robviti

any chance this commercial can be found on adult swim's website? if so, maybe you could provide a link to it and then we'll have a better chance of helping you out.

ham sammich?

I saw a listing on the Vanguard's website for the Paul Motian Band from January 24 - January 29. Does anyone know who is included in this outfit? Thanks in advance.

this outfit its recordings have been discussed elsewhere: sf jazz

here's one i enjoy: Tracklist: Disc 1: 1. Over The Edge 2. From The Heart 3. Answer Without Question 4. Sippin' At Bells 5. Spring Can Really Hang You Up The Most 6. Tempus Fugit Disc 2: 7. Lush Life 8. Desafinado 9. Girl From Ipanema 10. Alone Together 11. It's You Or No One 12. In Your Own Sweet Way 13. Blood Count 14. Medley: Desafinado/Girl From Ipanema Stan Getz - Tenor Saxophone Jim McNeely - Piano Marc Johnson - Bass Victor Lewis - Drums Recorded 1983 at Robert Mondavi Winery, Napa Valley, California.

by the looks of it, the dvd you mention is the first disc of this 2dvd set: Here are the specifics: GREATEST JAZZ FILMS EVER Disc 1: Jammin' the Blues (Hollywood, CA, August-September, 1944): Harry Edison (tp); Lester Young (ts); Illinois Jacquet (ts); Marlowe Morris (p); Barney Kessel (g); Red Callender (b) or John Simmons (b); Sid Catlett (d) or Jo Jones (d); Marie Bryant (vocals); Archie Savage (dance) 1. The Midnight Symphony (ad lib) 2. On the Sunny Side of the Street 3. Jammin' the Blues (ad lib) Charlie Parker: TV Stage Entrance Show (New York, February 24, 1952): Charlie Parker (as); Dizzy Gillespie (tp); Dick Hyman (p); Sandy Block (b); Charlie Smith (d) 1. Hot House Jazz at the Philharmonic (Early September, 1950): Harry Sweets Edison (tp); Bill Harris (tbn); Charlie Parker (as); Coleman Hawkins (ts); Lester Young (ts); Flip Phillips (ts); Hank Jones (p); Ray Brown (b); Buddy Rich (d); Ella Fitzgerald (vocals) 1. Ballade 2. Celebrity 3. Ad Lib 4. Pennie from Heaven 5. Blues for Greasy The Sound of Miles Davis (New York, April 2, 1959): Miles Davis (tp); John Coltrane (ts); Wynton Kelly (p); Paul Chambers (b); Jimmy Cobb (d); Ernie Royal (tp); Clyde Reasinger (tp); Louis Mucci (tp); Johnny Coles (tp); Emmett Berry (tp); Frank Rehak (tbn); Jimmy Cleveland (tbn); Bill Elton (tbn); Rod Levitt (tbn); Julius Watkins (french horn); Bob Northern (french horn); Bill Barber (tuba); Danny Bank (bass clarinet); Romeo Penque (woodwinds); Eddie Caine (woodwinds). 1. So What 2. The Duke 3. Blues for Pablo 4. New Rhumba Jammin' the Blues (Bonus performances not used in original movie - see above for personnel): 1. Sweet Georgia Brown 2. If I Could Be with You One Hour Tonight 3. Blues for Marvin (ad lib) 4. Jammin' the Blues (ad lib - alternate take) Disc 2: THE SOUND OF JAZZ: Count Basie All-Star Orchestra: Roy Eldridge, Joe Newman, Joe Wilder, Doc Cheatham, Emmett Berry (trumpets); Vic Dickenson, Dickie Wells, Benny Morton (tombones); Earle Warren, Ben Webster, Coleman Hawkins, Gerry Mulligan (saxophones); Count Basie (piano); Freddie Green (guitar); Eddie Jones (bass); Jo Jones (drums). 1. Open All Night (a/k/a 'Fast and Happy Blues' - Composed and Arranged by Nat Pierce) Order of Solos: Coleman Hawkins, Dickie Wells, Gerry Mulligan, Joe Newman, Count Basie. Red Allen All-Stars: Henry 'Red' Allen (trumpet and vocal); Rex Stewart (cornet); Vic Dickenson (trombone); Pee Wee Russell (clarinet); Coleman Hawkins (tenor saxophone); Nat Pierce (piano); Danny Barker (guitar); Milt Hinton (bass); Jo Jones (drums) 1. Wild Man Blues (Louis Armstrong/Jelly Roll Morton) Rosetta (Earl Hines/Henri Woode) vocal by Henry 'Red' Allen 2. Rosetta Count Basie All-Star Orchestra: Roy Eldridge, Joe Newman, Joe Wilder, Doc Cheatham, Emmett Berry (trumpets); Vic Dickenson, Dickie Wells, Benny Morton (tombones); Earle Warren, Ben Webster, Coleman Hawkins, Gerry Mulligan (saxophones); Count Basie (piano); Freddie Green (guitar); Eddie Jones (bass); Jo Jones (drums). 1. Dickie's Dream (Composed by Lester Young and Count Basie; Arranged by Nat Pierce) Order of Solos: Count Basie, Ben Webster, Benny Morton, Joe Wilder, Gerry Mulligan, Vic Dickenson, Roy Eldridge, Emmett Berry, Coleman Hawkins, Dickie Wells, Joe Newman, Count Basie. Thelonious Monk Trio: Thelonious Monk (piano); Ahmed Abdul Malik (bass); Osie Johnson (drums). 1. Blue Monk (Thelonious Monk) Count Basie All-Star Orchestra with Jimmy Rushing Same personnel as above with Jimmy Rushing (vocal) 1. I Left My Baby (Composed by Andy Gibson; Arranged by Nat Pierce) Order of Solos: Jimmy Rushing with Ben Webster, Count Basie, Dickie Wells, Roy Eldridge (flugelhorn); Coleman Hawkins, Jimmy Rushing with Vic Dickenson. Billie Holiday with Mal Waldron and the Count Basie All-Star Orchestra: Billie Holiday (vocal); Roy Eldridge, Doc Cheatham (trumpets); Vic Dickenson, (tombones); Ben Webster, Coleman Hawkins, Gerry Mulligan, Lester Young (saxophones); Mal Waldron (piano); Danny Barker (guitar); Milt Hinton (bass); Osie Johnson (drums). 1. Fine and Mellow (Billie Holiday) Order of Solos: Billie Holiday, Ben Webster, Lester Young, Billie Holiday, Vic Dickenson, Gerry Mulligan, Billie Holiday with Doc Cheatham, Coleman Hawkins, Roy Eldridge, Billie Holiday. Jimmy Giuffre Three: Jimmy Giuffre (clarinet); Jim Hall (guitar); Jim Atlas (bass) 1. The Train and the River (Jimmy Giuffre) Pee Wee Russell/Jimmy Giuffre Quintet: Pee Wee Russell and Jimmy Giuffre (clarinets); Danny Barker (guitar); Milt Hinton (bass); Jo Jones (drums). 1. Blues My Naughty Baby Gives to Me Ahmad Jamal Trio (1959): Ahmad Jamal (piano); Israel Crosby (bass); Vernell Fournier (drums). 1. Darn That Dream 2. Ahmad's Blues Ben Webster Sextet (1959): Ben Webster (tenor saxophone); Buck Clayton (trumpet); Vic Dickenson (trombone); Hank Jones (piano); George Duvivier (bass); Jo Jones (drums). 1. Chelsea Bridge 2. Duke's Place btw, this same set is currently available from the bastards courtesy of the dubious folks at disconforme:

okay, i was willing to believe this was another dan gould. until i read this portion of the article: "I was absolutely gutted when I saw it because of all the time and effort that's been put into it. It was my little baby. I only took it out now and again." now that made me think it might really be our dan...if the baby wasn't a car, that is.

I saw this article in the most recent issue of the Boston Phoenix and thought some of you might be interested: New standards Is jazz catching up with contemporary pop? BY JON GARELICK A soprano sax squeals into its farthest upper reaches, descends into bluesy cadences punctuated with Bechet-like vibrato and shake, then does some fancy arpeggiating. A soulful organ chord enters with a drumbeat and cymbal smash; then everyone shifts into a slow groove with a backing vocal chorus: "Do-do-dowee-oowee, do-do-dowee-oowee, wee-ah!" It sounds eerily familiar . . . could it be? No! But yes, Virginia, it’s all too true: Pavement’s indie-rock slacker anthem "Cut Your Hair" played as an instrumental (not counting the oowees) by a jazz band. And not just any jazz band. This is multi-reed monster James Carter with pianist Cyrus Chestnut and the rhythm team of bassist Reginald Veal and drummer Ali Jackson. The saxophonist and the pianist have been jazz stars since the mid ’90s, Veal is a long-term Wynton running buddy, and Ali Jackson has just taken the drum chair in the Lincoln Center Jazz Orchestra. "Cut Your Hair" is one of eight tracks on the new Gold Sounds, the first release on the New York–based Brown Brothers label. It’s the brainchild of Brown Brothers honchos Jake Cohn and David Elkins, who came up with the idea of bringing expert musicianship to bear on a band known for brilliant songwriting and sloppy execution. In the process, two audiences would meet on common ground: the jazz snobs and the indie-rock purists. If you think the idea sounds like a hopeless critics’ equation (Pavement nerd rock meets Wynton-era jazz perfection), or as one of my colleagues put it, "middlebrow," you’re not alone. Rolling Stone quoted Gold Sounds’ liner-note question, "What album would we want to buy which doesn’t exist?" and concluded, "If your answer is ‘hot young jazz players covering a grab bag of Pavement songs,’ you probably don’t exist yourself." But the existence of Gold Sounds (none of the players previously knew who Pavement were) dramatizes a larger issue in the jazz world: the absence of new "standards." That is, contemporary pop songs adapted by jazz musicians as standard repertoire to improvise on. The drought of such standards is, at this point, about 50 years old. The wealth of what’s become known as the Great American Songbook of the pre-rock-and-roll era once served, in critic and songwriter Gene Lees’s phrase, as the "lingua franca of the art form." Everyone knew, if not the lyrics, then the melody and the chord changes to "I Got Rhythm," "How High the Moon," "I Can’t Get Started," and a gazillion others — the pop music of the day. But rock was not the stuff of jazz improvisation. The simple three- or even two-chord harmonic patterns just didn’t provide enough fodder for an improviser to dig into. So the Great American Songbook gradually became the equivalent of the standard repertoire that classical musicians rely on. Which isn’t to say there’s no new material in jazz — jazz musicians of all stripes are writing new music, from mainstream to avant-garde, and instrumental pieces by Ellington, Monk, Coltrane, and others have themselves become standard. But as Lees points out (his essay is in the Oxford Companion to Jazz), popular song was one of jazz’s links to the popular audience — the familiar with which jazz musicians led that audience to the new. Think of Miles Davis’s transformation of "Bye Bye Blackbird," or John Coltrane’s take on Rodgers & Hammerstein’s "My Favorite Things." But except for Miles’s effective take on Cyndi Lauper’s "Time After Time" in 1985, or Chet Baker doing Elvis Costello’s "Almost Blue" late in his career, what else was there in new standards after 1965? And yet, the trickle has grown lately. In 1998, Joshua Redman mixed American Songbook masters (Berlin, Gershwin, Kern, Cole Porter, Rodgers & Hammerstein) with rock-era icons (Dylan, Lennon & McCartney, Joni Mitchell, Stevie Wonder, Prince) on Timeless Tales for Changing Times (Warner Bros.). Don Byron recorded boogaloos by funk outfit Mandrill and played the Four Tops’ "Reach Out" in concert. Singer/pianist/composer Patricia Barber has done the Beatles’ "Blackbird," Bill Withers’s "Use Me," Sonny Bono’s "The Beat Goes On," and smatterings of Joni Mitchell. Singer Karrin Allyson has won approving reviews for her 2004 Wild for You (Concord), with its soft-rock mix of Cat Stevens, James Taylor, et al. Brad Mehldau keeps returning to Nick Drake and Radiohead. Bill Frisell has his C&W outings. And of course there’s the Bad Plus, with everything from Nirvana to Queen in their book. In the wake of all this, Gold Sounds might represent a watershed moment. Right behind it is Jacob Fred Jazz Odyssey’s The Sameness of Difference (Hyena), with Hendrix ("Have You Ever Been to Electricladyland") and the Beatles ("Happiness Is a Warm Gun"), among others. And Rolling Stones saxophonist Tim Ries has released The Rolling Stones Project (Concord). The problem is that whereas earlier jazz masters subverted pop with their innovations, the current batch of covers tends to be conventional and tame. Miles’s "Bye Bye Blackbird" was an ultra-hip take on a 1926 hit for Eddie Cantor. Coltrane’s 1960 "My Favorite Things" (which, as Lees points out, was then being sung on Broadway by Mary Martin) was one of his boldest experiments. "The weird cover," as Don Byron once told me, is a radical "act of jazz." Even the accessibility of Coleman Hawkins’s 1939 "Body and Soul" was deceptive. Hawkins later recalled that he continued to get requests for something with "melody," like "Body and Soul," even though, as he was quick to point out, "We didn’t play the melody once" in that record. The "weird cover" may have been an "act of jazz," but subversion didn’t mean desecration. These musicians were, as the composer George Russell has said of his own music, trying to make "a classical music from the rhythms of our time." So now we get a big band called the Björkestra, which to judge by the few recorded examples I’ve heard makes perfectly fine, perfectly conventional big-band jazz out of one of the most idiosyncratic singer-songwriters in pop. The most audacious appropriation of contemporary pop repertoire comes from Sinatra-protégé crooner Paul Anka. His Rock Swings on the Verve jazz imprint makes you sorry that the Chairman never lived to do his own lounge-lizard take of David Lee Roth’s "Jump." The album’s arrangements of big band and strings are state-of-the-art, and on the whole I think I prefer Anka’s version of "Black Hole Sun" to Soundgarden’s. Anka’s most notorious remake, though, is "Smells like Teen Spirit," which for a while you can almost believe. "I’m worst at what I do best/And for this I do feel blessed," he sings, nailing those sibilants in true Frank fashion. It almost makes you want to forgive him for mosquito and libido — but then, of course, he has to elide those final screams of "a denial!" And there’s the rub. You can turn anything into "jazz," but will it still mean something when you’re done? David S. Ware’s "The Way We Were" is harrowing. The Bad Plus and Sex Mob (with their James Bond/Albert Ayler routines) are passing off novelty as relevance. Barber, on the other hand, knows how to adapt pop to her urbane irony, and to "smarten up" pop songs, as she once told me, in arrangements that work for jazz improvisers. Drake and Radiohead are perfectly suited to Mehldau’s dense, brooding romanticism. Ries, Jacob Fred Jazz Odyssey, and the Gold Sounds gang at least for the most part make real jazz without going schlocky. About Timeless Tales (which had its own little "Favorite Things" tribute in its soprano-sax waltz of "Eleanor Rigby"), Redman said, " I’m not trying to hold up these songs as standards that jazz musicians should play . . . I do believe that there is a lot of modern popular music out there — or at least a little modern popular music out there — that is completely valid for jazz interpretation. In that sense, the validity of the music is determined by the musician’s creativity and by the musician’s desires, not by any kind of artificial standard of what is or isn’t proper material." But a "standard" after all, is something that gets played regularly, by a community of musicians. And I don’t know anyone who’s heard even Redman play "The Times They Are A-Changin’ " lately. Issue Date: November 18 - 24, 2005

what's the big deal? humans have long trained other animals to behave in ways that are unnatural, for no other reason than their own amusement and to reinforce their sense of superiority.

Amina Claudine Myers is one of the featured artists during the Jazz Gallery's 10th Anniversary Piano Duo series that week: Tuesday, December 13th: 9 & 10:30 p.m. ($15) Jason Lindner & Luis Perdomo Wednesday, December 14th: 9 & 10:30 p.m. ($15) George Cables & Danny Grissett Thursday, December 15th: 9 & 10:30 p.m. ($15) Orrin Evans & Jason Moran Friday, December 16th: 9 & 10:30 p.m. ($20) Amina Claudine Myers & Vijay Iyer Saturday, December 17th: 9 & 10:30 p.m. ($20) Jass Masters Pass it On with Kenny Barron & Gerald Clayton here's the link: jazz gallery Also, on Thursday the 15th at Sweet Rhythm: Joe Lovano and Idris Muhammed duo. 8 & 10pm.

i saw the collective last april in chicago and later bought the single cd compilation. for the life of me, i can't understand how they can charge the same amount ($35) for the new 2cd set as they do for the earlier 3cd set. i won't be purchasing the new one at that price.

i've never heard it, but it's noteworthy in that you have a bass player on a smith date. maybe jimmy's feet were sore.

in an earlier thread that noted the absence of a blue note calendar for 2006, i mentioned that i planned to buy the classic jazz calendar featuring the photography of chuck stewart. well, i ended up ordering a rather large william claxton calendar instead. it's approximately 27" by 20". the total cost was $29.50 including shipping with a coupon for 15% off from calendars.com. here's a link for those interested, and pictures for everyone else: claxton calendar

this is news to me. unless a musician is playing in the street or has a glass sitting atop his instrument, i have never tipped in the 30 years i've attended live performances.

i adore a love supreme for its musical and spiritual essence, not it's religious associations. as a comprimise, i'd like to give thanks to coltrane's creators: alice and john sr.!

while i'd like to hear the date with Bishop, Euell, and Bateman, the first two roulettes would fit nicely on one cd.

these look interesting to me: Herb Ellis - Ellis in Wonderland Harry "Sweets" Edison (tp) Charlie Mariano (as -1,3) Jimmy Giuffre (ts, bars, cl) Oscar Peterson (p) Herb Ellis (g) Ray Brown (b) Alvin Stoller (d) Los Angeles, CA, January 3, 1956 1. 2608 Detour Ahead Norgran MGN 1081 2. 2609-1 Conversation Clef unissued 3. 2610 Ellis in Wonderland Norgran MGN 1081 4. 2611 Have You Met Miss Jones? - 5. 2612-6 A Simple Tune (Beyond the Moon) - Jimmy Raney Featuring Bob Brookmeyer ABC Paramount 128 [1956] Bob Brookmeyer (valve trombone), Dick Katz, Hank Jones (piano), Jimmy Raney (guitar), Teddy Kotick (bass), Osie Johnson, (drums). Jim's Tune Get Off That Roof How Long Has This Been Going On? Isn't It Romantic The Flag Is Up No Male for Me No One But You Too Late Now Jimmy Smith - Bluesmith Verve 8809 Recorded Sept. 11, 1972 Jimmy Smith (organ), Teddy Edwards (tenor sax), Ray Crawford (guitar), Leroy Vinnegar (bass), Donald Dean (drums), Victor Pantoja (conga) Straight Ahead Lolita Absolutely Funky Mournin' Wes Blues for 3+1 Bluesmith

happy turkey day! i'm going down to rhode island soon to eat some bird with my parents, a brother, and a few nephews. i'd like to add my thanks to jim, joe, and randy for helping me share my love of the music with all of you.

Here's an excerpt from an AAJ interview in 2004 with saxophonist Ron Blake conducted by Matt Merewitz: As can be expected, on the topic of St. Thomas, I had to ask that burning question: What was it like growing up on the island made famous in the jazz world by Sonny Rollins' tune from his landmark 1956 recording, Saxophone Collossus? What I found out might be common knowledge among you jazz nuts out there, but according to Blake, Rollins' St. Thomas, for which he has been given credit for writing, is actually a folk melody with words that goes back several centuries. According to Blake, it is a well-known rhythm and melody on the eponymous isle and is part of the quelbe tradition of folk song. Sonny's parents, immigrants from the Virgin Islands, would sing this melody to Rollins as a youngster. When Sonny decided to record the tune however, he couldn't recall the words or the name, hence the title we all know today (apparently in homage to his parents' homeland). St. Thomas island, along with its neighbors St. John and St. Croix, was bought by the Danish government in 1733 from the Danish West India Company. It remained under Danish rule until 1917, when it was bought by the U.S. as a precaution against German infiltration in the Caribbean during World War I.

from amg: This is a very interesting CD, particularly for bop collectors, since it contains very rare early performances by altoist Sonny Stitt and vibraphonist Milt Jackson; some of the titles were originally under trumpeter Russell Jacquet's name. There are eight songs by a quintet with Stitt, Jacquet and pianist Sir Charles Thompson, what could be considered the first Modern Jazz Quartet records (actually a quintet with Milt Jackson, pianist John Lewis, drummer Kenny Clarke, bassist Al Jackson and Chano Pozo on congas) and five songs from a septet with Jacquet, Stitt, trombonist J.J. Johnson and baritonist Leo Parker. Recorded in Detroit for the tiny Galaxy label, these performances are not essential but they do give listeners an early glimpse at the future stars. 1 Body and Soul 2:21 2 3rd Song 2:15 3 Red Shoes 2:18 4 Be Bop Blues 2:14 5 Royal Wedding 2:23 6 Fine and Dandy 2:20 8 Ratio and Proportion 2:14 9 Slits 2:32 10 Baggy Eyes 2:24 11 In a Beautiful Mood 2:56 12 Baggy's Blues 2:40 13 Suede Jacket 2:54 14 Suede Jacket [alternate take] 2:51 15 Lion's Roar 2:48 16 Scamper Roo 2:50 17 Relaxin' 2:14

perhaps our new friends at mighty quinn might be interested.

up, just because i'm listening to the double lp in the vernacular, and wishing that someone would remaster and reissue this wonderful music on cd. original cover of first of two sessions on reissue

another for jim snidero and andy fusco. i also like mike dirubbo, who studied under jackie mclean at hartt.

pm'd you about the kelly.