pjbear05

His current touring band is incredible: Mike Keneally on keys, Bryan Beller on bass, and Marco Minneman on drums. I'd see him if I could just to see those guys. Well he's playing at my college which is about 1/4 of a mile from my dorm so why wouldn't I see him? Satch is playing in Ft. Lauderdale Sept. 12th, but I may be out of town road trippin with the wife. Mebbe go, mebbe not. Sounds like killer backup.

'Get busy living, or get busy dying. That's God damn right." BROOKS WAS HERE SO WAS RED

George did some veru cool work. His stint with Zappa, The Clarke/Duke Project Michael Jackson, etc, R.I.P George. http://www.nytimes.com/2013/08/07/arts/music/george-duke-crossover-musician-with-frank-zappa-dies-at-67.html?_r=0 George Duke, Keyboardist Who Crossed Genre Boundaries, Dies at 67 http://graphics8.nytimes.com/images/2013/08/07/arts/DUKE-obit/DUKE-obit-articleLarge.jpg Jean-Christophe Bott/Keystone, via Associated Press Mr. Duke began playing piano professionally at a time when many musicians were interested in blending genres. By WILLIAM YARDLEY Published: August 6, 2013 Facebook Twitter Google+ Save E-mail Share Print Reprints http://graphics8.nytimes.com/adx/images/ADS/34/47/ad.344780/EnoughSaid_NYT120x60.gif George Duke, who began his career as a jazz pianist in the 1960s but made his name by crossing musical boundaries, died on Monday in Santa Monica, Calif. He was 67. http://graphics8.nytimes.com/packages/images/arts/nytimesarts-twitter75.png Connect With Us on Twitter Follow @nytimesarts for arts and entertainment news. Arts Twitter List: Critics, Reporters and Editors http://graphics8.nytimes.com/packages/images/arts/events/events190.png A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics. Go to Event Listings » He had suffered heart complications after being treated for chronic lymphocytic leukemia, said his manager, Darryl Porter, who confirmed the death. The name of the instrument with which Mr. Duke is perhaps most closely associated also describes : synthesizer. While he remained a respected figure in the jazz world, over the years he also played keyboards with Frank Zappa and Michael Jackson, sang lead on a Top 20 single and produced pop and rhythm-and-blues hits for others. His work has been sampled by hip-hop and electronic artists, including Daft Punk.“I was in a rock band, I played with a bunch of Brazilians, I played R&B with Parliament-Funkadelic and all of that,” he said in an interview before his most recent album, “DreamWeaver,” was released last month. “I mean, I’ve done jazz with Miles Davis and Cannonball Adderley. It’s a goulash. It’s a gumbo.” Mr. Duke, who as a small boy begged his mother to buy him a piano after she took him to see Duke Ellington, began playing professionally at a time when many musicians were interested in blending genres. He played in a trio that backed the singer Al Jarreau while he was still a teenager, then accompanied Dizzy Gillespie and other jazz musicians at clubs in San Francisco. By the early 1970s he had performed and recorded with Adderley, the jazz violinist Jean-Luc Ponty and . (His long stint with Zappa included an appearance, with the rest of the band, in the feature film “200 Motels.”)Zappa “told me one day that I should play synthesizers,” Mr. Duke wrote on his Web site. “It was as simple as that!” Urged by Zappa, he said, he experimented with a few types of synthesizers before settling on the ARP Odyssey, “purely to be different from Jan Hammer, who was playing the Minimoog.” Mr. Hammer was a member of the guitarist John McLaughlin’s Mahavishnu Orchestra, one of the first jazz-rock fusion bands to achieve widespread success. As a leader, Mr. Duke focused in the middle and late 1970s on groove-oriented funk. His versatility also made him a sought-after collaborator. Working in Rio de Janeiro in 1979, he recorded one of his best-known albums, “A Brazilian Love Affair,” with the singers Milton Nascimento and Flora Purim. He also worked with other major names in fusion, including the drummer Billy Cobham, with whom he was co-leader of a band in the 1970s, and the bassist Stanley Clarke, with whom he formed the Clarke/Duke Project in 1981. By that time he had become more of a pop act, singing and often playing a hand-held synthesizer while standing center stage in concert. Collaborating with Mr. Clarke, he wrote and sang “Sweet Baby,” a ballad that became his first pop hit, reaching No. 19 on the Billboard singles chart in 1981. Soon after that the duo had another hit with “Shine On,” which reached No. 41. While he pursued a career as a leader, he continued to participate in recording sessions for notable albums like Michael Jackson’s “Off the Wall” and to produce other artists. In 1984 he produced Deniece Williams’s No. 1 hit “Let’s Hear It for the Boy.” Among the other singers whose records he produced were Jeffrey Osborne, Angela Bofill, the duo A Taste of Honey and the jazz vocalist Dianne Reeves, who was his cousin. His song “I Love You More” was sampled by Daft Punk for the 2001 hit “Digital Love.” Mr. Duke was born on Jan. 12, 1946, in San Rafael, Calif, near San Francisco. He grew up listening to gospel music in the Baptist church his family attended. He graduated from the San Francisco Conservatory of Music in 1967. His survivors include two sons, John and Rashid. His wife, Corine, died last year. Critics sometimes said that Mr. Duke’s music was too smooth, not challenging enough, and that he was too eager to court a broad audience. He disagreed. “I really think it’s possible (and still do) to make good music and be commercial at the same time,” Mr. Duke wrote. “I believe it is the artist’s responsibility to take the music to the people. Art for art’s sake is nice; but if art doesn’t communicate, then its worth is negated. It has not fulfilled its destiny.”

Welcome Squeaky! And then there are old coots like myself, but hey age ain't nothin but a number.

Wasn't too sure about CA, but the tour stop here in Sunrise fixed that real quick. I have to echo nhlrush's request for a next album of "just songs". Another Tour? Yes please, if they can summon the strength, just one more puhleeez?

I don't get it. Is there something I'm missing here? I think it's the appearance of the guy on the taxi ad hitting heron the head but I'm not sure either... Yep. That guy looks like he's swinging for the fence.

The less heard from them the better IMHO

How about LMR & John Petrucci?

Having lived in Detroit during it's "Golden Age of Rock and Roll" (late '60's early '70s) I listened to a lot of Seger, and still do. Mostly the early stuff (The Last Heard, and The Bob Seger System). The Spastic Rock stations only play the SIlver Bullet Band material, which while ok, doesn't really show Bob at his rocking best. His first album, originally released as "The Bob Seger System'" but then renamed "Ramblin' Gamblin Man" is an absolute must listen, and right from the jump. "Ramblin's" in your face drum intro is a sure sign of some killer Deeetroit R&R. I wore out two vinyl copies, and my third CD copy is starting to go skippy on me. Bob and the System even had a part in wrecking a shopping mall's grand opening in July of 1968! The management of Oakland Mall in Troy, MI thought holding a concert in the mall's parking lot would be bring folks in to shop at the stores. So, they bring in The Rationals, Savage Grace, The Amboy Dukes (with da Nuge!) and Bob to close the show. BIG mistake- instead of the shopping public, they ended up with carloads of fans rocking out. Lines of cars clogging up 14 Mile Road and the exits off I-75, and every parking spot taken. By the time The System hit the stage the crowd was "around 20,000", and the moron that thought up this brilliant idea "caught hell" from the malls management. Hmm-typical early Seger. Definitely check out Seger's early music, it'll kick your ass!

Thanks Rodrigo, that jam was badass.

Done! Long overdue for these guys. Tnx for the link, 55.

Outstanding pics, thanks! And yeah, sign me up for breaking the Rick out again, always loved that axe. Anybody in the same company as Chris Squire and Lemmy, you're good to go.

Lifelong (almost) gubmint hack: Currently 26+ years with Uncle Sam. 16+ years before that with City of Detroit.

Bright blue MFH cover shirt.

Kwamepotamus You folks from Detroit know who I'm talking about.

Hmm, sounds like the starting of carpal tunnel syndrome. As mentioned above forget the Ace bandage, you'll need some sort of a brace to give more support than a wrap. Pain killers, of course. If your into holistic or supplementing, A friend of my wife who worked on a cash register all day developed a bad case of CTS and claims to have cut her symptoms way back by supplementing with "B" vitamins. Not sure if a specific B or a broad spectrum B complex, so you might check health food/vitamin stores for info. Good luck

Probably the coupling with Working Man/Fly By Night/ In the Mood. Sure worked for the crowd at the Odeon!

AND-There's a sale at Penney's!

The R&RHOF has always been has always been and always will be whores for Jann Wenner and his RSM ilk of so-called "music critics". If not for the Fan's Choice option, Rush would forever be on the outside looking in. Years ago I visited the Hall in Cleveland, and "got into it" with several folks-some of who were obviously (by their snooty, nose a mile in the air, check your recorders at the door) Museum staff over the selection process. I made a major point of "acts" (their so-called "early influences" and "performers") whose contributions or "body of work" (a popular criteria there) were a strech at best. In finishing, some moth breathing staffer asked for a one line summation. That was easy- I said "a dubious POS like Bonnie Raitt is in the Hall and Rush isn't-don't waste my time." "Critics, can't even float, just stand at the shore and wave at the boat"-Ben Sidran

Yep, picked up #8 too. If it's shrinks lengthwise, I won't mind. Width wise-that could be a problem, ha ha!

It's not Just the Weiner, it's the entire Whores of Rolling Stone Magazine Music Association ( I refuse to call it RnR or a HOF) f**k the lot of them!

Women want to be sang to, serenaded to, told they're number 1. They sure as hell are not into technical music with long instrumental interludes or solos. And if the beat or time signature is different or odd, forget it. That's not just for Rush either. I'm into a lot of jamming and instrumental stuff that women not only don't like, but tend to get a little freaked out about. One amusing episode was at a friend's who plays guitar and got me into all sorts of jams. I cued up an early song by Brand X ( jazz rock band that in its early days had Phil Collins on drums-back when he had hair and a beard). My bud's girlfriend said the music was "too busy-I can't follow it" and left. Bizzare, but that's just IMHO.

Outstanding!

NO!

^^^This. But keep those instrumental jams, that shit rocks.