david weiss

George can be found playing most Friday and Saturday nights at a loft space called University of the Streets in the East Village (130 East 7th Street on the second floor, right off Avenue A). He plays braithophone and tenor sax and even alto sax on occasion and sounds great. The gig usually starts around 11 pm and turns into a jam session later in the evening. I can be found there most nights when I'm in town and not working as well.....

Hey everyone...I'm doing this again tomorrow and Friday at Iridium with some interesting guests.... Hope you can make it Iridium Presents ENDANGERED SPECIES: THE MUSIC OF WAYNE SHORTER (with the Wayne Shorter Tribute Big Band Under the Direction of David Weiss) With Special Guests Wallace Roney- Trumpet (October 25) James Spaulding- Alto Sax (October 26) Grachan Moncur III- Trombone (October 26) Joe Chambers- Drums (October 26) and Featuring Jeremy Pelt and Kenny Rampton- Trumpet Miguel Zenon- Alto Sax Jimmy Greene- Tenor and Soprano Sax Bill McHenry (October 25) and Mark Turner (October 26)- Tenor Sax Norbert Stachel- Baritone Sax and Bass Clarinet Joe Fiedler and Stafford Hunter- Trombone Orrin Evans (October 25) and George Colligan (October 26)- Piano Dwayne Burno- Bass Terreon Gully- Drums Thursday and Friday October 25 and 26 at Iridium Jazz Club 1650 Broadway (at 51st Street) (212)582-2121 http://www.iridiumjazzclub.com/ Sets at 8 and 10 pm Since some of you ask, the material we will be doing is The All Seeing Eye Genesis (we'll be doing these with Moncur, Spaulding and Chambers) Fall Pandora Awakened Prometheus Unbound Mr. Jin Diana and a tune of mine

I've edited it out of the post but can't figure out how to edit the subject. Thanks to everyone who helped me out with this, it's helping a great deal and up because I can still use a clean stereo copy of this.

So some of us will be at the Jazz Bakery this week. Wednesday- Saturday October 17-20. The James Spaulding Quintet James Spaulding- Alto Sax, David Weiss- Trumpet, Danny Grissett- Piano, Cecil McBee- Bass and Roy McCurdy- Drums. Hope you can make it.

I went to the Carnegie Hall concert and was really lucky to get in and even luckier to hear this performance. I arrived 20 minutes late without a ticket and was shocked to see this long line for the willcall window and was informed the show was sold out as well. I ran into someone I know who knew someone who worked there and we were whisked right in and taken upstairs just in time to hear the trio start. It was a beautiful set, laid back and sublime. The interaction between the members of the trio especially between Roy and Sonny was incredible. The second half wasn't bad either. I've discovered over the years that if the group is loud the best chance you have of hearing things clearly is to sit upstairs and this night was no exception. It was a brief set though which was a bit of a surprise. Sonny sounded great but he is a little weaker than he has been in the past (he is 77 of course) and his sound is not as big as it's been in recent years. Still he played beautifully and I was glad to have caught this. Everyone was there. I saw Yusef Lateef, Paul Jefferey, Jimmy Heath, and Henry Grimes and heard Pat Metheny, Joe Lovano and Dave Liebman were there among many others. If I had to wait on that willcall line and missed most or all of the trio set, words can't describe how angry I'd be. I'd expect the folks at Carnegie Hall to pay Sonny to do it again but maybe at the Vanguard for a private show this time (this probably effected 100-200 people tops so one night, two sets should cover it)

Guys, there is no Cookers gig at the Jazz Bakery. There were talks but the band is just too large to be able to work something out to play there. There is a chance some of us will come under the leadership of one of the guys in the band, a quintet probably, that same week and we are working on that now. I'll keep you posted..... Bertrand, the Cookers repertoire consists of Capra Black, Priestess, Quest and Dance, Eternal Spirits Dance by Billy Harper Peacemaker and Ladybugg by Cecil McBee Sweet Rita Suite (Part 2) and Think on Me by George Cables Kryptonite by James Spaulding The Core by Freddie Hubbard I also wrote an arrangement of God Bless the Child as a feature for Spaulding I think that's everything.

Mark, Thanks so much for the pictures and everyone else thanks for the kind words. To answer a some of the questions.... Jeremy Pelt was never on this gig it was always Eddie Henderson. I also saw Jeremy's name with Bobby Watson so I guess they assumed he was going to be there with somebody. George Cables was supposed to be on the gig as he is in the band but he can't travel right now for health reasons. He should be fine soon though and hopefully on the road with us in 2008. I thought Stanley was a great replacement though, it was great having him on the gig with us. My impressions of the gig? Well, it's hard to gage these things sometimes especially on outdoor concerts where the audience is not that close to the stage and you can't really feel their reaction as much as you'd like. Also with outdoor things you can't really tell what the sound is like out there and can't adjust accordingly, you just have to trust that is good. The sound on stage was good though and I just love playing with that band (who wouldn't). Those guys have so much spirit and energy and I just hope some of it rubs off on me. From my perspective I thought it was a great gig. One thing though, we never played a set that short before so programming was a little difficult as was cutting our last tune short to finish in the allotted 55 minutes. It's a bit of a shame as those guys just keep building up steam as the show progresses and we thought the ending was a bit abrupt (especially for guys who come all the way from Portland to hear us among all the other great things). I think it's a great festival though and everyone associated with it was wonderful and Chicago a great jazz town. I went to the Velvet Lounge the night I got there and the Green Mill after the gig and found both places to be great and thriving. As for the Cookers, I think my motivation for that band is two-fold. First, I don't think you guys get to see Billy Harper, James Spaulding, George Cables and Cecil McBee out there enough, especially playing together and playing their own music. These guys are amazing musicians who should be out there a lot more than they are now. Second, I'm just hoping some of their spirit and greatness rubs off on me a little and the more I get to play with them, the better chance there is of this happening. Hopefully this band is building up some momentum and we'll be at a town near you in the near future.

I'm looking for a clean, stereo copy of Art Blakey's Golden Boy. I have a mono copy but have to transcribe the music off this record for a future project and stereo is much easier to work with. Any help tracking with this down would be greatly appreciated. Thanks

I'm pretty sure it's from the Molde Jazz Festival, I think 1967 or 68...pretty much the same deal as the Freddie Hubbard Birdlike clip from the same period (though a different year). They came over as a single and played with a local rhythm section. As with the Hub clip, I wonder if there is a whole concert of this stuff, hard to believe they went all that way to play one tune.

Any plans to bring this band to Europe, David? I'd love to bring the band to Europe but easier said then done these days for a variety of reasons but hopefully we can put something together for next year.

Nothing in August I think Vienne is July 9 and Paris July 10

I got this from George a while ago and it's great. Live stuff with Wilbur Ware, Roy Haynes, Andy Bey (on piano, a highly under-rated painist), Beaver Harris and Dizzy Reece among others. Check it out. I think I messed up. What I'm describing above is Braith and Friends Volume 3. Bop Rock Blues is probably one of his recent creations from his home studio, which I love for different reasons. Saxophones, vocals, drums machines, keyboards (mostly all played and sung by Braith) and sounds like nothing else.

George Braith and friends Volume 3 is almost all live stuff from the '60s. I think all the "and friends" are the same with various personnel

We'll also be a the Blue Note Festival in Ghent, Belgium, Jazz a Vienne, Umbria and Pescara among others this Summer. Hope some of you can make it out to one of these places.

I got this from George a while ago and it's great. Live stuff with Wilbur Ware, Roy Haynes, Andy Bey (on piano, a highly under-rated painist), Beaver Harris and Dizzy Reece among others. Check it out.

Actually I think we did a few gigs before we did this recording, maybe a week at Iridium (with Jon Faddis playing lead) and perhaps one other gig. Tom's big band writing is great, this was a fun, challenging date to make.

Actually for Chicago it will be Eddie Henderson not Jeremy Pelt. I don't know how this mix-up happened. It will also be James Spaulding, Billy Harper, George Cables, Cecil McBee and Gene Jackson

Thanks for the kind words, glad you had fun. The encore was a George Cables tune actually "Think On Me"

Hey everyone, I just want to alert you guys to this. It's Freddie's first gig in over a year after some health issues and we've bought in many of his collaborators from througout his long career to help out for this one. Hope we see you there. Iridium Jazz Club presents Freddie Hubbard and Friends Freddie Hubbard- Trumpet James Spaulding- Alto Sax Javon Jackson- Tenor Sax (April 26 and 27) Craig Handy- Tenor Sax (April 28 and 29) Slide Hampton- Trombone (April 26) Curtis Fuller (April 27) Kiane Zawadi- Trombone (April 28) Steve Davis- Trombone (April 29) David Weiss- Trumpet Ronnie Matthews- Piano (April 26 and 27) George Cables- Piano (April 28 and 29) Christian McBride- Bass (April 26 and April 29) Dwayne Burno- Bass (April 27 and 28) Louis Hayes- Drums (April 26 and 27) Joe Chambers- Drums (April 28 and 29) plus many other special guests Thursday- Sunday April 26-29 Sets at 8:30 and 10:30 pm Iridium Jazz Club 1650 Broadway (at 51st Street) (212) 582-2121 http://www.iridiumjazzclub.com http://www.freddiehubbardmusic.com/

I hope you're wrong about this. It's getting written up quite a bit and they are mostly very good to excellent reveiws (it was even reviewed in Entertainment Weekly). Maybe you organissimo guys are just so ahead of the curve that this CD is already old news to you as the rest of the world is just discovering it. Hopefully it's not because no one buys CDs anymore. As for the recording quality, it is loud but it is a loud band, I would think that even in this day of things recorded usually on the safe side that a balls to the wall big band can still be recorded as such instead of having the life drained out of it. So, yes, it's loud. It was loud when we were recording it (I swore the walls were shaking a few times) and it felt more like a live situation than a recording situation when we were playing. My slight criticism is that perhaps it could have sounded a little warmer, loud is fine but it is perhaps a tad harsh in spots and could have been a little warmer. I hope you all check it out though. I think it's a great CD and you should buy it on that fact alone but hopefully we can also send a message to Blue Note that will encourage them to continue to record this sort of music. For those in the New York area, I hope you can make it out to the Jazz Standard this week for our CD release party.

I have an italian version of this CD, decent sound maybe a little better than the other live recording of this group that came out on vinyl on a hundred different labels. I love this version of the band and would have loved it to go on for a few more years. I love the off the hook version of the theme on the Live at Slugs record.

Have to agree with Clementine and jsngry regarding Max... to me he's an innovator, trendsetter and daddy to many great drummers. From many overheard conversations in many dressing rooms with many of those involved, the missing link you seek is Louis Hayes. Among other things, he was the first to play the hi-hat on all four beats at times, something Tony Williams made one of his signatures.

No, I believe the fresh sound stuff was recorded by Howard Rumsey at the Lighthouse earlier in the engagement. I've listened to every note that Blue Note recorded for these sessions (32 tracks total I think) and none of the tracks are the same as what is heard on the Fresh Sound CD (or the prior LP issues on various label)

You are right you shouldn't throw all the Spanish/Andorran into one basket but when they started cropping up I asked Jordi Pujol about them since he distributed them all and it seemed like a lot of them were run by relatives of his. I don't know about Lone Hill as I had already severed ties with Fresh Sound when releases from this label started appearing. I remember asking Jordi to remove the Jazz Factory or Discoforme rip-off release of the Mingus Uptown set from his web-site as it was a blatant rip-off and I think he actually did for a minute. None of these companies pay royalties.

The Fresh Sound LP issues were for the most part if not all illegal. I know for a fact the Pacific Jazz stuff was not authorized. Some were just dubs from LPs (not all of them clean either). I'm not familiar with the Route 66 label but what was source he used to get these recordings if not from the original record companies. He probably licensed the recordings from the record companies. I believe all record companies in Europe have to pay an advance on publishing royalties when they release a record. Yes many record companies ripped off artists for years but you seem to be condoning the continuation of this practice. Some of the wrongs have been righted over the years and even when a wrong isn't committed, sometimes a label will correct some things. Blue Note wiped the slate clean for all the artists that recorded for the label in it's heyday so they didn't have to recoup before they could collect royalties. Also, maybe I don't understand how you are using the word ethics. I don't see how it would even be a question for the estates of these musicians to reap the rewards of the work their parents or grandparents did. Put yourself into this situation, wouldn't you want your children (or grandchildren) to benefit from any proceeds of any work (or investments you made) you did rather than anyone else. It's ridiculous to me that this question is even debated. The 50 year copyright law is a strange law and not a fair one. It gives these companies the right to put out material that others legitimately own in their country without compensating anyone. This is criminal but it is the law. I wonder how such a law could be made. Just because it's a law doesn't make it right. That's the only ethical issue I see here.