Rooster_Ties

What's up with that? Make sure you check out "page 2" of this guy's feedback. It's as 'priceless' as page 1. Really, not to be missed...

Yes, and speaking of Larry Young - I think Patton's "Boogaloo" is the closest Patton ever got to Larry Young's more 'outside' dates. Another reason it ("Boogaloo") is my favorite Patton date.

Click here: http://cgi2.ebay.com/aw-cgi/eBayISAPI.dll?...46477&items=250

I listened to both "Dance With Death" and the 2nd LP of "One For One" today, and I plan to listen to them both again tomorrow. As I mentioned in another thread... ...as long as I'm not expecting to hear the kind of "Charles Tolliver" I'm most used to hearing, I'm otherwise quite happy with both of these dates. In particular, side one of the 2nd "One for One" LP (the session without the string quartet) has the makings of a really fine album. Shame the other tunes from this date didn't turn out, otherwise I think they would have made for an album every bit as fine (and just as accessible) as "Grass Roots". I also mentioned (in another thread) that both of these albums would fit on one CD (total time = 79:10), so that'd make for a tasty Conn release someday. ( PS: I should mention that at various times in the past, I've gone back and forth about liking "DwD" and "OfO"(LP2) to varying degrees. I've always thought they were both at least "OK", but sometimes (when I'm in the right mood, or right frame of mind) I find I like both of these albums nearly as much as anything else Andrew did on BN. But I certainly don't always think that, every single time I hear them. Perplexing, indeed. ) One other quick thought specifically about side one of the 2nd LP of "OfO" (meaning the side without the string quartet). Today I put my finger on what seems truely unique about this side, among all of Andrew's BN output (and beyond). It has a very "Strata East"-ish vibe going on with it!!! Damn, what a whole string of Andrew Hill albums on Strata East (in the early 70's) would-have/could-have sounded like??? Yeow!!!!!!!!

(Thanks, Moose, for pointing out how many times I used the word "tiny" in the same paragraph!! ) I'm only 34 years old, but like you, I already know what that "wish I had done more with my life" thing is like. In some ways, faced with what will probably end up being a career change (I'm job-hunting now), I find myself in the middle of a sort of mid-life crisis, about 10 or 15 years ahead of schedule. And I find myself wanting to do more in areas like this (the topic of this thread), but struggling to figure out how. As a white guy myself, I do feel like there's a greater need to me to reach out, or at least to look for other people (of every racial background) who also want to reach out, and reach out to them. Just yesterday afternoon, there was an African-American gentleman going door-to-door, looking for donations for a homeless shelter. He was probably in his early 50's, maybe late 40's. He introduced himself, and I offered to shake his hand, which he did. I generally try to be nice to everybody (without being 'overly nice', if you know what I mean), but in the case of minorities - I always try doubly hard to be both nice and respectful, perhaps surprising them with my holding the door open for them, or saying thankyou to people in service industry jobs (waiters, sackers at the grocery store, the kid behind the counter at the drycleaners). It's not that I'm any 'less nice' to the white people in those same jobs, but I honestly want to try to be a good person in my interactions with others who are different than me.

Appart from the obvious BN reissues, and Mosaic Select titles, here are a few I will probably seriously consider getting... Ralph Alessi - This Against That (RKM 03) May 27 — with Don Byron, David Gilmore, Drew Gress, Nasheet Waits Ralph Alessi - Vice & Virtue (RKM 02) May 27 — recorded in 1999 Greg Osby - St. Louis Shoes (Blue Note) June 10 The Classical Jazz Quartet - Plays Rachmaninoff (Vertical Records) June Charlie Haden - The Montreal Tapes (Verve) — with Joe Henderson and Al Foster Jason Moran Trio - The Bandwagon (Blue Note) Aug 19 — recorded live at the Village Vanguard, Nov. 2002 Miles Davis - Tribute To Jack Johnson Sessions - 5 CDs? (Columbia/Legacy) early Sept (2003) — 34 tracks; about 4.5 hours previously unreleased Miles Davis - Juan Le Pins Sessions (Columbia) - 2 CDs – 2003/04?? — July 1969 concerts with Shorter, Corea, Holland, and DeJohnette. The second concert is unissued.

Go to jazzmatazz - upcoming releases, and tell everyone what you're looking forward to most!!!!

Perhaps I'm not the only one who doesn't own any of these. Which one or ones is/are the best?? And why?? Here's a link to a review of all of them from www.52ndstreet.com.

Hey, could we hold off on doing "Conflict" as the AOTW until I get back from my trip to the Pacific Northwest?? I won't have any Internet access for a couple weeks in mid-June, so sometime after that would be good (after June 23rd, to be exact). ( Not my turn to pick anyway, so I gotta hope somebody else chooses it. )

Thanks A.B.!!! - and actually, I downloaded that Kirk show (from Darkfunk) just last night!!! Haven't had the chance to listen to it yet, but plan to in the next few days.

Excellent news!!! Between "Conflict" being available in Europe, and also on emusic - we should definitely do this as our album-of-the-week sometime soon. Maybe we could pick this well in advance of the week we're doing it, so people have time to get it and spin it a few times.

Half to say I'd never been to emusic before, at least not until 30 seconds ago. I saw OmniTone, and wondered if Tom Varner's albums were there, and they are.... Anyone who is a fan of Don Cherry's "Complete Communion" really needs to hear Tom Varner's "Second Communion", which is on emusic. Here's the skinny from AGM... Review of Second Communion, and here's the bio of Tom Varner, who plays French Horn(!!). You gotta hear this one...

Here's that same list (from the source above), FYI... ===== All in mini LP carton sleeve with bonus tracks where available: June 25, 2003 4001 Newk's Time / Sonny Rollins 4183 Talkin' About / Grant Green 4252 Sweet Honey Bee / Duke Pearson 4229 Got A Good Thing Goin' / John Patton 4060 At The Half Note Café Vol.1 / Donald Byrd 4061 At The Half Note Café Vol.2 / Donald Byrd 4227 Mode For Joe / Joe Henderson 4159 Judgement! / Andrew Hill 4085 Ready For Freddie / Freddie Hubbard 4129 Never Let Me Go / Stanley Turrentine July 23, 2003 1575 City Lights / Lee Morgan 1547 A Date With Jimmy Smith Vol.1 1548 A Date With Jimmy Smith Vol.2 4033 Soundin' Off / Dizzy Reece 4220 The Cape Verdean Blues / Horace Silver 4145 Shoutin' / Don Wilkerson 4174 The Way I Feel / Big John Patton 4277 Serenade To A Soul Sister / Horace Silver 4280 Midnight Creeper / Lou Donaldson 4260 Conquistador / Cecil Taylor Aug. 27, 2003 1561 Palo Congo / Sabu 4415 The Final Come Down / Grant Green 4141 Rockin' The Boat / Jimmy Smith 4200 Softly As A Summer Breeze / Jimmy Smith 4121 Elder Don / Don Wilkerson 4158 Good Move / Freddie Roach 4120 It Just Got To Be / The Three Sounds 4197 Out Of This World / The Three Sounds 4188 I'm Tryin' To Get Home / Donald Byrd 4118 Free Form / Donald Byrd Sept. 2003 4230 A Caddy For Daddy / Hank Mobley 4310 Goin' West / Grant Green 4106 Let Freedom Ring / Jackie McLean 4131 Silver's Serenade / Horace Silver 4238 Mustang / Donald Byrd 4172 Breaking Point / Freddie Hubbard 4326 Move Your Hand / Lonnie Smith 4136 African High Life / Solomon Ilori 1525 The Incredible Jimmy Smith At The Organ Vol.3 4164 Prayer Meetin' / Jimmy Smith Oct. 2003 4083 Dexter Calling / Dexter Gordon 4050 Home Cookin' / Jimmy Smith 4100 Jimmy Smith Plays Fats Waller 4092 The Golden Eight / Kenny Clarke 4342 Green Is Beautiful / Grant Green 4087 Let Me Tell You 'Bout It / Leo Parker 4189 Inner Urge / Joe Henderson 4177 Some Other Stuff / Grachan Moncur III 4214 Down With It / Blue Mitchell 4273 Hi Voltage / Hank Mobley Nov. 2003 4335 The Sixth Sense / Lee Morgan 4079 Gravy Train / Lou Donaldson 4144 Little Johnny C / Johnny Coles 4096 That's Where It's At / Stanley Turrentine 4165 Destination Out / Jackie McLean 1587 Back On The Scene / Bennie Green 4104 Buhaina's Delight / Art Blakey & The Jazz Mssengers 4170 Free For All / Art Blakey & The Jazz Messengers 4323 Merry Ole Soul / Duke Pearson 1556 The Sounds Of Jimmy Smith Dec. 2003 1572 Bone & Bari / Curtis Fuller Vol.2 4257 Boss Horn / Blue Mitchell 4297 Schizophrenia / Wayne Shorter 4153 Evolution / Grachan Moncur III 4307 Time For Tyner / McCoy Tyner 4196 Blue Spirits / Freddie Hubbard 4239 Let 'Em Roll / "Big" John Patton 4334 Moon Rappin' / Brother Jack McDuff 1599 Soul Stirrin' / Bennie Green 4191 Wahoo / Duke Pearson Jan. 2004 4010 Walkin' & Talkin' / Bennie Green 4353 The Song Of Singing / Chick Corea 4178 The Thing To Do / Blue Mitchell 4128 Mo' Greens Please / Freddie Roach 4207 The Night Of The Cookers Vol.1 / Freddie Hubbard 4208 The Night Of The Cookers Vol.2 / Freddie Hubbard 4322 Down Home Style / Brother Jack McDuff 4259 Blackjack / Donald Byrd 4253 Street Of Dreams / Grant Green 4193 Indestructible / Art Blakey & The Jazz Messengers Feb. 2003 1517 Patterns In Jazz / Gil Melle 4125 Good Gracious / Lou Donaldson 4218 Action / Jackie McLean 4290 Think / Ronnie Smith 4151 Black Fire / Andrew Hill 4160 Smoke Stack / Andrew Hill 4077 Doin' Allright / Dexter Gordon 4148 Two Souls In One / George Braith 4171 Extention / George Braith 4344 How Insensitive / Duke Pearson Mar. 2003 4176 One Flight Up / Dexter Gordon 4288 Reach Out! / Hank Mobley 4072 Feelin' Good / The Three Sounds 4313 Turning Point / Ronnie Smith 4113 Down To Earth / Freddie Roach 4245 Like Someone In Love / Art Blakey & The Jazz Messengers 4161 Soul Stream / George Braith 4166 In 'N Out / Joe Henderson 1563 Jimmy Smith Plays Pretty Just For You 4275 Tender Moments / McCoy Tyner

Thanks, Moose, well said. I agree that on a national scale, not much is likely to change anytime soon, no matter what anyone does. (Sad, but probably true.) BUT, if you accept (even just a tiny bit) the mantra to "think globally, act locally" --- then I can't help but think that individuals can somhow make a real difference on a very localized level -- meaning even if they just create a tiny bit of synergy that starts to take on a tiny life of it's own - enough so that maybe a few people, or a few dozen people, or even (over time) a few hundred people start to change their perspective, even just a tiny bit. I'm not saying that this is gonna solve all kinds of problems on a grand scale. But, perhaps I'd just like to do something, if for no other reason that the pure selfishness of wanting to improve things a tiny bit in some tiny bubble in which I have some tiny influence. This reminds me of a similar, but different example (which will explain some of my motivation for starting this topic, and why I'm asking the questions I'm asking)... Shortly after I moved to Kansas City in 1994, I joined a weekly round-table discussion group, a "Men's Group". We did a little bit of the typical "Men's Movement" stuff, like drumming and such, but what I really liked was just having a bunch of guys to get together with and talk about stuff. Serious stuff, stupid stuff, pop-culture stuff, pretty much anything (reminds me of a jazz bulletin board, no?? ). Then, after about a year of that, I found the group to be a little bit lacking. Everyone in the group was male (obviously), and there were many times that I found myself longing for a similar round-table discussion group that had both men and women. Later, I found something kinda like that, in the church my wife and I started going to a few years ago. The '30-somethings' group at the church was men and women, and I found that having women in the group changed a lot of the discussion, as they often brought in different points of view that an all-male group might not think of. And so, I just realized that I feel the same thing about, well, about practically all my current social circles. That they somehow are lacking some perspectives and opinions, because everyone is White. It's just like my Men's Group, as great as it was. It was still lacking some valid perspectives and opinions, and having women around too might have diversified the pool of ideas. ( Also, the Men's Group that I was in was made up of all straight men, and as a result, I found that there were often quite a number of generalizations made about women, which were widely accepted and rarely challenged (or I was the only one challenging them). Whereas now, in the "male/female & straight/gay/lesbian" discussion group that I'm in now, it means these generalizations are rarely left unchallenged. ) So, then, the trick is, how to bring a few people of different races together?? Maybe to work together on some common 'community-action' or 'volunteer' project?? Maybe under the guise of some common interest, like a music appreciation group??? Just brainstorming some more...

I'm on the fence about Marvin Cabell as well, but occasionally I don't mind his severe intonation problems, or at least not as much as other times. (How's that for faint praise!!!!) But seriously... Do I wish almost any other sax player was on those dates?? Probably yes. Do the dates still have some merit?? Absolutely!!! They're great in other ways!!! And, truth be told, Marvin Cabell doesn't do any less for me than Don Wilkerson, although I do admit Wilkerson is a better player, technically. So I'm not saying Cabell is as good as Wilkerson, but rather that Cabell is at least as interesting (to me) as Wilkerson. Sometimes If I have my 'Ornette' ears screwed on tight, I can find few things in Cabell's playing.

LOL!!!

Or, rather, see this thread (link provided below) for where this question is asked and hopefully discussed.... Conversations with Jim Anderson, Ask the engineer!!! (page 6) Be sure to scroll down to the bottom of the page, and look for this question... But don't discuss it here, go to the other thread. Thanks!!

For those looking for Boogaloo, here's a link that'll do a generic search for "john patton boogaloo" on eBay. This link should work, now, or a month from now, or a year from now. eBay search for "john patton boogaloo" And, here's a similar search on half.com, that should also work anytime in the near future... half.com search for "john patton boogaloo" I'm doing this as a public service to those unfortunate souls who don't have Patton's "Boogaloo", which I voted for as my all-time-favorite Patton release. I love the others too (I've heard nearly all of them, expect a couple on the forthcoming Mosaic Select), but I always seem to come back to "Boogaloo" as my favorite. It maybe isn't the greasiest of his output, but (for me anyway), it's the deepest.

You're right Conn500, that this is a difficult topic to talk about. Maybe that's why I sat around thinking about talking about it for so long, before finally starting this thread. I was about to discuss my own background, which isn't even half as interesting as yours, Conn500. I think you certainly bring a unique perspective to matters of race. I grew up in a nearly lily-White suburb of St. Louis (Missouri), in what must be one of the most segregated counties in the whole country, St. Clair County, on the Illinois side of the river, right across the river from St. Louis. Yup, I grew up in the county where East St. Louis is, where Miles was born and grew up. But I grew up in and around Belleville, Illinois - which is probably 70% White now, and back then (in the 70's and 80's) was probably 85% White. But my parents, who were born in the late 20's (and are old enough to be my grandparents), both grew up in East St. Louis when it was nearly all-White, as it was all the way through the 30's, 40's, and 50's. Lot's of reasons for the big changes in East St. Louis, which I won't go into here, except to say that now it is nearly 90% Black, and one of the most economically depressed areas in the whole country, and is quite similar to the south side of Chicago, or the Watts area of Los Angeles. I grew up in a number of different schools, which each had about 5%-10% minority enrolment. And when I went to college, I got to interact with lots of international students, from all over the world. But, for many reasons, I don’t remember having too much interaction with the Black students who I was in college with at the time. I went to a small liberal-arts college in up-state Illinois, with about 15% minority enrolment, about half of which was Black. I do remember going to hear some lectures, now and then, that particularly appealed to the Black student community, and being at a few sort of “Black”-centric student events. But, I don’t really remember ever really getting to know any Black students during my time in college. I saw every movie Spike Lee put out, but never did figure out how to cross that divide. I wasn’t into jazz back then, though I suspect few of the Black students were either. I’m rambling here, and have no idea where this is going. I guess I don’t have any answers either. But I think talking about race is still a good thing, and a good place to start. Back to rambling... It wasn’t until my first year out of college, when I began working on my 2nd college degree (in music), that I got to develop a really good friendship with someone who was Black. Actually, he was a part-time professor at the college (and a full-time professor at the local community college), and he was going to be on my Honors-Project committee when I thought about doing a year-long project on Sun Ra. He had the biggest jazz collection within 300 miles in any direction, and the area he taught in was Sociology. We hit it off fast, first as mentor and student, but later just as friends. He’s 20-25 years older than I am, but we’ve really gotten to be good friends despite the age difference. He and his wife are two of the nicest people I’ve ever known in my whole life. He has kids that are only a few years younger than I am, and they’re also really nice as well - though I always feel I have way more in common with their father (who is easily old enough to be my own father), than I do any of them (he has three sons). Conn500, you’re absolutely right about race being a taboo subject. There have been nearly 100 views of this thread, but only two people have responded to it. Difficult to talk about, but perhaps important to talk about too.

Thanks b3, appreciate your feedback. Nice to hear stories like the one you described about the gay man, and the black woman her friends. I would just post links to these, but articles in the Kansas City Star are only available on-line for one week; after that you gotta buy the articles for a tiny fee. So, here are two articles, the first one ran before the 'Race Relations' forum I attended last Saturday, and the second one ran right after the forum. and

What's "...Freap" sound like??? I've never heard it... (And actually, I'm not sure if I've ever heard any Ronnie Foster, come to think of it.)

I have far fewer of the Rare Groove titles, so I'll have to bow out from the Rare Groove poll, at least as far as knowing what to add, and what not to.

( Never mind the bit about "Select your favorite Grant Green from the list", I think that's a left-over from another poll Conn500 created earlier... )

I've wanted to bring up this topic for a long time, both here and even back on the BNBB, so here goes... Maybe I should also mention, right up front, that I'm a white male, married, age 34, with no kids, who lives in the city in a mostly all-white neighborhood, although about 15% of our immediate neighbors (within 1 or 2 miles) are Hispanic. But, if you go just 2 or 3 miles due east of where I live, you start to get into the mostly all-Black neighborhood. (Kansas City, like I suspect most (but maybe not all?) bigger cities in America, borders on being 'hyper-segregated' in our living/neighborhood patterns.) I'm currently unemployed (since January), but my last work environment ('white collar', in Information Systems at the corporate headquarters of a Fortune 1000 company) was probably 90% White, with the remaining 10% mostly being made of up of various Asian, Indian, and Middle-Eastern minorities, with few Blacks. Anyway, last Saturday I went to an interesting forum/round-table discussion, about the state of "Race Relations" in Kansas City and in the greater K.C. metropolitan area. At this forum, there was a period of Q&A with the panel - and one of my questions was selected and discussed by the whole group. My question was this: "Kansas City is not very integrated, especially in our neighborhoods, our churches, and (although maybe to a lesser degree) in many of our work environments. What can White people do to get involved in improving race relations?? And, perhaps even more importantly, what can White people do to find ways to interact and socialize in more racially integrated circles??" Various members of the panel had a few good suggestions, but the overall response (and struggle to respond) left me thinking that this really is a difficult question to answer, or at least here , and it probably is also in many communities. So, then, I pose the same question here... For those interested, what can we all do (Black, White, Hispanic, Asian, etc...) to have more face-to-face interaction, in a positive and comfortable/casual setting, on a periodic regular basis, with people of different racial backgrounds?? For instance, I belong to a very dogmatically-liberal Unitarian Church in midtown Kansas City - where the social-circle I run in there (made up of mostly "30-somethings") has every kind of diversity you can think of, except racial diversity. And by other kinds of diversity, I mean things like gender, class (or at least income-level), gender-preference, single/married, kids/no-kids, city-dwellers/suburbanites, professionals, artists, students, you-name-it, and so on.... But as much as I like all that, I would love to find some regular social outlets that were more racially mixed. A while back I played in a pool-league for a couple years, and our 'all-White' team sometimes played 'all-Black' teams - sometimes at our bar, sometimes at theirs, and I really enjoyed that. And I had some cool conversations once with a couple slightly-younger-than-me Black guys when we were all in a jury pool together all day long, a few years ago. And one or two of the jazz clubs in Kansas City draw a mixed crowd, somewhat. But you see my point - (at least in this town) one has to really look for opportunities to mix with others who are different. And even then, there often isn’t that much interaction. Any thoughts on my questions above, or about this topic in general??? Thanks!! -- Rooster T. PS: Yes, I'll admit it, based on my personal interests in Jazz, (perhaps obviously) I'm looking for more opportunities for Black/White interaction. But, that doesn't mean I'm any less open to other more diverse social-circles as well.

List of Pulitzer Prize Winners in Music, 1943-2002 1943: William Schuman (b. 1910). Secular Cantata No. 2: A Free Song for full chorus of mixed voices, with accompaniment of orchestra. 1944: Howard Hanson (1896-1981). Symphony no. 4, op. 34. 1945: Aaron Copland (1900-1990). Appalachian Spring. 1946: Leo Sowerby (1895-1968). The Canticle of the Sun. 1947: Charles Ives (1874-1954). Symphony no. 3. 1948: Walter Piston (1894-1976). Symphony no. 3 1949: Virgil Thomson (1896-1989). Louisiana Story. (Score for a documentary film.) 1950: Gian-Carlo Menotti (b. 1911). The Consul. (Opera.) 1951: Douglas Moore (1893-1969). Giants in the Earth. (Opera.) 1952: Gail Kubik (1914-1984). Symphony Concertante. 1953: Not awarded. 1954: Quincy Porter (1897-1966). Concerto Concertante for Two Pianos and Orchestra. 1955: Gian-Carlo Menotti (b. 1911). The Saint of Bleecker Street. (Opera in three acts.) 1956: Ernst Toch (1887-1964). Symphony no. 3. 1957: Norman Dello Joio (b. 1913). Meditations on Ecclesiastes. 1958: Samuel Barber (1910-1981). Vanessa. (Opera.) 1959: John La Montaine (b. 1920). Concerto for Piano and Orchestra, op. 9. 1960: Elliott Carter (b. 1908). Second String Quartet. 1961: Walter Piston (1894-1976). Symphony no. 7. 1962: Robert Ward (b. 1917). The Crucible. (Opera.) 1963: Samuel Barber (1910-1981). Piano Concerto no. 1, op. 38. 1964: Not awarded. 1965: Not awarded. 1966: Leslie Bassett (b. 1923). Variations for Orchestra. 1967: Leon Kirchner (b. 1919). Quartet no. 3 for strings and electronic tape. 1968: George Crumb (b. 1929). Echoes of Time and the River. 1969: Karel Husa (b. 1921). String Quartet no. 3. 1970: Charles Wuorinen (b. 1938). Time's Encomium. 1971: Mario Davidovsky (b. 1934). Synchronisms no. 6. 1972: Jacob Druckman (1928-1996). Windows. 1973: Elliott Carter (b. 1908). String quartet no. 3. 1974: Donald Martino (b. 1931). Notturno. 1975: Dominick Argento (b. 1927). From the Diary of Virginia Woolf. 1976: Ned Rorem (b. 1923). Air Music. 1977: Richard Wernick (b. 1934). Visions of Terror and Wonder. 1978: Michael Colgrass (b. 1932). Deja Vu for Percussion and Orchestra. 1979: Joseph Schwantner (b. 1943). Aftertones of Infinity. 1980: David Del Tredici (b. 1937). In Memory of a Summer Day. 1981: Not awarded. 1982: Roger Sessions (1896-1985). Concerto for Orchestra. 1983: Ellen Zwilich (b. 1939). Three Movements for Orchestra. (Symphony no. 1.) 1984: Bernard Rands (b. 1934). Canti del Sole. 1985: Stephen Albert (1941-1992). Symphony RiverRun. 1986: George Perle (b. 1915). Wind Quintet no. 4, for flute, oboe, clarinet, horn, and bassoon. 1987: John Harbison (b. 1938). The Flight into Egypt. 1988: William Bolcom (b. 1938). 12 New Etudes for Piano. 1989: Roger Reynolds (b. 1934). Whispers Out of Time. 1990: Mel D. Powell (1923-1998). Duplicates: A Concerto. 1991: Shulamit Ran (b. 1947). Symphony. 1992: Wayne Peterson (b. 1927). The Face of the Night. 1993: Christopher Rouse (b. 1949). Trombone Concerto. 1994: Gunther Schuller (b. 1925). Of Reminiscences and Reflections. 1995: Morton Gould (1931-1996). Stringmusic. 1996: George Walker (b. 1922). Lilacs for soprano and orchestra. 1997: Wynton Marsalis (b. 1961). Blood on the Fields. Oratorio. 1998: Aaron Jay Kernis (b. 1960). String Quartet No. 2, Musica Instrumentalis 1999: Melinda Wagner. Concerto for Flute, Strings, and Percussion. 2000: Lewis Spratlan. Life is a Dream, opera in three acts: ACT II, Concert Version. 2001: John Corigliano. Symphony No. 2 for String Orchestra. 2002: Henry Brant. "Ice Field"