A tribute to Alan Dawson at 75

[Gentle Giant]

Alan Dawson, one of the all-time greatest jazz drummers, was born 75 years ago today (July 14). When he died a few years ago of leukemia, I was crushed. Perhaps known better as a teacher than a player (his students included Tony Williams and our own Ron Thorne), he was a frequent player in small local clubs, usually playing with students or pick-up groups. I used to love to watch him play. His limbs were like four independent machines, powered by his brilliant mind hidden within his cool, calm, confident face.

Less heralded than many of his peers because of his desire to stay in Boston rather than travel the world, I put him right up there with Max, Elvin, Art, and Roy. And in spite of his homebody-ness, he found the time to tour and record with the likes of Booker Ervin, Jaki Byard, and Dave Brubeck. In fact, my favorite recorded solo of his is on "Take Five" from Brubeck's We're All Together Again For the First Time, featuring both Paul Desmond and Gerry Mulligan. Dawson is astonishing on this tune.

I invite you to learn more about Alan Dawson here, and hope that Ron will share some of his memories of learning from the master.

[Root Doctor]

I used to catch Alan quite often when he was the house drummer, along with Tommy Campbell, at the 1369 Jazz Club. A lovely guy and a brilliant musician.

[Gentle Giant]

Definitely used to catch him at the 1369 a lot. A few times at Ryles. But perhaps the most memorable was on February 5, 1987, at a show called "Black Music Celebration at Berklee: Drummer's Night" (I still have the program). Opening set was by Dawson and three other Berklee faculty: Bill Pierce on tenor, Donald Brown on piano, and John Neves on bass. After the intermission, Roy Haynes came out with his quartet at the time: Ralph Moore on tenor, David Kikoski on piano, and Ed Howard on bass. Mind you, at this point I still only had one foot in jazz but after seeing the pyrotechnics that night, I became hooked.

Listening to him work on Sonny Stitt's Tune-Up! now.

[grove47]

I saw Alan play many times with lots of different people. A concert with Hank Jones in a trio with George Duvivier stands out, at The Hasty Pudding Club in '82 I believe. And also in concert with Milt Hinton and Ray Santisi. He played often with James Williams, and the audience would dutifully endure Williams' lengthy and hyperbolic introductions of each musician in the band. The introduction for Alan Dawson would inevitably be even longer and more exalted, but deservedly so.

Before Alan Dawson, drum set teachers were teaching a modified 'dance band drummer' concept. Alan's thing was bebop and modern jazz, but he created teaching concepts that transcended style and addressed innovative ideas about 4 way coordination. Also, his organization of the rudiments into a 'ritual' played with brushes as a warm-up is a very simple, elegant idea, but challenging and goal-oriented. He basically created the modern drum teacher with a pedagogy. It is infinitely copied, and by musicians from many different musical points of view. There is no question in my mind that he is an innovator from this pedagogical perspective.

Alan Dawson performed a lot of clinics over the years. Alan's drum clinics were models of substance, precision, taste and essential information. They were also extremely entertaining. In fact, he may have also created the model for the concept of a modern drum clinic. Many of today's big clinician stars undoubtedly studied with Alan, or knew someone who did.

As a player he was original, too. He was technically imposing, and played a clear, personal language within the bebop framework without copying Max, Philly Joe or Roy Haynes, although I think he was influenced by Roy's feel somewhat. He had a great ride cymbal beat (and popularized the use of 13" hi hats by a lot of drummers, too!). And of course he could play tempos with a lot of intensity and endurance.

Dawson did teach Tony early on, but his list of students includes lots of excellent players who never have or will see the kind of notoriety Tony received. Alan's legacy is in each of those individuals, many of whom pass on his wisdom to their own students.

Alan carried himself with a lot of dignity and created a positive image of the jazz drummer and teacher: A professional person who was articulate about his art. As much as we revere Max- who is also a dignified, innovative presence, an important musician- there is something distant about him. He pontificates. Alan was a teacher. He articulated the language of the jazz masters, and he was a member of the club, so everyone paid attention.

I think Alan did more for jazz and for the drumming community by remaining in Boston. He personally influenced so many musicians, it's ridiculous. This is a rare case of creating a career made more important because of a decision not to move to New York- at least that is what it seems like to me.

[Gentle Giant]

Thank you, grove 47, for such a beautifully written and insightful post. I see you've been a member here since Sept 03 yet this is only your 15th post. We could use another wise voice around here. I hope you'll participate more.

I'm also hoping stevebop happens upon this thread, as I believe he produced a 30-minute program on Alan several years ago for WGBH Radio. I have to dig up my tape of it, but I'd like to know if it will be played again at any point or whether it's available from the station. Might send him a PM.

[Ron Thorne]

I'm assuming that the lovely post#4 was written by another fine, sensitive drummer, Steve Grover. For the record, I don't consider myself in the same league as Alan Dawson or Steve Grover. I care greatly about the music, and have made some contributions, but not at their level.

Sorry to be so late to the party, GG. And, even after you gave me a heads up, buddy.

Before I forget it, Stevebop was kind enough to send me a copy of his WGBH special with two of my favorite Berklee teachers, Alan Dawson and Herb Pomeroy. Another thanks for that generous gesture is in order, Steve.




Where should I begin?

Alan Dawson was an extraordinarily gentle man, though particular about everything he did or expected from you. He was supportive, encouraging and expectant, all-at-once.

He'd walk behind me while I was playing, unexpectedly pulling the sticks from my hands to make certain that my grip was not too tight. He'd ask me questions I didn't expect to throw me offguard, then explain why he did it.

Alan was the consummate teacher ... patient, demanding and prideful, while generously offering praise when truly warranted. He was never demeaning or sarcastic, always optimistic and forward-thinking.

We worked a lot with some unique approaches within method books which heretofore were respected, but not previously a part of the drumset drummer's arena, especially George Lawrence Stone's Stick Control. Alan rewrote the way in which that book (and most others) could and should be best utilized, in my estimation. In fact, I've employed concepts I learned from Alan 42 years ago for over 20 years with my own young students. It was mostly about independence, stick control and musicality.

grove47 is absolutely right in stating that Alan Dawson re-thought, and probably re-invented teaching drumset from what had been "a modified 'dance band drummer' concept". His four-limb independence was phenomenal, and he imparted as much wisdom and technique-building ways as possible to improve his student's as well. Stylistically, he was always musical, first and foremost, supportive of and complimentary to the players surrounding him, while never losing track of the rhythm, changes, melody line or song form. It all mattered!

Alan Dawson's playing was as clean and well-articulated as were his thoughts on jazz and many other subjects. He was a very bright, thoughtful man. I learned a great deal beyond drumming from this kind, talented, insightful friend.

His playing was inventive, decisive, sensitive, responsive, explosive, delicate ... everything you'd expect from someone who truly cared about the music ... and listened (intently) to his fellow musicians.

A couple of anecdotes:

1) One day, while walking down a hallway in the old original Berklee academic building at 284 Newbury Street, I heard a commotion ahead of me. As I approached the room in which we experienced Rhythm Workshop, a piano trio practice with Ray Santisi, I heard a drummer working out. It was amazingly fast, complex, yet unpretentious sounding. Students were poking their noses into the door way to watch, and I soon joined them. When I was able to finally see into the classroom, behind the grand piano, tucked into a corner sat a little brown dude just tearin' it up, but as if on a Sunday drive in the country. I was astounded, scared and thrilled by the sight and sounds. I asked who it was, and after a lengthy silence (to capture more drumming), I heard, faintly ... Tony Williams.

I didn't realize it at first, but Tony Williams was coming to Boston periodically for lessons with Alan, while living in a flat in NYC with Max Roach in 1962.

While Tony was (arguably) one of Alan's most prestigious students, I'd agree with Steve that he was but one on a long list, some of which are well-known, some of which are not. I'm in the latter category, obviously.

Tony Williams: "Alan Dawson was one of the best drummers in the world. That's a fact, not just my opinion. I met Mr. Dawson when I was nine years old. He went out of his way to encourage me, help me and to see that I had opportunities to develop my meager skills. For example, on Saturday nights he would drive one hundred miles out of his way to pick me up in Roxbury, drive to Cambridge to let me perform with his trio and gain valuable experience, and then return me safely home before returning home himself to Lexington. I was twelve years old. Every drummer, local and worldwide, knew of his legendary speed, precision and control. Mr. Dawson didn't only teach me to play the drums, he taught me how to conduct myself as a musician and as a man. Thank you, Alan Dawson."

2) We often had workshops with Alan as a group of drummers, sometimes with guest artists. It was usually conducted in a large room with a drumset in the center and lots of chairs in-the-round. On one occasion, Alan invited Ed Thigpen to join us for the drummer's workshop. After praising Ed Thigpen, Alan let us know that this would be a joint exercise/clinic with our guest, and that we'd be invited into the hot seat as well. Also, two drumsets were installed for this session.

Alan began by singing a familiar jazz melody, then began playing along while singing it (something he always stressed), before taking off on some adventurous, but always melodic-specific solos. Then, he switched from drum sticks to brushes, singing the melody all-the-while. Finally, he asked Ed to join him on the 2nd set, and the fun really began. Those two masterful musicians/magicians spent about 15 mins. or so exchanging musical ideas with one another, ending with an amazing bare-handed finale.

"The difference between jazz and other music is like the difference between marching and dancing - marching is done on the heels and dancing is done on the toes. If you take away those written accents on the beat or syncopate the rolls, you can get a nice jazz feel." - Alan Dawson

With great respect and admiration. - Ron Thorne

[stevebop]

Jason: Thanks for this reminder. I will rebroadcast my Alan Dawson Special this Friday night, July 16th at 8pm. Log on to www.wgbh.org and you can hear it on line.
I have many fond memories of seeing AD play at places like The 1369, Connolly's Star Dust Room, Lulu Whites, THe Hasty Pudding Club, The Willow and on and on...
I haven't heard this program in a while. It will be fun for me too. He was such a sweet cat. Again, thanks for this thread

[Gentle Giant]

Thanks, Ron, for your memories. It's one thing to be a fan and sit in front digging a show, but to have your and Steve Grover's dual perspectives adds a lot to my appreciation of Dawson.

Stevebop, I'm glad you're going to re-air that special. I certainly would recommend that folks tune in to hear this excellent program. You get to hear the man tell his story in his own words, with a generous sampling of music from throughout his career.

We miss Alan Dawson, but how blessed we were to have him.

[Enforcer]

Great, great stuff, Peppercorn! Thank you for sharing those stories with us. Alan Dawson is one of the baddest motherf**kers who far too many people have never heard of. I wish I could be so lucky as to say I studied with him. Everyone who has tells stories like these, about what a great teacher he was, and what a good guy.

Larry

[Ron Thorne]

ps: About a year after seeing that skinny kid playing drums in Ray Santisi's classroom, he joined the now-legendary Miles Davis Quintet with Ron Carter, Herbie Hancock and Wayne Shorter ... at the age of 17.

np: Alan Dawson - A Jazz Portrait, produced by Steve Schwartz/WGBH, for the umpteenth time. How nostalgic.



Larry, you must hear this documentary tomorrow night. Please make a note.

[Dr Dave]

During my 30-odd years (some of them very odd indeed) residence in the Boston area, I had the pleasure of hearing Alan Dawson in many different musical situations. Two standouts were his support of Jimmy Derba, a local tenor player, at the late lamented Lulu White's back in '77, and an appearance with Tal Farlow at a Holiday Inn (stranger things have happened...) in Framingham, I think it was. A sensitive accompanist, an inspired soloist, and a guy who always managed to fit himself into whatever musical context he found himself. I miss him.

[Gentle Giant]

Anyone have/heard this, apparently his only recorded session as leader?

Waltzin With Flo
Alan Dawson

List Price: $19.98
Price: $19.98 & eligible for FREE Super Saver Shipping on orders over $25. See details.

Availability: Usually ships within 1 to 2 weeks


2 used & new from $19.97

See more product details


Product Details

Audio CD (July 1, 2002)

Label: Blue Geodesics
Catalog: #9808
ASIN: B00005U5TY
Amazon.com Sales Rank: 368,207

Track Listings
1. Penta Blues
2. Airegin
3. Two Stepped
4. Waltz for Flo
5. 1993 A.D.
6. Little Man You've Had a Busy Day
7. Havana Days
8. Old Devil Moon
9. Joshua

[Ron Thorne]

Jason-

I haven't heard this album, but am intrigued. I found this cover shot, where I can discern most of the sidemen's names, but not all. I'll probably have to order it, just because ...



Oh, oh, I just found some more online information, including a review. Looks like I'll be ordering it. It's $18.99 at Artist Direct, by the way.

	Album Review	top
	Alan Dawson was a highly respected jazz drummer and educator; in spite of his lengthy discography, this 1992 studio session proved to be his only date as a leader, though it wasn't released until 2002, some six years after his death. Not only is Dawson's matchless drumming a key component of this CD, he records several of his compositions and arrangements, and he also plays vibes on two tracks. The core band includes trumpeter and flugelhornist Bill Mobley, pianist James Williams (with Donald Brown subbing on four songs), and bassist Ray Drummond, though it isn't clear which tenor saxophonist -- Billy Pierce or Andy McGhee -- is present when there is but one, presumably it is Pierce. Tony Reedus takes over the drums when Dawson moves to the vibes. Dawson's sauntering "Penta Blues" and "Two Stepped" (his reworking of the standard "You Stepped Out of a Dream") feature both tenor saxophonists. "Waltz for Flo" is a tasty bossa nova dedicated to the leader's wife. James Williams' smoking vehicle, "1993 A.D.," features an extended drum solo by the leader. Donald Brown's "Havana Days" is driven by Dawson's crisp percussion, with potent solos by Mobley (on trumpet) and Pierce. Explosive takes of "Airegin" and "Joshua" are also a treat. Dawson switches to vibes for a lush treatment of "Little Man, You've Had a Busy Day," while his brilliant technique in a Latin-flavored treatment of "Old Devil Moon" makes one wish he had recorded more often on the instrument. Alan Dawson's sole recording as a leader should be considered essential. ~ Ken Dryden, All Music Guide

	Album Credits	top
	Raphael Jonin Mastering Andrew McGhee Sax (Tenor) Walter Squindo Executive Producer Billy Pierce Sax (Soprano), Sax (Tenor) Xavier Felgeyrolles Production Coordination Tony Reedus Drums Bill Mobley Flugelhorn, Trumpet Alan Dawson Drums, Vibraphone Jim Anderson Engineer, Mixing Peter Beckerman Assistant Engineer Donald Brown Piano Ray Drummond Bass James Williams Producer, Liner Notes, Piano

[Gentle Giant]

"...extended drum solo by the leader" is all I need to know! And "explosive takes" of Airegin and Joshua are always welcome. I agree this sounds like a must-order. Great photo on the cover, too.

[Ron Thorne]

Agreed on everything, Jason, including the superb cover shot. That photo speaks volumes to me. And, Alan plays vibes on two tracks while Tony Reedus sits in the drum chair. Cool.

I went nuts last night and was a baaaad boy! At least I got free shipping, which is virtually unheard of if you live in a foreign country as do we.

Here's the damage, all Alan-inspired:

Alan Dawson - Waltzin' With Flo
Jackie Byard - "Live"
Jackie Byard - Last from Lennie's

[stevebop]

After my Alan Dawson Special aired. the phone rang in the Studio. It was Flo, Alan's widow to tell me that she and their children, all grown ups, were tuned in listening. She told me they listened to my show sometimes and just happened to be tuned in when the program aired. That made me feel good. I told her about this thread and that I would print it out and send it to her so if any of you want ot add anything please do and I'll forward it to her next week.

Always know,

Steve Schwartz
Jazz From Studio Four
Friday, 7p-midnight
WGBH, 89.7FM, Boston
www.wgbh.org/jazz

[Ron Thorne]

Steve, what could be more perfect? What a wonderful, poignant ending to an inspired tribute on Jazz Corner, thanks to Jason (Gentle Giant).

I was a passionate but very scared young drummer from Alaska when I rolled into the big city of Boston, took up residence at 275 Newbury Street, met Robert Share, Lawrence Berk and Alan Dawson, and began my studies at Berklee in 1962. Those remain among the very best memories of my life, however. Being in that inspired and focused environment along with Gary Burton, Dave Burrell, Michael Rendish, Fred Lipsius, Tony Williams and many others was incredible. Further, innovative methods, concepts and philosophies I learned from my mentor, Alan Dawson, are still serving me and my drum students well today. I've also been very protective of some hand-written exercises which Alan wrote for me over 40 years ago. I treasure them, among the many fine memories from that era. Alan's patience, persistence and professionalism will remain with me always.

I never had the pleasure to meet Ms. Dawson or any of their children. However, since I have this opportunity, it's my pleasure to say how much I loved and respected your husband and father. I'm the father of three children (also all adults), and one of our sons is also a drummer. He's heard plenty from me about my fondness and respect for my only drum instructor, Alan Dawson. Now he'll hear even more when I receive these new CDs.

Best regards,

Ron Thorne

[Gentle Giant]

You can believe in coincidences if you want, but I'd rather think something else was at work last night that made Alan's family tune in. What a nice gift for them, just as Alan sharing his talents so generously over the years was a gift to his fans.

Flo, all I can say is that Alan brought delight to my life and though I never got to thank him in person, I thank you because obviously something about you made him want to stay in Boston, where he remained our local treasure.

Peace.

PS: Ron, please report on Last at Lennie's when you get it.

[grove47]

Hi to Ron and Gentle Giant and thanks for the nice words. For the record, I never took lessons from Alan Dawson, but I feel as if I have because I studied with and knew those who did. I also have tapes of lessons that he gave to others. His concepts and presence have permeated the drumming community and become common knowledge. I met Alan several times, although I'm sure he never remembered. But I have friends like John Lockwood who worked with him all of the time, and through watching and listening I got the message- Mr. Dawson was great!

Ron's Tony W quote is from the nice Dawson instructional book that John Ramsay put together. I find it interesting and endearing that Dawson never capitalized on his own ideas. He put out one book, to my knowledge, that is currently long out of print. It took a dedicated Dawson student and excellent pro like John Ramsay to finally set the record straight with his book. Furthermore,there is no 'how-to' video featuring Alan Dawson, who was arguably the world's most important drum clinician for much of the '70s and 80s (I find it frustrating that DCI and other companies continually hype the latest fusion chops-fest while ignoring the innovators of jazz almost thoroughly. No Roy, no Blackwell, No Billy Higgins, one Max, half of which is great, the Kool Jazz Fest solo concert, no Tony except the Blue Note video from '89, no Klook, no Philly Joe. There should be documentaries on these musicians. They should interview Roy Haynes and feature his quartet in performance for a video. Etc etc!!) It would be interesting to see if a quality video of a Dawson clinic and/or concert exists that could be released commercially. People need to know that giants like Tony didn't magically appear.

Steve

[hornplayer]

Originally Posted by Gentle Giant

Anyone have/heard this, apparently his only recorded session as leader?

Waltzin With Flo
Alan Dawson

List Price: $19.98
Price: $19.98 & eligible for FREE Super Saver Shipping on orders over $25. See details.

Thanks for the heads up... I'm on my way to order that NOW!

PS: I finished reading this thread after I posted the above...

I met Alan Dawson in 1975 while I was Band Director at Boston Tech. One of my drummers was lucky enough to study with him. I always wished I had time to study drums with him. He was a fabulous drummer and an exemplary teacher. We are really lucky to have his music to remember him by.

[Gentle Giant]

[Richardo Caerleoni]

Trowing my two Euros in...way out of my depth in this company...

But (as I have said before)...some of the finest quartest sessions to come out of the 60s - or any other decade - were Booker Ervin's "Book" albums (The Space Book etc.) with Alan, Richard Davis and Jackie Byard...If they had been on (say) Bluenote or Impulse they would be raved about...as it is, they are usually over looked...

So, great posts/information on a great musician who I've only ever heard on record.

Many thanks!

[Ron Thorne]

I was discussing Alan Dawson and the occasion for this thread with a beginning (adult) drum student last Friday. What I tried to impart to Scott were two extraordinarily important things (among many) I always experienced, and thus learned from Alan.

1. Be musical at all times. The fact that you're a drummer doesn't mean that you are only involved with rhythm.

2. Be a tastemaker. Have "big ears", and compliment those around you at all costs.

John Ramsey's book is quite a tribute to Alan Dawson's teaching methods, and one that any sensible, devoted drummer could spend a lifetime digesting.

I quite agree with Steve Grover that there might be material available which could be properly edited and presented from an Alan Dawson clinic conducted at Berklee or elsewhere. That could be wonderfully meaningful, especially for some younger players. I'm not interested in another display of chops, either, just some solid fundamentals, work ethics and unique perspectives, such as Alan always brought to the table.

I'll be happy to post my impressions after listening to Last From Lennie's, GG.

[Ron Thorne]

As promised, I'm providing some remarks concerning the Jaki Byard recording The Last From Lennie's, which I received today, and is receiving its first spin.



Not having heard the other two live recordings from Lennie's, I don't have a point of comparison, but for starters, there is some very inspired playing on this side.

The regular bassist, Richard Davis, is replaced on this occasion by George Tucker, who is beyond impressive in his sub role, in my estimation.

This recording was to have been made available a long time ago, but was set aside by Prestige because the music was bit "too avant-garde". It's an adventurous outing, but only portions are somewhat "out". The style ranges from early stride to post bebop to semi-out, and I would definitely say that it's the most open-ended setting in which I've heard Alan perform.

It's very sad to me that none of the musicians on this date lived long enough to enjoy the release of this album. There's something essentially wrong with waiting damned near 40 years for a recording to see the light of day.

This is not an album you can absorb in one pass. I'll listen to it next time with my Grado headphones, but have thoroughly enjoyed my first spin.

Alan Dawson was a very young man (35) when this recording was made, and his stamina and speed are evident, as is his always impeccably clean execution. The album paid for itself when I heard Alan solo for the first time.

Joe Farrell is incredibly versatile and engaging on this gig, playing tenor, soprano and flute with passion.

Jaki Byard is clearly having a great deal of fun, and there's plenty of evidence of that in his playing, as well as his asides to his fellow musicians and the audience.

Now I want the other two recordings made at Lennie's, too. Thanks a lot, Jason.

I'd rate this recording a solid 4½ stars.

*There are some minor gripes I have with the way in which Prestige apparently had to fade and/or cut certain things, noticeably on the 1st and last track. They may have had no choice, given the condition of the recording, having waited so long, etc.

[Gentle Giant]

Interesting that they didn't want to release "avant gardish" cuts; it's true that the original Lennie's, excellent in every way as it is, has nothing on it that would offend sensitive ears. But I guess it shows what diverse, exciting sets these guys could deliver over the course of a stand. My turn to complete the Lennie's collection.

I'd also add that while I bought the original Lennie's CD specifically because Alan Dawson was on it (and his vibes work on two cuts was eye-, ear-, and mouth-opening!), it's also my favorite Joe Farrell recording to date. He deserves to have his name so big in the credits.

[Ron Thorne]

Jason, I'm awaiting one of those two other Lennie's recordings, along with Waltzin' With Flo, of course. Maybe today.

I agree that Joe Farrell is extraordinary on this gig, and his name is the same size on the album cover as Jaki Byard's. He earned that billing!

Alan Dawson's blinding speed will blow your mind on this album. But as always, he never feels "showy", but consummately tasteful and appropriate for the moment.

[JonnyKing]

I lived in Boston from 1988-1993 and played lots of gigs with Alan, ranging from my own trios to larger groups with different leaders. We played at the Willow a number of times and many of the other local clubs. Apart from his musicianship, which is so well described in the other posts in this thread, Alan had the best musical "attitude" you could imagine. I remember playing one crappy party somewhere with him -- I might have even been playing a Rhodes, come to think of it -- and as jaded and "been there/done that" as I was about the gig (I was probably all of 25 at the time), Alan was totally enthusiastic and happy to be playing. He always seemed to enjoy playing, no matter what the context, the money, the sideman, the audience, whatever. While the rest of us were too cool for school, without even a smattering of the credentials to justify it, Alan was psyched for every gig. I learned tremendously from that attitude, as much, in fact, as I did from his enormous musical contributions. It's too easy to become negative about gigs that don't suit one's particular tastes, but Alan taught me that you can make good, creative music wherever and whenever. I always remember that when I get dark about a particular musical situation. One final recommendation. I once wrote some music for a record that Billy Pierce recorded in the early 1990s -- it's called "One for Chuck" and it's on Sunnyside. Alan's on the record, and he sounds simply amazing. If you can get your hands on the record (Mulgrew Miller, Bill Mobley and Ira Coleman are the rest of the band), it's well worth it and a great example of Alan playing as "modern" as anyone out there.

[Ron Thorne]

What wonderful remembrances, Jonny. Thanks for sharing them with us. Alan's attitude about virtually everything was inspiring.

I did a quick online search and found One For Chuck right away. It's still out there, and I'll have a copy soon, on your recommendation.

[Gentle Giant]

I join Ron in thanking you for your insights, Jonny. I'd also like to say that I'm a big fan of your album, The Meltdown.

[JonnyKing]

Thanks, Ron and Gentle Giant. What I mentioned is just a little bit of what Alan taught all young Boston musicians.

Ron -- A flyfisherman and tyer? Me too -- a lunatic for both in fresh and salt!