JSngry

I'd love to see Cher and Wayne and on a Reba McEntire song arranged by Phillip Glass, surrounded by the chorography of the creators of Hamilton. Guess I'm one of those guys that asks why not? instead of why?

https://en.wikipedia.org/wiki/Kennedy_Center_Honors I've bolded awardees who are at least tangentially "jazz" in terms of formative or realized experience. Opinions may vary, hell, are expected to. 1970s[edit] 1978 – Marian Anderson, Fred Astaire, George Balanchine, Richard Rodgers, and Arthur Rubinstein 1979 – Aaron Copland, Ella Fitzgerald, Henry Fonda, Martha Graham, and Tennessee Williams 1980s[edit] 1980 – Leonard Bernstein, James Cagney, Agnes de Mille, Lynn Fontanne, and Leontyne Price 1981 – Count Basie, Cary Grant, Helen Hayes, Jerome Robbins, and Rudolf Serkin 1982 – George Abbott, Lillian Gish, Benny Goodman, Gene Kelly, and Eugene Ormandy 1983 – Katherine Dunham, Elia Kazan, Frank Sinatra, James Stewart, and Virgil Thomson 1984 – Lena Horne, Danny Kaye, Gian Carlo Menotti, Arthur Miller, and Isaac Stern 1985 – Merce Cunningham, Irene Dunne, Bob Hope, Alan Jay Lerner & Frederick Loewe, and Beverly Sills 1986 – Lucille Ball, Ray Charles, Hume Cronyn & Jessica Tandy, Yehudi Menuhin, and Antony Tudor 1987 – Perry Como, Bette Davis, Sammy Davis Jr., Nathan Milstein, and Alwin Nikolais 1988 – Alvin Ailey, George Burns, Myrna Loy, Alexander Schneider, and Roger L. Stevens 1989 – Harry Belafonte, Claudette Colbert, Alexandra Danilova, Mary Martin, and William Schuman 1990s[edit] 1990 – Dizzy Gillespie, Katharine Hepburn, Risë Stevens, Jule Styne, and Billy Wilder 1991 – Roy Acuff, Betty Comden & Adolph Green, Fayard & Harold Nicholas, Gregory Peck, and Robert Shaw 1992 – Lionel Hampton, Paul Newman & Joanne Woodward, Ginger Rogers, Mstislav Rostropovich, and Paul Taylor 1993 – Johnny Carson, Arthur Mitchell, Georg Solti, Stephen Sondheim, and Marion Williams 1994 – Kirk Douglas, Aretha Franklin, Morton Gould, Harold Prince, and Pete Seeger 1995 – Jacques d'Amboise, Marilyn Horne, B.B. King, Sidney Poitier, and Neil Simon 1996 – Edward Albee, Benny Carter, Johnny Cash, Jack Lemmon, and Maria Tallchief 1997 – Lauren Bacall, Bob Dylan, Charlton Heston, Jessye Norman, and Edward Villella 1998 – Bill Cosby (rescinded in 2018),[21] Fred Ebb & John Kander, Willie Nelson, André Previn, and Shirley Temple Black 1999 – Victor Borge, Sean Connery, Judith Jamison, Jason Robards, and Stevie Wonder 2000s[edit] 2000 – Mikhail Baryshnikov, Chuck Berry, Plácido Domingo, Clint Eastwood, and Angela Lansbury 2001 – Julie Andrews, Van Cliburn, Quincy Jones, Jack Nicholson, and Luciano Pavarotti 2002 – James Earl Jones, James Levine, Chita Rivera, Paul Simon, and Elizabeth Taylor 2003 – James Brown, Carol Burnett, Loretta Lynn, Mike Nichols, and Itzhak Perlman 2004 – Warren Beatty, Ossie Davis & Ruby Dee, Elton John, Joan Sutherland, and John Williams 2005 – Tony Bennett, Suzanne Farrell, Julie Harris, Robert Redford, and Tina Turner 2006 – Zubin Mehta, Dolly Parton, Smokey Robinson, Steven Spielberg, and Andrew Lloyd Webber 2007 – Leon Fleisher, Steve Martin, Diana Ross, Martin Scorsese, and Brian Wilson 2008 – Morgan Freeman, George Jones, Barbra Streisand, Twyla Tharp, and The Who (Pete Townshend and Roger Daltrey) 2009 – Mel Brooks, Dave Brubeck, Grace Bumbry, Robert De Niro, and Bruce Springsteen 2010s[edit] 2010 – Merle Haggard, Jerry Herman, Bill T. Jones, Paul McCartney, and Oprah Winfrey 2011 – Barbara Cook, Neil Diamond, Yo-Yo Ma, Sonny Rollins, and Meryl Streep[22] 2012 – Buddy Guy, Dustin Hoffman, Led Zeppelin (John Paul Jones, Jimmy Page and Robert Plant), David Letterman, and Natalia Makarova[23] 2013 – Martina Arroyo, Herbie Hancock, Billy Joel, Shirley MacLaine, and Carlos Santana[24] 2014 – Al Green, Tom Hanks, Patricia McBride, Sting, and Lily Tomlin[25] 2015 – Carole King, George Lucas, Rita Moreno, Seiji Ozawa, and Cicely Tyson[26] 2016 – Martha Argerich, Eagles (Don Henley, Timothy B. Schmit and Joe Walsh, with Glenn Frey[27]), Al Pacino, Mavis Staples, and James Taylor[28][29] 2017 – Carmen de Lavallade, Gloria Estefan, LL Cool J, Norman Lear, and Lionel Richie 2018 – Cher, Philip Glass, Reba McEntire, Wayne Shorter, and the creators of Hamilton: An American Musical (Lin-Manuel Miranda, Thomas Kail, Alex Lacamoire, and Andy Blankenbuehler)

Dick Hafer is one of those guys...hard to find the dots to connect record-wise, but always a reward when one is found. Kinda like a cult Carmen Leggio that way.

I like what Ace is doing, especially with their themed compilations. The two discs dedicated to early covers of early Randy Newman songs was sheerly delightful.

Speaking from experience (albeit slightly aged experience) so-called "underground rock" venues can be good outlet for non-"mainstream" jazz, especially that which has an aggressive (for lack of a better term) energy. You give that audience "tradition", they don't care, yawn. You give them "energy", you got a chance.

Gotta say, though, that Mark Myers seems a little condescending towards Ernie Caceres, which I don't believe is justified. Ernie Caceres could play.

Ok, Serge Challoff actually won, that makes sense. Funny, though, that Bob Gioga was in there. Solidass section player, Kenton's Carney I like to call him, but not a soloist. But the Kenton band was crazymad popular then, so I get that his presence reflects that type of fan loyalty. Thanks for that link.

Ah, I see, you were in Spain at the time. Got it, thanks!

There was a similar dynamic going of in the UK for a long time with jazz musicians, that's why you had all the cats playing Ronny Scott's as singles with local accompaniment, and Duke back in the day only being able to bring his groups as "variety acts". IIRC, that was driven my the musicians union though, a labor-based protectionism. Nothing to do with visas and the like. But the basic notion of "can't you find one of our own to do it" is not a new one when it comes to music.

What does this mean? What kind of trouble? Serious question, I know nothing about the author or the book and would like to learn.

A few days with this: Pretty damn good. Beginning a visit with: quoth the Ba(st)rd(s): Other-worldly sounds from Italian singer Maria Monti – working here with lots of help from avant genius Alvin Curran and jazz legend Steve Lacy! Curran handled the arrangements, and comes up with these moody electronic backdrops on a few pieces that remind us a bit of Terry Riley – while Lacy brings in a warmer sound on his soprano saxophone lines, balancing things out with more soulful elements! Maria herself has a very striking style – maybe somewhere between Nico and Lotte Lenya, depending on the tune – and the instrumentation also includes guitar from Luca Balbo and Tony Ackerman, and baritone sax from Roberto Laneri. Sometimes I don't mind not speaking the language songs are sung in, some times I do. This one I do, but I ain't gonna let it ruin my day. The music is fine and so is the singing. However, if there's a translation available somewhere, I'd love to look at it.

There's a punch bowl?

Wow!

When was the All-Star Game? Seriously. I just totally fucking missed it. Anything happen?

Do you know where he’s booked both before and after the KC gig? It could be that this is an otherwise “in between” night booking taken because it’s almost always better to gig than to not gig.

Oh, there is a Billy Harper Fan Club: http://billyharper.com/harperfanclub2.html you decide for yourself how that all is. As far as rankings, I'd really rather not enter that, it's a trap. But I can say that Billy has maintained a totally unique voice as player, composer, arranger, and on occasion, voice(!)for as long as he's been available for the public eye. Whatever his influences are, he's absorbed them, not mimicked them, and as a composer...the man is as much of a unique quantity as is anybody, ever. I don't know if he's really into the commoditization of his music through outside business structures, it appears that he's not, but I don't know. No matter, let those who have ears to hear, hear. They'll find him if they need him, that's just how it works.

And they did (do, still?) good work. Their own work, no less! Did they go further into Vaughan-Land than the one volume?

It was after Atlantic asked Max to do something with popular appeal or some such, and his response was to give them Lift Every Voice and Sing. That was it for Max and American labels for a good stretch. I've heard the term "blacklisted" and once believed it at face value, but knowing now what I didn't know then, it could just as well have been a case of Max being "difficult" or otherwise aggressively pursing self-determination. At this point, don't know, don't care. There were plenty of Max records, of course, and plenty of Billy Harper records with and without Max, but most people/the general jazz public here didn't have access to them or awareness of them. They weren't reviewed in down beat, there was no advertising of them in the jazz press (and whatever loop that creates, go figure), etc. What I do know is that sooo many people were into Brecker as a tenor voice of the times, with the "hipper" people gravitation towards the Liebman/Grossman world, that Billy Harper was totally under the radar. Still is, really, by choice or otherwise. it is.

You're probably not old enough to remember the days when Max and his bands were "blacklisted" from mainstream american labels, jazz or otherwise (whether or not they were actually blacklisted or just chose not to play that kind of ball or some combination, I don't know). For a looooooong time, Capra Black was Billy's only American release and Strata-East was not exactly a "major label" in terms of marketing and general visibility. And then after that...if you lived in a city that had good record shops, you could get the Denon things (two of them anyway), but really... Billy began his career as a "cult favorite" and remains one to this day. I guarandamntee you that the ratio of people who know, say, Michael Brecker to people who know Billy Harper is, at best, 500-to-one. Probably a helluva lot bigger, maybe exponentially bigger. That's the landscape of these polls, most of the voting is not particularly informed by a broad perspective of the music as a whole, it's just people who know what they know and like it enough to vote in these things. For people who live most of their life not heavily in "the underground", I don't know if there's a full appreciation of just how truly underground "jazz" is, especially the type that doesn't play full-ball with "the mainstream" of the business. If they bring records, they can come right on in! Not sure how much Cecil had broken out by then, but Serge Chaloff, for sure.

As am I, and blessedly so! As am I, and blessedly so!

Dude, it's a reader's poll, a marketing ploy. Guitarists tend to read "music magazines" more than most people, seconded by drummers and "keyboardists". Respectfully - seriously - stop worrying about this like it's a real "honor". It's really not, not in any real-worls dense. And if it does matter that much to you, start lobbying the crtics and/or the veteran's council or whoever they are. Look what "jazz fans" can do! I mean, I love me some Ernie Caceres, really I do, but what kind of a electorate was it that put all those other then-faddishly-fashionable players into one place and yet found space for Ernie Caceres? Did he have an underground fan network of that size, I mean, really?

So what am I hearing here, that this is a missed opportunity for a new Golden Age Of Minor League Baseball?

Walt Dickerson not even on the DB HOF radar, correct?

Not looking for LPs for anything like this, not even expecting it to be there, not for 60 cuts. Where's Cohrhonociclogical Calssics on this, did they ever touch Sarah/Columbia?

and how long was Si Zentner in there? he was a perennial iirc.