Why does Milenko Kindl hate jazz?
dfdsf yyetrert
horribly sweeping statements (evidence backing this is currently
unavailable), but Jazz Musicians as a whole really get under my skin.
All such people I have EVER encountered have all turned out to be
pretentious idiots, who seem to be living under the impression that they
are God�s gift to music. They�re really not. �oooh look at us, we can
improvise and play our quavers with a dotted rhythm�. Sweet. I hate you.
2) �The ability to play good Jazz is the only true measure of
character�. A musician told me that, but not just any musician a JAZZ
pianist, would you believe. How on EARTH could you back this up? For a
start, where�s the line between �good� and �bad� jazz? I could spend
weeks arguing the point that there is no such thing as GOOD jazz, but
suppose for a minute there is, you�re not necessarily a better person
for being able to play it. In fact, if you turn into a Jazz musician,
there�s the destruction of your character right there. Besides, I bet
Charlie Mason played some sick Jazz.
3) Being directed to swing my quavers. Arrrrrrrrgh! I DO NOT appreciate
being told this. What�s wrong with straight quavers? I happen to be
rather fond of straight quavers. I do NOT dig this swingin� rhythm it
creates. If you�re going to play a dotted rhythm, at least play it
properly; as our favourite Baroque forefathers would have intended.
4) 12 bar blues. I once had a music teacher who raved about 12 bar
blues, about what a notion of musical genius the structure was. ARE YOU
KIDDING? Effectively, the basic 12 bar blue structure is based on the
chords : I I I I IV IV I I V IV I I. That�s 8 bars of chord I, how can
you be excited about 8 bars of the tonic chord?! Simple things I
suppose, but still, what a bangin� party. I wouldn�t blame you for
thinking you CD player was stuck on repeat. Sometimes (if they�re
feeling really wild) musicians can substitute the last chord for chord
V, or even, wait for it IV, what CRAZY kids. Occasionally, they�ll
replace the third I chord for any other chord of the scale! WOW! They
really live on the edge, that DOES make for exciting listening.
5) Pitch bending on the clarinet. It sounds horrible enough on the sax,
but really, was there any need to drag the clarinet into the �off the
wall jazz techniques� it�s been exposed too. It has such a beautiful
tone! BEAUTIFUL. Why do it? WHY?
6) The pieces have stupid names. One of stage band�s favourites to whip
out when we let our guards down was entitled �Green Onions�. There�s a
big difference between quirky, and shit. Somebody needs to tell them.
I think that alone establishes my point.
7) Jazz arrangements for non-jazz instruments, for example recorder. My
teacher used to make me play these ear-sores in concerts, announcing to
the audience it was to �prove recorders can do jazz too�. Why prove
that?! I�m happy NOT to be associated with such things. I love
recorders, but there�s no way they can compete with saxophones, you�ll
look like a joke. Like all the other �jazz musicians� in town.
8 ) Blues scales. Never has a genre been less deserving of its own
scale. Apparently diminution of intervals is pretty exciting, off the
wall even. Since when has flattening a couple of notes been the signal
of a revolution?
9) Improvisation. Woop woop, how flashy. How hard can it be? Really?
Swing some quavers from the notes of their precious blues scale, over a
chord like to be I IV or V (especially if you�re in 12 bar blues, my
absolute favourite). Musicians have to improvise across the genres, so
why is it considered so very new and exciting when in jazz?! I HATE it.
10) Jazz fusion. Jazz should not be allowed to �fuse� with anything.
Containing it quickly and safely is the ONLY way we can stamp it out
completely.
Mr Maj6th
wrote:
>1) Jazz Musicians. You know me, I�m not one for blatant prejudice, or
>horribly sweeping statements (evidence backing this is currently
>unavailable), but Jazz Musicians as a whole really get under my skin.
>All such people I have EVER encountered have all turned out to be
>pretentious idiots, who seem to be living under the impression that they
>are God�s gift to music. They�re really not. �oooh look at us, we can
>improvise and play our quavers with a dotted rhythm�. Sweet. I hate you.
>
>2) �The ability to play good Jazz is the only true measure of
>character�. A musician told me that, but not just any musician a JAZZ
>pianist, would you believe. How on EARTH could you back this up? For a
>start, where�s the line between �good� and �bad� jazz? I could spend
>weeks arguing the point that there is no such thing as GOOD jazz, but
>suppose for a minute there is, you�re not necessarily a better person
>for being able to play it. In fact, if you turn into a Jazz musician,
>there�s the destruction of your character right there. Besides, I bet
>Charlie Mason played some sick Jazz.
>
>3) Being directed to swing my quavers. Arrrrrrrrgh! I DO NOT appreciate
>being told this. What�s wrong with straight quavers? I happen to be
>rather fond of straight quavers. I do NOT dig this swingin� rhythm it
>creates. If you�re going to play a dotted rhythm, at least play it
>properly; as our favourite Baroque forefathers would have intended.
>
>4) 12 bar blues. I once had a music teacher who raved about 12 bar
>blues, about what a notion of musical genius the structure was. ARE YOU
>KIDDING? Effectively, the basic 12 bar blue structure is based on the
>chords : I I I I IV IV I I V IV I I. That�s 8 bars of chord I, how can
>you be excited about 8 bars of the tonic chord?! Simple things I
>suppose, but still, what a bangin� party. I wouldn�t blame you for
>thinking you CD player was stuck on repeat. Sometimes (if they�re
>feeling really wild) musicians can substitute the last chord for chord
>V, or even, wait for it IV, what CRAZY kids. Occasionally, they�ll
>replace the third I chord for any other chord of the scale! WOW! They
>really live on the edge, that DOES make for exciting listening.
>
>5) Pitch bending on the clarinet. It sounds horrible enough on the sax,
>but really, was there any need to drag the clarinet into the �off the
>wall jazz techniques� it�s been exposed too. It has such a beautiful
>tone! BEAUTIFUL. Why do it? WHY?
>
>6) The pieces have stupid names. One of stage band�s favourites to whip
>out when we let our guards down was entitled �Green Onions�. There�s a
>big difference between quirky, and shit. Somebody needs to tell them.
>
>I think that alone establishes my point.
>
>7) Jazz arrangements for non-jazz instruments, for example recorder. My
>teacher used to make me play these ear-sores in concerts, announcing to
>the audience it was to �prove recorders can do jazz too�. Why prove
>that?! I�m happy NOT to be associated with such things. I love
>recorders, but there�s no way they can compete with saxophones, you�ll
>look like a joke. Like all the other �jazz musicians� in town.
>
>8 ) Blues scales. Never has a genre been less deserving of its own
>scale. Apparently diminution of intervals is pretty exciting, off the
>wall even. Since when has flattening a couple of notes been the signal
>of a revolution?
>
>9) Improvisation. Woop woop, how flashy. How hard can it be? Really?
>Swing some quavers from the notes of their precious blues scale, over a
>chord like to be I IV or V (especially if you�re in 12 bar blues, my
>absolute favourite). Musicians have to improvise across the genres, so
>why is it considered so very new and exciting when in jazz?! I HATE it.
>
>10) Jazz fusion. Jazz should not be allowed to �fuse� with anything.
>Containing it quickly and safely is the ONLY way we can stamp it out
>completely.
That took a lot of time to post, do you feel better now?
Maj6th
Lord Valve
No, no, that was good. I dug it.
I'll bet I can set it to music. 11/4 OK?
I have a countermelody, please stand by...
Lord Valve
Ja** M*sic**n
Keith Freeman
Rubbish. Baroque performers often did not play straight quavers, instead
they used notes in�gales, which could vary from a slight lengthening of the
first of each pair of notes to a 2-1 triplet ratio.
-Keith
Clips, Portable Changes, tips etc.: www.keithfreemantrio.nl
e-mail: info AT keithfreemantrio DOT nl
Mr Maj6th
I didn't say it wasn't good, I was just curious about the poster's
physical condition after the ordeal of all that typing.
Maj6th
Mr Maj6th
I was just about to say the same thing Keith, but to give the poster
their due, it is easy to mix up your quavers with your inegales.
Maj6th
thomas
Who says "quavers" anymore? It sounds like something you'd do prior to
the Santorum.
On Jul 3, 5:53 pm, dfdsf yyetrert <ffs...@fwewef.com> wrote:
> 1) Jazz Musicians. You know me, I m not one for blatant prejudice, or
> horribly sweeping statements (evidence backing this is currently
> unavailable), but Jazz Musicians as a whole really get under my skin.
> All such people I have EVER encountered have all turned out to be
> pretentious idiots, who seem to be living under the impression that they
> are God s gift to music. They re really not. oooh look at us, we can
> improvise and play our quavers with a dotted rhythm . Sweet. I hate you.
>
> 2) The ability to play good Jazz is the only true measure of
> character . A musician told me that, but not just any musician a JAZZ
> pianist, would you believe. How on EARTH could you back this up? For a
> start, where s the line between good and bad jazz? I could spend
> weeks arguing the point that there is no such thing as GOOD jazz, but
> suppose for a minute there is, you re not necessarily a better person
> for being able to play it. In fact, if you turn into a Jazz musician,
> there s the destruction of your character right there. Besides, I bet
> Charlie Mason played some sick Jazz.
>
> 3) Being directed to swing my quavers. Arrrrrrrrgh! I DO NOT appreciate
> being told this. What s wrong with straight quavers? I happen to be
> rather fond of straight quavers. I do NOT dig this swingin rhythm it
> creates. If you re going to play a dotted rhythm, at least play it
> properly; as our favourite Baroque forefathers would have intended.
>
> 4) 12 bar blues. I once had a music teacher who raved about 12 bar
> blues, about what a notion of musical genius the structure was. ARE YOU
> KIDDING? Effectively, the basic 12 bar blue structure is based on the
> chords : I I I I IV IV I I V IV I I. That s 8 bars of chord I, how can
> you be excited about 8 bars of the tonic chord?! Simple things I
> suppose, but still, what a bangin party. I wouldn t blame you for
> thinking you CD player was stuck on repeat. Sometimes (if they re
> feeling really wild) musicians can substitute the last chord for chord
> V, or even, wait for it IV, what CRAZY kids. Occasionally, they ll
> replace the third I chord for any other chord of the scale! WOW! They
> really live on the edge, that DOES make for exciting listening.
>
> 5) Pitch bending on the clarinet. It sounds horrible enough on the sax,
> but really, was there any need to drag the clarinet into the off the
> wall jazz techniques it s been exposed too. It has such a beautiful
> tone! BEAUTIFUL. Why do it? WHY?
>
> 6) The pieces have stupid names. One of stage band s favourites to whip
> out when we let our guards down was entitled Green Onions . There s a
> big difference between quirky, and shit. Somebody needs to tell them.
>
> I think that alone establishes my point.
>
> 7) Jazz arrangements for non-jazz instruments, for example recorder. My
> teacher used to make me play these ear-sores in concerts, announcing to
> the audience it was to prove recorders can do jazz too . Why prove
> that?! I m happy NOT to be associated with such things. I love
> recorders, but there s no way they can compete with saxophones, you ll
> look like a joke. Like all the other jazz musicians in town.
>
> 8 ) Blues scales. Never has a genre been less deserving of its own
> scale. Apparently diminution of intervals is pretty exciting, off the
> wall even. Since when has flattening a couple of notes been the signal
> of a revolution?
>
> 9) Improvisation. Woop woop, how flashy. How hard can it be? Really?
> Swing some quavers from the notes of their precious blues scale, over a
> chord like to be I IV or V (especially if you re in 12 bar blues, my
> absolute favourite). Musicians have to improvise across the genres, so
> why is it considered so very new and exciting when in jazz?! I HATE it.
>
> 10) Jazz fusion. Jazz should not be allowed to fuse with anything.
Bg
Bg
Tom Walls
>
> I was just about to say the same thing Keith, but to give the poster
> their due, it is easy to mix up your quavers with your inegales.
>
> Maj6th
>
>
Gives you a hell of a hangover, though.
Tom Walls
>
> Who says "quavers" anymore? It sounds like something you'd do prior to
> the Santorum.
>
[chuckling repeatedly]
Greger Hoel
<drthoma...@gmail.com>:
> Who says "quavers" anymore? It sounds like something you'd do prior to
> the Santorum.
I don't think you're supposed to do the Santorum. That would be gross.
--
Sendt med Operas revolusjonerende e-postprogram: http://www.opera.com/mail/
Luke Brouillette
> På Mon, 04 Jul 2011 01:34:36 +0200, skrev thomas
>
> > Who says "quavers" anymore? It sounds like something you'd do prior to
> > the Santorum.
>
> I don't think you're supposed to do the Santorum. That would be gross.
>
> --
> Sendt med Operas revolusjonerende e-postprogram:http://www.opera.com/mail/
And who did Charlie Mason play with?
Mr.Will
"dfdsf yyetrert" <ffs...@fwewef.com> wrote in message
news:iuqrsj$4ph$6...@speranza.aioe.org...
> 1) Jazz Musicians. You know me, I�m not one for blatant prejudice, or
> unavailable), but Jazz Musicians as a whole really get under my skin. All
> such people I have EVER encountered have all turned out to be pretentious
> gift to music. They�re really not. �oooh look at us, we can improvise and
> play our quavers with a dotted rhythm�. Sweet. I hate you.
>
> 2) �The ability to play good Jazz is the only true measure of character�.
> line between �good� and �bad� jazz? I could spend weeks arguing the point
> fact, if you turn into a Jazz musician, there�s the destruction of your
>
> 3) Being directed to swing my quavers. Arrrrrrrrgh! I DO NOT appreciate
>
> 4) 12 bar blues. I once had a music teacher who raved about 12 bar blues,
> about what a notion of musical genius the structure was. ARE YOU KIDDING?
> Effectively, the basic 12 bar blue structure is based on the chords : I I
> on repeat. Sometimes (if they�re feeling really wild) musicians can
> exciting listening.
>
> 5) Pitch bending on the clarinet. It sounds horrible enough on the sax,
> jazz techniques� it�s been exposed too. It has such a beautiful tone!
>
> out when we let our guards down was entitled �Green Onions�. There�s a big
>
> I think that alone establishes my point.
>
> 7) Jazz arrangements for non-jazz instruments, for example recorder. My
> teacher used to make me play these ear-sores in concerts, announcing to
> I�m happy NOT to be associated with such things. I love recorders, but
> there�s no way they can compete with saxophones, you�ll look like a joke.
> Like all the other �jazz musicians� in town.
>
> 8 ) Blues scales. Never has a genre been less deserving of its own scale.
> Apparently diminution of intervals is pretty exciting, off the wall even.
> Since when has flattening a couple of notes been the signal of a
> revolution?
>
> 9) Improvisation. Woop woop, how flashy. How hard can it be? Really? Swing
> some quavers from the notes of their precious blues scale, over a chord
> considered so very new and exciting when in jazz?! I HATE it.
>
> completely.
Thats brilliant!!!
Was laughing from start to finish!
Mr.Will
Mr.Will
FWIW Quavers are a brand of crisp here in the UK (I do believe you americans
call them "chips"?)
Mr.Will
"thomas" <drthoma...@gmail.com> wrote in message
news:2721e020-5c51-47e4...@r18g2000vbs.googlegroups.com...
Graham
Please can you do a rant about jazz guitarists.
terrasbeest
> 1) Jazz Musicians. You know me, I m not one for blatant prejudice, or
> horribly sweeping statements (evidence backing this is currently
> unavailable), but Jazz Musicians as a whole really get under my skin.
> All such people I have EVER encountered have all turned out to be
> pretentious idiots, who seem to be living under the impression that they
> improvise and play our quavers with a dotted rhythm . Sweet. I hate you.
>
> 2) The ability to play good Jazz is the only true measure of
> character . A musician told me that, but not just any musician a JAZZ
> pianist, would you believe. How on EARTH could you back this up? For a
> weeks arguing the point that there is no such thing as GOOD jazz, but
> for being able to play it. In fact, if you turn into a Jazz musician,
> Charlie Mason played some sick Jazz.
>
> 3) Being directed to swing my quavers. Arrrrrrrrgh! I DO NOT appreciate
> rather fond of straight quavers. I do NOT dig this swingin rhythm it
> properly; as our favourite Baroque forefathers would have intended.
>
> 4) 12 bar blues. I once had a music teacher who raved about 12 bar
> blues, about what a notion of musical genius the structure was. ARE YOU
> KIDDING? Effectively, the basic 12 bar blue structure is based on the
> you be excited about 8 bars of the tonic chord?! Simple things I
> thinking you CD player was stuck on repeat. Sometimes (if they re
> feeling really wild) musicians can substitute the last chord for chord
> replace the third I chord for any other chord of the scale! WOW! They
> really live on the edge, that DOES make for exciting listening.
>
> 5) Pitch bending on the clarinet. It sounds horrible enough on the sax,
> tone! BEAUTIFUL. Why do it? WHY?
>
> out when we let our guards down was entitled Green Onions . There s a
> big difference between quirky, and shit. Somebody needs to tell them.
>
> I think that alone establishes my point.
>
> 7) Jazz arrangements for non-jazz instruments, for example recorder. My
> teacher used to make me play these ear-sores in concerts, announcing to
> recorders, but there s no way they can compete with saxophones, you ll
> look like a joke. Like all the other jazz musicians in town.
>
> 8 ) Blues scales. Never has a genre been less deserving of its own
> scale. Apparently diminution of intervals is pretty exciting, off the
> wall even. Since when has flattening a couple of notes been the signal
> of a revolution?
>
> 9) Improvisation. Woop woop, how flashy. How hard can it be? Really?
> Swing some quavers from the notes of their precious blues scale, over a
> absolute favourite). Musicians have to improvise across the genres, so
> why is it considered so very new and exciting when in jazz?! I HATE it.
>
> Containing it quickly and safely is the ONLY way we can stamp it out
> completely.
Jazzhole.........
Joe Finn
what would be the purpose?
This speaks to the failure of our system of education. It pains me that
people don't know and understand and therefore love Bird, Diz, Monk, etc.
Then again there are plenty of people who don't know and understand Ernest
Hemingway , Merce Cunningham or Jackson Pollock . What to do? What to do?
...joe
--
Visit me on the web www.JoeFinn.net
Or say hello via Facebook:
http://www.facebook.com/?ref=home#!/?ref=home
"dfdsf yyetrert" <ffs...@fwewef.com> wrote in message
news:iuqrsj$4ph$6...@speranza.aioe.org...
> 1) Jazz Musicians. You know me, I�m not one for blatant prejudice, or
> horribly sweeping statements (evidence backing this is currently
> unavailable), but Jazz Musicians as a whole really get under my skin. All
> such people I have EVER encountered have all turned out to be pretentious
> idiots, who seem to be living under the impression that they are God�s
> gift to music. They�re really not. �oooh look at us, we can improvise and
> play our quavers with a dotted rhythm�. Sweet. I hate you.
>
> 2) �The ability to play good Jazz is the only true measure of character�.
> A musician told me that, but not just any musician a JAZZ pianist, would
> you believe. How on EARTH could you back this up? For a start, where�s the
> line between �good� and �bad� jazz? I could spend weeks arguing the point
> that there is no such thing as GOOD jazz, but suppose for a minute there
> is, you�re not necessarily a better person for being able to play it. In
> fact, if you turn into a Jazz musician, there�s the destruction of your
> character right there. Besides, I bet Charlie Mason played some sick Jazz.
>
> 3) Being directed to swing my quavers. Arrrrrrrrgh! I DO NOT appreciate
> being told this. What�s wrong with straight quavers? I happen to be rather
> fond of straight quavers. I do NOT dig this swingin� rhythm it creates. If
> you�re going to play a dotted rhythm, at least play it properly; as our
> favourite Baroque forefathers would have intended.
>
> 4) 12 bar blues. I once had a music teacher who raved about 12 bar blues,
> about what a notion of musical genius the structure was. ARE YOU KIDDING?
> Effectively, the basic 12 bar blue structure is based on the chords : I I
> I I IV IV I I V IV I I. That�s 8 bars of chord I, how can you be excited
> about 8 bars of the tonic chord?! Simple things I suppose, but still, what
> a bangin� party. I wouldn�t blame you for thinking you CD player was stuck
> on repeat. Sometimes (if they�re feeling really wild) musicians can
> substitute the last chord for chord V, or even, wait for it IV, what CRAZY
> kids. Occasionally, they�ll replace the third I chord for any other chord
> of the scale! WOW! They really live on the edge, that DOES make for
> exciting listening.
>
> 5) Pitch bending on the clarinet. It sounds horrible enough on the sax,
> but really, was there any need to drag the clarinet into the �off the wall
> jazz techniques� it�s been exposed too. It has such a beautiful tone!
> BEAUTIFUL. Why do it? WHY?
>
> 6) The pieces have stupid names. One of stage band�s favourites to whip
> out when we let our guards down was entitled �Green Onions�. There�s a big
> difference between quirky, and shit. Somebody needs to tell them.
>
> I think that alone establishes my point.
>
> 7) Jazz arrangements for non-jazz instruments, for example recorder. My
> teacher used to make me play these ear-sores in concerts, announcing to
> the audience it was to �prove recorders can do jazz too�. Why prove that?!
> I�m happy NOT to be associated with such things. I love recorders, but
> there�s no way they can compete with saxophones, you�ll look like a joke.
> Like all the other �jazz musicians� in town.
>
> 8 ) Blues scales. Never has a genre been less deserving of its own scale.
> Apparently diminution of intervals is pretty exciting, off the wall even.
> Since when has flattening a couple of notes been the signal of a
> revolution?
>
> 9) Improvisation. Woop woop, how flashy. How hard can it be? Really? Swing
> some quavers from the notes of their precious blues scale, over a chord
> like to be I IV or V (especially if you�re in 12 bar blues, my absolute
> favourite). Musicians have to improvise across the genres, so why is it
> considered so very new and exciting when in jazz?! I HATE it.
>
> 10) Jazz fusion. Jazz should not be allowed to �fuse� with anything.
sheetsofsound
Travis
>
> This could be refuted point by point, but it would take forever. Besides,
> what would be the purpose?
>
> This speaks to the failure of our system of education. It pains me that
> people don't know and understand and therefore love Bird, Diz, Monk, etc.
> Then again there are plenty of people who don't know and understand Ernest
> Hemingway , Merce Cunningham or Jackson Pollock . What to do? What to do?
> ...joe
Absolutely nothing other than follow your own heart and personal tastes.
Let others follow theirs.
--
Travis
Joe Finn
news:MPG.287bb25a4...@news.charter.net...
I'm pretty much a "to each his own" kind of guy too but this stuff goes
beyond the sort of thing that could be chalked up to a lack of exposure or
misinformation, etc.
How would one respond to someone who thought Walt Whitman was a knuckle
head? There is something about the lack of enculturation that just
frustrates the hell out of me. I think the best we can do is to continue to
educate and perform. Be happy for those who love and support the music and
culture in general. ........joe
Steven Bornfeld
I'd never think of naming my kindle.
Steve
Lord Valve
> "Travis" <travissomewherei...@charter.net> wrote in message
> news:MPG.287bb25a4...@news.charter.net...
> > In article <iusqus$nq1$1...@news.datemas.de>, J...@JoeFinn.net says...
> >>
> >> This could be refuted point by point, but it would take forever. Besides,
> >> what would be the purpose?
> >>
> >> This speaks to the failure of our system of education. It pains me that
> >> people don't know and understand and therefore love Bird, Diz, Monk, etc.
> >> Then again there are plenty of people who don't know and understand
> >> Ernest
> >> Hemingway , Merce Cunningham or Jackson Pollock . What to do? What to do?
> >> ...joe
> >
> > Absolutely nothing other than follow your own heart and personal tastes.
> > Let others follow theirs.
> >
> > --
> > Travis
>
> I'm pretty much a "to each his own" kind of guy too but this stuff goes
> beyond the sort of thing that could be chalked up to a lack of exposure or
> misinformation, etc.
Ah... I'm fairly sure the dude had his tongue firmly in his cheek...
> How would one respond to someone who thought Walt Whitman was a knuckle
> head?
What - you don't think he was a knucklehead?
He was a radical Republican, y'know.... ;-)
> There is something about the lack of enculturation that just
> frustrates the hell out of me.
Yeah, me too.
Hell, I've had my pinky in the air so long I can
only play 4-note chords. Damn thing set that
way. Would you like another crumpet?
> I think the best we can do is to continue to
> educate and perform. Be happy for those who love and support the music and
> culture in general. ........joe
Luckily, we have snobs and nerds to keep Jazz on the straight and narrow, eh?
Lord Valve
Jazzhole/Organist/Snob/Nerd/None of the Above
Frisbieinstein
>
Like hey man, you know, like, I'm saying, like, am I supposed to be
outraged or sumpin'?
Mark Kleinhaut
> Joe Finn wrote:
> > "Travis" <travissomewhereinthemiddleharr...@charter.net> wrote in message
> >news:MPG.287bb25a4...@news.charter.net...
> > > In article <iusqus$nq...@news.datemas.de>, J...@JoeFinn.net says...
This was the funniest thing in a while, some (not saying much) truth
in all of it.
John K
Yea that was pretty funny....tongue in cheek or is that in cheeks.
ecj
IV-I-V-IV-I over the 12 bar blues?