cannonball-addict

I don't know many of the names and I missed several of the recent shows. I gather Gary Gulman won? I thought that although he gives off an air of being a over-confident pompous a-hole, his routines are honestly funny. He talks about stuff we can all relate to (i.e. mothers gasping as their children drive with them in the car). I thought the squirrelly looking guy was funny. Was he Jay? I think all of us off-beat jazz folk have a soft spot for a guy who looks like that. It's funny but that's what a lot of jazz fans and writers dress. He ruined his chances by being so self-depracating. It would have been appropriate were he not competing for the prize nor going up against challengers who really were genuinely trying to win over the audience. I dug his joke "It was a year ago yesterday....." I was ROTFLMAO (rolling on the floor laughing my ass off). Matt

This is going to be a long process because I want the production to be really good and I want to pick good music. I guess I should read the Before Motown book you guys are plugging. I am about to go back to school in two weeks. So I'll look for the book in the libraries there. Is it a readily available book in academic libraries? I don't really have much money right now for purchases of any kind besides essentials like paying my rent. Otherwise I would go out and support fellow jazz writers. Matt P.S. Just wondering if I am the only college student who is a regular poster to this bboard. It would really be great to get the other young people involved because a lot of you older guys know so much about the music. I am sure all the jazz students out there (at Berklee and North Texas and New School and Manhattan and NEC etc. etc.) could benefit a heck of a lot from all the information exchange that goes on here. I always know I'll come up with answers to my jazz queries on this board. VIVA Organissimo!

I'd like in too! Sending email..... Matt

Thanks. Any personal stories? Is there anyone on the site that is from Detroit. I know the guys who run this board must have some great stories to tell.... Matt

If one were to do a radio show on the legacy of Detroit in the history of jazz, what recordings would be essential? Who represents the Detroit sound, if there is one? I figure some stuff from all the Jones brothers. Something from Barry Harris, Tommy Flanagan, Joe Henderson. Who else? And what recordings? Also what were the clubs and venues besides the heralded Graystone Ballroom and the now defunct Baker's? Any help would be greatly appreciated.

Can anybody tell me exactly which rhythm section guys are on this tune. I never figured it out for sure. In the complete takes at the end of What Is This Think Called Love Sonny announces that it was Wilbur Ware and Elvin Jones on that tune. Is it the same on "Softly..."? What night was it recorded (I need an exact date).

The Roy Haynes? I know right?

Are you a sourdough?

The Directions is not that good. The solos are okay....But on the other hand entirely, the Roy Haynes is an amazing disc. Dig Yardbird Suite especially. Everyone is playing their ass off. But I may be partial cuz it's Kenny Garrett on there. If I had more money, I would buy 10 of the Haynes and give them to my musician buddies.

Apparently this is the second time he's done his composition "Haiku" though this album takes that name for its title as well as being on the record. The version on this album is much longer than the previous take on the self-titled Columbia release.

I received an advance copy of Calderazzo's latest effort, a solo piano CD entitled "Haiku". His connection with Branford has landed him a new deal after Columbia shook things up. Marsalis Music is really growing thanks to the combined savvy of Branford, Bob Blumenthal and surely others whose names I don't know. I think people are going to have mixed reactions about this album. At times it is intensely interesting and introspective. And other times he just goes on and on with an vamp and kind of says the same thing over and over. Look forward though to a beautiful original called "Chopin" (in the suspended lackadaisical synchronousness that characterizes that composer's music). Also notable is a tender interpretation of "My One and Only Love" and a nice effort on "Just One of Those Things". Does anyone have any stories about Joey? Seeing him live? His story as a musician? Likes/dislikes?

You can order the book here.

There is a very unwidely-known autobiography out now about a little-known man outside jazz industry/musician circles. The book's title is "Men, Woman, and Girl Singers: My Life As a Musician Turned Talent Manager." This man, John Levy, was not a Jewish-American as one might expect from such a last name, but a black musician from Chicago. He played with Stuff Smith and Art Tatum on 42nd Street in the 1940s and later while bassist in George Shearing's early band, Levy became the band's manager when Shearing, a blind man, would not tolerate people discriminating against blacks especially on the road (inhospitable hotel managers and restaurant owners). It was a fulfillment of Levy's dream of having a desk job and a strong statement about Shearing's values. As Chuck Nessa and others of you may know, Levy went on to be the first successful black talent manager/agent with offices in both New York and LA (John Levy Enterprises). The book was dictated by Levy to his current wife, Devra Hall, daughter of the great guitarist Jim Hall. Anyone who was at IAJE this year might recall Hall, upon receiving his NEA Jazz Master award. mentioning that his son-in-law was older than he. This of course was a reference to John Levy, who was in the audience. The 92-year-old was also mentioned when Nancy Wilson received her Jazz Master award, as the man who she could not have gotten to where she is without. Levy managed people such as Cannonball Adderley (that's how I found out about him), Wes Montgomery, Shearing, Wilson, Joe Williams and scores of other singers and instrumentalists who don't come to mind right now. But I hope you all go out and buy this book wherever it can be found. John Levy's website for his still-active management outfit is John Levy Enterprises. I recommend the book to anyone interested. I believe the book has no distributor currently but I wish Da Capo or someone bigger would take it up because the amount of first hand

Does anyone know if there's a way with an iPod to delete songs from your iTunes library and not have them be deleted from your iPod when it notices they are on the iPod but no longer in the music library. Also is it possible to download music from two different music libraries (ie music from two different computers) onto one iPod without wiping out the music on the iPod from the first computer. I assume it would do the same thing it does when you delete songs from your library (ie erase whatever is on the iPod that is not in the current music library you are syncing with and add only the new titles in the second library). Help would be much appreciated. Has anyone else run into these types of problems. Seems it might have been smarter to get the Nomad.

James Williams was kind especially to young musicians like myself. After gigs he would entertain us with stories and let us in on the recordings he considered gems. I would always bring a pen to his sets, though I only saw him three times. The Contemporary Piano Ensemble was an amazing group and I hope James' death inspires its members to now devote their remembrances to Phineas Newborn AND James Williams. He was a visionary while at the same time embracing the tradition. He loved to play standards and we all loved him for that because it showed he was interested in communicating with us - the audience. This is what I most loved about James. I am sad that I did not know about his illness. I would have sprung into action to help such a kind man.

Bill Mays and Ray Drummond did a duo version but its too long to be this one.

Roger Kellaway/Red Mitchell on Alone Together?

I would like in on this one too. PM Sent to Marcus as well.

I think from repeated listens Track 2 must be Muhal Richard Abrams. I can't imagine who would be so articulate yet so succinct. And yeah 10 is definately Gato. But I would consider him well-known due to his feature on Calle 54. I went to one of his shows a year or two ago and people were going crazy. I didn't know what the big deal was. All the guy does these days is hum and overblow his horn. He has lost a lot of technique since the 70s. It is quite ridiculous the way he goes "Heyyyyyy!" with the reverb. Matt

Tom Williams is an amazing bebop/post-bop trumpeter who either got second in Thelonious Monk or won it outright the first year they did it for trumpets in the early nineties. Some of his performances are archived online on the Kennedy Center's website for its free venue, the Millenium Stage, which hosts live concerts every night of the week in its Grand Foyer at 6pm. They have jazz once every week or every other week though much of the other music is equally interesting and engaging. I will try to find some direct links to Tom performing live at the Millenium Stage. Also notable was that Bobby McFerrin put on an AMAZING show this spring live for free on the Millenium Stage in honor of the stage's 10 year anniversary. I will try to find the link for that too. All of these require real player and are approximately one hour long. sorry I didn't get to network with the DC cats this weekend as I was busy writing and caddying for "bread." I bet they killed on those tunes. That is standard Michael Thomas bop fare. Zach Grady is a mean soloist who I am lobbying on behalf of for a record contract with a European label (though he doesn't know it yet). I think there could be a comparison drawn between Grady and James Carter's style. Matt

Michael Thomas' group features excellent players but the material gets stale after a few tunes. However the bassist keeps great time and is an impressive soloist for a bassist and once in a while the piano player will give you the shivers but this is standard hard bop fare. Don't go expecting to hear something new cuz that's not what these guys are about. Although its nice to go hear jazz for once that is tunes that you know. Thomas is a kind person and his chops are slightly better than average for a professional jazz musician. Nothing special.

I hate to take the "fun" out of this post but this is an appropriate time to reiterate my love of these two REAL female virtuosi: Melba Liston, trombone Renee Rosnes, piano Unquestionably masters of their instruments. different time periods. too often taken for granted. -mm

Nate IS from Canada so there may be some cats on this incredibly tough/challenging BFT who are outside of the US jazz radar. One such pianist many may not know about is Francois Bourassa, and Jon Ballantyne. Perhaps these two are both on there but I have NO clue. 1. I was originally thinking the first track was something Dave Douglas did, but I soon realized it had no trumpet. Since b.cl. is there it seems that it might be Adam Kolker or Don Byron. It's very quirky and almost unclassifiable by genre. Kinda feels bluegrassy at times and other times it free jazz. Very interesting choice. I really think its a fair guess to say that you are the only one on this BBoard who is hip to this artist, but people always surprise me. By the way, I really dig the fiddle solo. 4 1/2 stars for interestingness and beautiful feel as a group. 2. Donna Lee. It's gotta be a pianist who is hip to free music. I don't think it could be JAMO. It MIGHT be someone with the initals KW who is often known to play with a belgian harmonica player. Could this be him? Like I said, it's somebody with straightahead chops but is hip to free playing. 4 stars for beautiful harmonic concept and completeness. 3. Soprano sax (beautiful sound by the way) and piano. It's got a bit of the quirkiness of the first track but much sparser so it's gotta be some cats who value use of space in their playing and simpler instrumentations. This could be a duet of Francois Bourrassa with his sax-mate Andre Leroux. but no clue who the violin is. 4 stars. 4. I originally thought WSQ. But that is too obvious. And the tenor player is quite obviously not David Murray. Plus they wouldn't really be doing something with a rhythm section. This might be the Toronto Jazz Chamber Septet. 2 1/2 stars for swingin it, but not really my cup o tea. 5. Haunting soprano/piano duet at the beginning. The technique is reminiscent of Mark Turner or Chris Cheek one of those New York guys with that classical sounding approach that still swings. This seems like its from that downtown clique of guys including the abovementioned and cats like Kurt Rosenwinkel and David Berkman and Mehldau. but I am probably way off base. Interesting trumpet solo. It sounds like the trumpet player is the same as the one on Don Byron's Music for Six Musicians. Can't think of his name. 3 stars. 6. Pretty. Definately New York cats. The tenor player digs Lovano and Tristano. His altissimo sounds like Josh Redman, but it's not him. The pianist totally escapes me but if I were to guess. 7. David Murray or James Carter on tenor? Crazy intervallic leaps. Definately have to pick this blues up. Great band. Nobody overplays. Great communication. 4 1/2 stars. 8. Alone Together is the tune. It's an old school cat. And the bassist is that famous musician Nate is talking about. It's either Ray Brown or George Mraz or Percy Heath but probably Ray. The pianist is someone from the hard-bop era. I love these changes. Makes me wanna pick up my horn. 4 stars. 9. The saxophonist definately has his own sound. Now whose sound that is, is beyond me. The drummer sounds like Paul Motian. Definately a lot of interplay. Could also be Billy Hart or Al Foster. The bassist is unique too. 3 stars - nice playing at times seems like it's going nowhere. 10. I f^%&in' love this shit. Pharoah? Gato Barbieri? Such hip piano. Could it be Jason Moran? He certainly meets his match here. When they finally get to something that sounds like a melody. It sounds like Blue Bossa with a bridge. Great drumming too. 5 stars. 11. The name of this tune is on the tip of my tongue. The changes at times sound like Body & Soul. But I know its not Alfie. Such hip piano here. 4 stars. 12. Yeah baby, swing that dissonance! I have to pick this up once I find out who it is. 4 1/2 stars. 13. Solar. That's all I know. 3 1/2 stars. 14. (sniffle) I almost cried it was so beautiful. Got to be one of the masters, but I've already named the one famous cat (I think). Howard Alden? There are too many good guitar players out there that I've never heard. This has to be from the 90s even though it's got that old vintage sound. 5 stars. sorry if I burst the guessing bubble. but I had to get some of this off my chest and get the discussion going.

Frank Tiberi played some badass bassoon on Woody Herman records in the 80s and he still leads Woody's ghost band. He is a professor of winds at Berklee. Unique tenor sound too. -m

7/4, do you mean nah to me or nah to the original post?