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    Are you maybe thinking of Thad Jones?
  4. This reminds me of my Dad in Egypt in W.W. II. They dealt with the scorpions by pouring a bit of gas and dropping a match. When I camped out in 29* Palms, CA, we looked inside our boots before pulling them on. ______________ * Now 24 Palms, because of State cutbacks.
  5. Goooooooooooooooooooooooooool

    Unfortunately, he's no longer that person and has never been able to explain the $2 million he received from Blatter. That semifinal was a classic though. It's still confounding that Italy won.
  6. I never had to resort to such extreme measures. You must have a very bad case to be taking prednisone.
  7. Hub Songs

    It's been years but wasn't his inability to play somehow related to an event and not a loss of chops? Was he the one I heard got caught messing with the wrong woman and got his jaw busted for it? If so, I wonder if he kept his band together because he thought maybe he could get back to playing?
  8. IIRC, Byrd went to law school during this time as well as teaching.
  9. Just upping this again
  10. Miles Davis’ lost album “Rubberband” set for release

    100% agreement ! I´d say I had the same impressions: And I think they were exactly how Miles played his live shows in those years 1983-1985: The 1983 "Star People" reflected what I saw "live" in spring 1983: Still a band playing instruments, Al Foster on drums, Mike Stern AND John Scofield so you had both elements, the more rock-sounding Mike Stern and the more cool and laid-back Scofield, and a lot of playing. There was no keyboard player, only Miles filled in on keyboard here and there, as he did in 1974-75. The 1984 "Decoy" .....well maybe it´s my own fault, maybe after liking Star People so much I expected more, or better said, something else. I think, and that´s how I felt when I saw Miles again in 1984, that 1984 was a year of "transition". Miles, who had started his comeback with a really playing stage band in 1981 and kept that kind of stuff until 1983, was looking for a change but still did not no in which direction to go. Finally in 1985 he had decided to go "pop" and commercially strong. The electronic keyboards got a bigger role, the drums became more mecanic and could have been replaced by machines, the stuff became more music you can hear on headphones, not necessarly famous for jazz solos. I saw Miles twice in 1985. In July he played exactly what´s on "You Are Under Arrest" and in November which was quite a tired, weak thing, I think there was more from "Rubberband" in it, I remember then he had Marylin Mazur on percussion....
  11. Miles Davis’ lost album “Rubberband” set for release

    I'm with @JSngry all down the line here ... love "Amandla", love "Star Time", quite enjoy "Decoy", love "Tutu" beyond Side 1 (never owned it on LP though, too young for that), never got why I should be interested in "You're Under Arrest" ... and yeah, "Aura", too. Also I remain pretty fond of "We Want Miles", which (same goes for "Amandla") was one of the recordings that were important to me when discovering jazz (heck: music) in my early teens.
  12. Kenny Burrell in 1948

    Pre-ordered as well, though I have no clue how horrendous the international shipping costs will be, no info on the UMich site.
  13. Curtis Amy Select, Disk 3 (live + Katanga) - great stuff!
  14. Artist Title Time Wayne Wallace Latin Jazz Quartet Vamanos Pa'l Monte 06:59 Wayne Wallace Latin Jazz Quartet Take Five 05:41 Wayne Wallace Latin Jazz Quartet All The Things You Are 06:21 Wayne Wallace Latin Jazz Quartet So What-Softly, As In A Morning Sunrise 07:57 Wayne Wallace Latin Jazz Quartet The Rhythm Of Invention 08:45 Wayne Wallace Latin Jazz Quartet In A Mist 04:58 Wayne Wallace Latin Jazz Quartet El Arroyo 05:27 Wayne Wallace Latin Jazz Quartet Se Me Cayó El Veinte 06:04 Wayne Wallace Latin Jazz Quartet Atardecer Matanceco (Evening In Matanzas) 05:21 Wayne Wallace Latin Jazz Quartet Mi Descarga 04:37 On his previous album, the critically adored Canto América, Wayne Wallace broke with his own tradition to co-lead a chamber orchestra featuring horns, winds, a double string quartet, and an array of vocalists. On The Rhythm of Invention Wallace set an equally ambitious goal: to combine these added resources with his Latin Jazz Quintet, whose albums have garnered three of Wallace’s four previous GRAMMY nominations. “I wanted to come up with a way of coherently mixing the quintet with the brass and strings from Canto,” explains the esteemed trombonist, innovative arranger, and notable educator. That desire now finds voice in a dazzling set of new compositions and classic jazz standards (and even one impressive mashup) on which Wallace uses the expanded sonic palette of an orchestra to highlight the strengths of his core conjunto. Undergirding it all is an effortlessly instructive survey of Latin rhythms, from the familiar to the arcane, that reflect Wallace’s lifelong study of these sounds. “I wanted to retain the energy of Canto without repeating it,” he explains. To do so, he chose to redirect the music’s focus onto the quintet, while retaining the almost tangible richness of brass chorales and the elegance of string ensemble writing; peppering the proceedings are solos from such luminaries as Mary Fettig (flute) and Melecio Magdaluyo (baritone saxophone). Wallace also features rapper and spoken-word artist Akida Thomas on the title track, where he contributes a spontaneously composed ode to this music – and to the spirit of all music – that also utilizes an interview with Wallace’s colleague and mentor, the late Dr. David Baker. To tie all this together, Wallace came up with a three-layered approach, built upon the foundational expertise of his longtime musical co-conspirator, percussion master Michael Spiro. “The concept was to have Michael play four congas” – the usual conga setup has three at most – “and to have him play as melodically as possible.” As a result, “A good way to hear the record is to listen all the way through and focus on Michael, and then to drummer Colin Douglas’s cymbal work – and then put it together. It’s like a history of Latin music.” From there, Wallace created a second layer by highlighting the other members of the Latin Jazz Quintet’s rhythm section, pianist Murray Low and bassist David Belove, and leaving space for his own forceful yet lyrical trombone solos. Only then did he add the composed material; the vital frosting to this multi-tiered concoction, it draws its flavors from the previous ingredients. As its title suggests, the album doesn’t lack for inventiveness. One case in point is Wallace’s arrangement of the durable Paul Desmond composition “Take Five,” which famously contains five beats in each measure (instead of the usual four). After some research, Wallace realized that no one had previously recorded this song with a clave rhythm, the heartbeat of Latin music – despite the fact that the clave itself comprises five notes (within four beats). The finished product marries these two views of musical time; add in a Santeria-derived coro section sung by the quintet, and you have a memorable new take on a 60-year-old jazz hit. Another example comes on “So Softly,” in which the ancient pop standard “Softly as in a Morning Sunrise” – from the 1928 operetta The New Moon – slides seamlessly into Miles Davis’s “So What,” written three decades later. The idea to combine them arose from one of the Latin Jazz Quintet’s earliest experiments, in which the band presented these two songs as a medley; but, says Wallace, “After time I pleasantly found that the two melodies worked conversationally without detracting from each other. This inspired the idea of re-imagining them as a mashup” – an idea that, he points out, “stretches back to the beginnings of recorded music.” Less complex (but no less inventive) are several homages, including Wallace’s slightly shrouded cover of “Vamanos Pa'l Monte” one of Eddie Palmieri’s biggest hits. Although this version mimics the blend of trombone and flute that characterized Palmieri’s famous band La Perfecta, “The melody is really an extrapolation of what Eddie wrote,” says Wallace. (But anyone who knows the original will recognize it as the framework of this arrangement.) Meanwhile, the completely unexpected inclusion of “In a Mist” – an impressionistic piano composition by the legendary early-jazz cornetist Bix Beiderbecke – represents a sort of personal triumph for Wallace. “It took me eight years to figure out how to arrange it, because it’s just so idiosyncratic and challenging,” he admits. “The original piece was a kind of collision between ragtime and danzon rhythm; I tried to combine the danzon with clave to get a Cuban feel. And I thought that a string quartet was applicable because it would bring out the sonorities in a modern way” – not to mention hinting at the classical roots of Beiderbecke’s small masterpiece. The album highlight is the title track, which brings together funk, bata, and traditional Cuban rhythms and encompasses three generations of musical wisdom. On one end is Dr. David Baker, “the father of jazz education,” with whom Wallace worked closely as a professor at Indiana University before Baker’s death in 2016, and whose resonant voice is heard, midway through the track, discussing the essence of jazz rhythm. On the other end is Wallace’s son-in-law, Akida Thomas, channeling the music to speak of The pulse gyrating through the system . . . Boom-clacks all rolled into one, stay connected through the soul of the drum. “There’s this crazy counterpoint between the strings and the horns,” Wallace says; “it’s some of the most texturally adventurous writing I’ve done. Akida just listened to the track and started writing.” The invention took on a rhythm of its own. But The Rhythm of Invention refers to something altogether different from the riot of Afro-Latin beats and layered percussion that characterize the album. For Wallace, the rhythm of invention is the pace that allows him to be open to creativity: the tempo “that allows a space for the muse to be available to me,” as he puts it. It is the rhythm of a gentle river, slowed but not stilled: the “flow” that banishes mere busy-ness in favor of reflection and, yes, invention. “That’s when I get the best ideas,” he says; in fact, the “Take Five” arrangement “literally came to me when I was pulling weeds out of my garden.” When you slow the rhythm enough, you can better see the speed of thought. About Wayne Wallace: In a career that spans four decades, San Francisco native Wayne Wallace has collaborated with artists ranging from Count Basie to Stevie Wonder, Sonny Rollins to Carlos Santana, Tito Puente to Lena Horne and Aretha Franklin, lending his talents as sideman, composer, arranger, and producer. His debut album as a leader, 2000’s Three In One (Spirit Nectar), showcased his writing skills and his encyclopedic knowledge of Afro-Cuban rhythms, which he developed in the close-knit Bay Area jazz community – most notably in his role as music director of John Santos’s Machete Ensemble, where he spent 20 years as music director. Wallace’s outsized role in Bay Area jazz includes his creation of Patois Records, with a catalog that includes not only his own albums but also recordings by vocalists Kat Parra and Alexa Weber Morales as well as two highly regarded anthologies of Bay-Area salsa and Latin jazz. A gifted educator, Wallace now spends the academic year as professor of jazz trombone and practice in jazz studies at the Jacobs School of Music at Indiana University, having previous taught at San Jose State University and Stanford University. Attachments Wayne Wall.. Wayne Wall..
  15. Chris Stamey and the ModRec Orchestra "New Songs for the 20th Century" Impacting: June 28 2019 Format(s): Jazz Artist Title Time Chris Stamey & the ModRec Orchestra, feat. Django Haskins with Branford Marsalis Manhattan Melody (Thats My New York) 04:17 Chris Stamey & the ModRec Orchestra, feat. Django Haskins and Stephen Anderson Its Been a While 04:02 Chris Stamey & the ModRec Orchestra, feat. Caitlin Cary I Dont Believe in Romance 04:49 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert with Bill Frisell What Is This Music that I Hear 03:54 Chris Stamey & the ModRec Orchestra, feat. Nnenna Freelon and Will Campbell Occasional Shivers 04:50 Chris Stamey & the ModRec Orchestra, feat. Brett Harris On the Street Where We Used to Live 05:46 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert On an Evening Such as This 03:02 Chris Stamey & the ModRec Orchestra, feat. Caitlin Cary Your Last Forever After 02:36 Chris Stamey & the ModRec Orchestra, feat. Ariel Pocock with Stephen Anderson Theres Not a Cloud in the Sky 03:41 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire Dear Friend 04:00 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert with Bill Frisell and Nels Cline Insomnia 05:46 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire I Am Yours 03:30 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire with Elijah Freeman I Fall in Love (So Easily) 03:29 Chris Stamey & the ModRec Orchestra, feat. Marshall Crenshaw and Don Dixon Beneath the Underdog 02:59 Chris Stamey & the ModRec Orchestra, feat. Django Haskins In-tox-i-cho-cli-fi-ca-tion 03:36 Chris Stamey & the ModRec Orchestra, feat. Faith Jones with Brett Harris In Spanish Harlem 04:45 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert with Jim Crew The Woman Who Walks the Sea 04:11 Chris Stamey & the ModRec Orchestra, feat. Django Haskins with Will Campbell For a Muse 04:30 Chris Stamey & the ModRec Orchestra, feat. Skylar Gudasz with Matt Douglas Lover, Can You Hear Me? 04:05 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire Pretty Butterfly 04:08 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert I Didn’t Mean to Fall in Love with You 03:15 Chris Stamey & the ModRec Orchestra, feat. Matt McMichaels with Jeff Herrick Life Is But a Dream 03:57 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert And I Love Him 04:49 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire and Presyce Baez Unpredictable 03:48 Chris Stamey & the ModRec Orchestra, feat. Django Haskins I Lost Track of the Time 04:20 Chris Stamey & the ModRec Orchestra, feat. Presyce Baez with Dave Finucane Occasional Shivers (reprise) 04:51 CHAPEL HILL, N.C. — The way Chris Stamey tells it, “One day in 2015, an old piano arrived at my home, with a bench full of magic: songs by Jerome Kern, George and Ira Gershwin, Cole Porter, Richard Rodgers, Henry Mancini, Irving Berlin, Leonard Bernstein… many more. I fell head-first under their spell, awakening three years later with a long white beard and this collection: 26 songs on two CDs, written and arranged ‘under the influence,’ performed by some of my favorite singers and players.” On June 28, 2019, Omnivore Recordings will release the resultant 2-CD set, New Songs for the 20th Century. Vocalists on the two volumes of this lush, orchestrated, jazz-flavored outing include jazz legend Nnenna Freelon, pop icons Marshall Crenshaw, Don Dixon, and Caitlin Cary (Whiskeytown), North Carolina stalwarts Skylar Gudasz and Brett Harris, and exciting newcomers Millie McGuire, Kirsten Lambert, and Faith Jones. Highlights include Django Haskins (The Old Ceremony) and renowned saxophonist Branford Marsalis together on the Irving Berlin-like overture “Manhattan Melody (That’s My New York),” and rising-star pianist Ariel Pocock singing “There’s Not a Cloud in the Sky.” Cary adds a bit of Americana into the mix, with “Your Last Forever After.” All are backed by the “ModRec Orchestra” (named after Modern Recording, Stamey’s studio home base in Chapel Hill, N.C.) with Bill Frisell, Nels Cline (Wilco), and Matt Douglas (Mountain Goats), as well as N.C. jazz virtuosi soloists Stephen Anderson (the Dominican Jazz Project), John Brown, Will Campbell, Jim Crew, and Dave Finucane taking turns at the microphone. Inspired by the canon of the Great American Songbook but with Stamey’s own distinctive melodic and lyrical twists (familiar to fans of the dB’s co-founder), New Songs for the 20th Century uses Mid-Century Modern harmonic and lyrical inflections to evoke an earlier era. “I was intrigued by reimagining those decades right before The Beatles appeared, before President Kennedy was killed,” Chris explains, “when it seemed like the world was looking around, catching its breath, and wondering what was to come. “What came first here was the sheet music, the notated chords and melodies. I’d write out the songs in silence, then simply put the sheets of paper in front of the players and singers. It was fascinating to hear them bring the tunes to life in the studio in ways I’d never expected. Then I would orchestrate for strings and winds as needed, connecting the dots in the old-fashioned way records were made before Leo Fender came along.” Included are also full-length, remixed performances (not previously available) of several songs from the nationally broadcast holiday radio musicalOccasional Shivers, including “Beneath the Underdog" (titled after the Charles Mingus autobiography), “In-tox-i-cho-cli-fi-ca-tion,” “What Is This Music That I Hear?” and McGuire’s standout ballad, “I Am Yours.” And there are even new versions of a few older Stamey tunes that seemed to want to sing along, such as Faith Jones’s powerful “In Spanish Harlem” and Cline’s and Frisell’s dreamscape treatment of “Insomnia.” Chris adds, “North Carolina is known internationally as a place Thelonious Monk, John Coltrane, Nina Simone, and Billy Strayhorn all once called home. But recording this record showed me, without a doubt, that a similar dedication and pursuit of excellence still persists here, today.” About Chris Stamey: Chris Stamey has participated in indie music of all stripes since the 1970s, as both a musician and a producer. In 1976, he self-released Sneakers, one of the very first American indie records. The following year, he relocated to New York to play and record with Alex Chilton in the burgeoning CBGB’s rock scene, then started Car Records in 1977. That same year, he formed The dB’s with fellow Carolinians Will Rigby, Gene Holder, and Peter Holsapple, and they made several acclaimed records, including Stands for deciBels (self-produced) and Repercussion (produced by Scott Litt). His recent albums include Lovesick Blues and Euphoria,as well as Falling Off the Sky with the dB’s. As a producer, he has worked with Ryan Adams, Alejandro Escovedo, Flat Duo Jets, Skylar Gudasz, Tift Merritt, Le Tigre, and Yo La Tengo. Since 2010, Stamey has been musical director for an international series of concert performances of Big Star’s classic album Third, alongside Big Star’s Jody Stephens, Ray Davies, Kronos Quartet, members of The Posies, R.E.M., Teenage Fanclub, Wilco, and Yo La Tengo; Thank You, Friends, a concert film of these arrangements, was released in March 2017. His original jazz radio play about the early ’60s in Manhattan, Occasional Shivers, premiered nationwide on Christmas Day 2016. A “songwriting memoir,” A Spy in the House of Loud (Univ. of Texas Press), was published in 2018. "Manhattan Melody (That's My New York)"—Django Haskins with Branford Marsalis "There's Not a Cloud in the Sky"—Ariel Pocock with Will Campbell Track and Singer Listing: VOLUME 1 1 Manhattan Melody (That’s My New York) Django Haskins 2 It’s Been a While Django Haskins 3 I Don’t Believe in Romance Caitlin Cary 4 What Is This Music that I Hear? Kirsten Lambert 5 Occasional Shivers Nnenna Freelon 6 On the Street Where We Used to Live Brett Harris 7 On an Evening Such as This Kirsten Lambert 8 Your Last Forever After Caitlin Cary 9 There’s Not a Cloud in the Sky Ariel Pocock 10 Dear Friend Millie McGuire 11 Insomnia Kirsten Lambert 12 I Am Yours Millie McGuire VOLUME 2 1 I Fall in Love So Easily Millie McGuire 2 Beneath the Underdog Marshall Crenshaw, Don Dixon, Django Haskins 3 In-tox-i-cho-cli-fi-ca-tion Django Haskins 4 In Spanish Harlem Faith Jones w/ Brett Harris 5 The Woman Who Walks the Sea Kirsten Lambert 6 For a Muse Django Haskins 7 Lover, Can You Hear Me? Skylar Gudasz 8 Pretty Butterfly Millie McGuire 9 I Didn’t Mean to Fall in Love with You Kirsten Lambert 10 Life Is But a Dream Matt McMichaels 11 And I Love Him Kirsten Lambert 12 Unpredictable Millie McGuire & Presyce Baez 13 I Lost Track of the Time Django Haskins 14 Occasional Shivers (reprise) Presyce Baez The ModRec Orchestra: Will Campbell (alto & soprano sax) Dave Finucane, Elijah Freeman, Branford Marsalis (tenor sax) Matt Douglas (flute, clarinet, bass clarinet, tenor sax) Bill Frisell, Scott Sawyer, Chris Stamey (guitar) Stephen Anderson, Jim Crew, Wes Lachot, Julian Lambert, Chris Stamey (piano) John Brown, Jason Foureman (acoustic bass) Dan Davis (drums) Karen Galvin, Katelyn Hammel, Laura Thomas (violin) Matt Chicurel, Emi Mizobushi, Aubrey Keisel (viola) Leah Gibson, Josh Starmer (’cello) Written, arranged, mixed, and produced by Chris Stamey With additional contributions from Alex Bingham (acoustic bass), Charles Cleaver (piano), Nels Cline (guitar, treatments), Brent Lambert (nylon-string guitar), Gregg Gelb (clarinet), Danny Gotham (acoustic guitar), Eric Heywood & Allyn Love (pedal steel), Peter Holsapple (accordion & mandolin), Andy Kleindienst & Danny Grewen (trombone), Mark Simonsen (vibes), Rob Ladd & Tony Stiglitz (drums) Attachments stamey_son.. Singers Pi.. OV-335 One..
  16. What vinyl are you spinning right now??

    Oh yes, this explains much. I noticed that as soon as 1967 (see Sam River´s "Dimensions and Extension") he sounds much more subdued and a bit "rusty". And right, I think I have read that he did very much educational work. I remember the first Donald Byrd record I had was "Long Green", the Savoy record with Frank Foster, Hank Jones, Kenny Clark and Paul Chambers.
  17. That's unfortunate. You probably already know that a low sodium diet can help reduce fluid retention and help control your blood pressure. Good luck.
  18. I found out that itch is helped by taking really hot showers and blowing hot hair dryer on the itchy spots. The heat neural pathways overtake the itch pathways for several hours. Prednisone is definitely working, but I'm noticing that I'm starting to swell up. Oh well.
  19. Goooooooooooooooooooooooooool

    Platini's arrest is sad news. He was one of the idols of my childhood. Me and my grandfather watched him play West Germany in the 1982 Mundial, a year later my grandfather was gone.
  20. Play ball! 2019 MLB season thread

    Interesting .... thnx for the info ....
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