Michael Weiss

I'm greatly looking forward to this special opportunity and I'm calling on (begging) all NY area Organissimo Forum members to please come out and help fill the club! For Immediate Release: MICHAEL WEISS QUINTET AT THE VILLAGE VANGUARD OCTOBER 24 - 29, 2006 Pianist and composer Michael Weiss brings his quintet to the Village Vanguard, 178 Seventh Avenue South, the week of October 24 - 29, 2006. Set times are 9:00pm and 11:00pm. Accompanying Weiss will be Steve Wilson, alto and soprano saxophones; Ugonna Okegwo, bass; George Fludas, drums; and Daniel Sadownick, percussion. For reservations and information: (212) 255-4037 www.villagevanguard.com. For twenty years, Weiss has performed several times at the Vanguard as a sideman with Johnny Griffin, Charles McPherson, Von Freeman, George Coleman, Joe Wilder and the Vanguard Jazz Orchestra. Weiss' resumé also includes work with Art Farmer, Frank Wess, Slide Hampton, Wynton Marsalis, Jimmy Heath, the Jazztet, Lou Donaldson, Junior Cook and Bill Hardman, Cecil Payne, Pete LaRoca, Clifford Jordan, and others. For this engagement, Weiss will be performing a program of original compositions including those from his most recent CD, “Soul Journey” (Sintra Records). For the last decade Weiss has focused his performances almost exclusively on his compositions. In 1996 he formed a sextet which gave Weiss the opportunity to develop and expand his material. Performances included the Ford Detroit International Jazz Festival, the Stanford Jazz Festival, the Smithsonian Institution, NPR’s “Jazzset,” and in New York at the Blue Note, Smalls, the Jazz Standard, the Jazz Gallery, Smoke, WNYC and WQXR. In 2000, Weiss was awarded the BMI/Monk Institute Composers Competition grandprize, presented to him by Wayne Shorter for his piece, “El Camino,” which appears on “Soul Journey.” With influences as varied as Scriabin and Szymanowski to Shorter, Weiss' compositions focus on extended forms, thematic development and attention to detail. Says Weiss, "a greater percentage of composition in the mix is crucial to keeping Jazz moving forward. The solo after solo bit on the same chord changes is becoming a worn out model. This doesn’t mean giving up on jazz’s foundations. I’m interested in incorporating improvised solos within a piece like characters in a play or perhaps as the narrator between scenes. I’m always looking for ways in which to expand my material.” In 2003 Weiss was a recipient of the Doris Duke/Chamber Music America New Works grant, for which he wrote the suite, Three Doors. Concert engagements in 2005 included the Detroit Symphony Orchestra’s jazz series. Reviews of Soul Journey “His ambitious new album, “Soul Journey,” keeps Weiss’ shrewd writing and arranging skills as clearly in view as his sleek piano work, honed with the likes of Art Farmer and Johnny Griffin.” – The New Yorker “Weiss has a rich palette of composing devices at his command.” – Downbeat “Soul Journey has warmth, integrity and above all, originality.” – JazzTimes “About as close to perfection as a recording can get....If there is truly justice in our world, this should be a Grammy nominee.” – Jazz Improv “It’s not often that you find jazz compositions of the caliber offered up on Soul Journey. [it] goes far beyond your typical mainstream fare. Weiss is a vital talent with something important to say.” – All About Jazz “This music lives and breathes freshness and exhilarating originality. The individual selections are strong and attractive enough, to still be played as jazz vehicles in 10, 20, or even 50 year’s time.” – Jazz Journal “Weiss’ compositions take on different shapes, great complexity and fresh perspectives.” — Washington Post

SKYLARK - Freddie's feature with the Jazz Messengers on Caravan (Riverside).

James Henry Vass Jr. was born to the late James H. Vass Sr. and the late Beaulah Vass on March 31, 1937, in Philadelphia, Pennsylvania. As one of four children, Jimmy, as he was affectionately called by family and friends, was raised in North Philadelphia, and attended the city’s public school system. At the age of 12, Jimmy’s God given talent led him to a fascination with music. Years later, his mother would write, “When he was eighteen he got his first job. He saved his money. He bought his first tenor saxophone, and has been pursuing his dreams…” In 1960, Jimmy met Angie Hudson, and in 1961, Jimmy and Angie were married, and were blessed with the birth of two sons, James III born in 1962, and Norvel in born 1963. Also in 1963, the family moved to New York City. During this time, he worked various jobs to support his family while pursuing his career as a jazz musician. Jimmy remained in New York for the next 43 years honing his skills and technical expertise. As a result, he grew from being a musician to being a true artist. His list of associations and credits reads like a who’s who in jazz. Jimmy’s life is a reflection and a milestone in the history of the music he loved. Jimmy not only loved music, but more importantly loved God. He became a follower of Islam. Inspired by and the attributes and the 99 Beautiful Names of Allah, Jimmy assumed the name Nur Abdullah. Nur meaning “The Light,” and Abdullah meaning “servant of God.” Jimmy will be greatly missed by his two sons; two daughters-in-law, Pam and Kim; seven grandchildren, Kia, Christopher, Mahdiah, Arrianne, Mahdiya, Namir, and Kandice; one great-grandchild, India; brother, Warren; a host of nieces, and nephews; his loving companion Lea Kobayashi, and an abundance of friends and associates. Lovingly Submitted,The Vass Family September 25, 2006 JIMMY VASS Funeral Thursday, September 28th G. Choice Funeral Chapel, 2530 N. Broad St, Phila., PA (215) 227-0100 Time: 10:00 am The MEMORIAL for JIMMY VASS: Saturday, September 30th 4PM Until ~ At the University of the Streets 130 East 7th Street (at Avenue A) Take the #6 to Astor Place or the F to 2nd Avenue The mailing list is currently disabled, so if you signed it in the last couple days, please just resend your info to jimmy@jimmyvass.com.

This Topic seems to be as good a place as any to plug this upcoming gig. Maybe as it gets closer I'll move it to the Live Shows forum. I hope local Organissimo posters will come and check us out. Here's the press release: MICHAEL WEISS QUINTET AT THE VILLAGE VANGUARD OCTOBER 24 - 29, 2006 Pianist and composer Michael Weiss brings his quintet to the Village Vanguard, 178 Seventh Avenue South, the week of October 24 - 29, 2006. Set times are 9:00pm and 11:00pm. Accompanying Weiss will be Steve Wilson, alto and soprano saxophones; Ugonna Okegwo, bass; George Fludas, drums; and Daniel Sadownick, percussion. For reservations and information: (212) 255-4037 www.villagevanguard.com. For twenty years, Weiss has performed several times at the Vanguard as a sideman with Johnny Griffin, Charles McPherson, Von Freeman, George Coleman, Joe Wilder and the Vanguard Jazz Orchestra. Weiss' resumé also includes work with Art Farmer, Frank Wess, Slide Hampton, Wynton Marsalis, Jimmy Heath, the Jazztet, Lou Donaldson, Junior Cook and Bill Hardman, Cecil Payne, Pete LaRoca, Clifford Jordan, and others. For this engagement, Weiss will be performing a program of original compositions including those from his most recent CD, “Soul Journey” (Sintra Records). For the last decade Weiss has focused his performances almost exclusively on his compositions. In 1996 he formed a sextet which gave Weiss the opportunity to develop and expand his material. Performances included the Ford Detroit International Jazz Festival, the Stanford Jazz Festival, the Smithsonian Institution, NPR’s “Jazzset,” and in New York at the Blue Note, Smalls, the Jazz Standard, the Jazz Gallery, Smoke, WNYC and WQXR. In 2000, Weiss was awarded the BMI/Monk Institute Composers Competition grandprize, presented to him by Wayne Shorter for his piece, “El Camino,” which appears on “Soul Journey.” With influences as varied as Scriabin and Szymanowski to Shorter, Weiss' compositions focus on extended forms, thematic development and attention to detail. Says Weiss, "a greater percentage of composition in the mix is crucial to keeping Jazz moving forward. The solo after solo bit on the same chord changes is becoming a worn out model. This doesn’t mean giving up on jazz’s foundations. I’m interested in incorporating improvised solos within a piece like characters in a play or perhaps as the narrator between scenes. I’m always looking for ways in which to expand my material.” In 2003 Weiss was a recipient of the Doris Duke/Chamber Music America New Works grant, for which he wrote the suite, Three Doors. Concert engagements in 2005 included the Detroit Symphony Orchestra’s jazz series. Reviews of Soul Journey “His ambitious new album, “Soul Journey,” keeps Weiss’ shrewd writing and arranging skills as clearly in view as his sleek piano work, honed with the likes of Art Farmer and Johnny Griffin.” – The New Yorker “Weiss has a rich palette of composing devices at his command.” – Downbeat “Soul Journey has warmth, integrity and above all, originality.” – JazzTimes “About as close to perfection as a recording can get....If there is truly justice in our world, this should be a Grammy nominee.” – Jazz Improv “It’s not often that you find jazz compositions of the caliber offered up on Soul Journey. [it] goes far beyond your typical mainstream fare. Weiss is a vital talent with something important to say.” – All About Jazz “This music lives and breathes freshness and exhilarating originality. The individual selections are strong and attractive enough, to still be played as jazz vehicles in 10, 20, or even 50 year’s time.” – Jazz Journal “Weiss’ compositions take on different shapes, great complexity and fresh perspectives.” — Washington Post Michael Weiss Website: http://www.michaelweiss.info

Only heard the first one - SCMQ. I'm glad to hear you liked the next two better.

Zorn's SC recording was IMHO the epitome of bad taste. A "cynical parody" is exactly what it sounded like to me. And I love Cecil Taylor, Jimmy Lyons, Marshall Allen, etc. But I never heard them do a similar number on someone else's music like Zorn in this case. I love Archie Shepp playing Ellington. I can even appreciate, albeit in a very warped kinda way, Sun Ra playing Fletcher Henderson. Maybe you misunderstood me Chuck – About my problem with the tastes of those in jazz journalism, I don't place the blame on John Zorn personally. With very few exceptions, most jazz critics writing today just don't appreciate or understand the kind of melodic invention in music like Sonny Clark's or Hank Mobley's. That said, you see Zorn's treatment of SC getting 5 stars, while those who can really play the shit out of those tunes AND put their own thing on it will go right over their heads.

It doesn't make any more sense to me, nor is it any more appealing, than the Dukes of Dixieland covering A Love Supreme. I'm not very good at articulating what I'm trying to say but you get the idea: Zorn's cynical parody of Sonny Clark music in the late 1980s was a pivotal recording for the jazz media's flaunting and celebration of their ignorance and total lack of understanding or appreciation of bebop or hardbop, more or less dooming any artists honestly and authentically working within that idiom to the bottom of the review stack.

http://www.lmaweb.com/wlacpast.html Livestock Auctioneer World Champs Put a rhythm section behind these guys. Actually they ARE a rhythm section unto themselves.

See my modified post.

Anybody else see this today (mid afternoon). First talked (a long time - relatively) about new technology, then somehow tied that in with why jazz is good for the world, education, etc. with a bit of self-congratulating along the way (certainly not undeserved). Played Maiden Voyage and Dolphin Dance solo. Must give it up, he's still got it.... Link here

I can already smell the garlic chicken from Versailles Restaurant. There are two locations both within a ten minute drive from LAX. Anyone up for going Friday evening?

This has been a proud piece of my vinyl collection since college. Used to play the title track on gigs with Pookie Johnson and Al Kiger. Harold Vick and Blue got the feelin'. Blue's vibrato - soulsville.

Once again, The Washington Post has published the winning submissions to its yearly contest, in which readers are asked to supply alternate meanings for common words. The winners are: 1. Coffee (n.), the person upon whom one coughs. 2. Flabbergasted (adj.), appalled over how much weight you have gained. 3. Abdicate (v.), to give up all hope of ever having a flat stomach. 4. Esplanade (v.), to attempt an explanation while drunk. 5. Willy-nilly (adj.), impotent. 6. Negligent (adj.), describes a condition in which you absentmindedly answer the door in your nightgown. 7. Lymph (v.), to walk with a lisp. 8. Gargoyle (n.), olive-flavored mouthwash. 9. Flatulence (n.), emergency vehicle that picks you up after you are run over by a steamroller. 10. Balderdash (n.), a rapidly receding hairline. 11. Testicle (n.), a humorous question on an exam. 12. Rectitude (n.), the formal, dignified bearing adopted by proctologists. 13. Pokemon (n), a Rastafarian proctologist. 14. Oyster (n.), a person who sprinkles his conversation with Yiddishisms. 15. Frisbeetarianism (n.), (back by popular demand ): The belief that, when you die, your Soul flies up onto the roof and gets stuck there. 16. Circumvent (n.), an opening in the front of boxer shorts worn by Jewish men. The Washington Post's Style Invitational also asked readers to take any word from the dictionary, alter it by adding, subtracting, or changing one letter, and supply a new definition. Here are this year's winners: 1. Bozone (n.): The substance surrounding stupid people that stops bright ideas from penetrating. The bozone layer, unfortunately, shows little sign of breaking down in the near future. 2. Foreploy (v): Any misrepresentation about yourself for the purpose of getting laid. 3. Cashtration (n.): The act of buying a house, which renders the subject financially impotent for an indefinite period. 4. Giraffiti (n): Vandalism spray-painted very, very high. 5. Sarchasm (n): The gulf between the author of sarcastic wit and the person who doesn't get it. 6. Inoculatte (v): To take coffee intravenously when you are running late. 7. Hipatitis (n): Terminal coolness. 8. Osteopornosis (n): A degenerate disease. (This one got extra credit.) 9. Karmageddon (n): It's like, when everybody is sending off all these really bad vibes, right? And then, like, the Earth explodes and it's like, a serious bummer. 10. Decafalon (n.): The grueling event of getting through the day consuming only things that are good for you. 11. Glibido (v): All talk and no action. 12. Dopeler effect (n): The tendency of stupid ideas to seem smarter when they come at you rapidly. 13. Arachnoleptic fit (n.): The frantic dance performed just after you've accidentally walked through a spider web. 14. Beelzebug (n.): Satan in the form of a mosquito that gets into your bedroom at three in the morning and cannot be cast out. 15. Caterpallor (n.): The color you turn after finding half a grub in the fruit you're eating. And the pick of the literature: 16. Ignoranus (n): A person who's both stupid and an asshole.

What is the gigging ratio of piano sucks and good instrument properly maintained?. That all depends where you work. The more high-profile clubs will have better instruments, but not necessarily real good ones. The Vanguard happens to have an excellent Steinway B. There really are too many variables to give a simple answer. A piano can be well maintained and still suck!

I've worked there a few times, with Cecil Payne and Frank Wess. Small jazz room in back of the bar. If you're interested in hearing what Bill Lee is up to, I wouldn't hesitate for a minute to go up there to catch him. Piano sucks, but that's the only serious downside. Let us know how it was.

I never played with Freddie Hubbard. But I worked a lot with Art Farmer and before that Bill Hardman. Don't know how Freddie's doing. I saw him in NYC at a conference last January and he seemed fine. I didn't hear him play. I think he lives in LA, no?

I'll be playing with the Vanguard Jazz Orchestra there on Saturday.

My LP says "Live in Montreux" My favorite moment on this record is how Gilmore plays the melody to "Lights On a Satellite." In those days, the way they'd play it live, while Gilmore played the melody on the bandstand, the other reed players would play the harmonized background on flutes while walking around the room.

Was just listening to JMac's Hipnosis 2ferLP, which lists "Blues For Jackie" composer unknown. Sounds obviously like KD to me. Maybe this was credited in later editions.

Is Zawinul a Barry-ofile or what.

Playing... alto

Our Beaujolais of choice. He also makes a very nice and reasonably Chardonnay. Tonight with duck confit it's a Pomerol - Chateau Bourgneuf 2001.

WTF!

Santa Duc's vieilles vignes Cotes du Rhone 2001

Sure enough...In any Wayne interview there's a gem of a quote: "Art comes first—the Baby, save the Baby!"