alocispepraluger102

there is a beautiful sunday morning program on wpfw.org out of washington d.c. hosted by tom cole, a man with a taste for a variety of beautiful string music. his delivery is beautifully understated and eloquent. give your ears and soul a treat. tune in tom.(9-12am). for example, currently playing a guitar trio version of a george russell piece . i have no ties to the show. it's just a beautiful listen.

And that would be where some sort of hip-hop/jazz that was rooted in music rather than hype would be something that should have happened a loooooong time ago, except that "jazz musicians" were too busy putting on suits, moving into Lincoln Center, and in general becoming snoots rather than remaining connected to the hereandnow of their communities. M-Base was an early attempt, and although the results were mixed, Steve Coleman does have it going on today. The kinks have all been worked out and that shit is together. Hell, Threadgill always plays something with a danceable pulse, and so do a lot of the "free" players who represent the last pure wave of non-reactionary evolution. But they're those "not really jazz" guys who've adopted the pretensions of European concert music, remember? And in the meantime, those who refute the pretensions of European concert music play repertory concerts in massive concert halls as part of subscription series and go after government and corporate patronage. Boring? Oh HELL yeah. The irony is rich, to put it mildly... beautiful comment

not really on topic, but have you heard his old live flying dutchman effort, live sunrise on magic mountain, with leon thomas, with blistering recordings of here comes de honey man and cousin mary? have you considered nightlighting a one song program? this morning while listening to 'i let a song go out of my heart', and 'one morning in may' i thought these and many other songs transcend generations and perhaps, would make interesting listening.

is that your favorite mahler 3. i have never found a recording to match a cleveland donanyi live i heard about 12 years I am not a huge Mahler fan, nor an expert about classical music, but I tend to think that if you listen to a big symphony in a good concert hall you feel that 'this' is the performance. I owned several performance of Beethoven's 9 symphony, but I never found again the thrill I had when I heard it live at Royal Albert Hall with London Symphony Orchestra conducted by Tennstedt, let's say 15 years ago. Damn! I am ageing. live performances which excel excel.

is that your favorite mahler 3. i have never found a recording to match a cleveland donanyi live i heard about 12 years sibelius symphony 1 . barbirolli halle-vanguard everyman SRV-132SD

is that your favorite mahler 3. i have never found a recording to match a cleveland donanyi live i heard about 12 years

Right. The guy's entitled to his opinion about jazz. But what really annoys me is that somebody who apparently doesn't care enough to seek out the good stuff is the CEO of Verve. It's like having Dick Cheny in charge of Amnesty International. isnt verve a dinosaur? isnt the music business changing? wont performers be marketing and controlling their own product on the web? i would expect that certain artists might be releasing new concerts or performances even monthly. i would like to think that, if people heard some of the incredible musicians playing today, they would respond favorably. getting jazz into movies and sporting events would seem to be sensible marketing.

i have added your beautiful blog to my musical favorites list and look forward to enjoying many of the fine programs

My sentiments exactly. Henry Threadgill is a treasure. it is wonderful to be in the company of others who respect henry threadgill as i do. air , and the sextette, and very circus circus, and the awesome x-75(4 basses and 4 flutes and amina myers). what more can the man possibly have to give?

Industrial grade? this sam adams cream stout isnt a bad morning stout for the price, although i prefer the more substantial ones.

sometimes, when a cd wont play for me i copy it onto the hard drive with(e.g. realplayer) and then make a cd from it and it plays.

i use an effect called mp3 pro available from NERO which saves space in converting to mp3. the files take the space of 80 while sounding better than 128. one cheap conventional cd will hold over 20 hours of great sounding music. keep the program sections shorter than 3.25 hours, generally. i prefer total recorder version 5.2.

A recent "Live in Finland" CD on Cadence. thanks

You're welcome. the rava rhythm section of about a year ago was really beautiful.

one soundcard is fine with xp and total recorder. i use a $20 soundblaster live

what an absolutely gorgeous trio! what balance! most thoughtful, and, yet, exciting and new!

total recorder will do it for 10 bucks. have used it flawlessly for several years.

nur.org rules... So they turned off the transmitter and "stream" only? Thought we were talking about Chicago radio stations. No, no, no. WNUR still transmits over the air at 89.3 FM at 7200 watts from the campus of Northwestern University in Evanston. You can get the signal on the northside of Chicago (I live at 3200 N and get a clear signal). The Jazz show airs weekdays from 5am to 12:30pm Central (wnur.org for those out of transmitting range). And Chuck - if you're ever in Chicago, we'd love to have you into the station as a guest. -Jason NUR rules!

http://www.saintjohncoltrane.com/

The avatar is a bizarre cover of a French 45 single of Ayler's New Generation/Heart Love. You can find a big version here on this excellent Ayler site: http://www.ayler.org/albert/html/newgen.html. Speaking of covers, I'm with you on the original McPhee cover. With the exception of that brief phase of oddly cropped photos and split-sentenced type, I much prefer the look of the old hatArt 6000s. But if it's getting reissued, I can't complain... opinions on the shipp- mcphee combination?

he used to play jazz and really supports all the local jazz performers. .... he's just earning a living.........

Badland The Society of the Spectacle Emanem 2006 Badland, a trio comprised of Simon Rose on alto saxophone, Simon H. Fell on double bass and Steve Noble on percussion, has been conceived in a way that Rose lays out in his impressionistic liner notes. Rose offers a dead serious manifesto that defines the band’s mission: to subvert tradition; to develop and extend the language of collective improvisation; to examine the limitations of their instruments. If the musicians happen to touch on some of the qualities a listener may expect from jazz music, so be it. But since “File under: Free Improvisation” is printed on the tray card, Badland is going after a niche market. All of this may sound more militant than the music actually is. Badland often tends toward silence, in the style of early Wadada Leo Smith, as in the relatively brief and low-key “Kittiwake” and “Elka.” However, in the two-part improv that gives the disc its title and in the combustible “MIA,” Badland burns. Tracks: Kittiwake; Elka; Society of the Spectacle (Part 2); Nissa; Society of the Spectacle (Part 1); MIA; Snipe; Reeds in the Western World. Personnel: Simon Rose: alto saxophone; Simon H Fell: double bass; Steve Noble: percussion. Badland were formed in 1994, with Simon Rose, Simon Fell and Mark Sanders on drums. The group's activity centres around free jazz and the reinterpretation of elements of the modern jazz repertoire. Mark left the group in 1998, with Steve Noble taking over the drum chair for the 1999 tour. He's stayed ever since! Work since 1994 has included a UK Arts Council Tour in 1999, Leicester Jazz Festival and numerous club gigs; in October 2003 the group featured in a studio session for BBC Radio 3's Jazz On 3. Their first album Badland was released by Bruce's Fingers in 1995, and includes reworkings of pieces by Ornette Coleman and Duke Ellington, along with free improvisations. Their second album Axis Of Cavity was released by Bruce's Fingers in the Summer of 2002; the group undertook a UK tour in September 2002 to promote the album. Their third CD - The Society Of The Spectacle - was released by Emanem in September 2005. • "Put this alongside the most important trios in the jazz and improvised saxophone tradition." Francesco Martinelli IMPROJAZZ • "The musicians take care to construct free improvisations that are multilayered and rich with nuance, realised with a spiritual intensity that could liquefy steel." Hannes Schweiger JAZZ LIVE • "Vivid free-bop from a highly accomplished trio who venture gamely out into new and lawless territory, bringing new ideas and a freshness of diction to this challenging idiom." THE PENGUIN GUIDE TO JAZZ ON CD

Article published Apr 19, 2006 Music mixing board mistaken for bomb at local shopping center By Mark Caudill News Journal MANSFIELD -- Sam Romagnoli's portable mixing board won't be of much use to him after being blasted with a water cannon. Romagnoli, a local musician, unwittingly touched off a bomb scare Saturday by leaving his mixing board in a box in the West Park Shopping Center parking lot. He had a karaoke gig at the China Club the night before. "It was just a crazy mistake on my part that set all this in motion," Romagnoli said. Police received a call at 7:10 a.m. about a "suspicious" case with duct tape on both ends. Police contacted the Ashland County Bomb Squad, which took X-rays of the case, then opened it with a water cannon. Mansfield police Lt. Dave Nirode explained the action. "It had some indicators (of being a bomb)," he said. "If you open it up, a lot of those have an anti-theft device." Police barricaded the scene and evacuated businesses. "It's just a result of the times," Nirode said. "It's better to be safe than sorry." Romagnoli didn't learn of the bomb scare until later that day when his wife called him. "I'm thinking that sounds a whole lot like my mixer case," he said. "One of the latches was bad in the case. That (duct tape) was the insurance that it wasn't going to open while I was transporting it." Romagnoli is out some money, but can laugh it off now. "You can look at it real serious, but it's a mixer, a piece of stuff," he said. "Thank God it was just a mixer and not a bomb."

i have loved the big broadcast for 20 years. it complements my punk jazz tastes.