JSngry

Maybe Gitler's CYOA-ing. But I'm hearing "On A Misty Night" w/Trane and Julius Watkins, and I'm LIKING it!

This is Goober, This is his cousin Gomer, And this Howard Sprague, the man who made them both happy on Saturday nights.

My mod a-go-go stretch elastic pants. Technically not a body part, but they show all of'em, so close enough.

The REAL problem I have w/the whole Kenton trip is his "Great White Hope" image that he played into more than willingly, all the while borrowing from Lunceford, Ellington, Afro-Cuban, Be-Bop, etc. When I can lose that, I can here a fair amount of interesting music, and, occasionally, something truly innovative and/or swinging. But I have a VERY hard time getting there, especially when a lot of it is nothing more than borrowings and simplifications of other musics made to seem more "progressive" than it really was by flipping on the old "fasterhigherlouder" switch. But yes, there were more than a few good moments along the way. I'd be dishonest if I said otherwise. But Kenton himseelf, honestly, was more an "enabler" than a true "jazz giant". Not that their's anything wrong w/that, especially when you're enabling cats like Holman & Graettinger & Maiden. I'm reminded of a quote from Al Porcino (paraphrased, the exact source is in my closet): "Stan used to get some really good bands, but after a couple of weeks, he'd look up, hear everybody swinging, and say 'THIS IS NOT MY BAND!'" Never went to a Kenton camp, but I too heard the band many times in the 70s. The first time was when Willie Maiden was on board. Hung out w/him for a little bit, and that was 1,000,000,000% joy for a 16 year old, let me tell you! Favorite Kenton moment - a dance in Bossier City, La., ca 1976(?). The crowd was not a jazz crowd, but a "big band" crowd, and Kenton obliged their tastes most of the night. Late in the evening, Stan turned John Park loose on "Stardust", and MAN did he blow! About the third chorus, the bones started playing whole note backgrounds, totally uncharted, and with a LOT of non-chord tones in the mix. Beautiful, purely beautiful. A bit later, I caught the band at a college concert. I saw Stan backstage, and told him, "I know this is going to sound REALLY dumb, but could you let Park blow on "Stardust" like you did in Bossier City a few months ago?" He said, "We'll see" with a look that told me that he thought I was totally nuts, square, or both. However, about a third of the way into the gig, he started playing "Stardust" solo, got past the intro into the tune, started laughing, stopped, and siad to the audience (who was also laughing, "HEY - a STAGEHAND requested it!" That to me is the essence of Stan Kenton - somebody too restless for his own damn good.

Four minutes, to be precise.

Julius Watkins?

Bob Graettinger, most likely. The guy was probably a little insane, but still functional, possibly a genius of sorts, and his music is at once beautiful, frightening, logical, and totally, TOTALLY wack. There is a truth in his work that one either embraces or runs screaming from. Or both. What's NOT to like?

Middle C.

Looks like it's gonna be about $100 + shipping, and I've only been able to find a few places that carry it (best source/price seems to be directly from the label http://www.dust-digital.com/index.html ), but when I can afford it, I'm getting this one, guaranteed. Thanks for posting this, Weizen. I had yet to hear about it. This kind of stuff is usually guaranteed goosebumps for me.

No Young on the sides so far released. Cross your fingers about the future. If Soul Stream was around (dude, you there?), he might have specifics. Sound quality on the live stuff from the 70s varies. It's all "captured" if you know what I mean, and varies, but none of it sucks. A lot of it is pretty good, soundwise, and a few things are actually quite good. Worth a checkout, I think.

Not too much for Kenton overall, myself, but from the post-mid 50s era, ADVENTURES IN JAZZ & LIVE AT REDLANDS UNIVERSITY are quite nice, all things considered. The former has plenty of good work by Sam Donahue as well as very nice writing throughout (this was the "Mellophoium Band"), and the latter was the beginning of Kenton's resurgence as a "jazz" bandleader after plenty of overtly commercial work during his last years at Capitol, although PLAYS THE JAZZ COMPOSITIONS OF DEE BARTON, one of his last Capitol albums (I think that HAIR thing was his last) is pleasant enough once you overlook the fact that almost all of Barton's compositions sound somewhat the same. CUBAN FIRE has its advocates (as well as an appearance by Lucky Thompson), but I dunno. LOTS of sound and fury....

The link is correct now. I entered it wrong a few times. My bad. That web site hasn't been updated for a while, but both CDs have been released. I know this for a fact. So an e-mail should get you the hookup. It worked like that for a friend of mine, and Braith even threw in a CDR of his OOP King CD for free. So talk nice to the man.

What's up w/this Roulette side he did w/Marshall allen & Pat Patrick on board? http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Axvev97ejkr0t

Milan, you RULE, dude!

Talk about obscure. These Braith sides must be hard to find. http://www.georgebraith.com/store.html geobi@georgebraith.com This disc doesn't seem to be offered through this page (but the Braith Family CD is, and THAT'S a piece of wack homemade coolness ), but I bet an e-mail could get you hooked up.

That was a drag about his son, John "L'il Plop" Shitter. Prime of his life, and more sitcommage in store.

I'd not pass those by, Tony. They're released in session order, not album order, and the music is superb.

What more indeed!

Either that or last night's barbeque.

I've often wondered about the Indianaopolis session - how it came o be recorded there and with those players. Excellent stuff. Hey Ghost, is the studio still standing?

Dead or not, BOB'S PINK CADILLAC is appropriate listening right about now.

We respect the delicate nature of both the subject matter and our kids' sensibilities. We just tell them that Uncle Bob went spelunking and leave it at that.

Just recieved: Hello Friends, I am proud to announce the next Epistrophy Arts event. We are joining forces with the Creative Music Workshop and The Church of the Friendly Ghost to present an unforgettable evening of adventurous music. Please tell a friend... Tune into Expressive Movements on KOOP 91.7 on Friday from 12-2 for an interview with Alvin Fielder. Please stay tuned for news about our exciting season. April will be amazing! the creative music workshop and Epistrophy Arts present : 2 + 2 with Alvin Fielder - drums Alex Coke - reeds David Dove - trombone Chris Cogburn - drums Saturday, February 21st at 8.00pm The Church of the Friendly Ghost 209 Pedernales $8-$12 admission (pay at the door, sliding scale) the creative music workshop in association with Epistrophy Arts is proud to present : 2 + 2 - a recently formed spontaneous, improvised music quartet featuring this region's brightest lights in creative music and jazz . The group features avant jazz legend and AACM founding member, drummer Alvin Fielder from Jackson Mississippi, along with Houston avant trombonist Dave Dove, local jazz master, saxophonist Alex Coke and Austin's own creative drummer Chris Cogburn . All four musicians being established improvisers in their own right (Alvin Fielder's long history in the music has included relationships with Sun Ra, Roscoe Mitchell and Joseph Jarman - and he continues to play regularly with William Parker, Kidd Jordan, Sabir Mateen, and a host of other free jazz legends; Alex Coke has established relationships with the Willem Breuker Kollektief, Arjen Gorter and Tina Marsh; Dave Dove recently completed an East Cost tour with Pauline Oliveros and Susie Ibarra; and Chris Cogburn has performed with Joe McPhee and John Butcher), this quartet's constituents bring widely diverse and varied musical histories together to create a music with its own color, time, rhythm, form and, foremost, its own unique sound . A " Double Duo ", 2 + 2 brings together two generations of creative musicians - Legends/veterans drummer Alvin Fielder and saxophonist Alex Coke, and the new voices of the new generation, Drummer Chris Cogburn and Trombonist Dave Dove . The evenings music opens with a duo set by recent west coast and toronto transplants Nick Hennies and Kurt Newman . Both accomplished and seasoned improvisers, the immensely creative drummer Nick Hennies and amplified guitarist Kurt Newman will perform their own highly charged, yet subtle natured form of improvised music . Artist bios are below . Photos and additional information available upon request . Artist Bios : Alvin Fielder : Alvin Fielder is one of the South's hidden jazz treasures. From his early days as a student with Ed Blackwell in 1951 and his founding work with the Association for the Advancement of Creative Music (AACM) in 1963, Al has remained true to his original vision "that the music always had to swing...no matter what." His trademark is an impeccable time and laser sharp sense of rhythm that never gets in the way. It is always there, driving the music forward, but never in a hurry. While many of his contemporaries have received more publicity than Al, the list of bands he has worked with reads like the jazz timeline for the last 30 years. From his 1967 recording, Sound, with Roscoe Mitchell, which was really the beginning of the Art Ensemble of Chicago, Al has worked with bands ranging from the Eddie "Cleanhead" Vinson Sextet, the Sun Ra Arkestra, the Muhal Richard Abrams Quartet, and the Eddie Harris Quintet. Like his long time musical partner, Kidd Jordan, Al is a prophet of the music. He has been to the mountain top, he knows where he came from, and most importantly, he knows where he is going. The roots in his music go very deep into the tradition, but the branches sing high into the future. Discography 1967 Sound, Roscoe Mitchell Sextet. Delmark Records 1982 History Is Made Every Second - New Orleans Now, The Lifers. Prescription Records 1983 No Compromise, Improvisational Arts Quintet. Prescription Records 9002 1987 Liquid Magic, Ahmed Abdullah Quartet. Silkheart 104 1987 Bannar, Charles Brackeen Quartet. Silkheart 105 1987 Namesake, Dennis Gonzalez New Dallas Sextet. Silkheart 106 1988 Debenge-Debenge, Dennis Gonzalez New Dallasorleansippi. Silkheart 112 1988 The New Orleans Music, Improvisational Arts Quintet. Rounder Records 2066 1993 The Desert Wind, Dennis Gonzalez New Dallasangeles. Silkheart 124 1996 Nickelsdorf Konfrontation, Futterman/ Jordan Quintet. Silkheart 143 1997 New Orleans Rising, Futterman/Jordan Quartet. Konnex 5076 1998 Southern Extreme, Futterman/Jordan Trio with Alvin Fielder. Drimala Records for more info : http://www.findarticles.com/cf_dls/m1084/3...1/article.jhtml http://www.drimala.com/artists/fielder.htm http://www.shs.starkville.k12.ms.us/mswm/M...s/musicians/Fie lder.html http://www.onefinalnote.com/concerts/2001/tsahar-fielder/ from the Grove Dictionary of Music Online : Alvin Fielder (Leroy, Jr.) : (b Meridian, MS, 23 Nov 1935). American drummer. He grew up in a musical family and played with local bands as a teenager. At Xavier University in New Orleans he studied pharmacy, and during the same period he took lessons with Ed Blackwell. Having transferred to Texas Southern University in Houston he continued to study music and became involved in local activities, playing jazz with Don Wilkerson and the trombonist Pluma Davis. He took part in studio sessions at Duke Records and worked with the sidemen in the band led by the singer Bobby “Blue” Bland, accompanying such blues musicians as Amos Milburn, Lowell Fulson, and Ivory Joe Hunter. In 1955 he joined Eddie “Cleanhead” Vinson before moving to Chicago, where he played with Sun Ra. Fielder worked with Muhal Richard Abrams, Joseph Jarman, and Kalaparusha Maurice McIntyre, and as a charter member of the Association for the Advancement of Creative Musicians he was in Roscoe Mitchell’s group for the recording of the pathbreaking album Sound (1966); he also formed a trio with the trombonist and cellist Lester Lashley and Fred Anderson. In 1969 he returned to Meridian to run the family pharmacy, but he continued to work tirelessly at promoting free jazz in his home state, finding work for Mitchell, John Stubblefield, Malachi Favors, and others. He played with McIntyre in New York in 1975 and led his own group in New Orleans the following year. While continuing his job as a pharmacist he organized numerous musical events and maintained working relationships in the USA and Europe with Kidd Jordan and Dennis Gonzalez, playing what Litweiler (1984) has termed “blistering post-Coleman jazz”; from 1995 he was a member of a trio with Jordan and Joel Futterman. Alex Coke : Alex Coke, born in Dallas, Texas, received his B.A.from the University Of Colorado at Boulder in 1976, with emphasis on flute. An original member of the Austin-based Creative Opportunity Orchestra, Coke has performed with Tina Marsh in various formations for over 22 years.. Before moving to Amsterdam in the early 90's he received several local awards inluding: 1990 Best Saxophonist, Music City Critics Poll/Austin Texas 1990 Best Jazz Bands Music City Critics Poll/Austin Texas (Countenance #1, and Worthy Constituents #3) 1990 Best Unsigned Bands Musician Magazine (Countenance, and Worthy Constituents) 1988-1989 Best Jazz Band, Austin Chronicle Music Awards (Chris Duarte and Justus) From 1990-2000 he played and recorded with the internationally renowned Dutch jazz group, the Willem Breuker Kollektief. An improvisor at heart, Coke's eclectic attitude has led him to explore everything from Be-Bop to Huddie Ledbetter to Rahsaan Roland Kirk. His flute studies have ranged from Eric Dolphy to Indian ragas on the bamboo flute to extended flute techniques such as those researched by Robert Dick, Ann LaBerge and Wil Offermans. Coke's multifarious bands include New Visions, the Live Action Brass Band, the Leadbelly Legacy Band, New Texas Swing, The Alex Coke/Paul Bollenback duo, JAMAD (with James Polk), and his post-bop quintet, The Worthy Constituents, a collaboration with longtime partner, pianist Rich Harney with Martin Banks on trumpet. Coke and Harney have recently released a new cd of spirituals called Soul Prayers. He has worked with Gerald Wilson, Charles Tolliver, the Paradise Regained Orchestra and the Trio Henk de Jonge. He can also be heard with the John Jordan Trio, the Mysterious Quartet From Helsinki featuring Chris Duarte, and Rob Verdurmen's Double Drummer Bill. A discography can be found at: http://www.xs4all.nl/~alexcoke/AlDiscs.html More information may be found at: http://www.xs4all.nl/~alexcoke/ Dave Dove : Dave Dove is a trombone improvisor from Houston, TX. Since 1997 he has been a teacher at the MECA arts community center where he has been working on a method of creative arts education for young people. As director of the Pauline Oliveros Foundation Houston he has been able to further develop this approach and also bring some of the world's great contemporary musicians into contact with Houston's inner-city youth. Dave has played with Chris Cogburn, Heather Murray, Joe McPhee, Alvin Fielder, Pauline Oliveros, John Butcher, Alex Coke, Susie Ibarra, Susie Wasserstrom, Paul Guilford, Maria Chavez, David Gross, Vic Rawlings, Anat Cohavi, Juan Garcia, Nick Hennies, Eugene Chadbourn, Jason Jackson, Susan Alcorn, and many others. Chris Cogburn : Drummer Chris Cogburn is an active performer and organizer within Austin’ s creative music scene. A practitioner of various movement modalities and acrobatics as well as music, Cogburn’s seemingly effortless movement around his drumset and selected percussion render him a performer of captivating presence. The founder of the Creative Music Workshop, Cogburn has previously hosted Austin performances by Frode Gjerstad, Paal Nielson-Love, Marc Whitecage, David Gross, members of the BSC Mike Bullock and Vic Rawlings, and Houston trombonist David Dove (who Chris works closely with in both performance and education within Houston area schools and community centers) . In the summer of 2003, the Creative Music Workshop hosted a two day festival of improvised music - the No Idea Festival - showcasing Texas' premeire creative musicians . Chris is currently running, along with Kurt Newman, a weekly workshop on improvised music in Austin, Texas .. . The last few years has seen Chris performing with national and international improvisers including : Joe McPhee, John Butcher, Marc Whitecage, Alex Coke, David Gross, Matt Ingalls, Mike Bullock and Rozanne Levine. He has, along with Joe McPhee and Dave Dove, a cd slated for release on Pauline Oliveros' Deep Listening label . Nick Hennies : Nick Hennies is a percussionist/improviser from Louisville, KY. He received his M.A. from UC-San Diego last June where he performed with the percussion group 'red fish blue fish' and the trombonist/improviser Tucker Dulin. His past teachers include Steve Schick, Stuart Saunders Smith, Herbert Brün, and William Moersch. He has also performed with Dave Gross, Mike Bullock, Bhob Rainey, Dave Dove, the SONOR Ensemble, and was a founding member of the 4th Epicycle Improvisation Ensemble in St. Louis. Current projets include the Weird Weeds and ongoing collaborations with Austin and Houston-area improvisers. Kurt Newman : Guitarist Kurt Newman, a Canadian expatriate who has resided in Austin for a little over a year, was co-curater of an important Toronto biweekly improvised music series, Ulterior, for several seasons, and has recorded and/or collaborated with a host of international improvisors, including John Butcher, Roger Turner, Henry Kaiser and Eugene Chadbourne. The 2000 release "Port Huron Picnic" with saxophonist Mats Gustafsson was reviewed favorably in a number of international magazines and was singled out for commendation in the most recent updates of The Penguin Guide To Jazz On CD and The All Music Guide. Newman’s group Wrist Error, with drummer Mike Gennaro, was featured on the cover of Musicworks magazine and received a glowing write-up from the Chicago Reader. Newman co-curated the 'No Idea Festival' in Austin, Texas last June and has been increasingly active in Austin's local community of creative artists .