
>
> If 4 out of 5 people SUFFER from diarrhea
> does that mean that one enjoys it?
>
>
> _______________________________________________
> To unsubscribe or change your e-mail preferences for the Dixieland Jazz
> Mailing list, or to find the online archives, please visit:
>
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
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>
>
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> Dixielandjazz at ml.islandnet.com
>
--
Didja evah wonder why there are more horses' asses than there are
horses?
- Norvel Jackson (1921-1990)
------------------------------
Message: 14
Date: Fri, 25 Mar 2011 11:54:36 -0700
From: "Janie McCue Lynch" <janie39 at socal.rr.com>
To: "'Harry Callaghan'" <meetmrcallaghan at gmail.com>
Cc: 'Dixieland Jazz Mailing List' <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Bohem Festival, Drop Outs
Message-ID: <011d01cbeb1e$168b8660$43a29320$@rr.com>
Content-Type: text/plain; charset="us-ascii"
Bob...I have had it on since the beginning...have had two brief dropouts,
otherwise have beautiful audio and video.
Jane Lynch
Janie
Janie39 at socal.rr.com
Janiemc39 at yahoo.com
:
> http://www.jazzfestivalmarketing.com
>
> Unfortunately I am getting some drop outs about every 10 seconds.
>
> My friend Mad Dawg in ND is not getting any drop outs.
>
> I am curious if anyone else is?
>
> Tune in it is going right now.
------------------------------
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End of Dixielandjazz Digest, Vol 99, Issue 64
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