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Not when my daughters went in the late 00's. Only grants & loans. Scholarships might be a big private school thing, like Harvard, but they have endowments galore so they can probably do that.

Kevin, are you saying they don't give college scholarships anymore?

Bassist and Composer Jakob Dreyer Showcases a New Sound, a New Band and an Urge to Swing on his third album as a leader, Roots and Things CD AND DIGITAL FORMATS AVAILABLE ON NOVEMBER 14, 2025. FRESH SOUND RECORDS (BARCELONA, SPAIN) WWW.FRESHSOUNDRECORDS.COM | FSNT 717  While the versatile German-born, New York-based bassist Jakob Dreyer had already proven himself quite a prolific composer on two previous volumes of his Songs, Hymns and Ballads, he takes things up a notch on Roots and Things. Assembling a formidable crew in vibraphone sensation Sasha Berliner, acclaimed tenor saxophonist Tivon Pennicott and in- demand drummer Kenn Salters, Dreyer showcases 15 vibrant and persistently swinging original compositions along with one well-chosen cover on his third recording for the Barcelona-based Fresh Sound New Talent label. With its emphasis on urgent swingers, muscular grooves and thoughtful ballads, interspersed with brief interludes serving as kind of palette-cleansers for the listener, Roots and Things is a profound statement by the bassist-composer who has become a ubiquitous figure on the NYC jazz scene since moving to the Big Apple in 2014. “After my previous two albums, which featured piano (Jon Cowherd), I felt I wanted the next one to sound different,” said Dreyer. “So I was thinking what would be a good way to change it. And I thought of different instruments before settling on vibraphone. It just shapes the music so much, I think. And also, Dave Holland’s use of vibraphones on several of his records definitely was an influence in my decision.” Dreyer, Berliner, Salters, Pennicott (l to r) © Anna Yatskevich And what Bay Area-born 27-year-old Sasha Berliner brings to the party is something wholly unique. Named one of “10 Rising Women Instrumentalists You Should Know” by SFJAZZ Magazine in 2018, she was described a “young mallet master” by JazzTimes while being cited as #1 Rising Star Vibraphonist in the 2020 Downbeat Critics Poll at age 21. She is joined on the frontline by Pennicott, one of the most fluent and engaging saxophonists on the scene today, and pushed by the propulsive rhythm tandem of Salters and Dreyer. Together they exude remarkable chemistry from track to track on Roots and Things. Regarding the title, Dreyer explained, “I thought it has several meanings, but for me it’s all about the bass, because that’s what I mostly do, play the root.” The album opens on a mesmerizing note with minimalist “The Fifth Floor," underscored by Berliner’s hypnotic vibes ostinato and fueled by Salters’ crisp, power-precision drumming. “Constellation” is a freewheeling swinger with Pennicott’s bold tenor sax stating the opening motif before jumping off on a surging uptempo solo paced by the leader’s unerring, driving bass lines and fueled by Salter’s interactive attack on the kit. Berliner also contributes an invigorating bop-inspired solo here and Dreyer follows with a resounding solo rooted in his bass heroes Paul Chambers, Dave Holland, George Mraz and Niels-Henning Ørsted Pedersen. The angular “Follower” is a launching pad for some potent explorations by tenorist Pennicott and vibist Berliner. Drummer Salters is unleashed on the kit over a band ostinato on this intensely grooving number. Things settle into a mellower space on “June Tune,” a mysterious, harmonically rich tune providing abundant solo space for Berliner, Pennicott and Dreyer, whose deep-toned exploration here is a lyrical highlight. The burning interlude “Land of 1,000 Blues” is a brief (all of 20 seconds) but fiercely swinging take on Chris Kenner’s 1962 rock classic, “Land of 1,000 Dances,” subsequently made famous in hit single versions by Cannibal & the Headhunters and Wilson Pickett. It is the first of four such segues on Roots and Things. “I thought I could just use these interludes in between the main songs, just to reset your mood,” explained Dreyer. “So if you’re listening to the whole album all the way through, you come to these resets and you can enjoy the next song again.” The lone cover tune here, a modernist 5/4 take on the Rodgers & Hart show tune from 1929, “With a Song in My Heart,” is a showcase for some probing improvisations by Berliner, Pennicott and Dreyer. It is followed by another interlude, the loping mid-tempo “Bodega,” which fades after 32 seconds of insistent swing and walking bass. The dreamy ballad “Downtime,” underscored by Salters’ brushwork and Berliner’s resonant comping on vibes, reveals the leader’s instinct for contrapuntal playing. Berliner, Pennicott and Dreyer each offer brilliant, highly expressive solos on this poignant number. The burning “Fight or Flight,” an up-tempo romp with an intricate head and a riff reminiscent of Wayne Shorter’s “Yes or No,” uncorks some scintillating solos from Berliner and Pennicott, paced by Dreyer’s resolute walking bass lines. Vibes and sax engage in some rapid-fire exchanges with drummer Salters as the piece heats up. The 42-second interlude “MTA,” swings forcefully with some tightly synchronized hits along the way, then “Hold On” is a showcase for the leader’s contrapuntal playing and Salter’s highly interactive instincts on the kit. Pennicott and Dreyer each deliver depthful solos against Berliner’s liquid vibes comping on this probing minor key number.  “Room 1102,” named after Dreyer’s dorm room at City College, is built on an entrancing ostinato that frees up drummer Salters to unleash on the kit with impunity. The title track is a beautifully evocative number with Berliner adding an air of mystery in her floating vibes comping while Dreyer’s contrapuntal bass lines and Salter’s crisply interactive drumming provide a stalwart anchor for the piece. Berliner, Pennicott and the leader each deliver forcefully compelling solos here. The 20-second interlude “Invisible” is a brief taste of Pennicott’s sax paired with Salters’ brushwork, then “Big Apple” slams with authority on the strength of Salters’ muscular backbeat and Dreyer’s resounding bass lines. “I just wrote that song, and then I felt like it sounds a little bit like Brad Mehldau playing on some pop songs type of thing. And actually, Oscar Peterson already did that in the ‘70s, where it’s almost like with a back beat thing but it’s also got this kind of driving, swinging quality.” Berliner and Pennicott each deliver buoyant, bracing solos on this hard-hitting groover. Roots and Things closes with the classically flavored “Choral Diner,” which finds the leader overdubbing four arco basses in a kind of chamber quartet setting. “It’s a play on words,” said the composer. “Because it’s a chorale, but it’s also named after the Coral Diner that used to be around the corner from where I live.” Dreyer’s most highly personal recording to date, Roots and Things is the next level in the evolving career of this emerging talent. TRACKS The Fifth Floor (2:11) Constellation (5:57) Follower 4:36 June Tune (5:50) Land of 1000 Blues (0:24) With a Song In My Heart (5:20) Bodega (0:32) Downtime (6:22) Fight or Flight (5:46) MTA (0:42) Hold On (5:14) Room 1102 (1:57) Roots and Things (5:21) Invisible (0:21) Big Apple (5:06) Choral Diner (0:40) All compositions by Jakob Dreyer except “With a Song in my Heart“ written by Richard Rodgers & Lorenz Hart, arrangements by Jakob Dreyer ABOUT THE ARTISTS Jakob Dreyer, originally studying piano from age four, switched to bass at age 14. He earned a bachelor’s degree from the University of Music and Drama in Hamburg, where he studied both classical and jazz. He then studied at the Amsterdam Conservatory before later establishing himself as an in-demand sideman in Germany for many years, working with national artists like Gabriel Coburger, Sandra Hempel and Sebastian Gille as well as international artists like Dusko Goykovich, Nils Landgren and Delfeayo Marsalis. He made the move to New York City in 2014 and the following year earned a masters degree in Performance from City College of New York, where he studied with John Patitucci. Dreyer has performed with a variety of notable jazz artists, including Steve Wilson, Rich Perry, Anna Webber, Jochen Rueckert, Mike Holober, Rogerio Boccato, Glenn Zaleski, Jon Davis, Tobias Meinhart, Jamie Baum, David Berkman, Ron Blake, Billy Drewes, Mareike Wiening, Troy Roberts, Marta Sánchez, Alex Goodman and Manuel Valera. He has also appeared on over 30 albums as a sideman. Dreyer cites Paul Chambers, Dave Holland, George Mraz and Niels-Henning Ørsted Pedersen, along with the Bill Evans bass players Scott LaFaro, Eddie Gomez, Gary Peacock and Marc Johnson, and Scandinavian bassists Anders Jormin and Palle Danielsson, as major bass influences. He points to the early ‘60s Blue Note era of Wayne Shorter and Herbie Hancock as major compositional influences, along with Bill Evans, Joe Henderson, Chick Corea, Kenny Wheeler and J.S. Bach. www.jakobdreyer.com Tivon Pennicott, a Georgia native residing in New York City, the highly sought-after saxophone player, composer and vocalist is a key contributor to three GRAMMY Award winning albums, appearing on Esperanza Spalding’s disruptive recording Radio Music Society (Heads Up International, 2012), and Gregory Porter’s Liquid Spirit (Blue Note, 2013) and Take Me to the Alley (Blue Note, 2017). On screen, Pennicott appeared regularly on “The Late Show with Stephen Colbert” as a member of the Stay Human Band with Jon Batiste before recording on his records Chronology of a Dream: Live At The Village Vanguard (Verve, 2019) & Anatomy of Angels (Verve, 2019). His evolving sound is the result of a soulful, sophisticated foundation for groove he honed in the church, and a penchant for unbound harmonic exploration. Pennicott has toured and collaborated with such visionaries as Roy Hargrove and his RH Factor project and Kenny Burrell with his Jazz Heritage All Stars. After having recorded with Kenny Burrell for his 2010 release Be Yourself on High Note Records, Pennicott continues to enjoy a decade-long association with the prolific guitarist and his group. Meanwhile, touring the world with Gregory Porter, Pennicott has performed at iconic venues, including The Royal Albert Hall in London, the Berliner Philharmonie in Germany and Carnegie Hall in New York, to name a few. Sasha Berliner is a musician, composer, producer, and band leader from San Francisco, CA. A rock drummer turned vibraphonist. She has headlined international venues like Newport Jazz Festival, The Blue Note, Montreal Jazz Festival, and Monterey Jazz Festival. In addition to performing with her own band, she has recorded and performed live with such renowned musicians as Tyshawn Sorey, Nicholas Payton, Christian McBride, and Cecile McLorin Salvant. She is an endorsing artist for Marimba One and Vater Drumsticks. Sasha has been a guest lecturer at University of Champaign-Illinois, UC San Diego, Stanford Jazz Workshop, and Berklee College of Music, and is currently a Professor of Jazz and Jazz Composition at UC Irvine. Kenneth Salters, drummer, composer and bandleader, has become a fixture on Manhattan’s West Village independent jazz scene and around the world as an in-demand sideman. Born in New Haven, CT, and raised in Columbia, SC, Salters began his musical career on trombone before pursuing his studies as a percussion major at the University of South Carolina. Since moving to New York in 2006, he has worked with luminaries in jazz and R&B including Don Byron, Chris Potter, and Aretha Franklin.

#JazzFromDetroit

I made the mistake of leaving this book in the living room shortly after it arrived. Now my wife is reading it and I can't get it back from her until she's through reading it. It's a fun read.

David McMurray “Grateful Deadication” Blue Note cd Much of it is also reggae-fied. Took me a few listens but I do like it.

Ouch!! As Cedric the Entertainer once said, "it ain't that bad".😎

Yes!!! They could add the MGM sides, too.

Though quite vapid, the TV series that came from Clueless was actually pretty good and kept all the characters apart from leads Alicia Silverstone and Paul Rudd.

I didn’t think it was very good. Unfortunately he plans more Smiley books. I doubt I will read any of them.

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There have been a number of TV series over the years inspired by films, though most of them seem to die pretty quickly. M*A*S*H was an obvious exception. Two of the worst film reboots on TV: Super Train: a mediocre movie that was even worse as a TV series. Delta House: A pathetic reboot of Animal House that had a few actor carryovers from the film and Josh Mostel (Zero's son) as the Bluto-like character. The one sitcom I loved that died quickly was The Nutt House, about a NYC hotel that had seen better days, starring Harvey Korman as the manager and Cioris Leachman playing the big-butted head housekeeper who has the hots for the manager and also the elderly hotel's owner. I think that there are two or three episodes posted on YouTube. One of the running gags was the elevator stopping just below the main lobby, so guests had to step up to get out of it. I think Mel Brooks was involved as a producer.

"This is Mathews, throw out that gun, Peterson!"

October 21, 2025: Lila Downs, Jones Hall, Houston October 24, 2025: Jackie Venson, Tulips FTW, Fort Worth Camille Thurman Quartet, Walton Arts Center, Little Rock, Arkansas Quamon Fowler, Scat Jazz, Fort Worth Joe McPhee, Alienated Majesty, No Idea Festival, Austin Joshua Redman, The Mansion, Austin October 25, 2025: Joe McPhee, Scottish Rite Theater, No Idea Festival, Austin Shelley Carrol, Scat Jazz, Fort Worth Joshua Redman, The Music Box, Austin October 29, 2025: Chuck Redd, Parker Jazz Club, Austin November 5, 2025: Cory Weeds, Parker Jazz Club, Austin November 9, 2025: Artemis, House of Blues, Houston November 10, 2025: Lincoln Center Orchestra with Wynton Marsalis, Walton Arts Center, Little Rock, Arkansas November 12, 2025: Lincoln Center Orchestra with Wynton Marsalis, Meyerson, Dallas November 14, 2025: Nicholas Payton Quartet, Wortham Theater, Houston Wynton Marsalis, Grand Opera House, Galveston Mike Stern, Guitar Sanctuary, McKinney Shelley Carrol, Scat Jazz, Fort Worth November 15, 2025: Wynton Marsalis, Hogg Auditorium, Austin Mike Stern Band, Walton Arts Center, Little Rock, Arkansas Kunal Gunjal (Santoor) & Amit Kavthekar (Tabla), Kathak Dance Studio, Plano November 16, 2025: Wynton Marsalis, Hobby Center, Houston November 21, 2025: Anat Cohen, The Clarion at brazosport College, Lake Jackson November 22,2025: Jim Snidero, Scat Jazz, Fort Worth January 10, 2026: Jackie Venson, Antone's, Austin January 17, 2026: Jackie Venson, Antone's, Austin January 24, 2026: Jackie Venson, Antone's Austin January 31, 2026: Jackie Venson, Antone's, Austin February 22, 2026: Branford Marsalis Quaret, Wortham Theater, Houston March 7, 2026: Pat Metheny Side-Eye, Wortham Theater, Houston March 13, 2026: T.K. Blue and African Rhythms Alumni, A Tribute to Randy Weston, Walton Arts Center, Little Rock, Arkansas March 21, 2026: Fort Worth African American Roots Music Festival, Southside Preservation Hall, Fort Worth March 26-29, 2026: Pat Metheny Side-Eye III, Chucho Valdes Royal Quartet, John Scofield Trio, Marc Ribot, Shabaka, Mary Halvorson, Julian Lage Quartet, John Zorn (Various), Chicago Underground Duo, Marquis Hill Blacktet, Brandon Woody, Brian Marsella, Chad Taylor Quintet, Ches Smith Clone Row, Darius Jones Trio, Dave Douglas Gifts Quartet, Either/Orchestra, Harriet Tubman & Georgia Ann Muldrow, Isaiah Collier, Marilyn Crispell & Harvey Sorgen, Matt Mitchell's Zealous Angles, Miles Okazaki: The Compete Monk, Miles Okazaki Trickster, Nate Smith, Nik Bartsch, Nik Bartsch Ronin, Openness Trio, Orchestre Baobab, Patricia Brennan Septet, Sullivan Fortner Trio, Tim Berne, Tom Skinner, William Hooker Quartet, Ned Rothenberg, Yasmin Williams and William Tyler, Thomas Fujiwara: Dream Up, Big Ears Festival, Knoxville, Tennessee April 1, 2026: Samara Joy, Winspear Opera House, Dallas April 2, 2026: Kaia Kater, Arkansas Museum of Fine Arts, Little Rock, Arkansas Samora Joy, Austin City Limits April 4, 2026: Samora Joy, Tobin Center, San Antonio April 10, 2026: Coltrane at 100 (Joe Lovano, Melissa Aldana, Ndudzo Makhathini, Matt Garrison, Jefftain Watts), Cullen Theater, Houston April 23-26, 2026: New Orleans Jazz and Heritage Festival April 30-May 3, 2026: New Orleans Jazz and Heritage Festival May 9, 2026: Hiromi's Sonic Wonder, Cullen Theater, Houston May 16, 2026: Chucho Valdes, Paramount Theater, Austin

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Makaya McCraven, Off the Record