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Tuesday night May 3rd at 8 PM (PST) Terri Lyne Carrington brings her quintet to the Saville Theater for a concert which can be hear on the station's webstream. Robby Marshall -- sax James Westfall -- vibes Arpad Olah -- piano Alan Hampton -- bass www.jazz88online.org

Tuesday night May 3rd at 8 PM (PST) Terri Lyne Carrington brings her quintet to the Saville Theater for a concert which can be heard on the station's webstream. Robby Marshall -- sax James Westfall -- vibes Arpad Olah -- piano Alan Hampton -- bass www.jazz88online.org

The MJQ disbanded in '74 and reunited in '84. Check out the disc "Echoes" The Modern Jazz Quartet 1984 - Together again. (Pablo) That recording was followed by "This One's for Basie" -- also on Pablo. ('85) In '88 they released "For Ellington" on the East/West label. And so on.

Me too! In fact Percy signed a plaqued photo taken from The Last Concert LP jacket for me (prized gift from a friend) when I had the opportunity to hang with the guys a bit during the MJQ reunion tour of '84. Percy was so obviously a *very* warm soul. This departure is difficult to take on a number of different levels, but like Jim I'll choose to celebrate his legacy. FWIW, pianist/vocalist Paul Broadnax who works in Massachusetts was an airplane mechanic for The Tuskeegee Airmen.

So, am I the only one who's confused here? A guy who had no intention of sticking around has been banned, yet his carcinogenic message remains. As Jon Stewart would say....................Whaaaaaaaaaaa?????

The bassist on this release -- Hassan Shakur typically is referred to (at least in print) as Hassan "JJ Wiggins" Shakur in deference to his Dad --- the great L.A. jazz icon Gerald Wiggins. (pianist)

Along these same lines, his propulsive lines on the Pablo release "Skol" (Peterson, Pass, Grappelli, Roker) were what attracted me to Niels as a young listener. I still get goosebumps listening to his work on the intro. to the final piece -- "Skol Blues." Niels appears on a seemingly countless number of my favorite recordings. His passing, premature as it was, is indescribably sad.

I recall talking with (bassist) Bob Magnusson about his tenure with Art Pepper, and he *raved* about what a great musical talent George is, and what a magnificent human being he is. The deep affection in his voice was contagious. I just got off the phone with my best friend who saw George in Boston a couple of years ago and got the same "glow" going after a conversation with him after the performance. It seems as though to know George (or to just talk to him) is to love George. I've always been a big fan of his playing. His duos with Art are just beautiful.

Recently I attended a concert featuring an "out" orchestra backed up by a scratcher and a rapper. I picked up the info. for the event from the venue's website, and almost passed when I saw the rapper/scratcher listed -- very glad I didn't. The rapper had a huge smile on his face as he delivered an energetic "happy rap" (not to be confused with gangsta) and the scratcher was barely audible. His delivery, combined with the angular/punching lines of the band was *very* energizing ---- never thought I'd respond so positively to anything involving rap. All that being said (and addressing the topic at hand) I think it's grossly unfair to attack Joe for expecting to receive that which he contracted for. Buster *must* have known he was pushing the envelope based on Segal's well-known distaste for rap --- and that to me is at least a tad disrespectful.

Hey Jim ---- my check should have arrived by now. Why don't you surprise Joe with a nice CD that he's been wanting but hasn't picked up yet? In all seriousness, Joe --- best thoughts & wishes with your current situation.

I've given them repeated pieces of my mind re. the decline of their programming and program hosts. I've stopped short of telling 'em that I think it's contemptible for them to invoke Chuck Niles' name as frequently as they do while serving up such garbage to their long-time loyal supporters. (like Clint) Of course, since they broadcast from "The Chuck Niles Studio" it's unavoidable. I'll say this --- if I were a relative of Chuck's I'd be raising an **ENORMOUS** broo-haha.

(And thanks for the fine review, Michael)

Thanks for the tour schedule, marcello. I guess the orchestra is coming my way later than I recalled from my conversation with my buddy. Obviously, wishful thinking skewed my recollection.

Well, not purchased today, but my latest is "Long Yellow Road" --- the Akiyoshi/Tabackin orchestra. I've been wanting this import for a long, long, time.

A friend of mine told me that Maria's orchestra will head west for a tour in a few months. Can't wait. Happy for you, marcello, that you were able to catch this amazing orchestra. Frank's quote is right on the money!

Nothin' wrong with that! (I have only respect for the gadflies of jazz!!!)

Extremely admirable ---- just had to comment on this. Although I've been on a strict moratorium on my CD purchases, I had to buy Danilo's new one on principle. And I sent artistShare an e-mail thanking them for putting the disc within by budget. Can't help but wonder how many people spent $35 for their copy.

Excellent point, this. Jim --- with *nothing* but respect, I think that most of us who have been objecting to the price of the disc had this (at least) in the back of our minds, as well as one other thing. We're really not comparing Chevy's to BMW's. Does Danilo really think that his work is so superior to Maria's that he can charge *so much* more? I like to give everyone the benefit of the doubt in conflict situations, but the original price almost feels like arrogance. And the fact that the price has come down indicates that Danilo and his management have come to understand our position. So...........maybe we're not all out to lunch?

Perfect advice, IMO. The opening sentence is particularly noteworthy! And the fact that you chose to share this (somewhat personal) situation on this forum is endearing -- not a put-off. Many years ago I became involved in a similar situation. I bumped into an old (male) room-mate in line at a home-improvement store. He was a guy who was rather passive-aggressive -- and as we were room-mates in our early twenties I didn't realize what an absolute ass he was until some more age and wisdom set in. He suggested that we hook up for pizza, and I declined citing my frantic schedule. (the truth) Not taking no for an answer, I finally had to tell him that I didn't much care for the way he treated me in our youth (in a neutral tone of voice) and just calmly walked away.

The first thing that caught my ear right from the start is the rhythm section. I had never heard of Jacob Sacks, Thomas Morgan or Dan Weiss before this date. They are incredible! They swing like mad, but they can also manipulate the feel of the rhythm in a way that makes you feel like you are being pulled backward and shoved forwards at times, coming close to uneasiness. They shape shift in a way that sounds like they are about to mess up the time, but yet it still moves forward with powerful swing. Its hard to describe. The feeling I got listening to their rhythms reminded me a bit of when I saw Ornette Coleman last year with his son on drums and the two bassists. The sound is not completely "free", but not completely "inside" either. Its very weird.....and I love it.

Many thanks for this tip, jl. I'm very much a Binney fan since being intro'd to his work via "South." And the Criss-Cross release sounds very tasty as well. Another very strong release IMO is "The Luxury of Guessing" with Uri Caine, Scott Colley, Jeff Hirschfield and Daniel Sadownick.

I'll check it out, garthsj. Currently I'm a member of WBGO (Newark, N.J.) and KSDS. (San Diego) I used to do a program on the latter, so I tend to spend a fair amount of time listening to my buddies on that station.

I hereby appoint Marla as the new Minton's booking agent. SO IT IS WRITTEN...............SO IT SHALL BE DONE!!!

Thanks for posting this. Not surprising that wunderkind Ken Poston is behind this. What an incredible asset this guy is to the jazz community. He worked wonders while he was at KLON. Now it seems like KJAZZ is intent on tearing down everything the "good guys" spent years to build there. What a horror show this station has become. Dreadful pity.