robviti

i don't see any mention of this recent release by gary smulyan on the reservoir label. he's backed by christian mcbride and billy drummond, so there's plenty of bari to go around. anyone pick this up yet?

Maybe with the proviso: "as long as he's playing bass". does your comment mean that you do not like the little huey creative music orchestra as much as parker's other groups?

i much prefer this recording:

From the New York Press Vol 19 - Issue 26 - June 28-Jul 4, 2006 THE HERBIE PROBLEM When jazz becomes pretty but fails to astonish By Howard Mandel Pianist Herbie Hancock has recorded one perfectly sublime jazz album (Maiden Voyage) and a couple of dozen significant others. He’s composed two simple, irresistibly catchy tunes (“Watermelon Man,” “Chameleon”) that will be jam session favorites as long as there are fake books and garage bands, plus the first mainstream single to feature scratching (“Future Shock”) and the first jazz sample (from “Cantaloupe Island”) featured in a huge crossover hit (“Cantaloop” by U.K. DJs Us3). He helped galvanize Miles Davis’ exploratory ’60s quintet, popularized the Fender Rhodes electric piano and delved deeply into synthesizers while never abandoning the classic grand. So why are his concerts so dull? Perhaps the Herbie problem is mine, not his: The nearly full house June 23 at Carnegie Hall for his career-celebrating “Herbie’s World” concert in the JVC Jazz Festival New York gave the man and his star-studded ensembles several standing ovations. People listened closely as Hancock, in trio with fellow Miles alumni Ron Carter (bass) and Jack DeJohnette (drums), toyed with his ’60s song, “Toys,” and the ballad, “I Thought About You.” They rightly cheered the surprise guest appearance of Michael Brecker, whose medical travails have not impaired his rigorous tone and technique as demonstrated by his slashing mastery of Hancock’s difficult “One Finger Snap.” The audience was kindly receptive to Hancock’s quintet comprising West African guitarist Lionel Louke, whose style has a delicate quality, and violinist Lili Haydn, who also sang a treacly composition of her own. Things picked up a bit when electric bassist Marcus Miller joined the ensemble to loudly thumb the “Chameleon” theme, which these days seems more chunky than funky. We sat expectantly through three impressionistic, improvisational piano duos by Hancock with Cuban expatriate romanticist Gonzalo Rubalcaba. Cheers arose again for the concert-ending quartet of Hancock with his old friend Wayne Shorter on saxes, estimable Dave Holland on bass and game Brian Blade on drums. The crowd wanted an encore; everyone but my date and I seemed to leave the concert buzzing. So am I jaded, or what? Yes, I’m jaded, and I also have high expectations. Over the past 40 years Hancock has exemplified jazz’s ability to be both smart and popular. He’s one composer/performer capable of genuine lyricism, daring breakthroughs and uncondescending use of America’s gospel-blues tropes to create internationally accessible, engaging music. I attend Hancock’s performances over and again, hoping he’ll pull off this trick, however disappointing the last try was. Two pianos stirred by virtuosi such as Hancock and Rubalcaba can’t possibly sound bad in a concert hall like Carnegie, but they are challenged to sound meaningful. Few piano duettists really lock in with each other. Without evident preparation, relying on spontaneous impulses, Hancock and Rubalcaba offered up brooding reverie, unanchored single-note runs and cloudy dissonances. Better they dish it one at a time. Where is Hancock as leader of this gang? Why can’t or won’t he make a statement, rally his troupe to focus its expression, reach out to the listeners, wrap us in the music and take us higher? If jazz doesn’t do that, if it only wants to be admired, it’s ready for burial now. Has Herbie Hancock lost his edge? Physically fit, active and articulate, maybe he's too comfortable. Chilled. A California Buddhist, multiple Grammy winner and NEA Jazz Master. Fulfilled. Yet ambition, conflict and desire have always lent jazz excitement. If the imperative in Herbie's World now is "make it pretty," and you've spent $40 to $100 for Carnegie tix to hear him, you're going to want to like it. But jazz should be hot as well as cool, and always new. Astonish us, Mr. Hands! Dig in and let rip. Next time.

maybe he just woke up from a wet dream! anyway, did everyone know that rita, born margarita carmen dolores cansino, was married to these guys? orson welles prince aly khan dick haymes and lastly, film producer james hill.

aren't you going to need a large-format scanner to accomodate the 12"x12" album cover? i believe those cost a lot more than what you're looking to spend.

i want to wish a happy birthday, and many more to come. god i wish i was 36 again.

nope, that's it.

a sad story, for sure. what really pisses me off is the lack of respect they're showing this animal by planning to stuff and mount him. humans suck.

another for such sweet thunder and and his mother called him bill. hodges' solo on star-crossed lovers on the first disc is wonderful, as is his emotional reading of blood count on the latter recording (made shortly after strayhorn's passing.)

it's a great recording but not impossible to find. there's another copy on ebay for a buy-it-now price of $16.50. also, you can usually get it from dusty groove for $19.99, and cd japan has it in stock for less than that.

in a ben ratlif article for the ny times from 1997 called syncopated homecoming: jazz swings back uptown, bassist mickey bass mentions the red rooster as one of several jazz spots in harlem in the 1960s. it's also mentioned in a "jazz poem" called yesterday written by someone going by the name peter rabbit. sorry, but i couldn't find any real details about the club. interestingly, mccoy tyner talks about a gig he had playing in cal massey's band when he was only 17. they were playing a popular nightclub in philly, also called the red rooster, and that's where mccoy said he first met coltrane.

guitar + piano + bass + drums = trio

'taint small!

email sent. forget to mention that it was from me.

please explain

here's the "child's play" date. maybe not a great date, but a pretty good one.

mek we dweet!

aptly named outfit. one can only hope their gigs feature this opening act: it works for me!

ahhh, lp facsimiles!!

i believe the less expensive cd is a 1999 reissue from germany. the other, more expensive disc, is a japanese remastered version released earlier this year.

Let me be the first to wish my friend Kevin a Happy Birthday! Here's to that computer-geekin', hybrid-drivin', wine-and-beer-sippin', SACD-lovin', CanAm-storin', jazz fan and all-around good guy!

#147 The Complete Serge Chaloff Sessions (4 CDs or 5 Q-LPs) 1 Blue Serge Chaloff 3:03 2 Blue Serge [Long Version] Chaloff 6:01 3 Pumpernickel [alternate take] Chaloff 2:31 4 Pumpernickel Chaloff 2:29 5 Gabardine and Serge Kahn 2:22 6 Gabardine and Serge Kahn 2:30 7 Serge's Urge (Alt TK.) Chaloff 2:33 8 Serge's Urge Chaloff 2:32 9 Bar a Second [alternate take] Chaloff 2:22 10 A Bar a Second Chaloff 2:36 11 Chickasaw Gibbs, Rogers 2:53 12 Bop Scotch Chaloff 3:13 13 The Most! Cohn 2:52 14 Chasin' the Bass Feather 2:29 15 Pat Burns, Chaloff 2:12 16 King Edward the Flatted Fifth Burns, Chaloff 2:54 17 You Brought a New Kind of Love to Me Fain, Kahal, Norman 3:22 18 Zoot Chaloff 2:49 19 Oh Baby Murphy 5:59 20 Love Is Just Around the Corner Gensler, Robin 3:01 21 Easy Street Jones 3:30 22 All I Do Is Dream of You Brown, Freed 4:43 23 Sherry Mariano 2:06 24 Slam Mariano 5:54 25 Let's Jump [alternate take] Killian 6:54 26 Let's Jump Killian 6:10 27 Salute to Tiny [alternate take] Pomeroy 3:09 28 A Salute to Tiny Pomeroy 3:09 29 Eenie Meenie Minor Mode [alternate take] Mariano 3:36 30 Eenie Meenie Minor Mode Mariano 3:36 31 The Fable of Mabel Twardzik 4:26 32 The Fable of Mabel Twardzik 4:19 33 The Fable of Mabel Twardzik 4:18 34 Mar-Dros Mussulli 3:21 35 Kip Mussulli 3:18 36 Unison Mussulli 3:15 37 Body and Soul Eyton, Green, Heyman, Sour 3:50 38 Yesterday's Gardenias Cogane, Mysels, Robertson 4:38 39 Bob the Robin Mussulli 2:34 40 What's New? Burke, Haggart 3:36 41 Boomaremaroja Mussulli 3:43 42 Diane's Melody Byard 1:38 43 Herbs [short Take] Pomeroy 3:29 44 Herbs Pomeroy 4:19 45 Sergical Mussulli 3:09 46 J.R. Mussulli 4:18 47 I've Got the World on a String Arlen, Koehler 6:45 48 Thanks for the Memory Rainger, Robin 3:46 49 The Goof and I Cohn 4:47 50 Susie's Blues Chaloff 5:09 51 A Handful of Stars Lawrence, Shapiro 5:34 52 All the Things You Are Hammerstein, Kern 5:26 53 Stairway to the Stars Malneck, Parish, Signorelli 4:52 54 How About You? Freed, Lane 5:25

Thanks Larry. In my excitement, I failed to notice the absence of Sunday's programs for the Jazz & Heritage Stage and the Petrillo Music Shell. Here it is (from another site): Jazz & Heritage Stage 12:30-1:30pm - Civic & Arts Jazz Ensemble 2:00-3:00pm - Hijazz 3:30-4:30pm - "A History of Jazz" with John Watson Petrillo Music Shell 5:00-5:50pm - Donald Harrison Quintet 6:00-6:55pm - Willie Pickens' 75th Birthday Celebration 7:10-8:10pm - Lee Konitz's New Nonet directed by Ohad Talmor 8:30-9:30pm - Joey DeFrancesco Trio with Dr. Lonnie Smith and Ron Blake