Lazaro Vega

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Everything posted by Lazaro Vega

  1. How do you say Simon Nabatov?

    Bob and Ray!
  2. Bought the box set and am digging in.
  3. Out on Blue Lake

    Me, too. Maybe you can check it on line? Great to have Josh in the studio.
  4. Out on Blue Lake

    On Wednesday, November 21, The Bridge, a transatlantic network backing public concerts in Chicago and the Great Lakes, brought an improvising trio to Blue Lake Public Radio’s Dave Myers Performance Studio for an hour long session of live music and conversation. Featuring Chicago’s Josh Berman on cornet and France’s Didier Petit, cello, and Edward Perraud, drums and percussion, the trio setting was a bit different than much of their tour, so the program found the music opening up as time went by. Tonight at midnight eastern time (same as NYC), we’ll hear the broadcast as part of Jazz From Blue Lake, the week night 5 hour jazz radio program that begins at 10 p.m. eastern every Monday through Friday. To stream the program live please click If you can’t make that time, there is an MP3 version of the broadcast available at our on-demand page, under “Studio Performances,” found Thanks to everyone for this creative opportunity. Here’s hoping you have time to listen and remember The Bridge #15. Lazaro Vega Jazz Director Blue Lake Public Radio Blue Lake Fine Arts Camp 300 East Crystal Lake Road Twin Lake MI 49457 USA
  5. Roscoe Mitchell Sextet, "Sound"

    Just opened a re-issue of this landmark recording that states on the cover "Original Analog Mix." Looking forward to comparing it to the previous nonpareil re-mix.
  6. "Trane '63: A Classic, A Challenge, A Change"

    Did you include some of the Penn State '63 concert? Boot on Hi-Hat.
  7. Morgana King 1930-2018

    And the Muse records in the 80's.....
  8. So, in early August Blue Lake Public Radio aired these Grant Green recordings from Resonance, the second one, especially, is from around the time he was in Detroit kicking his habit, and I knew from conversations with the audience that he played around Grand Rapids at that time, but I couldn't remember the bar. So I just said he played at The Lime Light. Got a call from a listener who corrected me -- it was The Golden Globe Lounge on South Division in Grand Rapids, next to the Play House which was once The Blue Note and was right across the street from the Pussy Wussy. Had a nice talk with this gentleman. Turns out we were both at Grover Washington Jr.'s Grand Rapids concert in the 1970's (I was 16 or 17 and since it was at a college, I could go). He said, in a positive way, "Grover played me to sleep! I'd done a double shift and came right over to the concert!" That soul jazz vibe was a good fit for that crowd then. Also, in the past, I had a call from Wilbur Ware's son who lived in GR and said his Dad was here often and played around these clubs, too.
  9. Hey, thanks for bringing this up. Bob Stewart, the lone jazz programmer in Iowa, won in this category, which is called The Bobby Jackson Award. Thank you so much for thinking about me. The hub bub around this nomination has done a world of good. During the summer I'm teaching a class to Blue Lake summer school for the arts and can't get away in August. 28 campers every two weeks. Teaching the "Radio Elective," that is, how to program an hour long radio show of classical, jazz or broad way music. I may try and get to New York this January. fwiw I was recently interviewed for Ron Wynn’s column, “Giant Steps,” published by The Tennessee Jazz & Blues Society. Here’s the link:
  10. Newport

    Since 1954 the Newport Jazz Festival has welcomed some of the music’s greatest performers to one of New England’s premier resort communities, and fortunately for jazz fans, many of those great festival sets were recorded down through the years, as you can hear on Jazz From Blue Lake found here: Please join us for the music of Louis Armstrong, Jack Teagarden, Duke Ellington, Count Basie, Miles Davis and John Coltrane, among others, recorded at Newport. (photo by Kevin R. Mason) #BlueLakePublicRadio
  11. Benny Goodman, 1935

    On July 1, 1935 the Benny Goodman Orchestra recorded a smooth, flowing version of “Sometimes I’m Happy,” a jazz classic, “King Porter Stomp,” featuring trumpeter Bunny Berigan, and Fletcher Henderson’s arrangement of Irving Berlin’s “The Devil and the Deep Blue Sea” with vocalist Helen Ward. As Loren Schoenberg wrote, “Through Henderson’s extension of Louis Armstrong’s principles, and Goodman’s coaching of the band, they arrived at a swing that hasn’t dated in over half a century.” Please join “Jazz From Blue Lake” for the music of Benny Goodman in 1935 and 1936 in the first part of each hour found here: .
  12. Johnny Smith

    Jazz From Blue Lake is the name of the program, and it turns over every day, so it's under "Daily Shows." Since Johnny Smith we've done programs on Reggie Workman, Madeline Eastman and Tierney Sutton, with Friday night's program featuring Julian Priester. The program airs from 10 p.m. to 3 a.m. eastern so the on-demand is for day people checking out Jazz From Blue Lake. But, it's radio, so it goes away.
  13. Johnny Smith

    Do you remember guitarist Johnny Smith? Please join Blue Lake Public Radio in appreciation of the musician who elevated the skill level played on the instrument while remaining a story teller with a listenable sound, and lovely chord-melody arrangements. Click on Jazz From Blue Lake here:
  14. Johnny Smith

    ""The hardest thing to do on the guitar is to play a melodic chord progression in smooth, even fashion without leaving space between chords," he told the Colorado Springs Independent. "Then one day I noticed how an organist managed to keep a tone going between chords by holding down one of the notes of the chord while he pivoted to the next chord. I picked up on that and applied it to chord progressions on the guitar.""
  15. Tal Farlow

    Please join Jazz From Blue Lake in celebrating the anniversary of jazz guitarist Tal Farlow's birth by listening to his music here:
  16. Chick Corea

    When Chick Corea appeared with his Vigil band at St. Cecilia Music Center in 2014 there came a point in the concert where he turned to the audience and said, “We’re just going to play for a while now. You’re welcome to stay.” And the inference was clear: the band was going to stretch out, play long, winding, improvised arrangements and we were welcome to stay for the ride. But if we were expecting a pithy medley of Chick’s hits, well...On his new album “Chinese Butterfly,” which celebrates a 50 year musical collaboration with drummer Steve Gadd, the same aesthetic is in play: stretch. As we heard last night on Jazz From Blue Lake, found here:
  17. Sun Ra

    The truth is Sun Ra had a book of “hits.” That is, if you know Sun Ra’s music, you’re probably familiar with “Saturn,” “Enlightenment,” “Velvet,” “Rocket Number Nine Take Off For the Planet Venus” and “We Travel The Spaceways.” These staples of his marathon live performances, Ra’s music was, as he said, concerned with “the potential future, which I call the alter destiny, realizing that earth is getting over into what you might call different isolated armed camps, and if people don’t get something in common quick, well, they’re not going to have anything at all.” So, to Ra, “Musicians really represent the harmony department of the universe.” Right on. Hear Sun Ra’s music on Jazz From Blue Lake here:
  18. Rahsaan Roland Kirk

    Jazz From Blue Lake’s broadcast featuring multi-instrumentalist Rahsaan Roland Kirk is heard today at our on-demand page . From his roots in Ohio, and his first recording for Cincinnati’s King Record label, we explored Kirk’s recording career, ending up in our 5th hour on stage with Charles Mingus at Carnegie Hall. Here’s hoping you’ll join us.
  19. Sonny Rollins 1966

    After his May 9, 1966 session for “East Broadway Run Down,” Sonny Rollins didn’t return to the recording studio until 1972, though his touring flourished, especially in Europe. Bassist Jimmy Garrison and drummer Elvin Jones joined the saxophone colossus, and trumpeter Freddie Hubbard contributed on the epic title piece heard on Jazz From Blue Lake found here today:
  20. Ornette Coleman, May 1968

    On May 7, 1968 Ornette Coleman completed the recording sessions for two Blue Note albums, “New York Is Now” and “Love Call.” With his boyhood friend Dewey Redman on tenor saxophone and a pocketful of original music, Coleman invited John Coltrane’s sidemen, bassist Jimmy Garrison and drummer Elvin Jones, into the studio where “Broad Way Blues,” “Back Home” and “Check Out Time” were recorded, as we heard last night during “The Jazz Retrospective” segments of “Jazz From Blue Lake” which you can hear right now today at our on-demand page
  21. Gene Ammons

    Gene Ammons soulful tenor saxophone rang out over the airwaves of Blue Lake Public Radio last night. In the first part of each hour we featured Ammons music, starting mid-career, 1961, with music from “Brother Jug” and “The Boss Is Back.” Though Dexter Gordon may have been the first to “bop the tenor saxophone,” Gene Ammons was close behind, digging the music of Charlie Parker, yet completely distinctive in playing ballads. You may check this episode of Jazz From Blue Lake out for yourself via
  22. Last recording I have by him released in 2014 on Tum, duos with Bill Laswell, "Space/Time.Redemption"
  23. Lee Morgan Film

    Thought the New Yorker review was fair, and who knew that 1968 meeting between Lee and Clifford Jordan playing "Straight, No Chaser"? Does anyone remember Billy Hart recounting Lee's last night on earth? Found in MP3 form if you scroll down the page.
  24. "Ella At Zardi's" finally being released

    Abney and Ella are on screen in "Pete Kelly's Blues." This was supposed to be the first Verve release, but the Cole Porter Songbook came out and 60 years later we get the, 'Oh yeah.....I forgot about that one.....' The crowd, and maybe that's Granz, is kind of treating her like a human jukebox. A few times she sort of shrugs to the band and says something along the lines of 'we're going off the set list.' She'd worked some stuff up, though, as you can hear in the intro to "Why Don't You Do Right?" That's a thought out arrangement. Kind of wish they'd have left her alone to play what she wanted, though everyone is up to winging it.