Johnny E

By the way, the third Monktail Records release is by a trio named FLOSS. It hits the streets in early May. http://monktail.com

Get the hell out of here. That's incredible! You live in the same apartment building as Ron Jeremy and the place has a communal hot-tub? The reason Ron has lasted in the porn business all these years is he's one funny motherfucker. Not to mention the size of his - SHUT YO MOUTH!

That about sums it up.

Thanks Dave

Reptet - S/T MCMC 2 Replicas of the Seattle-based Reptet exist across the globe. Small regional ensembles that tailor the jazz tradition to their own designs, but largely toil away in localized obscurity. Quartet in size, the band is actually an offshoot of the Monktail Creative Music Concern, a larger outfit that’s been generating quite a bit of buzz on the Northwest scene. Their core instrumentation here follows the standard reed plus rhythm concept of countless other groups, but they rise to the occasion of crafting something signature with their chosen tools. Various other instruments also aid in adding further diversity. Tenor saxophonist Tobi Stone doubles on flute. Pianist Stefan Nelson also tickles the keys on Fender Rhodes and melodica while leader/percussionist John Ewing incorporates bells and mini-conga as additional agents beside his drum kit. Holding down the anchor spot, Evan Flory-Barnes alternates between acoustic and electric bass. There’s also the guest musings of flugelhornist Ron Barrow on the Latinized opener “After Before.” Starting at a slow, reflective tempo, the tune repeatedly accelerates between solos. The band contrasts languor with vigor and in the process supplies welcome tension and depth. Gil Melle’s “The Gears” and Misha Mengelberg’s “A Bit Nervous” reference the Reptet’s wide-ranging listening habits. On the former, Nelson’s Rhodes bobs with Flory-Barnes’ rubberized electric strings giving the classic composition from Blue Note’s nascent hardbop period an unexpectedly funked-up fusiony edge. Ewing’s martial backbeat also assists in keeping the groove fluid and fresh. The Mengelberg piece places focus on Nelson’s acoustic ivories in a staccato dance with Ewing’s brushed snare that later expands into a Horace Silver-worthy Cape Verdean vamp. Stone’s tenor assumes the lead on the airy ballad “Open to Morning,” tracing textured phrases with fluttering breaths against a throbbing bass backdrop. “The Sun Is Beautiful” mixes luminous Rhodes with a fleshy ostinato by Flory-Barnes and a steady rolling beat from Ewing. Stone blows lazily above, accentuating the relaxed tropical feel of the piece. The island vibe carries over into “Resigned to Evening” where bells and chimes bracket Stone’s mercurial flute. Nelson’s melodica, sounding uncannily like a bandoneon, makes an appearance on “Distant Distorted You” threading with Flory-Barnes’ arco underpinning to create a dirge-fueled tango that almost derails from a snail-paced tempo. An upbeat rundown of Monk’s “Introspection” serves as the third and final historical nod of the disc and another chance to hear Flory-Barnes’ flexible pizzicato in the foreground. Whether the Reptet will roam far beyond its regional base of operations remains open to speculation. They fit comfortably within the parameters of a wide variety of jazz tastes, from thoughtful post bop, to playful fusion and funk, without wedding to a single style for too long. It’s latitude likely to resonate strongly with the average audience palate. If the desire to tour widely is there, this debut disc should be an effective implement in garnering gigs. ~ Derek Taylor http://www.bagatellen.com/archives/reviews/000441.html

I like the way Mingus would scold the audiences: From one night at the Five Spot (as transcribed by his then-girlfriend Diane Dorr-Dorynek) he said: "...You haven't even heard the conversation across the table, and that's the loudest! Have you heard the announcement of a single song title during the night? Or a pause in between tunes, hoping you'd hear yourselves, then quiet down and listen?" ~or~ From "Charles Mingus Presents..." "Good evening, ladies and gentlemen, we'd like to remind you that we don't applaud here at the Showplace, or where we're working. So restrain your applause and, if you must applaud, wait till the end of the set - and it won't even matter then...In fact, don't even take any drinks, I want no cash register ringing. Et cetera!" Anyone who would talk through a Mingus set deserves, at the very least, to be verbally thrashed.

I gots a little story to tell.... As many of you already know, Don Lanphere passed away a few months back. I used to do a radio show at our local college station a few years ago and my show was on just before the 'Don & Bud Show' (Don Lanphere & Bud Young of Bud's jazz records). Don brought in the LP of 'The Crossing' by Sheila Jordon and knocked my socks off with it. Ever since I've been looking for that record with a passion, with little success. It's never been re-issued on CD to my knowledge. Anyway, I went into Bud's Jazz Records a couple days ago and they had Don's entire record collection in there for sale. It had been picked through and was looking kinda thin...but sure nuff', there was the very same copy of 'The Crossing' that Don had brought in that special day years ago. All the records had stickers on em' which read "From the collection of Don Lanphere". 10 bucks later, I walked out of there with a much-desired record and a very special memory.

Seattle - sunny, upper 50's today

Ain't it the truth!

HB2U HB2U HB HB2U

Damn Al, I didn't know you were Pieces? Happy Birthday my fishy comrade!

RIP Spalding.

I disagree.....I've thoroughly enjoyed them all. Me too. The last episode of last season was incredible! Edie Falco really proved she is one hell of an actress.

Thanks couw

Unfortunately I don't have Acrobat Writer (which would allow me to cut and paste), I only have the Reader. Could someone who does cut and paste the review for me?

Up. Just in case people didn't get a chance to read it.

http://www.allaboutjazz.com/seattle/aaj_seattle_200403.pdf

Al, Reptet will be playing at the Elephant Room on Friday, April 30th. I hope to see you (and any other Austin based board members) there. cheers!

Thanks a lot maren. who's that handsome devil playin' the drums?

Daaaaaaaaaaamn right, my brotha!!! I raise yet ANOTHER beer your way, and spin Blues for Lou in yer honor!

Ah shucks. Thanks everyone. Big Al, I can stand ya' brotha. It's all in fun right? As misguided as my conservative brethren are, we're all good deep down. I tip a mug to you all!

The first concert I ever attended was in 1979...YES - Tormato Tour! I love that album (and most other YES for that matter). I have to say that 90125 and beyond are not my favs. I dodn't dig Trevor Rabin. Ever hear their version of Paul Simons America? AWESOME!

World Music Institute & Thomas Buckner present Interpretations New York's Home for the Avant Garde--Now in its 15th season! Thursdays at 8 PM Merkin Concert Hall, 129 W. 67th St. 212/501-3330 May 13, 2004 George Lewis & Muhal Richard Abrams George Lewis, trombonist, composer, professor, and distinguished member of the AACM, is known for his diverse body of work which spans electronic and computer music, multimedia installations, notated forms and improvisation. Tonight the 2002 MacArthur Fellow will present a new interactive computer work for pianist Muhal Richard Abrams, who will perform alongside a digitally driven Yamaha Disklavier concert grand, as well as a duet between Abrams and the composer on trombone. I might visit NY fer this one.