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I've never seen mayonnaise ON french fries, but in Belgian restaurants I see that pommes frites come with a container of mayo (aoli) on the side and you DIP one fry at a time into it. Just a little. It's not SPREAD over a pile of fries like ketchup. Maybe some places spread it over but I haven't seen that. I''m kinda surprised gumbo hasn't been mentioned. Wikipedia will usually says it's a soup or stew. I disagree. It's its own thing. I fix chicken soup, chicken stew, and chicken gumbo and they are all very different from one another. Well, chicken stew is closer to chicken gumbo than chicken soup is. But we call it chicken fricassee. Cajuns may state forcefully that gumbo has NO tomatoes in it. That's New Orleans style. I disagree with that too. I grew up in Vermilion parish which is one of the most Cajun parishes there is., Even when I went to school the cafeteria ladies fixed okra and shrimp gumbo and it DID have a little bit, not a lot, of tomato in it. It was definitely NOT a New Orleans recipe. I doubt those cafeteria ladies knew any New Orleans recipes! My mother used a little and so do I when I make it. How do you dress your hamburgers? I put ketchup on the bottom bun and mayo on the top bun. Lettuce and tomato and top of the patty. For steamed or boiled shrimp or crawfish a lot of Cajuns fix their own sauce at the table -- a mixture of ketchup, mayo, and worcestershire sauce. For oysters you vary that with a little bit of horseradish. Restaurants used to put all those ingredients on the table and you fixed your own sauce at the table. I don't know why but in English we don't say make something, we say fix something. But in French we DO say fait (make or do). Even in A Confederacy of Dunces, set in New Orleans, the characters say "Fix me a weenie" (Make me a hot dog) to the Lucky Dog representative. I guess it's both Cajun English and Yat.

Through another thread on this forum I ended up on http://www.freshsoundrecords.com/. There they are offering this set: Recordings - Jazz In Hollywood Series Volume 1 - Box Set 3 Cds Various Artists Featuring: Herbie Harper Quartet and Quintet, Bud Shank Quintet, Harry Babasin Quintet, Bob Enevoldsen, Virgil Gonsalves Sextet, Lou Levy Trio, Jimmy Rowles Trio REFERENCE: NR3CD 101 BAR CODE: 84 27328 43101 9 PRICE: 26.80 € The Scott Yanow (All Music Guide) review makes this sound like a very good purchase, but I'm wondering about the remastering quality. Any info on this aspect? Thanks for your input. ========================================= CD#1 - Herbie Harper Quintet 1. Jepers Leapers 2. Dinah 3. Five Brothers 4. Herbstone 5. Summertime 6. Jive At Five - Bud Shank Quintet 7. Casa De Luz 8. Lotus Bud 9. Left Bank 10. Shank´s Pranks 11. Jasmine 12. Just A Few - Harry Babasin Quintet 13. La Rosita 14. Skylark 15. Tangerine 16. When You Wish Upon A Star 17. The Girl Friend 18. Easy To Remember 19. Babo-Ling CD#2 - Bob Enevoldsen Quintet 1. Fast Buck 2. My Old Flame 3. Danzo To Brasil 4. Lulu's Back In Town 5. Bob White 6. Where Did The Gentleman Go? 7. Snootie Little Cutie - Herbie Harper Quartet and Quintet 8. Patty 9. The New York City Ghost 10. Julie Is Her Name 11. Sanguine 12. Now Playing 13. 6/4 Mambo 14. Bananera 15. Indian Summer 16. The Happy Clown - Virgil Gonsalves Sextet 17. Bounce 18. Out Of Nowhere 19. Too Marvelous For Words 20. It Might As Well Be Spring 21. Yesterdays 22. Love Me Or Leave Me CD#3 - Lou Levy Trio 1. Gentleman Is A Dope 2. Serenade In Blue 3. Woody'n You 4. Without You (Tres Palabras) 5. All The Things You Are 6. Tiny´s Other Blues 7. Like Someone In Love 8. Bloo Denim - Jimmy Rowles Trio 9. Lets Fall In Love 10. All The Things You Are 11. The Day You Came Along 12. So Far So Good 13. I Wouldn´t Change You For The World/You Are Too Beatiful 14. Serenade In Blue 15. Let's Fall In Love 16. Remember Me/There Goes My Heart 17. Lady Be Good 18. Chloe 19. Topsy All titles recorded in Hollywood, 1954 =========================================

A patty-type construction made of puffed rice, sometimes with additional flavoring, sometimes not, It's a staple of dieting, because it's filling(ish), it's got flavor (sorta), and it's mostly air. Actually, there's a brown rice version that is tasty enough to eat by itself. Those are pretty good!

Y'all oretty much nailed this one, just as I had anticipated. The only ones that weren't specifically ID'ed were #s 10, 16, & 17. And I believe a few people said that #10 could be/might be/sounded like/whatever Oliver Nelson. Close enough. Still, it was a gas reading all the commentary, and partaking of some pretty different viewpoints of the same piece by different individuals. Made for some good reading. Thank you all! Hope the discs made for some equally good listening. And now, on with the show... TRACK ONE – “How High The Moon” by Brother Jack McDuff From Prestige 7642, I Got A Woman (LP) Jack McDuff – org, Harold Ousley & Red Holloway – ts, Pat Martino – g, Joe Dukes –d (Recorded 2-?-1966) As some of you noted, this one just screams “OPENER!!!!” It almost made my last BFT, and I wasn’t going to let it escape again. Ousley does indeed sound a little out of sorts, but nothing too drastic. Everybody else is hitting on all cylinders, and Dukes cracks me up with his show-biz antics. The whole things got a show-biz vibe to it, actually, and no musical integrity is sacrificed in the process. These are all players who were well-seasoned in the art of playing for people, not at them, and I for one find this kind of stuff impossible to resist. As also noted, the arrangement is really nifty, not getting in the way of the jamming one whit. It actually enhances the solos, setting them up and providing a subtle episodic flavor to what could have been just another run-through on some well-worn changes. I particularly love the ending, which is just a little bit wacky, and which also sets up the possibility of anything happening next. Even this... TRACK TWO – “Cheesecake” by Louis Armstrong From Pickwick 33 SPC 3229, Mame (LP) Louis Armstrong – tpt/vcl, Buster Bailey-cl, Tyree Glenn –tbn, Marty Napoleon – p, Alfred Di Lernia - banjo, Buddy Catlett –b, Danny Barcelona-d (Recorded April, 1966) Well! it seems that you either love it or you hate it. If you hate it, you probably find it to be a demeaning piece of tripe not worthy of such a great talent and cringe at the image of perhaps the most important musical figure of the 20th century mugging his way through it, banjo (BANJO!) and all. If you love it, you probably think it’s a piece of wacked out, borderline surrealistic nuttiness, possibly conceived of while Pops was enjoying a visit from Mr. Muggles. Put me down in the latter camp. I can’t listen to this without laughing out loud, and not in mockery, either. Kids love it, too, as evidenced by some of the responses. Mine do, too, and have for years! Yeah, it’s pretty lightweight in the grand scheme of things, but then again, a good smile is nothing to sneeze at! Check out Buster Bailey’s deadpan phrasing behind the vocals, and I think the intent becomes clear – these guys were playing it for grins all around, and not least of all their own! And speaking of grins... TRACK THREE – “Guajeo De Saxons” by Cachao Y Su Ritmo Caliente From Panart 2092 – Cuban Jam Sessions In Miniature “Descargas” (LP) Israel Lopez (Cachao) – b, Emilio Penalver – ts, Virgilio Lisama – bs, Guillermo Baretto – Bateria – bateria, Tata Guines – tumbadora, Rogelio “Yeyo” Iglesias – bongos, Gustavo Tamayo – guiro (Recorded 1957) I find this one totally irresistible, not just for feel, but for musical specifics. “Listen to my saxes, what rhythm they have” is the translated mantra of the corro, and what rhythm they have indeed! Not a jazz rhythm, either, but a distinctly Afro-Cuban one. Listen to how everything about their playing is so deeply inside the beat, and to how every aspect of their sound, from their attacks to their embellishments, springs from the notion of their horns being another ingredient in the delicious rhythmic stew.that’s being concocted around them. Especially interesting is how the traded fours between the horns begin, not on the first bar, as in jazz, but with a pickup into that bar. To me, this reveals a different concept of where “one” is than jazz has, and it’s a concept that is distinctly African. Much jazz has a subliminal African phraseology, but the Cuban cats invariably have it explicitly. Also, the Panart label was to pre-Castro Cuban music (of all varieties) of the 1950s what Blue Note was to Hard Bop during the same decade. For those interested in this type of music, I can’t recommend an exploration of that catalog strongly enough, especially the various “Cuban Jam Sessions”, of which this one led by Cachao is the most famous. If you’re having just one, this would be the one to have, but why have just one? Now, speaking of unique rhythmic sensibilities, tunes that begin with solo saxophone, and unusual trading of fours... TRACK FOUR – “Cosmet” by Sonny Rollins From Milestone M-9064, Nucleus(LP) Sonny Rollins – ts, Bennie Maupin – ts & saxello, Raul De Souza – tbn, David Amaro – g, Chuck Rainey – el b, Eddie Moore – d, Mtume – perc (Recorded September, 1975) This is one of the good’uns that got left off the Silver City set. Rollins is not in particularly heavy exploratory form here, but geez, is he into the tune physically (you should see the back-cover photo of him – his biceps are the size of my thighs, almost!). That tone occupies a room of its own! And his phrasing, especially when he’s playing those slightly displaced longer note is just so precise, so keen, everything happens at exactly the right microsecond. Listen to the little thing he does at 1:26 – talk about flying through the air with the greatest of ease! Plus, he speeds up and slows down his interior time at will, never losing the beat or killing the groove (if anything, his slight-of-ear enhances it). Then there’s all the little micro-moments where his time just dissolves completely into pure sonic energy. Truly, this is a master at work.And, it’s neat to compare the way that Sonny uses alternate fingerings on some notes for to create a more percussive effect with how Emilio Penalver uses the same device on the previous cut. It’s a “tenor thing” that has its roots in Lester Young, but the ways its been put to use over the years cover more ground than the wind. Sonny uses them to create a solo that has the tenor sounding not like a mere horn, but like a freakin’ force of nature! But he’s not the only one getting his groove on here – De Souza sounds fine, Maupin turns up the heat on saxello (with the rhythm section following him beautifully), and then the fours begin. What a glorious mess this turns into! Sonny comes in full-throtle, De Souza picks up the ends of Sonny’s lines for the beginning of his own, and Maupin, now on tenor decides to take it a little bit out, in a way very reminiscent of Sonny from the decade before. Things get a little tangled up, and everybody lets Maupin have a little spot of his own before Sonny most emphatically calls everybody home. It’s a totally groovy cut in my book, and you can dance to it just as easily as you can the previous one. I really like the effect created by the guitar/electric bass/congas/drum rhythm section here, too. Just a nice big rowdy wall of groove, with the relatively transparent sound of the guitar not interfering with any spur-of-the-moment harmonic detours that anybody might want to take.. Nothing subtle at all about it, but damn, if you want to play hard, loose, and loud for a little while, here it is. And as Sonny’s solo shows, there’s plenty of room for tremendous amounts of subtlety while playing non-subtly! TRACK FIVE – “Gone With The Wind” by Morris Brewbeck with Sol Desman (others not credited) From Argo LP-4006 – Morris Grants Presents JUNK (Jazz University's New Kicks)(LP) (Recording Date not given) Well, yeah, What WAS that? Hell if I know, and nobody else seems to, either, except for Jack Tracy, and he didn’t answer my e-mail... (Although, I’ve heard a rather reasonable – but entirely speculative - suggestion that Don Elliot was involved at some level). But it’s a hoot of a send-up that is at once blatant and subtle. This is one of those “cult classics” that I searched for years to find, finally getting it from Da’ Bastids within the last year or so. Some of the parodies are over-the-top, some are just plain cruel in their accuracy, and at least one, the performance by “Ornette Morris with Mon Cerie”, is pretty damn interesting on its own terms. You gotta hear it to believe it. That’s all I can say. TRACK SIX – “The Man I Love” (excerpt) by The All Stars From Decca MCAD-42329 – Gene Norman Presents JUST JAZZ (CD) Charlie Shavers – tpt, Willie Smith – as, Corky Corcoran – ts, Barney Kessell – g, Tommy Todd – p, Slam Stewart – b, Jackie Mills – d (Recorded 8-4-1947) From a bogus live show to a real one. LOVE this cut, LOVE this CD. One of those times when it was all good for all concerned. Shavers just kills here (so much pure POWER here, and of every type), but really, everybody does. It’s Kessell, though, who intrigues me the most. Still young, still a lot of Oakie in his soul, and still working with a comparatively limited vocabulary, but damn, is he INTO it. There’s an intensity to his playing here that borders on compulsiveness, and that compulsion is to PLAY, and that he does. It’s not in the least bit “relaxed”, but oh well. It damn sure SWINGS! A little-noted early masterpiece by this great guitarist, imo. For that matter, this whole concert is a great but often overlooked one. It’s famous (and justly so) for the Lionel Hampton solo on “Stardust”, but what the rest of the guys played w/o Hamp is every bit as good. A highly recommended set, but it might be currently OOP. Don’t let that stop you from looking for it. TRACK SEVEN – “Sack Full Of Dreams” by Gene Ammons From Prestige PR 10022 – My Way (LP) Gene Ammons – ts, Ernie Royal & Robert Prado – tpt; Garnett Brown – tbn; Richard Landry – ts, Babe Clark – bs, Billy Butler – g, Ron Carter – b, Idris Muhammad –d, Patricia Hall, Linda Wolfe, Yvonne Fletcher, & Loretta Ritter – voices, unnamed strings, Bill Fisher -arranger/conductor (Recording Date not given, but album released ca. 1970-72) Ah, the early 70s – big cars, big hats, big clothes, big everything, including big soul. And who had bigger soul than Gene Ammons? Sure, the “sweetening” is all over this one (and it’s not so much “sweet” as it is just plain ol’ BIG), but what’s underneath it all is about as solid as you can get (dig how Idris Muhammed takes fellow New Orleansian Vernell Fournier’s “Poinciana” beat as the basis for his HARD playing for much of the piece). Besides, Jug always played for the people - what the people were into is what he played, and he always played it his way. This cut is no exception. It’s a tune by Gary McFarland that had been popularized a little bit by Grady Tate & Donny Hathaway (in his live shows), but Ammons’s version is definitive, imo, removing all the “sap” from the lyrics and replacing it with 100% Soul of the 200 Proof variety. Whereas the other versions were a little “sentimental”, this one is REAL. Big, indeed! This album’s not on CD, probably never will be, and frankly, this cut is by far and away the highlight of it. But lordhavemercy, it’s one helluva cut, totally of its time yet totally timeless (we all need to get in touch with our Inner Mack...). If we had more Soul People like Gene Ammons playing “pop-jazz” like this, the world would be a much better place. TRACK EIGHT - “I Got It Bad (And That Ain’t Good)” by Archie Shepp From Impulse! AS-9186 – For Losers (LP) Archie Shepp – ts, Clarence Sharpe – as, Cedar Walton – p, Wilbur Ware – b, Joe Chambers – d, Chinalyn Sharpe – vcl (Recorded 8-26-1969) I can only assume that Chinalyn Sharpe was Clarence Sharpe’s wife, and as such, this cut more than makes up for in reality what it lacks in finesse. C. Sharpe was one of the many, MANY players who didn’t vanish from the face of the earth after they vanished form the radar screen of the jazz world. He kept on playing, and as he shows here, he was playing incredibly well, taking his Bird-isms and growing them into something deeply personal and not at all clichéd or imitative. And what did he get for it? A life spent on the fringes, a lot of low-profile, low-paying “local” gigs (best kept secret in the jazz world is the fact that, away from the high profile jobs, there’s a “local scene” going on smack dab in the middle of The Jazz Capital Of The World, New York City. and it’s at least every bit as frustrating, dirty, and soul-eating as any local scene anywhere. Probably more so, considering what’s going on just down the street and around a few corners...). Some of the temptations of the “jazz life” no doubt were not strangers to the Sharpe household, if only as a way to blunt the frustration as the years passed and everything stayed, unfortunately, the same. Except that the music got deeper. But who got to hear it? So yeah, this cut rings true to me, and not a little painfully so. Yet, there is more to it than pain. There’s also the inner bliss that comes from knowing that no matter how much you get shit on, you’re still doing what you want to do the way you want to do it. Shepp called this album “For Losers”, and it’s a bit of a concept album to my ears, the concept being that the “losers” like Clarence Sharpe are in fact the heroes of their time. Still my favorite Shepp Impulse!, all things considered, and still not reissued on CD. The irony is rich... But hey, kwitcherbitchin’ and smile, because.... TRACK NINE – “Everything’s Coming Up Roses” by Count Basie and his Orchestra From Harmony HS 11371 – Just In Time (LP) Marshall Royal, Bobby Plater – as; Eddie "Lockjaw" Davis, Eric Dixon - ts; Charlie Fowlkes, bs; Roy Eldridge; Al Aarons, Gene Goe, Sonny Cohn - tpt; Richard Boone; Harlan Froyd, Grover Mitchell, Bill Hughes – tbn; Count Basie – p, Freddie Green – g, Norman Keenan – b, Ed Shaughnessy – d; Chico O’Farrill – arr (Recorded 9-8-1966) No real musical reason to include this here (although Jaws’ is great, as always), just thought that it would be a wiseguy type sequencing move, good for a grin. But fwiw, Basie supposedly specifically requested that Shaughnessy play on both of his Command albums. Go figure. TRACK TEN – “Self-Help Is Needed” by Oliver Nelson From Flying Dutchman FDS-116 - Black, Brown And Beautiful (LP) Frank Strozier – as; others not credited, but likely including Bobby Bryant – tpt, Roger Kellaway – p, Chuck Domanico – b, John Guerin – d (Recorded ca.1969) Blues And The Abstract Truth may well be Nelson’s small group masterpiece, but Black, Brown And Beautiful is every bit a masterpiece, this time of Nelson’s composing/arranging. This cut is a fine example. I’ve always thought that Oliver Nelson was one of the great musical subversives of his time, able as he was to incorporate dissonance into all sorts of “commercial” settings without so much as raising an eyebrow from the general public. Well, here the setting is a little less commercial. This album was Nelson’s direct comment on the racial turmoil going on in America at the time, replete with explicitly political, self-penned liner notes. Nelson’s commentary on this piece: The surface of this piece is fairly straight-ahead, modern big-band. But listen to the inner voicings, especially in the saxes behind the brass’ theme statement. We’re talking EXTREME dissonance here. Every big-band piece on the album’s like that – straight-ahead on the surface, tense as hell on the inside, even moreso than usual on a Nelson date. And he did it in Los Angeles, no less. In spite of how Nelson’s work and sound permeated all levels of mass-media in America, at its core was this tension, this knowing that things weren’t as they should be, but not knowing how, when, or even if, they would get better. So he soldiered on, playing the game on the surface, speaking his mind on the inside of it. Pretty heavy stuff, really... And Frank Strozier, what can you say? He’s another guy who just kept growing away from the spotlight. Nothing at all “easy” about his playing here, just as there’s nothing at all easy about the writing (and I’ve had the pleasure to play some of Nelson’s arrangements, so I mean that in terms of playing them right as well as what their “meaning” is). Despite how it sounds on the surface, this is THICK music. But now, to lighten up a little bit, we move on to a consecutive series of what could best be described as four “curiosities”, the type of things that make the concept of “Blindfold Tests” so much fun. None of them are the type of thing you’d normally associate with who they are, but they all work just dandily on their own terms. At least they do for me. TRACK ELEVEN – “Hi-Fly” by Lionel Hampton From Hindsight HSR-237 – The Uncollected Lionel Hampton Septet 1963 (LP) Lionel Hampton – vb; others not credited (Recorded 1963) Recorded for some U.S. Navy promotional show, this (and all the other cuts from this album) are very short. Short, but sweet. Who’d ever think about Lionel Hampton, the quintessential extrovert/exhibitionist Swing Era/proto R&B transitional figure turning in a nice, mellow, thoughtful, thoroughly non-stylized rendition of this Randy Weston evergreen? Well, quiet as it was kept (as much by himself as anybody), Lionel Hampton was one of the great players in jazz history. This guy played Coltrane tunes like “Lazy Bird” & “Moment’s Notice” like they were the proverbial pieces of cake, just breezed through the changes like it wasn’t any big deal. Didn’t seem like anything phased him. It seemed that for him, it was all music, and that if you could play, well, you could play any changes. Changes was changes. “Hi-Fly” is not an especially difficult set of changes by modern standards, but how many players of Hamp’s generation could’ve played them as fluently, nonchalantly, even, as he does here? Hey – Lionel Hampton could PLAY! TRACK TWELVE – “Ugh” by The Mercer Ellington Septet From Doctor Jazz 40359 – Duke Ellington – New Mood Indigo (LP) Paul Gonsalves – ts. Chick Corea – p, Aaron Bell – b, Louis Bellson – d; (NOTE – Ray Nance – tpt, Johnny Hodges – as, & Harry Carney – bs are present on the other cuts from this session) (Recorded 1-5-1966) Yeah, it’s really “Windows”. My guess is that this title was bestowed by original LP annotator Stanley Dance, but I can’t prove that. No matter, another short-but-sweet “curiosity”, and quite possibly the first recording of this soon-to-be Instant Classic (perhaps even shortly after it was composed, I don’t know. Perhaps Chick got this recorded to serve as a demo of the song?). Nothing to say, really, other than that it’s beautiful people making beautiful music, and how Chick got his tune played at an Ellington session, even a Mercer Ellington session, is a story that I’d like to hear. TRACK THIRTEEN – “Moon Maiden” by Duke Ellington From Pablo 2310-787 – The Intimate Ellington (LP) Duke Ellington – celeste & vcl (Recorded 7-14-1969) Really thought that more people would recognize Duke’s voice, but I guess if you’re not of the age to have heard him fairly often on TV while he was alive, and/or if you haven’t spent a lot of time with any number of the innumerable live recordings of his, that voice might not be instantly recognizable. Guess I’m older than I realize! Anyway, this one has always tickled me, and it’s just a little out-there in spots. But Duke was an avant-garde-ist in populist clothes anyways, so no surprises there! The celeste reminded a few people of Mr. Rogers, and, yeah, I can hear that – if Mr. Rogers was on the Playboy Channel! Now, from one sex song to another... TRACK FOURTEEN – “Mountain Oysters” by Eddie “Lockjaw” Davis From King KS-1133 – Risky Blues (LP) Eddie “Lockjaw” Davis- ts, others not credited (Recording Date not given) One of the most uniquely identifiable musical voices of the 20th century, regardless of the context. And one of the swingingest. And one of the nastiest. Nothing more to add, except that, as with many other types of meat-preference, in Texas, we use beef instead of pork. Or so it seems. I’ve not yet summoned the courage to partake of this particular delicacy. Some day, perhaps. Or not... TRACK FIFTEEN – “Time After Time” by Shirley Scott Quartet From Impulse! A-9101 – The Definitive Jazz Scene Volume 3 (LP) Shirley Scott – org, Stanley Turrentine – ts, Bob Cranshaw – b, Otis Finch –d (Recorded 9-23-1964) If I had to pick one cut that to me was the epitome of what the Turrentine/Scott partnership was all about, this would be it. Good god, can you get any more relaxed and natural? No, you can’t... And the interaction between the two principles just oozes the give and take, push and pull, you go this way when I go that way of the conjugal relations of a married couple, OOoooooh baby.... Speaking of natural, as great as RVG’s work for BN was, there are times when I think he actually did better work for Impulse!, and this is one of them. Not “perfect” (do you hear how he opens Turrnetine’s mike over halfway into Scott’s intro and just EXPANDS the soundstage all of a sudden?), but I’ve never hear Stanley’s tone captured more intimately – there are moments when you can literally hear his breath just before a note comes out, and it’s all in perfect relative balance with his overall volume. Hope this came across in the digital transfer of this CDR. Anyway, something was brewing in the studio that day, something mellow... TRACK SIXTEEN – “Jax Beer Commercial” by Patty Waters From Water 137 – You Thrill Me (CD) Patty Waters – vcl, Joe Newman – tpt, others not credited (Recorded 1964) Yep, that’s Patty Waters, her of the gut-wrenching, spine-tingling ESP sides, doing a beer jingle with Joe Newman, replete with a little “empty” spot there for anybody who’d like to do a little ad copy writing and/or voiceover work (hint, hint...). The same Patty Waters who repeatedly and rawly screamed “BLACK” in one of the great recorded cathartic moments of 20th century history is here singing about Moody’s Mood, Shearing’s Riff, and The Little Things That Make The Diff. Life is funny sometimes... TRACK SEVENTEEN – “For All We Know” by Patty Waters From Water 137 – You Thrill Me (CD) Patty Waters – vcl, Alan Youngblood – p (Recorded 1979) Yep, that’s Patty Waters, her of the gut-wrenching, spine-tingling ESP sides, doing an incredibly poignant and intimate rendition of a song that’s already incredibly poignant and intimate to begin with. This was 1979, when nobody knew where she was, or if she was even still alive. Well, she was alive, and had probably gotten “damaged” along the way from there to here, and here she was. The same Patty Waters who repeatedly and rawly screamed “BLACK” in one of the great recorded cathartic moments of 20th century history is here singing about just love me tonight, that’s enough to last forever, because forever might be over any second now, and I need to be loved by somebody before it is and I want it to be you. And she sounds like she means (and has lived) every last word of it as much as anybody has ever meant (and lived) anything. Life is funny sometimes.

1.Earl Coleman - When Did You Leave Heaven, from LOVE SONGS 2. Joe Albany - You Don't Know What Love Is, from PROTOBOPPER 3.Gene Ammons - Ca'Purange, from BAD BOSSA NOVA 4. Curtis Amy - Mustang, from MUSTANG 5. Paul Horn - Mr.Bond, from SOMETHING BLUE 6. Etta Jones - Give Me Something To Remember You By, from DON'T TALK TO STRANGERS 7. Milt Jackson & Coleman Hawkins - Don't Take Your Love Away From Me, fromBEAN BAGS 8. Phineas Newborn, Jr. - Gee Baby Ain't I Good To You, from I LOVE A PIANO 9. Patty McGovern & Thomas Talbert - All In Fun, from WEDNESDAY'S CHILD

ECM Areni Agbabian Bloom Areni Agbabian: voice, piano Nicolas Stocker: percussion Release date: April 26, 2019 ECM 2549 B0029232-02 UPC: 6025 675 2590 5 Areni Agbabian casts a quiet spell with her art, as an improvising vocalist, folk singer, storyteller and pianist. Her voice has been described as “bell-toned” by The Guardian and “lush” by theLos Angeles Times, the music she creates with it “intensely focused, moving toward some kind of hidden truth,” according to The New York Times. Agbabian’s ECM debut, Bloom, has a richness that belies its spare ingredients: just her evocative voice and piano, along with the subtly ingenious percussion of Nicolas Stocker (who was last heard on ECM with Nik Bärtsch’s Mobile ensemble). Born and raised in Los Angeles into an Armenian family, Agbabian came to international attention via performances and recordings with groups led by Armenian jazz pianist Tigran Hamasyan. Bloom draws deeply on the singer’s Armenian heritage, as she reinterprets sacred hymns, a traditional spoken-word tale and a dark folk melody transcribed by the great Armenian composer and ethnomusicologist Komitas. She intersperses these among her own vocal and instrumental compositions, which channel a wide world of influences, from Komitas to Tigran Mansurian, from Morton Feldman to George Crumb, from Patty Waters to Kate Bush. The melody that recurs through the highlights “Petal One,” “Petal Two” and “Full Bloom” glows with an aural and emotional purity that’s characteristic of Agbabian’s music. Agbabian recorded Bloom at Auditorio Stelio Molo RSI in Lugano, Switzerland, with ECM founder Manfred Eicher producing. The two had met some years before at a post-concert dinner in Paris, with Eicher then listening to her first solo album, Kissy(bag). About the experience of working with the producer for Bloom, Agbabian says: “First of all, the studio in Lugano is a warm wooden room with a natural reverb and projection, perfect for this sort of acoustic music. With his years of experience, Manfred guides an artist to the correct balance musically. As far as my songs went, he suggested a few changes that made them more appropriate for a studio recording as opposed to concert performance. He also suggested that I play slightly different takes of the same material, which created recurring motifs that gave the album narrative shape. There are a couple of pieces credited to Manfred, ‘Rain Drops’ and ‘Whiteness,’ that serve as parentheses within the storybook feel of Bloom. He had suggested that I play a mid-range chord in E-flat and slowly make my way up the keyboard with an airy feel. He conducted these moments live in the studio space.” Stocker also contributes two solo percussion pieces to the album, “Light Effects” and “Colored.” About the collaboration with the percussionist, Agbabian explains: “When I was invited to check out the studio in Lugano, I met Nicolas while he was playing a Nik Bärtsch session. I could immediately tell that Nicolas was a very kind person, and I really liked the color palette of his percussion setup, which he extended with unique bells and gongs. We ended up working together intensively for a few weeks before recording, both in L.A. and Zurich. I added a few items to his percussion set, such as Tibetan singing bowls. Also, the piano preparations on some of the pieces ended up giving us a unified percussion sound, especially on my piece ‘The Water Bride.’ And ‘The River’ was a pure improvisation by the two of us from which his polyrhythmic groove in ‘Colored’ emerged.” Agbabian has been a singer since she was an infant, already humming melodies at the age of 11 months. Growing up in a world of sound, she was hitting xylophones and drums by age 4, making up melodies and rhythms. She sang rhymes and folk songs with her aunt, a trained opera singer and Armenian music specialist, and her mother, a storyteller and Armenian folklorist. These women imprinted the Armenian language, its tones and inflections, into her mind and body. At age 7, Agbabian began a study of classical piano that lasted for 20 years. Throughout this period, she continued her vocal work, and by her early 20s, she had sung in many choirs of Armenian sacred and Bulgarian folk music, eventually performing traditional Armenian folklore and music professionally. She gradually integrated these byways of her musical journey into an individual musical path. After some years performing in the improvised music scene of New York City, Agbabian returned to her hometown of Los Angeles. She joined Hamasyan’s quintet, touring the world and recording two albums with him; she also wrote the lyrics to “Lament” on his Shadow Theater LP. As a vocalist, Agbabian has worked not only in jazz and folk music but also in contemporary opera, dance, new music and multimedia performance, with her credits including the opera What To Wear by Bang on a Can composer Michael Gordon. She released her solo album Kissy(Bag) in 2014. Of late, Agbabian has been performing Armenian and Persian music in Los Angeles with Lernazang, a group of young folk instrumentalists; she also collaborates with guitarist Gagik “Gagas” Khodavirdi, her husband. Throughout Bloom, a sense of spiritual yearning makes itself felt, strikingly so in Agbabian’s own deeply introspective songs “Patience” and “Mother,” as well as in the Armenian sacred hymn “Anganim Arachi Ko.” The connection between the traditional material and the original songs is virtually genetic. She explains: “Armenian music is in my DNA. It speaks to me on a spiritual level that I cannot explain. In fact, the sacred music eventually is what changed my life. It was through it that I came to know God, and through the imagery of the Biblical stories of the Resurrection written in grabar (classical Armenian) that my heart was transformed. Intellectually, it is probably more difficult than any other music I have studied, European classical music included, especially because of Armenian music’s linguistic and rhythmic challenges, the microtonality and the memorization. I’m in my fourth year of participating in sacred music study and practice. This requires an understanding of ritual time, and supporting the cerebral process of understanding music with conscious listening of my whole person.” ECM Stephan Micus White Night Stephan Micus: kalimbas duduk, bass duduk, sinding, dondon, fourteen-string guitar, steel string guitar, Tibetan cymbals, cane whistles, vocals Release date: April 26, 2019 ECM 2639 B0029979-02 UPC: 6025 773 6220 0 Though the purity of the moonlight has silenced both nightingale and cricket, the cuckoo alone sings all the white night. (Anonymous, Japanese) “I’ve always been inspired by moonlight,” says Stephan Micus. “Often I go walking, swimming in the sea or, best of all, cross-country skiing when the moon turns the snow into millions of diamonds. Moonlight for me has a special magic.” Stephan Micus has a strong and physical relationship with nature, landscapes and the people who inhabit them, all over the world. You hear that in his music which is created for instruments he has collected in years of travels and re-fashioned for his own use. He plays all the parts and multi-tracks them with up to 22 layers on the ‘Fireflies’ track on this album. By contrast, ‘The Moon’ and ‘All the Way’ are solo pieces recorded in one take. On White Night, his 23rd solo album for ECM, Micus takes us on a journey into an imaginary world entering at ‘The Eastern Gate’ and exiting at ‘The Western Gate’. In between the gates unfold the different scenes of the composition: ‘The Bridge’, ‘The River’, ‘The Moon’ and so on. Aside from the 14 string guitar, to conjure this world Micus plays instruments from Armenia, Tibet, India, Egypt, Ghana, Senegal, Tanzania, Botswana, Namibia and Ethiopia, most of them in combinations never heard before. For each of his albums, Micus uses a defined cast of instruments to create its distinctive sound world. On White Night, the leading characters are African ‘thumb pianos’ (kalimba) and the Armenian duduk, two instruments which are extremely different in their personalities. The duduk always has a trace of melancholy, whereas the kalimba is imbued with a spirit of joy. To combine the two is like bringing two irreconcilable spirits together. The technical name for the kalimba is a lamellophone, which comprises metal tongues attached to a resonator. They are known by different names in various parts of sub-Saharan Africa - mbira, kalimba, sanza, ndingo etc. On this album Micus uses instruments he has collected in Tanzania, Botswana, Namibia and Ethiopia. “These are old and unique instruments,” he says. “Most of them I found in remote villages and so each one has its own story connected with the people I met, with the landscapes and these memories help me create the music for them, something an instrument bought in a shop could never do. In most cases I change the tunings according to the music which evolves when I start improvising on them. My first kalimba I bought in Tanzania some 26 years ago.” “Whenever I travel I take a kalimba with me on my journey. It’s such a great instrument to carry along,” says Micus who has a practical relationship with these instruments. “It’s small and doesn’t disturb anyone. This enables me to keep working on some tunes and rhythms even if I am on the road.” One of the solo tracks at the heart of the album is ‘All the Way’, played on a kalimba Micus bought in a village where the indigenous San people have been settled in Botswana. This is a one-take performance on an instrument of 22 keys. “I admire the way that for thousands of years, the San lived on the land without leaving any traces or without doing any damage to it, just like the Australian aborigines or Native Americans. But strangely people have always looked down on these people, while really we should honour them for this great achievement”. This kalimba solo is a tribute to all people who respect our planet and preserve its amazing beauty. Another kalimba, from Tanzania, that Micus uses on ‘The River’, has small rings on its keys creating a buzzing sound like waves and splashes in the water. On ‘The Bridge’ and ‘The Forest’, Micus uses a kalimba specially created for this album. He commissioned the South African instrumentalist Phillip Nangle to build an instrument with just bronze keys instead of the usual steel ones. Bronze gives a warmer, more mellow sound, which makes a superb accompaniment to Micus’ voice singing his lyrics in an invented language. Micus has made two trips to Armenia to learn to play the duduk, the plaintive, oboe-like instrument which lends its melancholy tone to so much Armenian music. The first time he studied with Djivan Gasparyan, the second with Gevorg Dabaghyan, two musicians who are considered by many to be the greatest living masters. He’s used the duduk on two previous albums Towards the Wind (2002) and Snow (2008). Traditionally the bass duduk is only used as an accompanying drone, playing just one or two notes. But on the opening and closing tracks ofWhite Night Micus uses it for soulful melodies that frame his story with themes of deep profundity. You’ve never heard a duduk go as low as this. The other solo in the center of the album is ‘The Moon’, a duduk solo, played on a much smaller instrument than the standard one. The composition has nothing to do with traditional Armenian music, but certainly evokes the lonely, misty and ethereal shimmer of the moon in the night sky. For many of his CD booklets Micus chooses a small text to intensify the particular mood of each album. For White Night he’s chosen a Japanese poem, so the track ‘The Poet’ could represent the anonymous writer reciting his verse about the entrancing birdsong in the white, moonlit night. Other striking instruments we hear are Indian cane whistles multi-tracked many times, which in ‘Fireflies’ alternate with Micus’ own voice in chorus. “They are simple cane flutes which you play like a recorder. I bought them on the street somewhere costing a few cents each.” And there are the Tibetan cymbals which Micus bought in Ladakh. These are ritual temple instruments and their clashing rhythms bring a ceremonial quality to the opening and closing of this album. It’s a reminder that Stephan Micus’ music has a profundity, that connects to cultures all over the world and their musical expression. But as he says, “it makes no sense for me to play traditional Armenian duduk.” His desire is to take us on a journey, using rare and obscure instruments combined in a novel way, to reach out to our universal emotions. “Nowadays people in cities have lost contact with the moon,” says Micus. “I have lived all my life in the countryside and have had the privilege to experience many nights around the full moon. That’s why I dedicate this album to the moon which has always been a source of magic in many cultures. Music too is a source of magic which is where the two connect.” ECM Michele Rabbia/Gianluca Petrella/Eivind Aarset Lost River digital release date: May 31, 2019 CD release date: June 7, 2019 Michele Rabbia: drums, percussion, electronics; Gianluca Petrella: trombone, sounds; Eivind Aarset: guitar, electronics Lost River is an evocative post-ambient, richly textured sonic event, and one of the outstanding beyond-category recordings of recent ECM history. Drummer Michele Rabbia and guitarist Eivind Aarset had played many duo concerts, and Rabbia had also worked with trombonist Gianluca Petrella in other contexts, but this recording marks a premiere for the trio. Spontaneously improvised for the most part, and with mysterious detail flowering inside its soundscapes, Lost River keeps revealing new forms. Rabbia's drumming is freely creative and propulsive, and enhanced through his use of electronics. Aarset's flowing playing will delight listeners who have enjoyed his Dream Logic project and his contribution to recordings with Nils Petter Molvӕr, Tigran Hamasyan, Andy Sheppard and others. Petrella's role as a principal instrumental voice will surprise those who know him only as a great "jazz" soloist with Enrico Rava and Giovanni Guidi; his broad range is very well deployed in Manfred Eicher's widescreen production on this recording, made in Udine in January 2018. ECM Paul Bley / Gary Peacock / Paul Motian When Will The Blues Leave digital release date: May 31, 2019 CD release date: June 7, 2019 Paul Bley: piano Gary Peacock: double bass Paul Motian: drums In 1999, a year after recording the splendid reunion album Not Two, Not One, Paul Bley's highly innovative trio with Gary Peacock and Paul Motian took to the road with concerts on both sides of the Atlantic. When Will The Blues Leave documents a terrific performance at the Aula Magna di Trevano in Switzerland. Included here, alongside the angular freebop Ornette Coleman title track, are Paul Bley's "Mazatlan", brimming over with energy, Gary Peacock's evergreen "Moor", Gershwin's tender "I Loves You Porgy" and much more... All played with the subtlety of master improvisers, recasting the music in every moment.

Just listed on bobdylan.com --109.98 presage price from them. (Full track listing had been posted but is now withdrawn--I managed to copy this below from another forum). The Rolling Thunder Revue: The 1975 Live Recordings 14-CD Box Set $109.98 Y4CDBD68 Write the First Review This is a pre-order. Expected ship date is June 05, 2019 Details A comprehensive anthology of music from the mythic first leg of Bob Dylan's groundbreaking Rolling Thunder Revue, this 14CD box set includes all five of Dylan’s full sets from that tour that were professionally recorded. The collection also provides the listener with an intimate insider's seat for recently unearthed rehearsals at New York's S.I.R. studios and the Seacrest Mote in Falmouth, MA plus a bonus disc showcasing one-of-a-kind performances from the tour. CD Box Set Includes: 14-disc set Over 100 previously unreleased tracks Five complete shows, newly mixed Three discs of rehearsals Bonus disc of rarities DISC 1: S.I.R. Rehearsals, New York, NY – October 19, 1975 DISC 2: S.I.R. Rehearsals, New York, NY – October 21, 1975 DISC 3: Seacrest Motel Rehearsals, Falmouth, MA – October 29, 1975 DISC 4-5: Memorial Auditorium, Worcester, MA – November 19, 1975 DISC 6-7: Harvard Square Theater, Cambridge, MA – November 20, 1975 DISC 8-9: Boston Music Hall, Boston, MA – November 21, 1975 (afternoon) DISC 10-11: Boston Music Hall, Boston, MA – November 21, 1975 (evening) DISC 12-13: Forum de Montreal, Quebec, Canada – December 4, 1975 DISC 14: Rare Performances Please note: release date is June 7, 2019. Pre-orders will start shipping on or around June 5, 2019. Tracklist: Disc 1 - S.I.R. Rehearsals, New York, NY – October 19, 1975 Rake and Ramblin' Boy Romance in Durango Rita May I Want You Love Minus Zero/No Limit She Belongs to Me Joey Isis Hollywood Angel People Get Ready What Will You Do When Jesus Comes? Spanish Is the Loving Tongue The Ballad of Ira Hayes One More Cup of Coffee (Valley Below) Tonight I'll Be Staying Here with You This Land Is Your Land Dark as a Dungeon* Disc 2 - S.I.R. Rehearsals, New York, NY – October 21, 1975 She Belongs to Me A Hard Rain's a-Gonna Fall Isis This Wheel's on Fire/Hurricane/All Along the Watchtower One More Cup of Coffee (Valley Below) If You See Her, Say Hello One Too Many Mornings Gwenevere Lily, Rosemary and the Jack of Hearts Patty's Gone to Laredo It's Alright, Ma (I'm Only Bleeding) Disc 3 - Seacrest Motel Rehearsals, Falmouth, MA – October 29, 1975 Tears of Rage I Shall Be Released Easy and Slow Ballad of a Thin Man Hurricane One More Cup of Coffee (Valley Below) Just Like a Woman Knockin' on Heaven's Door Disc 4 and 5 - Memorial Auditorium, Worcester, MA – November 19, 1975 When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll It Takes a Lot to Laugh, It Takes a Train to Cry Romance in Durango Isis Blowin' in the Wind -- duet with Baez Wild Mountain Thyme -- duet with Baez Mama, You Been on My Mind -- duet with Baez Dark as a Dungeon -- duet with Baez I Shall Be Released -- duet with Baez Tangled Up in Blue -- solo acoustic Oh, Sister Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 6 and 7 - Harvard Square Theater, Cambridge, MA – November 20, 1975 When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll It Takes a Lot to Laugh, It Takes a Train to Cry Romance in Durango Isis Blowin' in the Wind -- duet with Baez Wild Mountain Thyme -- duet with Baez Mama, You Been on My Mind -- duet with Baez Dark as a Dungeon -- duet with Baez I Shall Be Released -- duet with Baez Simple Twist of Fate -- solo acoustic Oh, Sister Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 8 and 9 - Boston Music Hall, Boston, MA – November 21, 1975 (afternoon) When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll A Hard Rain's a-Gonna Fall Romance in Durango Isis The Times They Are a-Changin' -- duet with Baez I Dreamed I Saw St. Augustine -- duet with Baez Mama, You Been on My Mind -- duet with Baez Never Let Me Go -- duet with Baez I Shall Be Released -- duet with Baez Mr. Tambourine Man -- solo acoustic Oh, Sister -- solo acoustic Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 10 and 11 - Boston Music Hall, Boston, MA – November 21, 1975 (evening) When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll It Takes a Lot to Laugh, It Takes a Train to Cry Romance in Durango Isis Blowin' in the Wind -- duet with Baez The Water Is Wide -- duet with Baez Mama, You Been on My Mind -- duet with Baez Dark as a Dungeon -- duet with Baez I Shall Be Released -- duet with Baez I Don't Believe You (She Acts Like We Never Have Met) -- solo acoustic Tangled Up in Blue -- solo acoustic Oh, Sister Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 12 and 13 - Forum de Montreal, Quebec, Canada – December 4, 1975 When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll Tonight I'll Be Staying Here with You A Hard Rain's a-Gonna Fall Romance in Durango Isis Blowin' in the Wind -- duet with Baez Dark as a Dungeon -- duet with Baez Mama, You Been on My Mind -- duet with Baez Never Let Me Go -- duet with Baez I Dreamed I Saw St. Augustine -- duet with Baez I Shall Be Released -- duet with Baez It's All Over Now, Baby Blue^ -- solo acoustic Love Minus Zero/No Limit^-- solo acoustic Tangled Up in Blue -- solo acoustic Oh, Sister Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 14 - Rare Performances One Too Many Mornings - October 24 – Gerdes Folk City, New York City, New York Simple Twist of Fate -- October 28 – Mahjong Parlor, Falmouth, MA Isis -- November 2 – Technical University, Lowell, MA With God on Our Side -- November 4 – Afternoon – Civic Center, Providence, RI It's Alright, Ma (I'm Only Bleeding) -- November 4 – Evening – Civic Center, Providence, RI Radio advertisement for Niagara Falls shows -- Niagara Falls, NY The Ballad of Ira Hayes -- November 16 – Tuscarora Reservation, NY Your Cheatin' Heart* (PROBABLY AN INCOMPLETE LISTING OF THIS DISC'S CONTENTS).

ECM Giovanni Guidi Avec le temps Giovanni Guidi: piano Thomas Morgan: double bass João Lobo: drums Francesco Bearzatti: tenor saxophone Roberto Cecchetto: guitar Release date: March 22, 2019 ECM 2604 B0029680-02 UPC: 6025 770 6280 3 Giovanni Guidi is one of the most consistently creative pianists in Europe today, focusing inspirations from contemporary jazz and free playing in a strongly lyrical approach of his own. As well as composing his own material, he has a discerning ear for pieces his group might adapt. The new album begins with an extraordinary interpretation of a yearning song of love and loss by the Monaco-born poet-composer-chansonnier Léo Ferré (1916-1993). The melody and atmosphere of Ferré’s “Avec Le Temps”, one of the classics of the French chanson repertoire, are explored in new detail by Guidi and bassist Thomas Morgan. Of Morgan, Guidi recently noted: “I don’t know if there are other musicians who are so inside the music with every note, who capture everything that’s happening in every moment.” The concentrated soulfulness of the bass playing may put listeners in mind of Charlie Haden’s heyday: Thomas Morgan, too, plays the music not the background. The song’s deep feeling is intensified by João Lobo’s creatively free snare and cymbals, offering fresh color and texture. Both the title piece here and the closing “Tomasz”, a Guidi original dedicated to the late Tomasz Stanko, take Giovanni’s conception of the art of the trio to the next level, extending the work begun on the critically-praised albums City of Broken Dreams and This Is The Day. Avec le temps also initiates some new departures as Guidi expands his group to quintet size with the addition of saxophonist Francesco Bearzatti and guitarist Roberto Cecchetto for six of the pieces here. The quintet originally toured under the headline Giovanni Guidi Inferno, and while it plainly has the capacity to burn down the house, it also radiates a more differentiated flame, as needs dictate. Bearzatti and Cecchetto are strikingly original and resourceful musicians, both leaders in their own right. Bearzatti is one of the outstanding saxophonists of his generation in Italy. Anchored in the tradition – he studied with, among others, George Coleman – he also pushes into areas of pure sound exploration and is conceptually open-minded; his own discography including tributes to, for instance, Malcolm X and to Woody Guthrie. Latterly, Bearzatti and Giovanni Guidi have also been playing together in duo. Like Guidi himself, guitarist Roberto Cecchetto has played extensively with Enrico Rava. Cecchetto was for eight years a core member of Rava’s Electric Five group. His own leader dates include recordings with Guidi and with Bearzatti, and he has worked with many distinguished players including Gianluigi Trovesi, Lee Konitz, Kenny Wheeler, Roswell Rudd, Stefano Bollani and more. Thomas Morgan’s sensitive work with Tomasz Stanko, David Virelles, Masabumi Kikuchi, Craig Taborn, Jakob Bro, Bill Frisell, and many more has been widely-acclaimed. In the Guidi group he is well-matched by drummer João Lobo, who similarly brings deep listening to every performance. Collectively, the quintet is ready to deal with the challenges of the most diverse material, from the bluesy cast of “15th of August”, to the group creation “No Taxi” which is reminiscent of some of Ornette Coleman’s themes, to the tender lullaby “Ti Stimo”, and the free-flowing ballad “Caino”, which draws forth beautiful playing by Guidi and Bearzatti. As a whole, Avec le temps proposes a fascinating journey over changing terrain. *** Giovanni Guidi, born in Foligno, near Perugia, in 1985, was launched on the international stage in the groups of Enrico Rava. After being struck by the focused intensity of the young pianist’s playing during the summer courses of Siena Jazz, Rava invited him into his band. Guidi, who was 17 years old when he first played with the trumpeter, appears with Rava on the ECM albums Tribe and Rava On The Dance Floor. In addition to Giovanni Guidi’s recordings with Thomas Morgan and João Lobo, the pianist can be heard on Ida Lupino, with Gianluca Petrella, Gerald Cleaver and Louis Sclavis, which was voted Italian jazz album of the year in Musica Jazz. Avec le temps was recorded at Studios La Buissonne in Pernes-les-Fontaines in the south of France in November 2017, and produced by Manfred Eicher. As with City of Broken Dreams and This Is The Day, the cover painting is by Emmanuel Barcilon, whose delicate yet intense color-fields provide an apt visual metaphor for the musical poetry of Giovanni Guidi. ECM Areni Agbabian Bloom Areni Agbabian: voice, piano Nicolas Stocker: percussion Release date: April 26, 2019 ECM 2549 B0029232-02 UPC: 6025 675 2590 5 Areni Agbabian casts a quiet spell with her art, as an improvising vocalist, folk singer, storyteller and pianist. Her voice has been described as “bell-toned” by The Guardian and “lush” by theLos Angeles Times, the music she creates with it “intensely focused, moving toward some kind of hidden truth,” according to The New York Times. Agbabian’s ECM debut, Bloom, has a richness that belies its spare ingredients: just her evocative voice and piano, along with the subtly ingenious percussion of Nicolas Stocker (who was last heard on ECM with Nik Bärtsch’s Mobile ensemble). Born and raised in Los Angeles into an Armenian family, Agbabian came to international attention via performances and recordings with groups led by Armenian jazz pianist Tigran Hamasyan. Bloom draws deeply on the singer’s Armenian heritage, as she reinterprets sacred hymns, a traditional spoken-word tale and a dark folk melody transcribed by the great Armenian composer and ethnomusicologist Komitas. She intersperses these among her own vocal and instrumental compositions, which channel a wide world of influences, from Komitas to Tigran Mansurian, from Morton Feldman to George Crumb, from Patty Waters to Kate Bush. The melody that recurs through the highlights “Petal One,” “Petal Two” and “Full Bloom” glows with an aural and emotional purity that’s characteristic of Agbabian’s music. Agbabian recorded Bloom at Auditorio Stelio Molo RSI in Lugano, Switzerland, with ECM founder Manfred Eicher producing. The two had met some years before at a post-concert dinner in Paris, with Eicher then listening to her first solo album, Kissy(bag). About the experience of working with the producer for Bloom, Agbabian says: “First of all, the studio in Lugano is a warm wooden room with a natural reverb and projection, perfect for this sort of acoustic music. With his years of experience, Manfred guides an artist to the correct balance musically. As far as my songs went, he suggested a few changes that made them more appropriate for a studio recording as opposed to concert performance. He also suggested that I play slightly different takes of the same material, which created recurring motifs that gave the album narrative shape. There are a couple of pieces credited to Manfred, ‘Rain Drops’ and ‘Whiteness,’ that serve as parentheses within the storybook feel of Bloom. He had suggested that I play a mid-range chord in E-flat and slowly make my way up the keyboard with an airy feel. He conducted these moments live in the studio space.” Stocker also contributes two solo percussion pieces to the album, “Light Effects” and “Colored.” About the collaboration with the percussionist, Agbabian explains: “When I was invited to check out the studio in Lugano, I met Nicolas while he was playing a Nik Bärtsch session. I could immediately tell that Nicolas was a very kind person, and I really liked the color palette of his percussion setup, which he extended with unique bells and gongs. We ended up working together intensively for a few weeks before recording, both in L.A. and Zurich. I added a few items to his percussion set, such as Tibetan singing bowls. Also, the piano preparations on some of the pieces ended up giving us a unified percussion sound, especially on my piece ‘The Water Bride.’ And ‘The River’ was a pure improvisation by the two of us from which his polyrhythmic groove in ‘Colored’ emerged.” Agbabian has been a singer since she was an infant, already humming melodies at the age of 11 months. Growing up in a world of sound, she was hitting xylophones and drums by age 4, making up melodies and rhythms. She sang rhymes and folk songs with her aunt, a trained opera singer and Armenian music specialist, and her mother, a storyteller and Armenian folklorist. These women imprinted the Armenian language, its tones and inflections, into her mind and body. At age 7, Agbabian began a study of classical piano that lasted for 20 years. Throughout this period, she continued her vocal work, and by her early 20s, she had sung in many choirs of Armenian sacred and Bulgarian folk music, eventually performing traditional Armenian folklore and music professionally. She gradually integrated these byways of her musical journey into an individual musical path. After some years performing in the improvised music scene of New York City, Agbabian returned to her hometown of Los Angeles. She joined Hamasyan’s quintet, touring the world and recording two albums with him; she also wrote the lyrics to “Lament” on his Shadow Theater LP. As a vocalist, Agbabian has worked not only in jazz and folk music but also in contemporary opera, dance, new music and multimedia performance, with her credits including the opera What To Wear by Bang on a Can composer Michael Gordon. She released her solo album Kissy(Bag) in 2014. Of late, Agbabian has been performing Armenian and Persian music in Los Angeles with Lernazang, a group of young folk instrumentalists; she also collaborates with guitarist Gagik “Gagas” Khodavirdi, her husband. Throughout Bloom, a sense of spiritual yearning makes itself felt, strikingly so in Agbabian’s own deeply introspective songs “Patience” and “Mother,” as well as in the Armenian sacred hymn “Anganim Arachi Ko.” The connection between the traditional material and the original songs is virtually genetic. She explains: “Armenian music is in my DNA. It speaks to me on a spiritual level that I cannot explain. In fact, the sacred music eventually is what changed my life. It was through it that I came to know God, and through the imagery of the Biblical stories of the Resurrection written in grabar (classical Armenian) that my heart was transformed. Intellectually, it is probably more difficult than any other music I have studied, European classical music included, especially because of Armenian music’s linguistic and rhythmic challenges, the microtonality and the memorization. I’m in my fourth year of participating in sacred music study and practice. This requires an understanding of ritual time, and supporting the cerebral process of understanding music with conscious listening of my whole person.”

cds: Jimmie Lunceford 1935-1937 Classics $6 Eric Dolphy In Europe V. 3 OJC $6 Patty Waters Patty Waters ESP $ 6 Barry Harris Trio Complete Live in Tokyo 1976 Jazz Lips $6 Mary Lou Williams London Sessions Vogue $6 Charade Soundtrack (Universal 100th Anniversary) comp and cond. Mancini Intrada $12 add $4 shipping 1st class CONUS my paypal is alowe5@maine.rr.com

I've batted around the idea of sharing this with the board for a while but now I figure, what the hell - I can handle a little ridicule and if this brings out any other "personal experiences" people want to share - or they want to tell me they don't think I'm crazy, that's cool too. And since the story is pretty nutty, I figure I should use the poll function and find out what everyone thinks. So please read my story, then answer the poll question. Its long, but (I hope) worth it. This all started in late October. As many of you know, we have two dogs, Coltrane is the smaller black/white dog in my avatar, Gracie is the Weimaraner. Coltrane is the proverbial "big dog in a little dog's body". He is fearless and the most "alpha" dog I've ever known. He doesn't back down from anyone or anything - at least not until we convinced him who was boss back when he was about 9 months old. So - its about lunch time and I went downstairs to take the dogs out and eat. Gracie did her usual race to the back fence after the squirrels. Coltrane however took about two steps off the back door, stopped dead in his tracks, staring, then his ears went back, his head and butt went down towards the ground, and he slunk to the door. When I opened it, he was off like a shot, ran upstairs and refused to come back down the stairs - I even tried using peanut butter to coax him down the stairs but he wasn't budging. Strange behavior to say the least. Its been suggested that an animal might have been in the backyard recently and it was the scent that he reacted to. But his makes little sense as Gracie spent most of the morning downstairs watching for the nefarious squirrels. Had any animal - particularly something rare enough to emit a smell that would frighten him, she would have sounded the alarm. On top of that we simply cannot imagine any animal that would make him behave that way. As I said, the most alpha dog we've ever known. Other dogs, possums, snakes - he doesn't back down. So - eventually Coltrane comes back down the stairs and behaves normally. Now its about 4:30 and time for another out. Coltrane runs off to the back of the yard, so does Gracie. I'm standing by the door, which is open, when Gracie comes up toward me, stops in her tracks, also looking at nothing, and her eyes went wide open in a sort of fearful grimace and she proceeded to start running around the yard in clear distress. She's drooling, her eyes are big and she is totally unaware of her surroundings. She hits the door running, and I think "close the door, keep her inside and get her under control". As I am closing the door, she is heading back out - and even though the door is closing, Gracie is not stopping. I'm convinced that if I had closed the door all the way, she was going through it. As it was, she banged her shoulder on the door, ran to the back, came back to where she had been when it started, and started violently trembling. She went down on her side, in a seizure. It lasted about two minutes and eventually she came out of it, got unsteadily to her feet and a short while later was moving pretty normally. At this point I am talking to my wife and she has determined in her own mind that something paranormal or supernatural or whatever is going on, and that she will follow her Wicca beliefs (that's witchcraft/paganism to those of you who don't know) to try to secure her family and home. I got the dogs in to the house and without really thinking about it, I said aloud "If you want to fuck with someone, fuck with me, not my dogs." My wife was unhappy when I told her this but it seemed like the right thing to do at the time. Immediately thereafter there were two loud knocks that emanated in the living room where I was sitting with the dogs. I cannot explain them. When my wife got home, she finally told me about some of the things that she hadn't bothered to tell me before. I should say in advance that her and her sister share a history of what I guess would be called "sensitivity" to these things. When they were young teens, they got out a Ouija board - and all hell broke loose in the house. OK, maybe not Poltergeist hell, but really wild shit started happening - and Patty was subsequently told that it would behoove her not to mess around with Ouija boards again. The two of them have long believed that their deceased grandfather has hung around the family. They know this because of the olfactory presence of his preferred cologne. So - a couple of years earlier, Patty was going to stay at our house for several nights in order to reduce her morning commute to her training sessions for a new job. After the first night, Patty decided not to stay and now, Sue informed me that Patty left early because of her extreme discomfort in the house. She felt that she was being watched by a man. Sue also told me of her own experiences, which included a perception of "something" in the house. All of this is just to give a background understanding, you can take what you will from it. The events with Coltrane and Gracie were my first experiences of any kind. I would describe my own beliefs as a skeptic but one who is open to being shown otherwise. Not a Mulder-like "I want to believe" but "I'm willing to believe, if you can show me a reason why I should." As far as the dogs are concerned, Coltrane's behavior doesn't make a lot of sense. I have a very hard time believing the "rational" explanations I've mentioned already. As for Gracie, it could be simply a seizure, which can be preceded by severe alterations in personality. But she's never had another one since, and in the context of what happened with Coltrane, its also very strange. OK, enough about the dogs. My wife came home and did her Wicca thing. She enlisted her friend who she regards as a particularly powerful witch. Copious amounts of salt was involved to "seal" and "protect" the house. Particular attention was paid to the back gate. And interestingly enough, the next time the dogs were let out, they went straight to the back gate, paced back and forth, and their hackles went up - it was as if they themselves sensed what had been done the night before. Weird. OK, so that was how things started. Sue was concerned that my statement "fuck with me, not the dogs" would make myself succeptible to whatever is in the house. In fact, nothing much happened except for some strange events at night. Twice I was awakened to a female voice in the room (and it couldn't be my wife talking in her sleep because my snoring sent her out of our room a couple of years ago). There were some other things, but I have a real hard time paying any attention to something that happens at night, due to my near-deafness and severely limited eyesight. So I don't really regard any of that as significant. Flash-forward to Christmas. I went home to CT to visit the folks, without Sue. The first night I was there, I was awakened by a loud metallic bang, directly above the bed. I sleep pretty soundly, and with a pillow over my head, so this noise was pretty loud to wake me up. I sat up, looked around, went back to sleep. As I said, things that happen while I'm in bed don't constitute much to me. But I do think that something was letting me know it was there - because on Christmas night, after dinner, I was standing by the dinner table, talking to Mom while Dad went back and forth between the table and the kitchen. As we were speaking, the center of the waist of my pants were pulled backwards, such that my butt moved about 4 inches backwards. My immediate thought was that my father had just tugged on my pants and I turned immediately to my right to see if he was there. He was four feet past me and he couldn't have done it anyway as he was using two hands to put a serving dish back where it belongs. (Here is where I tell you that my brother summarizes the story by saying that "a ghost gave you a wedgie" but I have to say that the motion was outward, not upward, so it really wasn't a wedgie. But other than that, yeah, I guess you could say that.) Edit to add a detail I forgot: After dinner was over I went to my room to change into some more comfortable clothes, and I announced aloud, "You ain't impressing me." (Which was a lie because I was seriously impressed and not a little freaked out by having my pants tugged by something unseen). Later that night when it was time for bed, my mother went upstairs and I went to the other wing of the house where the kids bedrooms are. As I closed the bathroom door, immediately outside the door and to the left there was a loud crashing noise, as if the books on the shelves were being violently brought together or thrown on the floor. This noise was really loud and while my mother wondered whether it could have been coming from the outside, I know that what I heard was right outside the bathroom door. Strangely enough, no books were disturbed or had fallen to the floor. OK, so I get back home, tell my wife what has gone on ... and nothing much happens in the house. We actually discussed a theory that what she and her friend did had protected the house and the family, but when I left the house to go home, I wasn't protected anymore. Who knows? I only know for sure that something unseen pulled me backwards, and that somehow, a very loud noise was created in the hallway when I entered the bathroom. Now, we've had two more events in the house, both involving things going missing. I had three new CDs sitting on the desk below my monitor. They sat there for a couple of weeks, and then one Saturday morning three weeks ago, I realized - they aren't there anymore. Did I move them? Did I take them downstairs to listen to later? I turn the place upside down looking for them but they are nowhere to be found. I even looked through a shopping bag I had taken out of the closet which had about 75 CDRs, work stuff that had been backed up (and that I had to go through earlier in the week to find an audio file that needed to be fixed). I went through the house twice, including the shopping bag. So I am thinking to myself "could something have taken them?" just as my wife says "Maybe your little friend took them." In fact, she tells me now that things of hers have disappeared, including wands that she uses for her rituals. They are either in her drawer or in her hand, and two of them have disappeared. So, again with no forethought, I said "ha ha ha, that was a good one. You got me good - now can I please have my discs back?" I made another pass through the house - the office, the music room, downstairs, every room. Nothing. I sat down at the desk, and as my eyes went down toward that shopping bag, my eyes spotted a printed edge and lo and behold, there were the discs. I know what you are thinking - its simple and obvious: you absentmindedly put the discs in with the CDRs when you were looking for the disc you needed for work, and its easy to miss the discs when they are in a bag with 75 other discs. There's just one problem - these CDRs weren't in jewel boxes, or slimlines. They are all in CD mailers, just barely bigger than a disc. And I went through every single CD mailer in that bag - four times in total, and I did so by taking out five or six at a time and turning them sideways to see if any discs were in between. I took out every CD mailer in this way, and then put them back in the same way. And I did that twice. The CDs were not in that bag. It is not possible that I took the CDR mailers out of that bag and put them back in, four times, while missing the three CDs I was looking for. So I called my wife and told her what had happened - and she tells me that in trying to protect the house, she had summoned "Fairies" which are known protectors of animals and also known to be pranksters. According to the head of her "Circle" I did exactly the right thing in asking for the CDs back. So, just last night I knew exactly what to do when my wallet turned up missing. You see on Monday I had grabbed my wallet and brought it to the office to pay for something online. I didn't need to leave the house again until Tuesday night, so it sat there in the office. I went into the kitchen where I keep my car keys/wallet/watch and I saw the keys but no wallet. Then I remembered, I had left it upstairs in the office (in fact, I left it in the exact same place the CDs had been left before they disappeared - take from that what you will). Went upstairs - no wallet. Asked for it back, and I went back to the kitchen. Turned on the light, and there was the wallet in its regular place. And before you ask, let me say that I looked for the wallet five minutes earlier with the light on. It wasn't in the room. Then, it was. So - that's the story of the Gould household. Do we have uninvited guests? Am I crazy? Does anyone have their own story to share?

I am pleased to report that notwithstanding the "poking" incident that took place after my wife "sealed" the house (and triggered the angry screaming in her head), things have very much returned to normal. In fact, I have to say that within a couple of weeks I honestly began to perceive what I can only describe as a "lighter" atmosphere in the house. Almost a calm, or just some sense of a change to a sense of ... I don't know, a lack of foreboding or any feeling of dread? Its hard to describe, but I have to say its how I felt, the atmosphere was lighter, and nothing has been going on here since then. But I didn't bring this thread up to report that. I brought it up to report something paranormal but actually sort of pleasing. Three years ago on July 4th my Father-in-Law died unexpectedly of a massive heart attack. He was mere weeks away from moving to his dream home in Arizona (he died in Wichita). As per his wishes, he was cremated and in the fall of that year his ashes were scattered in a particular spot he had picked out in AZ. My wife and her sister took care of this, and while they were doing it, some pictures were taken of the area. Two of the pictures had what could be called "light anomalies" - it was a sunny day, this was an area with trees, and two pictures had sort of grayish dark areas or shadows. We didn't put too much stock in the pictures simply because, with big trees you simply can't say whether or not these are natural shadows or not, no matter what the grieving family wants to believe. Fast forward to last month. My wife decided to sell her pickup truck in order to pay down some debts. Her plan was to fly out to Wichita with her sister to buy a replacement vehicle from a dealer who was her Father's closest friend (and she knew would give her a really good deal). So in June she books the airline tickets and informs Patty of this. Patty has saved on her cell phone one of the pictures from Arizona, but she does not keep it on the screen. That's reserved for her dog, Logan. The next time Patty took out her cell phone after Sue told her their flight schedule, her cell phone was displaying the picture from Arizona. So they are in Wichita and she is completing the purchase of her SUV. They are sitting in the office awaiting the paperwork when Patty pulls out her phone - and once again, "Dad's" picture is on the screen. Now I do not know of any cell phone where changing the picture on the screen is a simple matter of hitting a couple of buttons, which one could suppose might be done accidentally. You've got to push a button to bring up settings, you have to choose what setting you are changing, you have to find the picture and select it. We do not have any logical explanation for how the picture changed, except what Dad's friend said when they showed it to him - "Bob is just saying 'hi'." I can't find the pictures on the hard drive but if I find the disc I will upload them.

Wanda's tempo works for me, it leaves room to think about what those lyrics are really talking about.. It's an observation more than a show. Patty Loveless, not so much: But Loretta Lynn? Hell yeah, production be damned, that woman is all about real.

I started there in fall 1973, and was head of the Jazz Project from 1974-75. Besides Rollins, we put on Oregon, Weather Report and (a free show) Jack DeJohnette/John Abercrombie. Funny that you mention the Sam Rivers show, which was in the fall of 1973. I was there that night, and after 2 hours of high-energy music, the concert ended suddenly when the Social Hall was evacuated because of the shooting. I saw Barry Altschul recently in Houston, backing Patty Waters, and asked him if he remembered that show. He didn't. I said "it was you and Dave Holland backing Sam Rivers." He thought back and said "Are you sure it wasn't Reggie Workman?" Do you remember who it was? And yes, Straight Country and Blues. They put on a lot of great folk festivals. But so did Cornell. It was a great time for music.

I just wanted to post a note about a new release of mine, in a quartet featuring the vocalist/co-leader Elaine Mitchener, bassist Neil Charles, and drummer Stephen Davis... It's called UpRoot, and is my first release on Intakt - so as you can imagine, it's beautifully produced, and includes liner notes from Brian Morton. It's mostly a programme of original compositions, although we do visit things by Patty Waters, Archie Shepp, and set a poem by Jeanne Lee. Other texts include verses from Lyn Hejinian and Rumi... Elaine's a totally wonderful vocalist, with a pretty dizzying array of influences (there have been incredible performances of Cage, Eastman, and Rzewski amongst others in just the last year; she works with movement; has background in gospel and jazz too), and Steve, Neil and I have all recorded together numerous times before...Anyway, please do consider checking it out. Here's the relevant page on the Intakt website.. For those in the UK, we are launching the album with a performance at Kings Place on 12th January. Various other dates (UK and mainland Europe) are also confirmed, and to be announced very soon!

It's "Way Back Home", maybe repurposed with lyrics and maybe a new title, no idea. But that's the Patty Hearst song in my mind, always and forever. http://www.latimes.com/local/obituaries/la-me-joe-sample-20140915-story.html http://jerryjazzmusician.com/2014/09/joe-sample-sla-budding-writers-career-path/

Not certain I understand. Are you talking about this film, in which Patty Hearst appeared?

Yeah - does she LOOK like Patty Hearst? Dunno what PH looks like, to be frank. MG

#9 is Patty Hearst.

Bought the Scott on a whim and the Gentle Jug, both to hear Patty Bown and Gene Ammons.

Just got back. Very, very good performance. The trio (Greene, Pavone, Altschul) were very strong. Vigorous, frequently dissonant, played with assurance and a deep empathy between them. They played some originals to start the concert, and also played some trio pieces in-between backing Waters. I really liked their take on Monk's Off Minor; certainly true to Monk but Greene, in particular, brought his own thing to it. I was very impressed with Burton Greene's playing. Patty Waters... It was interesting to hear her. Truly a case of time catching up to her: where what she did in the Sixties sounded strange and odd, now sounds more familiar because others have followed her path. She doesn't have the voice anymore to yelp and scream; it's now a small voice, breathy, quavering, a very personal sound. The trio toned down their playing while backing her, but still frequently overpowered her voice. It was obvious they loved and respected her, and loved playing behind her. Another interesting facet for me was her song selection. Here there was truly a time warp, as if we were transported back to the mid Sixties. She drew heavily from the Billie Holiday songbook, but exclusively songs where the singer is lonely, pining for her man, lost without him. Even songs that were not Holiday's seem to fit this mold, such as Ornette's "Lonely Woman." I can't imagine any female singer today presenting such a portrait of a woman who is nothing without the love of her man.

April 7, 2018: Indradeep Ghosh (violin), Indrajit Bannerjee (Sitar), Subratta Bhattacharya (tabla), Allen Public Library April 9, 2018: Patty Waters with Burton Greene and Barry Altschul, Meca, Houston April 12, 2018: Brad Mehldau, Paramount Theater, Austin April 13, 2018: Brad Mehldau, Cullen Theater, Houston Antonio Sanchez, Charline McCombs Empire Theater, San Antonio April 14, 2018: Brad Mehldau, University of Texas at Dallas April 14-15, 2018: Kenny Neal, Chris Thomas King, Lazy Lester, Jimmy Duck Holmes, Baton Rouge Blues Festival April 20, 2018: Rachella Parks-Washington, Main Street Arts Festival, Fort Worth April 22, 2018: Rahul Sharma (santoor) and Aditya Kalyanpur (tabla), Austin April 26, 2018: Sona Jobarteh, Sidi Toure, Festival Internationale de Louisiane, Lafayette Joe Louis Walker, Antone's, Austin April 27, 2018: Ron Carter Trio, Christian Scott, Sidi Toure, Calvin Johnson, Bobby Rush, New Orleans Jazz and Heritage Festival Joe Louis Walker, Big Beat Dallas, Irving Randy Brecker, Rachella Parks-Washington, Denton Arts and Jazz Festival Sona Jobarteh, Festival Internationale de Louisiane, Lafayette April 28, 2018: Charles Lloyd and the Marvels, Delfeayo Marsalis Presents the Uptown Jazz Orchestra, Butler Bernstein and the Hot 9, Trumpet Mafia, Sona Jobarteh and Band (Gambia), Aurora Nealand, New Orleans Jazz and Heritage Festival Conrad Herwig, Starr Theater, Fayetteville, Arkansas Rahul Sharma (santoor) and Aditya Kalyanpur (tabla), Houston Otis Taylor, Big Beat Dallas, Irving Sidi Toure, Jupiter and Okwess, Festival Internationale de Louisiane, Lafayette April 29, 2018: Kidd Jordan and the Improvisational Arts Quintet, Henry Butler Tribute to Jelly Roll Morton, Nicholas Payton, Kenny Neal with Henry Gray and Lazy Lester, Panorama Jazz Band, New Orleans Jazz and Heritage Festival Jupiter and Okwess, Festival Internationale de Louisiane, Lafayette May 3, 2018: Archie Shepp Quartet, Jamil Sharif, Terrace Martin, Toronzo Cannon, Jeremy Davenport, Wendell Brunious, Tatiana Eva-Marie, New Orleans Jazz and Heritage Festival May 4, 2018: Marcus Miller, Wessel Anderson, Jupiter and Okwess International (Congo), Little Freddie King, Lil Buck Sinegal, New Orleans Jazz Orchestra, Brian Seeger's Organic Trio, New Orleans Jazz Orchestra, Tatiana Eva-Marie, New Orleans Jazz and Heritage Festival May 5, 2018: Sean Jones, Lurrie Bell, Jupiter and Okwess International, Louis Ford and His New Orleans Flairs, Astral Project, Blodie's Jazz Jam, New Orleans Jazz and Heritage Festival May 6, 2018: Terence Blanchard featuring the E Collective, Leroy Jones, Buddy Guy, Mr. Sipp, Joe Dyson, Ellis Marsalis, Walter Wolfman Washington, Lakou Mizak (Haiti), Joe Lastie's New Orleans Sound, New Orleans Jazz and Heritage Festival Ganesh and Kumaresh (violins), Bates Recital Hall, Austin May 13, 2018: Vid. Sashank, Unity Church of Dallas Buddy Guy, Verizon Theater, Grand Prairie May 16, 2018: Buddy Guy, Wagner Noel Performing Arts Center, Midland May 17, 2018: Buddy Guy, Moody Theater, Austin May 18, 2018: Buddy Guy, Majestic Theater, San Antonio May 19: 2018: Debashish Bhattacharya (slide guitar), Nilan Chaudhuri (tabla), Allen Public Library June 20, 2018: Broken Shadows (Tim Berne, Dave King, Chris Speed, Reid Anderson), The North Door, Austin July 6, 2018: Eddie Turner, Tall City Blues Festival, Midland July 7, 2018: Kenny Neal, Vanessa Collier, Tall City Blues Festival, Midland July 16, 2018: Ronu Majhumdar (flute), Tony Bose (sarod), Jones Hall, Houston September 19, 2018: Fred Hersh, Trinity University, San Antonio September 22, 2018: Divine Trio, Allen Public Library September 28, 2018: Stanley Clarke, One World Theater, Austin October 6, 2018: Sweekar Etawah, Imdad Khani Harana (sitars), Houston April 11, 2019: Stanley Jordan, One World Theater, Austin

March 14, 2018: Leni Stern, Russian House, SXSW Mokoomba, Russian House, SXSW March 15, 2018: Mokoomba, Flaminco Cantina, SXSW March 16,2018: Chris Thomas King, Lava Cantina, The Colony March 17, 2018: Lil Buck Senegal, Antone's, SXSW Cedric Burnside Project, Seven Grand, SXSW March 22, 2018: Bria Skonberg, Tobin Center, San Antonio March 23, 2018: Victor Wooten Trio, Paramount Theater, Austin Bria Skonberg, Jesse H. Jones Hall, Houston March 24, 2018: Mingus Big Band, Cullen Theater, Houston Victor Wooten Trio, Granada Theater, Dallas March 25, 2018: Zakir Hussain and Rakesh Chaurasia, AISD Performing Arts Center, Austin Victor Wooten Trio, The Ballroom at Warehouse Live, Houston April 1, 2018: Nikki Hill, Big Beat Dallas, Irving April 5, 2018: Melissa Aldana, South on Main, Little Rock, Arkansas April 9, 2018: Patty Waters with Burton Greene and Barry Altschul, Meca, Houston April 12, 2018: Brad Mehldau, Paramount Theater, Austin April 13, 2018: Brad Mehldau, Cullen Theater, Houston Antonio Sanchez, Charline McCombs Empire Theater, San Antonio April 14, 2018: Brad Mehldau, University of Texas at Dallas April 14-15, 2018: Kenny Neal, Chris Thomas King, Lazy Lester, Jimmy Duck Holmes, Baton Rouge Blues Festival April 20, 2018: Rachella Parks-Washington, Main Street Arts Festival, Fort Worth April 22, 2018: Rahul Sharma (santoor) and Aditya Kalyanpur (tabla), Topfer Theater, Austin April 25-29, 2018: Sona Jobarteh, Sidi Toure, Jupiter & Okwess International, Festival Internationale de Louisiane, Lafayette April 26, 2018: Joe Louis Walker, Antone's, Austin April 27, 2018: Ron Carter Trio, Christian Scott, Sidi Toure, Calvin Johnson, Bobby Rush, New Orleans Jazz and Heritage Festival Joe Louis Walker, Big Beat Dallas, Irving Randy Brecker, Rachella Parks-Washington, Denton Arts and Jazz Festival April 28, 2018: Charles Lloyd and the Marvels, Delfeayo Marsalis Presents the Uptown Jazz Orchestra, Butler Bernstein and the Hot 9, Trumpet Mafia, Sona Jobarteh and Band (Gambia), Aurora Nealand, New Orleans Jazz and Heritage Festival Conrad Herwig, Starr Theater, Fayetteville, Arkansas Rahul Sharma (santoor) and Aditya Kalyanpur (tabla), Chainmaya Mission Auditorium, Houston Otis Taylor, Big Beat Dallas, Irving April 29, 2018: Kidd Jordan and the Improvisational Arts Quintet, Henry Butler Tribute to Jelly Roll Morton, Nicholas Payton, Kenny Neal with Henry Gray and Lazy Lester, Panorama Jazz Band, New Orleans Jazz and Heritage Festival May 3, 2018: Archie Shepp Quartet, Jamil Sharif, Terrace Martin, Toronzo Cannon, Jeremy Davenport, Wendell Brunious, New Orleans Jazz and Heritage Festival May 4, 2018: Marcus Miller, Wessel Anderson, Jupiter and Okwess International (Congo), Little Freddie King, Lil Buck Sinegal, New Orleans Jazz Orchestra, Brian Seeger's Organic Trio, New Orleans Jazz and Heritage Festival May 5, 2018: Sean Jones, Lurrie Bell, Jupiter and Okwess International, Louis Ford and His New Orleans Flairs, Astral Project, New Orleans Jazz and Heritage Festival May 6, 2018: Terence Blanchard featuring the E Collective, Leroy Jones, Buddy Guy, Mr. Sipp, Joe Dyson, Ellis Marsalis, Walter Wolfman Washington, Lakou Mizak (Haiti), New Orleans Jazz and Heritage Festival Ganesh and Kumaresh (violins), Bates Recital Hall, Austin May 13, 2018: Vid. Sashank, Unity Church of Dallas Buddy Guy, Verizon Theater, Grand Prairie May 16, 2018: Buddy Guy, Wagner Noel Performing Arts Center, Midland May 17, 2018: Buddy Guy, Moody Theater, Austin May 18, 2018: Buddy Guy, Majestic Theater, San Antonio June 20, 2018: Broken Shadows (Tim Berne, Dave King, Chris Speed, Reid Anderson), The North Door, Austin July 6, 2018: Eddie Turner, Tall City Blues Festival, Midland July 7, 2018: Kenny Neal, Tall City Blues Festival, Midland July 14, 2018: Ronu Majhumdar (flute), Tony Bose (sarod), Jones Hall, Houston September 22, 2018: Divine Trio, Allen Public Library September 28, 2018: Stanley Clarke, One World Theater, Austin October 6, 2018: Sweekar Etawah, Imdad Khani Harana (sitars), Houston George Brooks' ASPADA, Bates Recital Hall, Austin

Saw this yesterday at a very cheap price and had it in the pile, but then come culling time, thought about it, looked it over, though about it some more, and decided hmmmmm....buying more items just becuase they are curiosities is not what I need to be about doing right now, neither financially or reality-based storage needs, so back on the shelf you go (along with the Patty Bown Epic side, which was one tough call, actually, but these are tough times for the literal-minded immediatists, hello truth in motion, Ed Shaugnessy being the swing factor, and yes, I know about all that, not making snap-decision based on sideburn/medallion sterotypes, know what all else there is to that, like I said, a tough call, tough). So, getting home, it appears that YouTube is full of clips from the groups next(?) album, and I'm like, WHEW dodged that bullet, chief, HELL yeah! But then I ruminated that that second album was NOT presented by Stan Kenton, so maybe it's less purely Solid JazzFuture than the one I left behind, and now I don't know. Tomorrow's a holiday and my car still has gas. I can go places if I want to, especially if I need to. So, citizens of the World, what sayst youse? Is Stan Kenton Presents The Al Belletto Sextet an sleeper giant of an album, or should I leave well enough alone and just inside the air-conditioning of the crib, watch an Emergency rerun or three, and hope that some worthy party (hello, Ken, yes, you) finds the Patty Bown Epic side still there? Your voice counts!

Meat Loaf Patty Waters Danny Burger

Patty Farmer was on a Night Lights show last year, talking about her book and this topic--you can still hear the show here: Swingers: Hugh Hefner, Playboy Magazine, And Jazz