Lazaro Vega

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  1. Maybe it was Jost in Free Jazz where it was first observed in writing that Lester Bowie was a pre-eminent trumpet player in “avant gard jazz” because he could match the colorful variety of timbres and intensities of the saxophonists who followed in the footsteps of Albert Ayler, Ornette Coleman and especially late ‘Trane. Chris Kelsey reflects that insight in Bowie’s biography section at the allmusicguide.com web site (a good overview), as in trumpeter “Bowie was most successful in translating the expressive demands of the music – so well suited to the tonally pliant saxophone…” and, as with David Murray or Eric Dolphy “…Bowie invested his sound with a variety of timbral effects; his work has a more vocal quality, compared with most contemporary trumpeters.” Kelsey then points to two precedents for that sound in jazz, Cootie Williams and Bubber Miley. That’s good as far as it goes. He wasn’t “just” the preeminent trumpeter of the jazz avant-garde from the 1970’s until his death in 1999: He was the preeminent trumpeter/bandleader in jazz. Bowie was a musician through which ran all the musical streams up to that point in history. I mean it wasn’t all about the trumpet. It seems Bowie took the “multi-culti” ideals of Don Cherry and filtered them through the brass band tradition of his own St. Louis family. St. Louis's implications in the history of jazz as played on trumpet fed him. Bowie and Earl Hines both had a show biz side, but rather than the great dance halls Bowie's early examples in bandleading were presented by blues legends Little Milton and Albert King, and that's another kind of show biz all together. Not to mention the mega-commercial nights of sitting next to players such as Blue Mitchell in trumpet sections of working show bands or Vegas big bands, say, helping Red Foxx knock ‘em dead. At the top of the Bowie recorded legacy is “Jazz Death,” “Numbers 1 & 2,” (the entire Art Ensemble collection on Nessa) and the duet album with drummer Philip Wilson, all pure jazz. Yet his reggae standards, R&B and blues favorites from all eras, gospel, African, American and European pop music was a repertoire to "hold" his jazz, his improvisations coming as much through Miles Davis and Don Cherry as Cootie, Bubber or The King himself, Joe Oliver. Bowie was the last of the non-corporate jazz stars, a both popular and challenging voice. His concept was consistently open from his playing on through his repertoire. And for what it is worth his parody was a much-needed antidote to the hubris of the times, something the current era is utterly afraid of developing. And I'm not talking just music: there is no opposition party in America. We need some music for that. Hearing Bowie reminds me there will always be hope for a progressive American future deeply grounded in it's artistic, cultural past. Lazaro Vega
  2. tim berne on julius hemphill

    Especially relevant after 2021's amazing "The Boy' Multi-National Crusade For Harmony" on New World Records.
  3. The double CD re-issued domestically on Sunnyside. Hobart Dotson, trumpet Lonnie Hillyer, trumpet Jimmy Owens, flugelhorn/trumpet Charles McPerson, alto saxophone Julius Watkins, French horn Howard Johnson, tuba Mingus, bass/piano Dannie Richmond, drums
  4. Featuring the band at 10 p.m. eastern and in the first part of each hour until 3 a.m. Recordings and special recorded performances done live on Blue Lake. Streaming live from www.bluelake.org/radio
  5. Please join #JazzFromBlueLake today as we feature Organissimo, the celebrated jazz organ combo from Michigan who marked their 20th anniversary playing together recently, and whose keyboardist, Jim Alfredson, was just recognized with a lifetime award from the Jazz Alliance of Mid-Michigan. Organissimo appeared live on #BlueLakePublicRadio with saxophonist Arno Marsh and another time with trombonist Paul Brewer. You’ll hear those performances and more by clicking the #JazzFromBlueLake links at www.bluelake.org/ondemand today.
  6. Organissimo on Jazz From Blue Lake

    Dan, here's a link to that original broadcast from 2009. https://bluelake.ncats.net/ondemand/Studio%20Performances-Organissimo%20w%20Arno%20Marsh%20and%20Dan%20Jacobs-0-20050711.mp3 (Today's on-demand program features "Sweet Potato Pie").
  7. Jane Ira Bloom

    Did you know soprano saxophonist Jane Ira Bloom was the first musician commissioned by the NASA Art Program to create three original compositions (1989) and has a minor planet named after her (6083 Janeirabloom)? Did you know this Yale graduate (1977) and tenured music professor at The New School for Jazz and Contemporary Music is married to the actor/director Joe Grifasi? Yeah man, she’s way hip. Friday night’s edition of Jazz From Blue Lake featured Jane Ira Bloom’s music in the first part of each hour and is at Blue Lake Public Radio’s on-demand page until tomorrow. (photo of Bloom by Erika Kapin). www.bluelake.org/ondemand
  8. Steve Lacy book and CD combo

    *** Some news from Senators' website, dedicated to Steve Lacy: FINDINGS, 2nd edition available... at last! Thanks to a new packaging (CDs are now included in the book), both the public price and the shipping fees are reduced. You can order through the website or contacting us. *** Nouveauté sur le site Senators dédié à Steve Lacy : La deuxième édition de FINDINGS enfin disponible ! Grâce à un nouveau conditionnement (les disques sont maintenant inclus dans l'ouvrage), le prix public et les frais d'envoi ont été réduits. Vous pouvez passer commande en ligne ou en nous contactant. the two CDs are now included in the book les deux CD sont maintenant inclus dans le livre Thank you very much for your interest in Steve Lacy's work. Merci de votre intérêt envers la musique de Steve Lacy. Vincent Lainé -- Senators: Steve Lacy's music modus operandi email: vincent.laine@stevelacymusic.org http://stevelacymusic.org/ If you follow the link then click "Homepage" you'll see more information: Findings 2nd edition (2006) "A fascinating collection of Lacy's musings, experiences and reminiscences about the soprano saxophone and his career. The book reveals much about Lacy's approach to music and improvisation, and his philosophy about his art, and the accompanying CDs help to shed more light on his observations and lessons." (In English and Français)
  9. RIP Lucky Peterson

    That tribute to Jimmy Smith record features Archie Shepp on a few numbers, tenor and voice. Holla.
  10. "Now Found: Henry Grimes" tonight on Night Lights

    Sweet. Talk about second acts! March 8, 2005 Grimes and Marshall Allen brought their "Spaceship on the Highway" by Blue Lake Public Radio's studios here at Blue Lake Fine Arts Camp in the Manistee National Forest and improvised/interviewed for an hour on the air. Allen played a shiny new alto, clarinet and EWI while Grimes was content with Olive Oil, his green lacquered bass William Parker bequeathed for the comeback. All improvisations. November 29, 2006 Henry and Margret returned with brass man Roy Campbell (trumpet, flugelhorn, pocket trumpet) for an hour of improvisation and conversation, this time including an unforgettable reading of Ayler's "Universal Indians." Some time in 2010 Grimes dropped by one last time with his "Renaissance Man Tour" which featured his first public violin playing since he put down the instrument years ago, as well as solo bass improvisations and poetry reading. Great, great moments. So generous with his music.
  11. Because he was lumped in with West Coast cool school, drummer Shelly Manne was one of those great musicians who may have been taken for granted by too many jazz fans. His diversity, taste, swingmanship and engaging life story will be featured during this evening's Jazz Retrospective over Blue Lake Public Radio from 10 p.m. to 3 a.m. Hope you can join us after the Tierney Sutton Band concert at St. Cecilia Music Society tonight. http://tinyurl.com/y8t6mup Donald's Encyclopedia of Popular Music - MANNE, Shelly (b Sheldon Manne, 11 June 1920, NYC; d 26 September 1984, Los Angeles CA) Drummer. His father and two uncles were also drummers. He worked on transatlantic liners; for bandleaders Raymond Scott, Les Brown; ...
  12. Tal Farlow

    Thank you sir. Love those David Stone Martin covers.
  13. 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: www.bluelake.org/ondemand
  14. Jazz in Grand Rapids and west Michigan

    Yes, it was a very listenable concert: tippin'!
  15. The Blue Lake Public Radio Jazz Datebook is attached. www.bluelake.org/radio Jazz Datebook October 3, 2019.docx
  16. Jazz in Grand Rapids and west Michigan

    Friday is the 100th anniversary of drummer/bandleader Art Blakey's birth (yes, his recordings are featured on Friday night's Jazz From Blue Lake, 10 p.m. - 3 a.m. over 88.9 and 90.3 FM, streaming live from www.bluelake.org/listen). Then, on the 27th, Detroiter Sean Dobbins joins guitarist Joshua Breakstone and bassist Marion Hayden for their tribute to Art Blakey at LaFontsee Galleries in the Underground Concert Series produced by www.adventuremusic.org. Drum on!
  17. John Coltrane - Blue World

    Thanks for posting Chinen's review.
  18. James Carter chimes in? Man, his debut on Blue Note recorded live at Newport was our on-air funder premium so my boss suggested I get him saying a few words about Blue Lake that we could use on the air. Two hours later! Man, what a conversation! His memory is astonishing. The Blue Lake part is up under "Interviews" at www.bluelake.org/ondemand. This last year the concert series I'm "curating" in Grand Rapids, MI, featured Detroit/Aretha drummer Gayelynn McKinney with saxophonist Dave McMurray (who's "In A Sentimental Mood" was in that tough tenor mold), and their keyboardist Gerard Gibbs (University of Michigan grad) played Herbie Hancock's "Butterfly" during sound check at the most perfect tempo. When he wasn't in gig mode and just playing with feel, damn man -- nothing to show off there but pure time. He's on James new one playing organ. The album is Django melodies, but, you know, "Melodie Au Crepuscule" gets a Bill Withers "Use Me" background. I really don't care because it all comes out James in the end, and at his best, when he's lit, it's the whole story. He and Scott Robinson are saxophone nerds to the tenth power, and fountains of insight. Robinson's coming to GR this year to play duets with Chicago drummer Jack Mouse, free duets. Click the link?! Jazz Spam: www.adventuremusic.org Looking forward to the Tough Tenors. Do you have those sides they recorded at Minton's?
  19. Where did you pick this up from? Amazon, etc?
  20. John Coltrane - Blue World

    His rhythmic approach on the head to "Like Sonny" is very different, more staccato, than on previous versions I've heard, or when he quotes at length while on tour with Miles in 1960. The title piece is a variation on "Out of This World" which he played the shit out of on that earlier Impulse album and digs in quickly here. It's interesting to hear him at this stage, with "A Love Supreme" and "Crescent" surrounding it, playing his own material from earlier. Nice long bass intro to "Traneing In," though it sounds like Elvin had to put down a smoke to get into tempo with everyone when it was time for the ensemble to enter.
  21. Deb Bowman - Fast Heart

    ELEW pops up and plays beautifully on "Crazy He Calls Me."
  22. Leslie Odom, Jr. - Under Pressure

    Quincy Davis played drums on his first album and pointed out he was asked not to play his cymbals, other than the hi-hat, on the entire date.
  23. The Chicago music scene in the 60s/70s

    Eleanor is 16 now and going to Homecoming this weekend. The recent concert by Roscoe and The Art Ensemble for their 50th Anniversary at The Chicago Jazz Festival found the ensemble expanded to include a string section, two contemporary classical operatic voices, 3 basses, 4 or 5 percussionists, two trumpets and trombone, a poet/electronics person, all in the service of expanding the stylistic reach of the music in the same organic, amoeba-like flow that the best of the AEC is known for, except...it was planned. Very well planned and well rehearsed and executed with a level of professionalism that did not interfere with the music's spontaneity and spirit. I mean, it was wider than anything I'd ever heard. It seemed a logical extension of the AEC's early promise of "anything is possible" and found a way to expand their methodology to reach that; and brings to mind what Bowie said about the music being "young."