My friend did not drink or party, and my wild hormones seemed to amuse him. If you have read any of the jazz musicians autobiographies, you know how unusual their lives are. I was mostly on sick leave while he was staying in my apartment, so I had all the time in the world and there was nothing I liked more than to hear about his adventures as a working jazz musician. After all the days business, what ever he had to do, and what ever I had to do; it was time for; "And then what happened"?
Enjoy the music.
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I keep forgetting that I'm one of the Poobahs.
Enjoy the music. |
Rok I'm enjoying Mary Louise Williams music more than any other musician I ever encountered, and to think we almost missed her.
Although I had heard the name, I thought her music was too old for me, that's because I had set a before "Bird" and after "Bird" time line for the music I liked, and it worked for me, but Mary Lou Williams never got old. No one told me that.
When I'm listening to my playlist her music is not easy to identify because it varies so much. I'll hear some really pretty music, and wonder "Who's that"? and I have to go to the playlist to find out. She can come out of so many different bags, that I'm glad I got everything I could find. She was a musician among musicians.
Enjoy the music.
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original article, a part of Smithsonian Folkways Magazine
The music poured from the piano. On a large platform inside the oval mahogany bar at New York’s Hickory House, the last surviving establishment offering jazz on West 52nd Street, “Swing Street,” an authoritative African American woman in early middle-age sat at the piano, eyes mostly closed, her face registering every nuance in the music she was creating, back straight, her hands lying flat as they moved on the keys. She was wearing a royal blue chiffon gown of cocktail length, softly gathered at the shoulders. Her arms were bare. She had a beautiful throat and neck, good collarbones, and a dark brown face rising up from a strong chin to high cheekbones. Her mouth was well shaped and soft, and at times broke into a brief radiant smile when she achieved a particular musical passage. The smile never interfered with the concentration. There was nothing theatrical about her. You simply knew that you were in the presence of someone of the highest magnitude. Her name was Mary Lou Williams.
Rok, the reason we didn't know anything about the lady is because "There was nothing theatrical about her presence". I could go on and on about that, but I'm not.
Enjoy the music.
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Rok, that is one classy lady, and her picture is also in Nica's book. I remember that hair style; she was one classy lady her entire life, that's why we didn't hear about her.
Enjoy the music.
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I've been comparing the quality of what we got with what the "analogers" got, and I'm having a hard time being able to tell the difference. I've got both on my play list. One thing is for certain, those CD's you got are better than my original LP's. The analogers will have to buy special LP's to better the new CD's, not to mention a minimum of 1K for a cartridge.
Times when my pockets were that deep are history, consequently it's moot in regard to the analog side, but we know for sure, that CD's can be as good.
Enjoy the music
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Rok, they got a lot of good looking box sets, but how do we find out about the quality. I bought Chico Hamilton one day and sold it the next, same for the 3 Sounds; the question is "How do we find out about the recording quality"? Horace Silver box set looks especially good, so does Lee Morgan. Which box set did you buy that you were supposed to get back to me with?
It says if not satisfied they will refund or replace your purchase.
Enjoy the music.
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Acman, that was fantastic, and I do have Sheila Jordon in my collection; can she scat, love her.
Enjoy the music.
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Rok, they are every bit as good as I thought they were on the used $35. record I have. No they are not as good if you can't capture the "nuances", and most certainly those CD's didn't capture anything worth capturing; yes they sounded dull.
I'll take another look at the box sets. Like you said I probably got them on separate CD's, same with Donald Byrd, 'but if the sound quality is good, I wont be so reluctant to buy them.
I'm sure those CD's by the 3 sounds had the album "Moods", the same as the $35 used LP, but the CD's didn't even come close.
Enjoy the music.
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Jazzmusician, you got into this conversation about a year late; go back about 12 months, and read all the posts in regard to this and you'll be up to date.
Enjoy the music.
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No frogman, I am not generalizing, I'm being very specific, I'm talking about JC; there he is with that horn around his neck, when he should be having a good time like everybody else. Miles is acting a complete fool, his picture shows it; that's what people do when they are at a party. What's Trane doing, he went to sleep with that horn around his neck. If that's not overdoing it, I don't know what is.
How many JC's are there? Do you think anyone can be another JC by practicing? Get real, JC was overdoing it. Of course "everybody" needs to practice if they can, but do you take your horn to a party? If the party is a party of the best jazz musicians in the world, maybe; but give it a rest sometime.
I'm convinced that working so hard was a detriment to his playing near the end. If Trane's playing lost McCoy Tyner, and Alvin Jones, where was he going? I believe he couldn't accept the fact that he didn't have to work so hard, that his natural God given talents would take him where he wanted to go.
The biggest reason I'm not trying to prove that summer ever happened is because I can not prove the music because none of it was recorded; but I had been following his music for 6 years before that summer, and this new music was too incredible to believe.
Isaiah Thomas is the best example of someone just letting it flow; if you saw that game where he couldn't miss, you would know what I'm talking about.
I was playing a tennis match, must have been in late August, that means I had played a lot of matches, and done a lot of practicing; and I wasn't even trying really hard, but I could see the ball very clearly, and it appeared to have slowed down. Normally I was conscious of back hand form, or forehand form, but this day I wasn't conscious of anything, I was just playing the game as it presented itself.
Before I even knew it, I had won the set, and everybody was talking about my ground strokes. The only thing I knew was that the ball felt, and sounded good coming off the racket. I never played a match that good again. What I'm saying is "You got to let it flow"; all that hard work a person has been doing for years will takeover. The giants of jazz talk about letting it flow. If a person tries too hard, the muscles are tense and don't cooperate as well.
Enjoy the music.
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I know one thing for sure, you guys have certainly had enough practice in taking the word "practice" totally out of context, and you seem to have rehearsed this part.
Jzzmusician and I seem to be on the same page, now that he knows the proper context of the word "practice", yet you include him in your "charade". We all know a classical musician could not improvise if his life depended on it.
Rok, I think Harvey is a good name. Since that was the best summer I ever had (except for the surgery) in my life. I enjoy reminiscing about it. That same Summer before Harvey moved in, I met a beautiful lady at the lounge that served fantastic food, where Eddie Fisher played; how's that for a full house, plus she liked jazz as much as I did.
Enjoy the music.
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What would you and Learsfool do if I never posted? You two are beginning to remind me of those guys in the doo wop groups where they sing and move in unison; I'll have to think of a befitting name for the dynamic duo; how about Clazzical and Jazzical the new musical sensation. |
This is what the ever creative Donald Byrd was doing in 1960, I think that's close enough; it's close enough for me anyway. https://www.youtube.com/playlist?list=PL4979B9E391FF8C6BThis is Byrd in flight. Although this began as a "rukus" over Grant Greens music that wasn't released, or was released in Japan, it has produced a lot of very good jazz that most of us were unaware of. "Byrd In Flight" is another CD that belongs in my collection. The best thing about albums in this time period is there were very few weak cuts, you got an album full of music. Enjoy the music. |
Do you have any of those collections yet? If so, how is the recording quality?
Enjoy the music. |
Frogman, that's one of everybody's favorite songs, and we all have special memories attached to it; thanks for the song.
Enjoy the music.
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After that scientific examination and evaluation by a certified audiophile, I can feel confident that the BN Box sets will yield sonics of the highest quality, and I have taken your handicaps into consideration. (maybe you could work on those in your spare time)
Volume a little low is better than volume too high. I think I can overlook the fact that I have 3 of those at that price; especially considering one of them might be a scratchy record.
When the volume is too high, and it's on your play list, you will be awaken from a nice snooze thinking war done broke out; that one gets deleted.
I forgot which Silver was the one everybody liked, but it was in the 70's I believe, which means it wont be in the Silver collection. Job well done, carry on.
Enjoy the music.
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Learsfool, improvisation is akin to conversation; what you say depends on what was said before you. Herby Hancock said he really messed up once, and Miles came in right behind him, and made everything sound perfect. The ability to do something like that comes from having done it before, and the time window to react is very short; consequently a musician who has never done it, or been required to do it, wouldn't be able to do it. There are things a classical musician is required to do, that a jazz musician would not be able to do.
"All" good musicians practice, but not incessantly; especially if they are going to engage in what amounts to fast conversation between musicians. The "only" way to practice that kind of improvisation is to do it in front of a live audience with other musicians.
Enjoy the music.
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Frogman, the only thing you're trying to do around here is to establish you're self as the "Alpha musician"; that's what the "Alpha wolf" does.
What do you think a jam session is? Why were jazz musicians constantly seeking "Jam sessions", especially musicians like Miles, who was a leader in "hard bop". "My Friend" did not need to practice when that's what he was doing in front of a live audience; now give me one of your "Phaking the Phunk" comments after that. He was a real live "hard bop" musician, and that's what it says in the record book, not a phaking the phunk kind who pounces on my statements even when they are 100% correct.
Enjoy the music.
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Not only that, but you put in some more jive bs that will blend in with Learsfool's jive bs.
Herbie played a wrong chord, had Miles not previously "practiced" playing over that type of (wrong) chord, that moment would not have been possible. That knowledge became part of his arsenal which he could draw upon in order to be spontaneous.
If that ain't some jive BS I don't know what is; but it matches Learsfool's jive BS about practicing improvisation, which is "impossible"; that's like saying you're going to practice a "tennis match" without anyone on the other side of the net.
You have gone so far with your "diatribes" (that are not supposed to be diatribes to prove me wrong) that it's gotten to be a habit.
Call him out on this "aficionados", and maybe he'll quit.
Enjoy the music.
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I know and you know, that you and everyone else has taken that practice comment all out of context and stretched it clean around the world. Jzzmusician knows it as well; so please give it a rest.
I can just picture Miles practicing for an event that in all probability would never occur again in his life?
People who don't like rocks thrown at them, should not themselves throw rocks; That's Ezekal chapter 12.
Enjoy the music.
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"Practice" in any endeavor one want's to be successful at, is the most commonest of common sense. By now, everyone knows the word "practice" was taken out of context. But when I reflect back and think about it, that's what he was doing in front of a crowd of people who had paid to see and hear him; he was practicing "improvisation".
Enjoy the music.
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Fellow "aficionados" my goal, my objective, my reason for starting this thread was to help us acquire new music in our collection, not to teach music, or to learn music.
Recently we have all made some very interesting discoveries as a result of a "rukus", but stranger things have happened. I discovered that my collection is a lot more incomplete than I thought it was. While that was bad news, the good news is that it can easily be rectified.
If the recording quality of these box sets are as good as Rok says they are, my troubles in regard to filling in the gaps in my collection will be over when the mailman drops those boxes in my mail box.
Enjoy the music.
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Out of all the people I've seen live, Gladys Knight impressed me the most, and she didn't even have The Pips with her. I don't know how my wife acquired the tickets, but they were the highest price ones that I don't usually buy; anyway, whether I wanted to or not, I was going to see Gladys Knight that evening. Dark ominous clouds greeted us when we walked out the door. "And I'm not even a fan of Gladys Knight", I mused. Fortunately we were on our way into the theater when I heard the first crack of thunder. Once you got inside this theater, a war could be raging outside, and you wouldn't hear it, that was good. After thanking us for coming out on such a stormy night to see her, she spoke about the first song she was going to do, (which I don't remember) and how it affected her and us personally; that's when I realized how much Gladys Knight had been part of my life without my knowledge. "Star Quality" is something you don't know until you see it; she had it all the way, and before you knew it, she made you feel like she was entertaining you (personally) in her living room. I had no idea she had so many songs that I had heard in so many different places, and each one of those songs was a part of me. Here's Gladys Knight's album, and you can pick out your "Gladys Knight" song. https://www.youtube.com/watch?v=hS3Y_OISzr4Enjoy the music. |
Rok, I thought I had answered your question. Yes it does make a difference; Rudy discovered that if you cut down the volume, that gave you more room for dynamic range. The difference between soft and loud can be very distracting when the volume is high; recording level is a tricky issue.
Enjoy the music.
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Rok, I got it backwards but as long as everything works out, what difference does it make |
Learsfool, we're talking about "hard bop" where you improvise from beginning to end, as in a "Jam Session"; like the one's Miles, Bird, and Diz engaged in, not just improvising in a standard piece of music.
I am not even hinting that you are not the most competent of competent musicians; what I am saying is that you would not be able to engage in a "hard bop" jam session.
Enjoy the music.
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Acman, you do have an ear for new music, new to me anyway. I listen on a regular basis to one of your recommendations; the controversial one.
Renee Rosnes is very pretty; unfortunately I wont be seeing her beauty in my listening room, but since she also plays beautiful music, that will suffice.
I'm looking over her discography in order to select a purchase. Thanks for the heads up.
Enjoy the music.
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"Aficionados", I seem to write a lot about big time musicians I've seen live, and I was wandering; what have I written about Art Blakey?
My memory is not as good as it once was, and I don't like to repeat myself; I was hoping that you might help me out before I attempt to gather my thoughts about the time I saw Art Blakey.
Enjoy the music.
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Frogman, since this thread began, you have talked about anything you wanted to talk about, why should you stop now?
Sometime there are two or maybe three different conversations going at the same time on different subjects; maybe Rok and Learsfool are engaged in a conversation about classical music, that I couldn't care less about.
Your last paragraph would seem to indicate that you wrote the book on "improvisation" and you even know how every "hard bop" artist improvises. Considering all the different artists I've heard, and the fact that you're going to give some standard framework for improvisation, I think you're talking smack.
Enjoy the music
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"I am well aware of the fact that you don't want to and didn't intend this thread to be about "learning music". Why do you direct this BS at me?
I'm hindering all the poor people who want to learn music on this thread; bad bad Orpheus. If it wasn't for me, you could teach em to blow like Miles. Teach on professor Frogman, you have my blessings.
Enjoy the music.
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I hate to disappoint you Frogman, but the Art Blakey story is a sad one and I've had my fill of sad stories. I think I'll even switch genres today, how about some "World Music". How about "Jai Uttall", what a name; although he grew up in New York City (you might have known him Frogman) Indian music touched him at 17, and he moved to California where he studied under the famous Sarod player, Ali Akbar Khan. He later began regular pilgrimages to India, living among the Bauls; they're wandering street musicians. He became deeply absorbed in the practice of kirtan, the ancient yoga of chanting, or singing to God. This form of prayer became the core to Uttal’s musical and spiritual life. I have this CD "Beggars and Saints" of his that appeals to me. Here's "Be With You", it speaks of long lost love, the kind one never forgets. https://www.youtube.com/watch?v=_VyIlINNME4Now we get into the real deal, "Shiva Shankara"; anytime you hear the name "Shiva", you know you're deep into it. https://www.youtube.com/watch?v=bnMbMxQFk40This music will make you forget whatever ails you, it might even cause you to go into a state of transcendental meditation and never return. https://www.youtube.com/watch?v=fHIgJlDH2dMEnjoy the music. |
Now that I'm out of that state of transcendental meditation, it's time to get back to the state of jazz, where the word on the street in the late 50's and early 60's was "Lee Morgan" was the best trumpet ever; he certainly got my vote. Right now I'm examining this box set. For once I'll have to ask Frogmans advice. Frogman, what do you think about Lee Morgans "Blue Note" box set The one where you get 6 CD's for $15.00? When I look at these box sets, I see too much that's missing, and I think the recording quality might be better by just buying the CD's with favorite tunes? http://www.amazon.com/dp/B00QR1JYUI/ref=pd_lpo_sbs_dp_ss_1?pf_rd_p=1944687442&pf_rd_s=lpo-top-st...Can I get the Frogman's invaluable opinion? Enjoy the music. |
Frogman, when I saw Trane in 63, this is about how long he played "MY Favorite Things". They began just like it sounds on the album and they continued after that. Trane went on until he lost McCoy Tyner and Elvin Jones. They decided to stay together and let Trane come back to them. The lady I was with, wanted to know if Trane was on something, but the musician at the table assured us he was clean. Right now I'm trying to find some music that resembles what Trane was playing, and this is it. https://www.youtube.com/watch?v=kjDrkTmqxQkThis is "The Olantunji Concert", This is what Trane was playing after he had worked "My Favorite Things" as far as it would logically go. This was recorded in 1967 and it 34:38 long. This is what Trane sounded like when he lost Elvin Jones and Tyner in 63. I said it once, and I'll say it again, he should have stopped before he got this far out because he was pleasing no one but himself as far as I can see; but I know you being the "alpha musician", scratch that "the consummate musician" can enlighten us farther, and explain how this was the way to go. Enjoy the music. |
Frogman, That was some of the most moving music I've heard. That kind of social interest and motivation that existed then is dead and buried.
If you want to understand the "antagonist", the people responsible for the social injustice, read "The Collected Short Stories of Eudora Welty". That woman understood southerners better than they understood themselves.
Eudora Welty was born in Jackson, Mississippi in 1909, and died in 2001; she lived a long time, and she spent all that time observing and writing mostly about Southerners. Not until you truly understand what motivated Southerners, can you truly understand their actions.
She could illustrate in her short stories, better than anyone else I've read, how people in Mississippi were raised from the cradle to the grave, in a fashion that motivated them to do the things they did.
I really enjoyed the music.
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Frogman, you really like to fit square pegs into round holes; "All I have to do is chisel off the corners, and I got a perfect fit"
Vivaldi: Vier jaargetijden/Quattro Stagioni - Janine Jansen - Internationaal Kamermuziek Festival
That music was just what I needed for checking out my speakers; there's such a fine line between screeching, and not screeching with violins.
Since it was piped into the main rig, I was in the dark in regard to the visual, but I enjoyed the music more. Although it sent me into "sleep mode", I needed a nap, and it was still playing when I woke up.
For a long time I had been wondering about my speakers, now I pronounce them fit to do battle with any genre of music..
Enjoy the music.
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Rok, if you and Frogman gave me some of that KOOL AID yall been drinkin, there's no telling what I might hear; I might even be able to hear some classical music from a tribe of pygmies in the jungle.
Enjoy the music.
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What are we going to do next? I'm sure we haven't been through Lee Morgan.
Enjoy the music.
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Frogman, I thought you were making more of a humorous statement than a serious one, and square pegs into round holes was meant to be humorous.
I am not in a rancorous mood, and have no intention of getting into one; you're going to have to play this match with no one on the other side of the net.
Enjoy the music.
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Lee Morgan recorded prolifically from 1956 until a day before his death in February 1972. His primary stylistic influence was Clifford Brown, with whom he took a few lessons as a teenager. He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader. In 1958 he joined the Messengers, and was the featured trumpet on "Moanin", their best selling album. After his commercial success of "The Sidewinder", Blue Note encouraged it's other artist to emulate it's "Boogaloo" beat. According to drummer Billy Hart, Morgan said he had recorded "The Sidewinder" as filler for the album, and was bemused that it had turned into his biggest hit. He felt that his playing was much more advanced on Grachan Moncur III's essentially avant-garde Evolution album, recorded a month earlier, on November 21, 1963. In my opinion, formula and jazz don't mix, you're heading for a jazzwreck. Fortunately Morgan didn't listen too well, because he recorded "Search For The New Land" in 64 which is definitely not formula, but some of the finest jazz in my collection. Lee Morgan recorded so prolifically that I don't have a large portion of his works; normally I would scrutinize each individual album before purchase, but this time I'm going to see what I ain't got and get it. There are two things I'm concerned about, that's recording quality and music; his large box set has so much music that I can't go wrong there, and if the recording quality is not the best, I can re-purchase the one's I like most. Here is a link that will prove invaluable in helping you to fill in the gaps in your Lee Morgan collection. https://en.wikipedia.org/wiki/Lee_Morgan_discographyEnjoy the music. |
Learsfool, Lee Morgan is so fantastic, that I can't think of a bad cut, when I've heard bad cuts by Charley Parker. Picking out the best is quite a job, but I pick the album, "Search For The New Land", every cut on that album is boss. https://www.youtube.com/watch?v=YDfkkRa1VA8Enjoy the music. |
Learsfool, here's some more information on "Search For The New Land".
It's an album by jazz trumpeter Lee Morgan; a hard bop set with a group of well-known jazz musicians, Search for the New Land was recorded before The Sidewinder was released and is considered more abstract than its popular predecessor. Although it was recorded in 1964, the album was shelved for two years, then issued with the original catalogue number 84169. It is described by jazz commentator Scott Yanow as "one of the finest Lee Morgan records".
All songs composed by Lee Morgan.
"Search for the New Land" – 15:45
"The Joker" – 5:04
"Mr. Kenyatta" – 8:43
"Melancholee" – 6:14
"Morgan the Pirate" – 6:30
Personnel
Lee Morgan – trumpet
Wayne Shorter – tenor sax
Herbie Hancock – piano
Grant Green – guitar
Reggie Workman – bass
Billy Higgins – drums
That boss guitar solo that comes in at 9:18 is Grant Green; ain't it nice. I was wondering where Lee got that beautiful tone; he took lessons from Clifford Brown, where else. There is no more beautiful tone. Herbie Hancock really shines on this tune; as a matter of fact, all the musicians shine on this tune, thanks to Lee Morgan's beautiful composition.
Enjoy the music.
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You're absolutely correct jafant. |
Ghosthouse, more abstract jazz is not for the casual listener, but those who can go into another zone with the musician. As a rule those albums don't sell well, but musicians make them for artistic sake, or their own soul satisfaction.
For example, "Search For The New Land", could easily be set to choreography; you can even visualize movement as they search for a new life, which is the deeper meaning.
lee Morgan was not a mental lightweight, and the even more abstract music he made with Grachan Moncur III was an indication of his deeper search in his music; in this case Grachan Moncur's music.
Grachan Moncur's "Evolution" is for those who listen intently, and become involved in the music, the lineup gives an indication of this: Grachan Moncur III (trombone); Jackie McLean (alto saxophone); Lee Morgan (trumpet); Bobby Hutcherson (vibraphone); Bob Cranshaw (bass); Tony Williams (drums).
Enjoy the music.
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Grachun Moncur III is an artist I can only vaguely remember; he could only be found in "aficionados" collections that were so deep into the music, that they functioned as libraries, no, not mine; although I have heard of him. He is an American trombonist that was born in New York. When he was 11 he attended a private school where Dizzy Gillespie had studied. While still at school he began sitting in with touring jazz musicians on their way through town, including Art Blakey and Jackie McLean, with whom he formed a lasting friendship. https://en.wikipedia.org/wiki/Grachan_Moncur_IISometime when I can't find anything that appeals to me with a musician as leader, I do a whole lot better looking him up as a sideman. Herbie Hancock. "My Point of View" "Blind Man, Blind Man" – 8:19 "A Tribute to Someone" – 8:45 "King Cobra" – 6:55 "The Pleasure Is Mine" – 4:03 "And What If I Don't" – Personnel Herbie Hancock – piano Donald Byrd – trumpet Grachan Moncur III – trombone Hank Mobley – tenor saxophone Grant Green – guitar Chuck Israels – bass Tony Williams – drums https://www.youtube.com/watch?v=x9UZWDAoUZkAs well as I like Pepper Adams baritone sax, I don't have anything with him as leader that I like; it might be the same way with Grachun Moncur, that's why if you like this tune, you can help me look. Enjoy the music. |
Ghosthouse, I found "Search For The New Land" accessible as well, if I said it I'm getting ahead of myself, when I meant "Evolution" with Grachun Moncur. "Search For The New Land" I suppose was abstract when compared to "Side Winder". No Ghosthouse, you're not mixing anything up; having said that, I think we should go into what I consider "abstract" and it would indeed include Grachun Moncur's music as leader. Frogman, I'm not writing for "Down Beat" I'm writing for my taste, and how it sounded to me. Music is not "objective" like science or mathematics, it's very subjective, and whether one is a professor of music, or just a casual listener, that doesn't change. I can easily declare the work too abstract for me. Let us all address "The Olatunji Concert" which my statement was specifically based on. I said this is what Trane sounded like in 63, after he had carried the tune beyond what it was on the album. https://www.youtube.com/watch?v=kjDrkTmqxQkEnjoy the music. |
This is what I was referring to by Grachun Moncur III, as being abstract, although this particular cut is quite accessible for me, but there are other cuts on this same LP that are abstract. I was going through his music, since I don't have anything by him as leader. In general some of his music is quite abstract as I would define it. https://www.youtube.com/watch?v=BiHdgDK3LpE&list=RDBiHdgDK3LpEThis is a fine tune on this album which I will order. Enjoy the music. |
Alex, I liked your posts; Sal Salvador was the man before some of the current guitarists, I liked him. Joe Puma's album had a definite West Coast sound, that's what I was into at that time. Oscar Pettiford is my favorite all time bassist. Mingus is my favorite composer; he has so many boss compositions, but when it comes to just plucking the fiddle, Oscar is my favorite. The albums you posted remind me of when I was just getting into jazz; these cities, like Chicago, were so much different then; I liked to get dressed and stroll Cottage Grove in the evening near the 63rd street EL train, and eyeball beautiful young girls. Here's Oscar Pettiford with "Bohemia After Dark"; Chicago was my "Bohemia After Dark"; that's when the city came alive, the night life rivaled New York. [url] https://www.youtube.com/watch?v=s5EwGijmqKc[/url]Enjoy the music. |
Rok, go back to 02-19-2017 12:43 PM, and see how the "Bruha-man" used just one sentence I made in response to your statement about the media, to stir things up. I guess you'll have to hunt for that "inappropriate" statement I made that set him off.
I'm enjoying your contributions, keep em comin.
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