Michael Weiss

In addition to the versions mentioned, may I also recommend: Piano Trios: Herbie Hancock with Cleveland Eaton and Teddy Robinson, from Miles Davis in St. Louis (VGM). A live bootleg from when Herbie was with Donald Byrd. Tommy Flanagan: Trio and Sextet (Onyx) Ahmad Jamal: At the Blackhawk (Cadet) Michael Weiss Trio: Milestones (SteepleChase) as a ballad in B major. Also: Ernie Henry: Seven Standards and a Blues (Riverside) Sonny Rollins: Sonny Rollins Plays (Period)

Last night tonight.

Not in length! But about twice as wide.

Well let's see...(taking off shoe...placing pinkie over big toe....), in total mass I'd say the ratio is about 3:1

I was once on a plane with Andre the Giant. He took up two seats in first class. His hand was dangling out into the aisle when I walked past and I swear his pinky was bigger than my big toe. Hey Jim, remember Fritz Von Erich ("The Claw")?

I have fond memories of hearing Jungle Boogie, Hollywood Swingin and Funky Stuff on the AM soul station to and from high school. Also, Ohio Players, Tower of Power and JB. Innervisions just came out. Those tunes were incredible. Saw Kool Bell and Clifford Adams in the Vanguard some years ago. Funky Stuff on Soul Train. That bassdrum hit on the second sixteenth of beats 3 and 4 is some baad shit. http://www.youtube.com/watch?v=10Il77mbV0Y. Still doin' it. Cookin' Clifford Adams solo at 3:00 Jungle Boogie, Midnight Special, 1974. Clavinet/drums duo Alright!

I had the pleasure of playing trio with Wilfred and Billy Higgins in LA about ten years ago. Definitely one of the best names in jazz.

Michael Weiss - piano Peter Washington - bass Lewis Nash - drums (Dennis Mackrel 4/2 only)

I remember that review. Thanks for the kind words Larry. Re: Isfahan and Coming On the Hudson: A couple of weeks after that gig at the Showcase we recorded those tunes for that weird label from Florida: Who's Who in Jazz. It's been rereleased on any number of other labels since.

Here are some pictures I dug up from some Johnny Griffin tours. Blackstone Hotel, Chicago April 1988 Dennis and me a few minutes before the gig at the Jazz Showcase. Blackstone Hotel, Chicago April 1988 Catalina's, Los Angeles April 1989 Soundcheck in Victoria, BC, June, 1992

As the real estate agent told us, "Viooz ta dahy fowa" thanks. Now that I have the go ahead I'll think about posting photos of some of my favorite characters.

Here's one more and then I'll stop with the jazz photos, in this topic anyway. This is Trane's sketch for a Love Supreme.

I'm breaking protocol - this is a jazz photo, but it's in the same folder as the other pictures so I couldn't resist. I love this. From the Jazz @Lincoln Center auction of a few years ago. I'd really like to get inside Wayne's head into why performing with a great band, on tour, playing your own music, would be so dissatisfying! Maybe the hotels and other conditions were less than favorable.

Late afternoon sunlight in February, 2005. Facing Manhattan from Brooklyn.

Staten Island in the background across the bay.

May, 2005 From the same window facing west. Statue of Liberty in the harbor.

From our apartment facing southwest. Nov. 2004

PM sent

"Most personal" might be measured by total creative output by one man - compositionally and improvised. Atlantis, Phantom Navigator, Joy Ryder and High Life in particular, definitely fit this criteria down to the smallest detail. As I've posted elsewhere, these recordings have had a huge influence on my writing. I've been on the soapbox for a while about how, IMO, a greater proportion of composition in the mix is crucial for jazz to move forward. At last year's JazzImprov convention I gave a clinic titled, Get More Out of Your Tunes: Transform Your Songs Into Full-fledged Compositions. At my 2004 IAJE Conference clinic, A Treaure-Trove of Innovation: The Pen of Wayne Shorter - A Survey of the Past Twenty Years, I analyzed several excerpts from Wayne's scores of "Face on the Barroom Floor," "On the Eve of Departure," "Remote Control," "Pandora Awakened," "High Life" and others. When attendees saw the level of detail in the scores they didn't care about the synths and drum machines anymore! I've presented this clinic at a couple of schools, IU and W.Paterson, but you'd be surprised how little interest there is. Earlier Topics on pretty much the same subject: Wayne Shorter in the 80s, what do people think? Wayne Shorter Compositions It's really amazing how Wayne keeps turning his music on its head. The scores are still just as detailed, but they jump around or sit still on any given bar. But you're correct in terms of how he chooses to break down the roles of soloist and accompanist. It's being passed around all the time.

Happy Birthday Paul..When you get home after knocking back all those margaritas you should listen to this from beginning to end and make yourself play along with it!

LD was on WFAN last night with Tony Paige. Hopefully it will be added to their podcast download page soon.

Opus 65, but, hell yeah! How did you come upon this? I've had this LP since the early 80s. Don't know if it was ever reissued. Your mention of Op. 65 brought me a chuckle. I won $50 in my high school's piano competition for Op. 65 #3.

From someone who was there, it was a great concert and Robertson gave a wonderful pre-concert talk which I'm sure helped many concertgoers' appreciation of the music. In addition to Tommasini, millions more music lovers around the world hold Turangalila high on their lists as well. Personally, I like Esa-Pekka Salonen's recording best. I don't understand the snarky attitude. Apparently you seem really perturbed that others should enjoy music you don't.

This Wednesday night: http://www.centerforinquiry.net/nyc/events...eason_feb_2008/