Down to Earth afternoo here Hi I am a 30 year old alone mum of just one tyke. Things I'd like to have in common: loyal to friends, close to family, wants to try new restaurants, have dates to the zoo and museums and things, or anything outdoors. And you feel that you are a good fit.
Alone black male for.
FZ —guitar and white stick with cork handle Tony Duran —slide guitar Ian Underwood —piano and synthesizer Mike Altschul —piccolo, bass clarinet and other winds Jay Migliori —flute, tenor sax and other winds Earle Dumler —oboe, contrabass sarrusophone and other winds Ray Reed —clarinet, tenor sax and other winds Charles Owens —soprano sax, alto sax and other winds Joann McNab —bassoon Malcolm McNab —trumpet in D Sal Marquez —trumpet in Bb Tom Malone —trumpet in Bb, also tuba Glenn Ferris —trombone and euphonium Kenny Shroyer —trombone and baritone horn Bruce Fowler —trombone of the upper atmosphere Tom Raney —vibes and electric percussion Ruth Underwood —marimba and electric percussion Jerry Kessler —electric cello Dave Parlato —bass Jim Gordon —electric drums.
Well, here we are in Boston, ladies and gentlemen. Just to fill you in on some of the zaniness that took place earlier this afternoon. In the process of examining the stage to make sure that it was fit for human consumption, these large objects over here on the side with the horns on top of 'em—you know those speakers there?
Migliori is at a certain disadvantage this evening. We just thought we'd let you know. Migliori was not sitting there when the cabinets went down, so that part's okay.
Well, now that we got that over with, I'd like to introduce the rest of the lads in the band—and the ladies in the band—to all of you here. Let's start up in the top, with trumpet number one, Malcolm McNab. And the indispensible Salvator Marquez. And on pygmy trumpet and tuba, Tom Malone. And Bruce Fowler on trombone. And Glenn "hands up, face to the wall" Ferris on trombone. And Kenny "always jovial" Shroyer on trombone. And Ruth "also jovial" Underwood on marimba.
That's a jovial little marimba. And Tom "with one smashed hand" Raney on congas. And, over here in the wind section, you already know Jay. Ray "The Phantom" Reed. Charles "up and down" Owens. Try that one again.
Can you hear him? That's a little bit better, yeah. Just a minute now. Jerry Kessler on cello. Ian Underwood on keyboards, et cetera.
Jim Gordon on drums. Dave Parlato on bass. And Tony Duran on slide guitar. I'd like to tell you a little bit about this here band.
This band was put together for a very short period of time. I think it was only eight concerts. Maybe seven, but I would have to count. Anyway, this is the last time this band is gonna play together.
This is closing night in Boston. However, it is possible— Shut up. They have their career. Anyway, it's possible this band will appear maybe next year or something. But this is the end of our tour here, and we're going to make an attempt to blow it all out for you in Boston. Now, so that you won't be mislead about what we're going to do up here, by having us start off with something that was oriented towards a boogie, most of the rest of the stuff that we do is a little bit more abstruse.
So I just wanted to break it to ya easy. Some of it is harder to tap your feets to. Okay, the name of this piece is "Approximate. Now, the way this piece works is the rhythm is, in many instances, specified for the instruments. However, the pitches that they play are left to their own discretion.
So at any one time there's a choice of about twenty different pitches being chosen all at the same time and the piece turns out different every time you play it.
How's the sound balance out there? Is it too loud? How many say yes? What we'd like to do right now is another arranged piece. This is called— Wanna do "Greggery Peccary"? We haven't gone over that for a while. This is— Wait a minute. We're gonna put some solos in between the movements of "Greggery Peccary. And then we'll develop from there.
And then on cue you get the second movement. And after the second movement, instead of going directly into the third, we'll do all the brass section, same thing: At the end of the third movement, at the end of the third movement, we're gonna go to the back row winds and percussion, the same thing, sixteenth notes staccato. And then change over to "Brown Clouds.
No, wait a minute. We have to get this organized so that it doesn't sleaze off before your very ears. There's a— There is an ulterior motive for making sure that it doesn't sleaze too much, because we're recording this show. And if it turns out good. That's right, you will all be immortalized. Maybe in between these movements I'll tell you what the story of "Greggery Peccary" is. But we'll just start it off.
You can just imagine what's going on. All right, if you'll sit down, we have t— We can play you something else that you might be able to recognize. Thank you very much. Thank you very, very, very much. It is possible— Attendee: Where's Mark and Howie? Let me get my guitar in tune; we'll progress to something a little bit weirder. This here's the Boston version. One two three four. Okay, now we'd like to play "Big Swifty" for you.
Got any chops left for "Big Swifty"? How's the tape doing out there? D'you run out yet? At a relaxed pace. So that we can hear the [ They want you, Ruth. The Adventures Of Greggery Peccary: Hope you enjoyed it. Variant I Processional March 3:
I am waiting for a few select women that want to let loose and allow a man to show them how intense and orgasm you can have with your boobscheeks burning red and your mouth filled with cock. Always positive, glass overflowing, sadness overcome, boredom and bad attitudes just not an option.
And Horny The much says it all.
It would not be accurate to say that Curtis Mayfield stole the show from Frank Zappa and his new Mothers of Invention last night at the Forum. This was a solidly. Intro Intros ; The Grand Wazoo (Think It Over) ; Approximate ; Big So Mr. Migliori is at a certain disadvantage this evening. The choice of prepositions depends upon the temporal context in which you're speaking. "On ~ afternoon" implies that the afternoon is a single point in time; thus.