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RJ Spangler

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Everything posted by RJ Spangler

  1. Hot Ptah, you are cracking me up! John Sinclair told me this is "the best show ever on TV!" I adore it and hope for the best! Best thing about Sundays these days. Davis is so watchable but then who isn't on that show? Wendell Pierce has so many great quotes! In the last episode, he was on the bus going home to NOLA and the lady next to him asks "business or please trip?" he says it's "always a please to go to New Orleans" which I learned is a nod by the directors to Les Blank's documentary "Always A Pleasure" about the music of NOLA! This was in an interview on WBGO today. Gotta love internet radio!
  2. I read this book a number of years ago, part of my on-going fascination with KC, OKC and Central Ave cats. You failed to mention Preston was close with Johnny Otis, even writing the forward to one of his books, which is an interesting read in itself. Johnny Otis' first book "Listen To The Lambs," which addressed the 1965 race riots was published in 1968. His next book, "Upside Your Head! Rhythm & Blues on Central Avenue" was published in 1993. This is the book that Prestin Love wrote the forward. The first one is long out of print so I haven't read it. There is a new book: "Midnight at the Barrelhouse" -- The life and music of Johnny Otis, which I just got in the mail. http://www.amazon.com/exec/obidos/ASIN/0816666784/bookforum-20
  3. Oh yeah Chris, someone in Iceland needs to invite 'em -- they will show up!
  4. Thanks for keeping us in the loop. Mike is and old friend. Kudos to Marshall is right!
  5. Global reunion: Detroit's Planet D Nonet, a jumping 21st-Century swing band, welcomes home tenor saxophonist and former Detroiter Salim Washington. It's a reunion since Planet D's coleaders, drummer RJ Spangler and trumpeter James O'Donnell, once worked with Washington in a band called Kuumba in the late '70s. The program promises music by Sun Ra, Abdullah Ibrahim and Winston (Mankunku) Ngozi. Washington will also speak about his travels to South Africa and sign copies of the book he co-authored with Farah Jasmine Griffin, "Clawing at the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever" (Thomas Dunne Books, $24.95). Panel discussion at 7 p.m. Music at 7:30 p.m. Wednesday, Scarab Club, 217 Farnsworth, Detroit. 313-831-1250. scarabclub.org. Free. http://www.freep.com/apps/pbcs.dll/article?AID=/20100401/COL17/4010327/1035/ENT/Lang-Lang-performance-promises-fireworks&template=fullarticle
  6. Planet D Nonet wsg Salim Washington @ Scarab Club Detroit's space-age swing band, the Planet D Nonet, will do a special concert at the historic Scarab Club with special guest Salim Washington. Salim is a saxophonist & author that will be visiting his former home, doing a few special concerts. Salim & the Planet D Nonet co-leaders (RJ Spangler & James O'Donnell) played in a band called Kuumba in the late 1970's, on Detroit's eastside, prior to Salim leaving to study on the eastcoast, eventually at Harvard. Along with Farah Jasmine Griffin, Salim co-authored "Clawing at the Limits of Cool Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever" (Thomas Dunne Books, August 2008). He has also traveled extensively, including sabbaticals to study in Brazil and most recently, South Africa, where he played with many of the leading jazz musicians on a Fulbright Fellowship. On April 7 Salim will guest with the Planet D Nonet and play Arrangements by PD9 saxophonist Joshua James of S. African composers such as Winston "Mankunku" Ngozis & Abdullah Ibrahim as well as charts by the Brotherhood of Breath plus some great arrangements of the music of Sun Ra. Salim will also speak about his trip to S. Africa & sign books. Salim Washington / tenor sax, flute & oboe, Justin Jozwiak / alto sax & cl, Jim Holden / tenor sax & cl, Joshua James / bari, alto sax & cl, James O’Donnell / trumpet, flügelhorn, Ken Ferry / trumpet, John "T-Bone" Paxton / trombone & vox, Dave Gadd / piano, Noah Jackson / string bass, RJ Spangler / drums wsg Mahindi Masai / congas & percussion http://www.scarabclub.org/ http://www.myspace.com/planetdnonet http://www.brooklyn.cuny.edu/pub/1695.htm Salim Washington: A master tenor saxophonist, multi-reedsman, composer, and jazz educator, Salim Washington is one of the fastest rising stars on the New York Jazz scene today. Born in Memphis, Tennessee, the eldest of five children born to Tony Washington and Stella Jean Key, he moved to Detroit, Michigan with his family at the age of eight. As was the custom in Black Bottom Detroit, he was drafted into the neighborhood gang (in those days, youth gangs were more involved in petty mischief than in homicide and the drug trade). The gang leader happened to play trumpet, and was the vessel that led Salim to music. Having more talent for music than for gangs, he pursued music first as a trumpet player, and later as a student of classical piano. By middle school, Salim was playing in school ensembles and student funk bands. He also was deeply influenced by the musical culture of the Church of God in Christ (COGIC), a Pentecostal sect in which his father was a minister. After hearing a jazz ensemble of professional musicians for the first time, he began a search for recordings: a friend of his passed on influential recordings by Sonny Rollins, John Coltrane, the Miles Davis Sextet at Newport, and Thelonious Monk. These sounds changed him forever, so much so that he was driven to give away a sizeable soul and R&B collection (a move he later admits to regretting). This was the time in which he became a true believer, especially in the sound of Trane. His college years brought him to the Boston area and Harvard. During his first year as an undergrad, he discovered Charles Mingus, and listened very closely to his music daily. Mingus had a profound effect on his composing, in much the same way as Rahsaan, Trane, Pharaoh, and Dolphy had on his playing. He began to hang out with friends from the Berklee College of Music, and had every intention to quit Harvard and transfer. He was talked out of it by Eileen Southern, the dean of black musicology, then the head of Afro-American Studies. However, the life of the gigging jazz musician proved irresistible - he spent more time practicing, playing, and composing, and quit school after two years. Out of school he joined the Worlds Experience Orchestra under the leadership of Jamyl Jones, which played "free" but was very disciplined at the same time. Their specialty was collective improvisation. He then joined the Source of Life Arkestral Revelation (SOLAR) in Boston, touring with them extensively throughout the south. Their brand of music was conscious music with a spiritual message. They played an underground "chitlin circuit" from Georgia to Louisiana. Returning back home to Detroit, he became much more involved with his church. In COGIC, he led the gospel band and choir. He also joined the Sun Messengers, a band which was inspired by Sun Ra's Arkestra. He played with other Detroiters and began teaching music in prisons through the Prisoners' Access to Creative Experiences (PACE). He also taught music in Detroit's public schools. He eventually returned to Boston to finish his degree, and gradually became part of the Roxbury music scene. After apprenticing in clubs such as Wally's, M&M's, Slades, Taurus, and Connolly's he joined the Billy Skinner Double Jazz Quartet (DJQ), with whom he made his first recording and overseas tour. After the dissolution of the DJQ, he began to lead his own band. His first major gig as a leader was with an ensemble he put together for the Dark Room, a reading series featuring established and emerging literary talents from the African-American tradition. From this gig was born the Roxbury Blues Aesthetic (RBA), which provided him with sympathetic musicians who would concentrate on a repertoire of his original compositions as well as the music of Mingus, Monk, Stevie Wonder, and others. He began to earn commissions as a composer and arranger, and also recorded his debut CD "Love In Exile" with RBA, featuring pianist and composer, Joe Bonner. While doing this, he was midway through graduate school at Harvard, where he wrote a dissertation entitled "Beautiful Nightmare: Coltrane, Jazz, and American Culture," under the supervision of Henry Louis Gates. This is the basis for "Clawing at the Limits of Cool Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever" (Thomas Dunne Books, August 2008). With doctorate in hand, he headed to New York to play in the city, as well as begin a professorship at the Brooklyn College Conservatory of Music. While on a commission for works celebrating the life and music Dexter Gordon he established a new group, the Harlem Arts Ensemble, which continues the legacy of the Roxbury Blues Aesthetic. In addition to his own group, Salim plays regularly with a number of ensembles including the Donald Smith Quintet, Antonio Dangerfield's Ensemble Uniqua, Frank Lacy's Vibe Tribe, and the Frank Lacy Octet, James Jabbo Ware's Me, We, and Them Orchestra, the Brooklyn Repertory Ensemble, Ahmed Abdullah's Diaspora, and the Carl Grubbs group. He has travelled extensively, playing music festivals throughout the US and Canada, Latin America, and Europe. He has also led music workshops for the Northern Ireland Arts Council in Belfast, the Bill Evans conservatory in Paris, Harvard University, the Vermont Jazz Center, Plymouth State College, and others. He is a member of the Jazz Study Group at Columbia University and has participated on various committees and panels in service of jazz, including those convened by the Ford Foundation, the Boston Pheonix, the New England Foundation for the Arts,.
  7. I liked Joe Henry's production of the last Allen Toussaint CD, so this bode well IMHO.
  8. Dan,lets see what happens if I re-post it: http://www.downbeat.com/digitaledition/2010/DB201004/single_page_view/56.html
  9. Great news! This makes 22 stations that have played our music, in 9 states, including, MI, IN, ILL, WI, FL,MS,CT, NY & OR.
  10. Proud to say I've known Gerald Cleaver for quite a few years (he's from the D). He has made a strong name in NY avant circles but his dad was a respected bop drummer (Johnny Cleaver) and Gerald played his share of straight-ahead jazz before leaving town. Two years ago he brought a group to the Detroit Jazz fest that included Pelt on trumpet. It swung, but wasn't a bop band.
  11. My buddy Scott Barretta does a radio program out of Oxford, MS ('Ol Miss) called Highway 61. On his show last Saturday, March 13, he featured most of the tunes from the Planet D Nonet EP "Blowin' Away The Blues" including the track with Alberta Adams. The show is heard all over the entire state: Biloxi WMAH Booneville WMAE Bude WMAU Greenwood WMAO Jackson WMPN Meridian WMAW MS State WMAB Oxford WMAV www.highway61radio.com
  12. RJ SPANGLER’S BLUE FOUR: You Know I Can’t Refuse – The Bill Heid Sessions Eastlawn Records ELD-019 (46:13) Ninety Nine/ Red Cherries/ Baby Let’s Go Down To The Wood/ Too Much Jelly Roll/ Failing By Degrees/ Boogie For Mr. B/ Piney Brown Blues/ Times Getting Tougher Than Tough/ I’m Gonna Move To The Outskirts Of Town/ You Know I Can’t Refuse/ Meet Me Baby THREE & A HALF STARS IN THE LATEST DOWNBEAT!!! http://www.downbeat.com/digitaledition/201...ge_view/56.html
  13. Planet D Nonet wsg Salim Washington Scarab Club 4/07/2010 8:00 pm 217 Farnsworth Street Detroit, Michigan 48202-4018 www.scarabclub.org http://www.myspace.com/planetdnonet Detroit's space-age swing band, the Planet D Nonet, will do a special concert at the historic Scarab Club with special guest Salim Washington. Salim is a saxophonist & author that will be visiting his former home, doing a few special concerts. Salim & the Planet D Nonet co-leaders (RJ Spangler & James O'Donnell) played in a band called Kuumba in the late 1970's, on Detroit's eastside, prior to Salim leaving to study on the eastcoast, eventually at Harvard. Along with Farah Jasmine Griffin, Salim co-authored "Clawing at the Limits of Cool Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever" (Thomas Dunne Books, August 2008). He has also traveled extensively, including sabbaticals to study in Brazil and most recently, South Africa, where he played with many of the leading jazz musicians. On April 7 Salim will guest with the Planet D Nonet and play Arrangements by saxophonist Joshua James of S. African composers such as Winston "Mankunku" Ngozis' Yakhal' Inkomo & Capetown Fringe by Abdullah Ibrahim as well as charts by the Brotherhood of Breath and other groups from the area plus some great arrangements of the music of Sun Ra. Salim will also speak about his trip to S. Africa & sign books. Salim Washington: A master tenor saxophonist, multi-reedsman, composer, and jazz educator, Salim Washington is one of the fastest rising stars on the New York Jazz scene today. Born in Memphis, Tennessee, the eldest of five children born to Tony Washington and Stella Jean Key, he moved to Detroit, Michigan with his family at the age of eight. As was the custom in Black Bottom Detroit, he was drafted into the neighborhood gang (in those days, youth gangs were more involved in petty mischief than in homicide and the drug trade). The gang leader happened to play trumpet, and was the vessel that led Salim to music. Having more talent for music than for gangs, he pursued music first as a trumpet player, and later as a student of classical piano. By middle school, Salim was playing in school ensembles and student funk bands. He also was deeply influenced by the musical culture of the Church of God in Christ (COGIC), a Pentecostal sect in which his father was a minister. After hearing a jazz ensemble of professional musicians for the first time, he began a search for recordings: a friend of his passed on influential recordings by Sonny Rollins, John Coltrane, the Miles Davis Sextet at Newport, and Thelonious Monk. These sounds changed him forever, so much so that he was driven to give away a sizeable soul and R&B collection (a move he later admits to regretting). This was the time in which he became a true believer, especially in the sound of Trane. His college years brought him to the Boston area and Harvard. During his first year as an undergrad, he discovered Charles Mingus, and listened very closely to his music daily. Mingus had a profound effect on his composing, in much the same way as Rahsaan, Trane, Pharaoh, and Dolphy had on his playing. He began to hang out with friends from the Berklee College of Music, and had every intention to quit Harvard and transfer. He was talked out of it by Eileen Southern, the dean of black musicology, then the head of Afro-American Studies. However, the life of the gigging jazz musician proved irresistible - he spent more time practicing, playing, and composing, and quit school after two years. Out of school he joined the Worlds Experience Orchestra under the leadership of Jamyl Jones, which played "free" but was very disciplined at the same time. Their specialty was collective improvisation. He then joined the Source of Life Arkestral Revelation (SOLAR) in Boston, touring with them extensively throughout the south. Their brand of music was conscious music with a spiritual message. They played an underground "chitlin circuit" from Georgia to Louisiana. Returning back home to Detroit, he became much more involved with his church. In COGIC, he led the gospel band and choir. He also joined the Sun Messengers, a band which was inspired by Sun Ra's Arkestra. He played with other Detroiters and began teaching music in prisons through the Prisoners' Access to Creative Experiences (PACE). He also taught music in Detroit's public schools. He eventually returned to Boston to finish his degree, and gradually became part of the Roxbury music scene. After apprenticing in clubs such as Wally's, M&M's, Slades, Taurus, and Connolly's he joined the Billy Skinner Double Jazz Quartet (DJQ), with whom he made his first recording and overseas tour. After the dissolution of the DJQ, he began to lead his own band. His first major gig as a leader was with an ensemble he put together for the Dark Room, a reading series featuring established and emerging literary talents from the African-American tradition. From this gig was born the Roxbury Blues Aesthetic (RBA), which provided him with sympathetic musicians who would concentrate on a repertoire of his original compositions as well as the music of Mingus, Monk, Stevie Wonder, and others. He began to earn commissions as a composer and arranger, and also recorded his debut CD "Love In Exile" with RBA, featuring pianist and composer, Joe Bonner. While doing this, he was midway through graduate school at Harvard, where he wrote a dissertation entitled "Beautiful Nightmare: Coltrane, Jazz, and American Culture," under the supervision of Henry Louis Gates. It is now being prepared for publication as a major historical work. With doctorate in hand, he headed to New York to play in the city, as well as begin a professorship at the Brooklyn College Conservatory of Music. While on a commission for works celebrating the life and music Dexter Gordon he established a new group, the Harlem Arts Ensemble, which continues the legacy of the Roxbury Blues Aesthetic. In addition to his own group, Salim plays regularly with a number of ensembles including the Donald Smith Quintet, Antonio Dangerfield's Ensemble Uniqua, Frank Lacy's Vibe Tribe, and the Frank Lacy Octet, James Jabbo Ware's Me, We, and Them Orchestra, the Brooklyn Repertory Ensemble, Ahmed Abdullah's Diaspora, and the Carl Grubbs group. He has travelled extensively, playing music festivals throughout the US and Canada, Latin America, and Europe. He has also led music workshops for the Northern Ireland Arts Council in Belfast, the Bill Evans conservatory in Paris, Harvard University, the Vermont Jazz Center, Plymouth State College, and others. He is a member of the Jazz Study Group at Columbia University and has participated on various committees and panels in service of jazz, including those convened by the Ford Foundation, the Boston Pheonix, the New England Foundation for the Arts,. Salim Washington's recordings include: Carl Grubbs Quartet, featuring Ronnie Burrage and Steve Neil, forthcoming (prod. Bob Rusch) Traveling the Spaceways. Ahmed Abdullah's Dispersions of the Spirit of Ra, Planet Arts, 100324, 2005. Live at the Archipel, Katy Roberts Septet, 2004. The Vibe, Katy Roberts Septet, 2002. The Bill Barron Project, Bill Lowe/Carl Atkins Big Band, Green Line Records, 1999 Live at Detroit Montreaux Jazz Festival, Henry Cook Band, featuring Bobby Ward, Accurate Records, AC-5036, 1999. The RAW Field Recordings, Paradigm Shift, Tautology 010, 1999. Love in Exile, Salim Washington and RBA, featuring Joe Bonner, on Accurate Records 1997. Blue Again, Billy Skinner DJQ, on Kitty Kat Records, 1992. Kosen Rufu, Billy Skinner DJQ, Accurate Records, 1990. (Best Jazz CD, Pepsi Music Awards, one of the Ten Best CD's of the decade, Los Angeles Times).
  14. http://www.metrotimes.com/music/story.asp?id=14834
  15. Thanks for the link, I read the entire Rusch interview. I've been reading Cadence since about 1978. Time to re-up my subscription, which I do every year. I am glad that guy exists and would love to spend a day with him.
  16. I thought I'd post this here just in case some of you fine people might be interested in my latest recordings: Eastlawn Records Presents Two EP Companion Set debut recordings by the Planet D Nonet "Blowin' Away the Blues" & "Ballads, Blues & Beyond" NOW AVAILABLE at CDBaby.com! http://www.cdbaby.com/Artist/PlanetDNonet Detroit's down & dirty little nine man swing ensemble, the Planet D Nonet celebrate the release of their debut EP's. The PD9 start with swing music from the late 1920's into the '30's and make their way to space-age jazz ala Sun Ra! The Planet D Nonet is co-led by veteran Detroit musicians RJ Spangler & James O'Donnell and features some wonderful younger Detroit area players, along with various guest vocalists. The Two EP Companion Set of recordings includes "Blowin' Away the Blues," a collection of six songs on the bluesy side of things. This set features guests like vocalists Alberta Adams, Charles "Buddy" Smith & Mario Rodriguez, as well as sax player Keith Kaminski. "Ballads, Blues & Beyond" is another collection of six songs but this time the emphasis is one classic swing & ballads by the likes of Duke Ellington and Billy Strayhorn and beyond, like the intergalactic Sun Ra. LOTS of radio play already on WEMU in Ypsilanti (MI), as well as on WHPK in Chicago, WRCJ in Detroit, WPKN in Bridgeport (CT), WMNF in Tampa & yesterday on WEFT (ILL). http://eastlawnrecords.com/ http://www.myspace.com/planetdnonet
  17. Eastlawn Records Presents Two EP Companion Set debut recordings by the Planet D Nonet "Blowin' Away the Blues" & "Ballads, Blues & Beyond" Double EP release party at Cliff Bell's Jazz Club Saturday, January 30 @ 9:30 pm. $5 cover 2030 Park Avenue, Detroit, MI 48226 Detroit's down & dirty little nine man swing ensemble, the Planet D Nonet, will be celebrating the release of their debut EP's. This on the heels of their first ever recording, a 7" record that came out last Autumn, which received considerable airplay in NY, CT, ILL & MI. The Planet D Nonet is co-led by veteran Detroit musicians RJ Spangler & James O'Donnell and features some wonderful younger Detroit area players, along with various guest vocalists. The Two EP Companion Set of recordings includes "Blowin' Away the Blues," a collection of six songs on the bluesy side of things. This set features guests like vocalists Alberta Adams, Charles "Buddy" Smith & Mario Rodriguez, as well as sax player Keith Kaminski. "Ballads, Blues & Beyond" is another collection of six songs but this time the emphasis is one classic swing & ballads by the likes of Duke Ellington and Billy Strayhorn and beyond, like the intergalactic Sun Ra. Many people say that the Planet D Nonet & Cliff Bell's beautiful jazz night club are a natural fit. Please come & see for yourself on January 30. http://eastlawnrecords.com/ http://www.myspace.com/planetdnonet
  18. Always a great read and also a very cool CD (now two CDs)! I subscribed last year after years of buying on the newstand (or is it news stand?). Its like $20 a year for four isssues, including the film issue with DVD.
  19. Leni & John, while estranged, are still cool. Leni has abunch of myspace pages where she sells her pix -- she really is quite talented. Her Train portrait is a must have.
  20. Thanks much Jim! The CD is now being played on 25 stations from Alaska to NYC.
  21. Sorry, I totally missed this thread ~ yes Bill did play with that night and it was a gas as expected.
  22. R.J. SPANGLER’S BLUE FOUR: You Know I Can’t Refuse – The Bill Heid Sessions Eastlawn Records ELD-019 (46:13) Ninety Nine/ Red Cherries/ Baby Let’s Go Down To The Wood/ Too Much Jelly Roll/ Failing By Degrees/ Boogie For Mr. B/ Piney Brown Blues/ Times Getting Tougher Than Tough/ I’m Gonna Move To The Outskirts Of Town/ You Know I Can’t Refuse/ Meet Me Baby The is the first CD from Detroit-based drummer Spangler's Blue Four, in collaboration with keyboardist Bill Heid it mixes r&b, swing, and blues. In addition to Spangler on drums and Heid on keys, the quartet includes Pat Prouty on string bass and Keith Kaminski on sax. Trumpet and baritone sax are added on several cuts and Detroit guitarist Johnnie Bassett is featured on three tracks. Pianist/singer Bill Heid and drummer R.J. Spangler are veteran blues/jazz musicians; they’ve been playing music together for about 25 years, all over the USA and Europe. Bill Heid grew up digging jazz, blues, and doo wop in his native Pittsburgh, while Spangler hails from Detroit. Except for Heid’s composition ‘Boogie For Mr. B’, all of the songs are covers of numbers that R.J. and Bill perform regularly on gigs. Standout cut for me has to be their cover of Sonny Boy Williamson’s ‘Ninety Nine’; with Heid really digging in on piano, a super chorus from Bassett and fine stickwork from R.J., it really is a belter! There is a brace of Floyd Dixon compositions, ‘Red Cherries’ and ‘Baby Let’s Go Down To The Wood’. Hinting at early Ray Charles, ‘Red Cherries’ is a funny, slightly risqué number, while ‘Baby Let’s Go Down To The Wood’ is a wee hours of the morning slowie. There is also two Jimmy Witherspoon compositions on board, ‘Failing By Degrees’ is in the same vein as ‘Going Down Slow’: ‘Well I’m failing by degrees and I know my time ain’t long, well my breath is getting shorter and my strength is almost gone’ – I know the feeling partner! ‘Times Getting Tougher Than Tough’ is probably one of Witherspoon’s best-known compositions, and so relevant today. The instrumental ‘Boogie For Mr. B’ is a showcase for Heid’s top notch piano playing. Also recommended are a lazy take on Pete Johnson/Joe Turner’s ‘Piney Brown Blues’, with bluesy sax from Kaminski and growly trumpet from James O’Donnell, and a bouncy ‘You Know I Can’t Refuse’ (with Bassett reprising his guitar part from the original release by the Five Dollars [Fortune 826]). Ending with a swaggering, bouncy run through Rudy Green’s Chance waxing ‘Meet Me Baby’, with a bluesy, boppish chorus from Kaminski. Throughout R.J. displays his perfect time keeping, without resorting to theatrics, and Heid is a truly superb piano player and pretty decent singer. This is a release worth investigation. <http://eastlawnrecords.com/> Phil Wight Blues & Rhythm Magazine (UK)
  23. My CD is starting to get some air-play! WHFR, WEMU, WRCJ & WCMU here in Michigan are are all giving us some love. Looking toward the west: KMFB, KTDE, KMEC, KTEP, KHUM, KCSM & KRVM. Midwest to the eastcoast: WHDD, WNTI, WVBR, WRTB & WPKN. Not a bad start!
  24. Chuck, I am fairly new around here -- how does onepurchase Vonski Speaks? I did a web-search and didn't find a Nessa web-site. I used to have a Roscoe Mitchell LP that I was on your label that I bought in the 70's, also Lester Bowie Numbers 1 & 2. I bought them in Ann Arbor I think? I'd still have it but my crib burned down.
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