Does anyone else recognize it? Good luck! They indeed are not made in either the USA or France. I used to assume they were made in Taiwan, but after reading Steve Goodson's posts - I must say probably made in Asia. I would beware of the Jupiter brand. Did it make Jim's list? How about a lightly used late 's Yamaha 62, when it was their top of the line.
The sound quality is much better. I don't think I will buy the "Artist" modle, though. I guess I will try playing the Jupiter in the store before I buy. Jupiter is on Jim's list.
I've heard others play it before twenty years ago and I never really cared for the sound or the quality. I think Jupiter is trying to make a strong come back. Store modles looked as if made with higher quality materials. Seems they are training technitians to service in stores.
Perhaps it is a marketing strategy. I am going to pick it up before paying. How will I know if it is good. He mention this "Recently cleaned and serviced for sale.
Buying off of eBay can be tricky, but as an Armstrong owner I can say that bucks is a good deal. I bought my Armstrong about ten years ago this autumn for bucks, and I'm still playing it to this day.
This is partly due to necessity, since I can't really afford a new saxophone, but it's been surprisingly versatile and sturdy. It's a great horn if you're doing a lot of traveling and rough gigging--it can take a beating. It might not be the best sounding horn or have the best intonation, but for smackers it's a good deal, especially for a tenor. And you can always turn around and sell it for or to a student starting band. Hope this helps. Rock on. My child is starting in 6th grade in the fall, and has chosen to play the sax.
What do you recommend fot a starter alto sax that will produce good sound, be sturdy, and not cost me 3 months' worth of house payments?? It worked really well for my daughter for several years. She won a best at site award as a freshman at contest using it. I have a video clip of me playing it if you're interested. That's a very good student horn, too. I can't seem to find any information about the company where they are located, how long they've been in business, or any thing else. My daughter will begin her second year of alto sax in the Fall and it seems like it will be a better deal to buy than to rent - for the long haul.
What do you suggest as a decent, well priced instrument? Stick to Jim's list - you'll do better. I would recommend a lightly used late 's or early 's Yamaha Model Some pros even use these horns. They are durable and somewhat easier to play in tune than some of the vintage models.
If you're blessed with lots of money - you could spend twice as much for a recent Selmer Paris model - also used - or 3 times as much for a 's Selmer Paris Mark VI. If so, you should try a Yamaha 62 from the late 's or early 's. I would recommend something vintage like a late 's to late 's Conn - but I suspect you'd be happier with a newer horn. I will try those out. What do you think about cannonball altos? I tried one out recently. There certainly is a lot of discussion in this forum on the subject.
The early production Cannonball was not a well-made sax. I do not know now for sure. Try a bunch of different horns at a big music store. Take your own mouthpiece and reeds and cleaning suplies. Take notes as you play each one. If the one you like seems to play in tune - as well as you can - and the rods and keys seem sturdy enough to hold up, then find out if you can afford it. This number can go up or down with the changing economy.
What is a "good" sax can be subjective, too. If you're just starting out and funding some experimentation, maybe you don't want to put in alot of money.
If you've got a few bucks, why not try out something cheap and see what you get? I started buying guitars from China and was getting pretty good quality. They started out pretty shaky in quality, but over the past few years seem to be improving Jimmys Toy Box - Adam Saunders their game. Does anyone know anything about "Blessing" instruments? Is there a problem finding a brand on the list?
It would be foolish to try to spend much less. You could certainly spend much more. If you feel like he's talented enough to play professionally some day, or even just to play in college, these might be a great idea.
The Winston top line horns might suit your son. Don't kid yourself that brand new would be a lot better for him. It would be used very soon anyway. Just make sure it's carefully used and well-cared for, whatever brand you buy. The most important thing for his musical development would be private lessons.
If you locate a teacher, he or she might help with the horn search. If your son is accomplished enough to be discerning, have him try a bunch of horns at a big music store. Take your own mouthpiece and reeds and cleaning supplies - or buy them there. Check out my blog on myspace-www.
He has always been first chair, and has been playing with a rented saxophone. We are currently renting a Selmer AS We have decided to bite the bullet, and buy him a saxophone, one that will see him through 8thth grade and beyond. And, we can return it if we aren't satisfied. Does anybody know about this particular Saxophone?
Each instrument is hand made, one at a time, using only the finest and rarest materials to produce an instrument that is incomparable at any price. Skilled craftsmen use the highest quality fine woods and precious metals, exceptional plating processes, precise assembly, hand engraving, age old varnish techniques and uncompromising quality control to produce an instrument that will perform beyond your expectations. Extreme attention to detail combined with factory direct pricing make Suzuki Pro Classics the new world standard in name brand, affordable, professional band and orchestral instruments.
Extraordinary Instruments for the Exceptional Musician. When I read Costco's glowing description of their alto sax, all I could picture in my mind was - which plant in Vietnam or Taiwan or Indonesia is making these things? I should think that if your son has progressed as fast as I did that after three years of good lessons and practice, that he might be discerning enough to determine what he likes in different saxes.
It's up to you to determine if what he says he likes is a quality built horn and not just pretty or some striking colored lacquer or etc. If you have a trustworthy large music store near you, why not have your son take his mouthpiece and some reeds and cleaning supplies and go try out as many as you can.
Do not be afraid of used horns. Whatever you buy will be used soon enough. Just be careful with anything approaching abuse on a used horn. Also, you might want to stay away from saxes that are too vintage - the keywork might be uncomfortable or the intonation more difficult. You say he has always been first chair in his section - wonderful! That means he is talented and likely fairly committed to practice, Jimmys Toy Box - Adam Saunders.
That also means that the horn you buy now might be the horn he is playing 50 years from now. My parents chose the best tenor available for me 45 years ago - and it has served me well, and paid for itself a hundred times over.
I'm glad there was no Costco to tempt them away from Selmer-Paris. But you should be discriminating in your choice and take your time. You can always rent for another month or two. I know 2 pros who play Yamaha 62 models. This was Yamaha's top pro model at that time. This is just an example of another way you might go. Read a bunch of the recommendations given to previous posters. And Good Luck! Don't hesitate to ask me or someone else for further help. Your son's private teacher might help. If he has none - save some money for that.
Private lessons seem imperative to me. First, we love Costco and we love its return policy. Second, if we have the chance to get a great quality instrument for our son from Costco, why not? Somebody has to be the first to take a chance, right? My son has taken private lessons for the last two years. He really enjoys the saxophone, but we do have to make him practice each day for 30 minutes. He starts begrudgingly, practices happily, but stops immediately after 30 minutes.
His private teacher says he has "perfect pitch" whatever that means. Neither my husband nor I have any musical background. We have only lived in our new town for a year, so we don't really have any musical resources.
I wouldn't know a "trustworthy" large music store. Our son's Band teacher who plays the alto sax professionally won't recommend anything. I think he has been burned in the past, by parents, so he won't recommend instruments or private teachers. Our son's private teacher is a nice man, and when I asked him about buying a sax, he said to buy anything by Yamaha, 60 series or higher.
He didn't like Selmer, on principal. And, we are such guppies when it comes to buying anything, I am so fearful of buying "used". And, I don't think my son cleans his instrument very often. Again, I am clueless with instruments so I don't know what to look for, don't know how to tell what kind of shape his rental sax is in. He got it brand new, but we have had to take it in twice, due to jamming keys, and certain sounds not being played properly.
Finally, we cleaned his mouth piece after looking up info on the Internet. My son is also very reserved. If I took him to a store, I think he would freeze up. And, I don't know if he could figure out what was good or not. In 6th grade, he made first chair on his own, no lessons. But, he was always frustrated when he practiced at home. I finally got him a teacher, and the man said his fingering was all wrong, but regardless, he could play well.
It was in the first practice that we were told about our son's perfect pitch. My son is now in 8th grade band and jazz band. To show you how clueless my son is, he told me he found out he had a solo for their next performance, by glancing at the other two alto sax players' music sheets, and he noticed that their music had a big "rest" section.
He said, "that must be why I have Alto 1 music and they have Alto 2 music. He is so internal and focused, until that point, he hadn't noticed they weren't playing when he was. Okay, I feel like I am all over the place in my response to you. That's why I posted at this site. And, you're right: the sax we buy now for him will hopefully be the one that he plays 50 years from now. That would be terrific. Again, thanks, and anything you can offer is helpful.
I'm looking for a better saxophone to use in the schools top jazz and concert bands. What would be a good new or used saxophone that would be a good value. I play a yamaha at school but it is used by at least two or three other people and one of them is responsible for it.
So I cant really keep useing it but I would like something like it if possible and I have also played a P. Is Stagg on the approved list? If you really have to ask this question, perhaps you would do better to buy a guitar, instead of a saxophone! Or better yet Do you see Stagg on my list? Sometimes I wonder why I even bother. Also, if anyone has a suggestion for a tenor sax for a new player who will be starting 6th grade band next year, I'm listening. Regards, Francis oracle She is in middle school, but she's been in first chair all year, and her private instructor and band teacher both said she is very talented, and could go really far with the right instrument.
What are your thoughts on these or comparable instruments? I notice that your list of recommended saxes has decreased significantly so wondered how these rate. I typed saxophone. I thought it was just a joke, that they were cheap Chinese junk, but they weren't.
I bought one of thier silver plated tenors for jazz, and I was totally blown away. I know that these saxes aren't TOO popular yet, but they seem to becoming more and more popular in the last two years. When I came in to show my director it, he laughed at me and told me it was crap, but then I played it and he was just stunned. If I had the money right now I'd buy and alto and a sop from them, since being a high school student with marching band fees I can't afford it, or any other saxes I want.
If I had it my way I'd have a quartet of Cannonballs by now but that's a long shot, and these saxes are the best I can afford I would totally put them on the apporval list.
Otherwise, I think your list rocks, Jim! If any of you are curious about these saxes, go to saxophone. The horn that you bought sounds like one of their better horns that I believe, is made by Antigua Winds. Surprisingly, they're pretty darn good for the money. The also sell the "Gulf" saxophones and "Prestini" saxophones and clarinets, adn I agree with you that those are junk, but thier actaully saxophone. I've played some Antigua saxophones, and I honestly really don't like them, I prefer my saxophone.
Unless saxophone. I am looking into playing again and my nephew will be taking his first band class this coming year. I'm trying to find a decent instrument that I can play and he can try to see if he'd like to learn.
The Saxophone is Excellent. I sold all my Saxophones before I came to live in the US about 15 years ago. I think most of the reviews I have read about Chinese Saxophones are from people who either haven't played them of have a vested interest making money on what they are repairing or selling. Who am i to tell the repairman he doesnt know what hes talking about? I did some research and it is a reportedly good and fair make and model and is sold by a decently reputable online retailer.
I am just seeking advice and want to know if i am in the clear or if going to end up with another wreck within the first year of ownership again. Thanks for your time. Those who make saxophones have either advanced their manufacturing or no longer exsist.
This topic truly deserves a new present day thread. At least you have a sax! Play it till it breaks and then buy a better one! Mauriat saxes should be included in the list as well. They may be made in Taiwan, but they are great saxes. The materials are from France and the build quality and action of the horn is good. Would this be a good horn choice? There are some re-padded vintage horns that might turn the kid on also. At this point in his development, he'll need a boost of some sort to continue past high school.
Getting a vintage Martin or Conn might excite him. You know - remind him of some of the greats who played his model of horn or etc. Can you afford more private lessons for him? Will he practice? A vintage horn might be harder to control than a new Selmer or Yamaha, so he might have to practice more. Best of Luck.
Seems like a waste. Any other suggestions? Should I just rent for a year instead? When you're talkin about a horn worth several thousand dollars, doesn't sound so high. You might want to check into buying a used horn. I was using the Vito from LeBlanc aka nasty student level sax I started on in 5th grade. So in 10th grade I upgraded Low end was as good as Album) gets and very lush and sparkling up high.
Used a hard rubber Bay mp with various reeds. Might this brand be added to the "approved" list??? I've been told they are from Taiwan, but of reasonable quality and with a good warranty.
Has anyone worked on them? Tone, intonation, tibre, robustness? Feedback is appreciated. Any idea who makes things for them? I've heard some connection possible to LA Sax???? Any connection to any other brands? What's your opinion on them? My girlfriend's brother is getting ready to go into 6th grade and he wanted to play the clarinet but now that he knows that I played the sax and still have a sax, he wants to play the sax.
I started out with a used Conn about 11 years ago, but I got a Yamaha YAS for graduation to take with me to Syracuse, so I know the really good saxes, but my girlfriend's mom doesn't have a ton of money to spend on a sax. There are tons of vintage student horns out there, for not much money.
I have a student MexiConn Alto I'm going to try to sell locally. I was quite impressed with it, and they seem to be a well made instrument. So, for my friends across the pond, Trevor James looks to be a pretty good deal! Mauriat: At first, I wasn't sure if they were worthy of all the publicity they have been receiving, but these are REALLY nice horns that do not cost a lot of money! I would most definately recommend one!
There are a few Italian made horns that are very good; Prestini, Borgani as mentioned above and a few others. Italian horns don't often receive the respect that they really deserve. I have seen many very nice Italian horns sell for nearly the same price as the junk Chinese horns. They're counting on your lack of experience. They're hoping that you will confuse their name "Selman" with Selmer; a company known for making some of the world's finest saxophones. They're hoping that when you hear their American sounding names, that you will think their product is a quality American made product, but they are not!
But that IS worth something, is it not? Think about it. Now I'm pretty happy with my yamaha something-or-other I looke dit up once, but I forgot, and I can't exactly drag it out since it's sitting in the band room waiting for the football game But I saw a "Thor" brand vinatge sax in an antique store this morning, and I'm very curious.
I've never heard of this brand before, has anybody here? I think the American Selmers are supposed to be fine student horns and I know the Yamaha 52 would be. Get that kid a private teacher - most important thing! If not, does anyone know if the "Borg" is a quality instrument? I guess you can't fight the urge to save a buck. I will spend a month in China from late May to mid June to work on two projects. Gene Cho, of the UNT music theory faculty, with whom I took my first course in ethnomusicology, chose the Chinese version of my name, Muh Yuehan, shown above.
A possible outcome of this trip is travel to China by UNT Jazz Studies students, faculty, and ensembles in future years. The festival concert is on July They'll also play other concerts while there.
Hajime Yoshida. This year's Addison Festival. May Thirty Years of Vocal Jazz weekend. The Denton music community once again showed how it cares. Visit: www. July 11 Saturday will be the feature jazz band performance for the event. Brad Leali as guest soloists.
The band leaves on July 8 Wednesday. After a a year absence from the U. He would enjoy hearing from other alumni. His email is paul lamchops. Call to order. Darla Mayes, our indispensable administrative assistant, celebrates 25 years of service to UNT this month. She's not retiring, just marking the milestone and continuing to run the jazz studies office. We invite alumni and friends of the program to send her your good wishes at darla. Photo: Darla and Neil in the good old days.
Jeffry Eckels will serve as Lynn Seaton's sabbatical replacement during the Fall semester. His bio has just been added to our faculty page. A total of 30 awarded. Saxophonist and recent Jazz M. He would turn and look at me to play eight-measure solos.
Army Blues jazz band. Source: a news item by jason Hausback. Here's a link to the video. The program is designed to foster cultural exchange with audiences worldwide through performance and educational outreach. Each applicant musician must be at least 21 years of age, a U. International activities include public concerts, master classes, lectures, demonstrations, workshops, jam sessions, media outreach, and collaborations with local musicians.
The U. Department of State funds international travel, hotels, and meals, and awards a modest tour honorarium to each musician. From: J. The finals will be held at the Kennedy Center in DC on October ; all the semi-finalists probably about 10 will be provided the trip to DC all-expenses paid.
Should be quite a party More info and an application form can be found on our website at www. Thanks everybody. Warm regards, JB J. We are as eager as our alumni are to see this released during the academic year. In spring our focus was the two faculty searches; in summerpreparing Lab for release. Here are a few screencaptures to show that the as-yet unedited video exists. Brad Leali and James Carter. Link to photos. Chris Villanueva played piano. Is anybody aware of another UNT jazz degree recital that four family members played on?
If so, please let me know and I'll post it here. Tuesday, October 13 p. Free of charge You must have a ticket to enter. To reserve tickets for your group Contact the Box Office at There will be a required meeting for all new Jazz Studies majors on Tuesday, August 25 from p. This is for both undergraduates and graduates. You'll meet the faculty and receive information about proficiency exams and auditions.
This page has further information about commencement ceremonies. All of the summer commencement ceremonies will be streamed live on the web. See this page for more information. Dear Colleagues, We are looking forward to launching a new initiative to provide a series of Career Development courses for students in the College of Music.
I want to bring to your attention to three new courses that will be offered this year and hope that you will encourage your students to take advantage of these unique opportunities. For additional information, please do not hesitate to contact the instructors.
Music Industry Entrepreneurship 3 credits Open to undergraduate and graduate students Spring, Time and date to be announced later in the fall semester Instructor: Jason Levi Email:. Feel free to pass this information along to your students, and please join me in welcoming Debbie, Blair and Jason in their new roles as instructors for our Career Development courses.
Sincerely, Dr. Oso Closo, the band that includes several UNT jazz studies alumni, spent the summer working on their second album, Today is Beauty's Birthday. It will be released soon and they're having a couple shows in Denton to support it. Two songs from the new recording can be heard at www. Peer assessments propelled UNT into U.
The program will be streamed afterwards at www. Additional information regarding the guest lineup for next week follows. Think airs from noon to p. Podcasts and streamed video are available online after broadcast at www.
CD contents are listed here. He developed a rock band curriculum for young people as part of a recently-completed master's in music education at UNT. He studied in the UNT jazz program in the s and took master's level classes in jazz studies during his music ed graduate work. The quartet's members come from the US, Mexico and China. Roberto Verastegui, the pianist of the group, has previously toured in Hong Kong with the band "Nobody's Business" and will tour Japan in October.
UNT Alumni - Asia facilitates social networking and professional collaboration worldwide and strongly encourages participation in helping to globalize the North Texas educational experience. Photography by michalgarcia. The deadline is November 18, Link to UNT facultyjobs websitewhere applications are submitted. The North Texas Jazz Festival will not take place in April due to budget constraints that made it necessary for the Town of Addison to end its support of the festival see the statement below from the Town of Addison.
At this time, the festival is suspended while we investigate options for the future. We wish to thank each of you who have participated in the festival over the years as invited school groups, guest artists, audience members, adjudicators, clinicians, presenters, sponsors, support staff, media partners, host hotels, and vendors. Your involvement made the event a dynamic educational festival over its nine-year existence.
We hope to find a way to continue the North Texas Jazz Festival in the near future. More information will be posted to the festival home page and UNT Jazz Studies website as it becomes available. We are proud of the outstanding educational and performance opportunities the festival has provided thousands of students from across the nation and the world. We have certainly been inspired by the incredibly talented participants and Album) will miss hearing and seeing them performing at the festival.
The pressures of the current economic condition necessitate that the Town of Addison take a different course in regards to the festival. We wish to express our heartfelt appreciation to the University of North Texas and the hundreds of schools for supporting and believing in the festival. We look forward to exploring additional opportunities the future may hold. For further information, see this NewsOK. Drummer J.
Bates and bassist Adam Linz are fixtures on the Minneapolis music scene and co-founders of the band, Fat Kid Wednesdays, also featuring saxophonist Mike Lewis.
The group chemistry and interplay between these 4 musicians is very strong. They will be exploring many new compositions by LoCascio and Witt in addition to playing familiar standards.
The shows at HCC will be recorded for future release. Websites - Woody Witt - www. Pianist and alumna Julie Bonk is profiled by newspaper in her home state. Her site is www. Save the image locally to see it at its full size. Dave and Graham Richards were interviewed by Bob Barboza of www. On October 6,Brave Combo will play the Syndicate starting at 9 p. Students are invited to come and learn what's involved in keeping a creative band working for 30 years.
Singer, arranger and alumnus Kerry Marsh has been auditioning singers via YouTube to sing in a backup chorus for Ben Folds as he plays with symphony orchestras in various cities. Kerry is touring to all the places and singing.
Thanks to John Guari for this news item. Photo by Tanner Ellison Photography, at pegasusnews. Jason Levi, who will teach the new Music Business Entrepreneurship course next spring, has created a survey to gather information about prospective students and what would help them get the most out of the class. Please take this survey if you plan to take the course next spring or in a future semester.
There are solo, duet and trio versions of new music that was written during spring while on leave from UNT. It is available for digital download or hard copy purchase at www. Saxophonist and UNT alumnus Dave Pietro Album) on campus this week as guest artist with the small group program, which Stefan Karlsson directs. He plays a concert in Tuesday, Oct. Brave Combo will play the Syndicate on Tuesday Oct.
That same day from p. Denis DiBlasio and Steve Wiest are the featured guest artists. Read all about this performance and more in the 'Fessorgram newsletter in PDF. To his memory and ideals this organization is dedicated. It was founded by J. Woodrum in If you are visiting this site after reading our entry on p.
There are several errors in the printed information. This is the total number of students in the Fall Jazz Registry, the jazz student directory. This total includes students with majors other than jazz studies who play in our ensembles. In Fall there are undergraduate jazz studies majors, 55 graduate jazz studies majors, and around 15 students who are working on a second bachelor's degree in jazz studies a temporary status, preparatory for entering the master's program.
Degrees: B. The College of Music's Graduate Artist Certificate, a small and selective non-degree program, is open to applications from jazz students.
It is too soon to announce a date when students will be accepted to that program. Applied jazz trombone; primary division: Instrumental Studies.
Rodney Booth, Lecturer. Tim Brent, Assistant Professor. Fred Hamilton, Professor. Applied jazz guitar, improvisation, rhythm section master class. Stefan Karlsson, Professor. Applied jazz piano, improvisation, small groups, rhythm section master class. Brad Leali, Assistant Professor.
John Murphy, Professor. Division chair; jazz history, analysis, and research methods. Jay Saunders, Principal Lecturer. Lynn Seaton, Associate Professor. Applied jazz bass, improvisation, rhythm section master class. Ed Soph, Professor. Applied jazz drumset, rhythm section master class.
Primary division: Instrumental Studies. Mike Steinel, Professor. Applied jazz trumpet, improvisation, pedagogy of jazz, jazz trumpet performance fundamentals. Steve Wiest, Associate Professor. Latin Jazz Lab. Jeffrey Eckels. Applied jazz bass, improvisation.
Sabbatical replacement for Lynn Seaton. Rosana Eckert. Applied vocal jazz, vocal jazz techniques. Dan Haerle, Emeritus Professor. Applied jazz piano. Noel Johnston, applied jazz guitar. Rich McClure, applied jazz guitar. Thursday, October 15, pm. Guest artist Denis DiBlasio will be sitting in as well.
Cash bar and munchies. Come play jazz, network, and have a great time! Two special events are coming up -- a football tailgating party on Sat. We'll do some live broadcasting on Then we'll slice up an anniversary cake at p.
But thanks to a musical mom,'50s idol Duane Eddy, and a Herculean drive, Horn chose a career and succeeded in a field that is usually noted for its ruthlessness.
Born in Los Angeles, California and raised in the era of Elvis, the '50s were, literally, rocking. As teenagers bopped and twisted to the latest rock and roll tunes, Jim was playing saxophone at his junior high school dances.
But it was the great rhythm and blues saxophone solos that inspired the young Horn to pursue a career in music. The practicing paid off. After sitting in high school classes all day, Horn would sit in with bands in various L. The skills attained from nightclub experience and a friendship with fellow saxophonist Steve Douglas led Horn to Duane Eddy.
Rock and Roll Hall inductee Eddy, of Peter Gunn fame, was the '50s and '60s twang guitarist whose distinct sound produced scores of hits such as the smash Rebel Rouser. While twang-struck teens were practicing their newly bought electric guitars in hope of emulating their idol, Horn, just a teen himself, was learning all of Eddy's songs.
He eventually won a prized gig as a member of Eddy's road band, The Rebels. Duane Eddy once turned down a fantastic opportunity to perform at The Grand Ole Opry due to his need for a saxophone player. Maybelle Carter was there, and Chet said, 'Mother, play a little Wildwood Flower for Duane and she fingerpicked these beautiful, chimey licks. They asked me if I wanted to go out and do a couple of songs, and it was like, be still my heart.
Of course I do. Let me get Jim, my sax player. They said, 'Oh, no. We don't allow no saxophones on the Grand Ole Opry. That's the instrument of the devil'. And there was only a little cocktail drum - snare and high hat. I could deal with that, but I had to have my sax. I didn't want to go out there and sound that different - with a steel guitar playing a sax solo, so I had to turn it down".
It changed Horn's sound forever. That's Jim playing horns on The Righteous Bros. These were some of Horn's favorite sessions to play on due to the spontaneous recording of the musicians, comparable to the old Sun Records sessions. Back then, I was doing like,three and four sessions a day.
Anyway, this one night, I had gotten home about pm, and Lou Adler called me, and said, "What are ya doin'? So I got in my car and drove down to the studio, and I arrived there at about midnight.
They were all there,waiting' on me, 'cause I guess they wanted to see what I was going to do. While they were getting the tape ready, I had a few minutes, so I went and talked to all of 'em.
They were really great. Really fun people to be around. Cass and I would talk about everything from world affairs to babies, everything.
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