musicmargaret

"So did anyone go to the Whitney retrospective?" I'm not sure whether you mean anyone from this group (seems that a lot of them never go anywhere) or whether you meant anyone in the world. Just in case you meant the latter, I asked performance curator Amanda Davis about this, and she said attendance for Cecil Taylor and Tony Oxley was 750 (all tickets sold out), and average attendance for all other events, of which there have been many, sometimes a half-dozen a day, has been around 300. "Second concert now scheduled" is a solo Cecil Taylor concert tonight (April 23rd) at 8:30 p.m. Not sure what "I saw an article on Cecil's appearance at the retrospective, but that was it for me" means, but if you're referring to a perceived lack of press coverage, if you do a Google search on "Cecil Taylor residency Whitney Museum," almost 7,000 links come up, including "JazzTimes," "Jazziz," "The Wire," a lovely article by Larry Blumenfeld on his blog, blouinartinfo.com, brilliantly entitled "Storming Places, Like He's Always Done," "The New York Times," "BeatDown" [oops], and as the King of Siam used to say, et-cetera, et-cetera, et-cetera.

Does anyone have any contact information for Gambit?

Is anyone out here realizing that the surviving musicians and their families are receiving nothing of the proceeds from these sales, while DMG and the Movie Gold people (whoever they are) are once again laughing all the way to the bank? Henry Grimes is on two of these recordings. Shall we assume the checks are in the mail?

There will be a memorial celebration of the life and music of Pete LaRoca Sims on Friday, Dec. 28th, 2O12 at St. Peter's Lutheran Church, 619 Lexington Ave. at 54th St., Manhattan (NYC), 212-935-22OO, <http://www.saintpeters.org>, <jtarbet@saintpeters.org>, suggested donation $25. Invited players include Carl Allen, Joanne Brackeen, George Cables, Charles Davis, Henry Grimes, Slide Hampton, Louis Hayes, Bill Kirchner, Steve Kuhn, Dave Liebman, Jimmy Owens, Larry Ridley, Lew Tabackin, David Weiss, Michael Weiss, et al., suggested donation $25. Subways: E or M train to Lexington Ave. & 53rd St., or 6 train to 51st St. and Lexington, or 4, 5, 6, N, Q, R trains to 59th St. & Lexington. Buses: M57 and M31 to Lexington Ave. and 57th St., or M5O bus to Lexington Ave. & 5Oth St. or 49th St., or M1O1 and 1O3 buses south on Lexington Ave. or north on Third Ave. to 54th St. Google area map: http://tinyurl.com/cpzoffg.

If you go to a Google search box and enter "Rudy Van Gelder studio" and then click on "images" on the left-hand side of the next screen near the top, some 44,OOO photos will come up. Most of them are just album covers and such, but there are some interior shots.

"Does anyone know how to join the Cecil Taylor yahoo list?" http://launch.groups.yahoo.com/group/CTResearch Send an Email to CTResearch-subscribe@yahoogroups.com. It's pretty much dormant, though.

A couple of items of interest for Cecil Taylorites: > New CT site (as of February, '11): http://www.ceciltaylor-art.com > Cecil Taylor residency at Le Poisson Rouge (formerly the Village Gate) in NYC this coming June: http://lepoissonrouge.com/events/search?q=cecil four Tuesdays in June "poetry, solo piano, and many surprise guests"

Allen, first, what recent recordings by Henry Grimes have you heard? There is a list at http://www.henrygrimes.com/CDs-books.html. Secondly, here you're asking whether Henry can still "really play with the depth, freedom, and precision he used to," (yes, he can, and more), and you're asking to read someone's "good musical analysis," and on another page you're asking whether Henry can still play changes (yes, he can, if he wants to and the situation requires it). Last I heard, you were living in the wilds of Maine, so maybe you don't get to any concerts, but when and if you do make it to a Henry Grimes concert (and there've been more than 4OO since mid-2OO3), maybe you can answer your own questions, and maybe you can even write a "good musical analysis." Maybe...

"Can Grimes still play changes?" Why don't you come to some Henry Grimes concerts? He certainly can if he wants to and if the situation calls for it. Try watching this YouTube video of Henry playing the standard "I'll Get By As Long as I Have You" with Marc Ribot and Chad Taylor: http://www.youtube.com/watch?v=7ida-I_g3Hg. But why do people like you always want to impose the "playing changes" test on great improvisers who've long since gone beyond that? This is like asking someone to prove he can write poetry by reciting the alphabet. By the way, here are three upcoming Henry Grimes events for those who are genuinely interested and are near NYC or Cleveland: Thursday, Feb. 17th, music from 8 p.m: The Roscoe Mitchell Quartet w/ Dave Burrell, Henry Grimes, and Tani Tabbal (preceded by Roscoe Mitchell & David Wessel duo), at Roulette, 2O Greene St. betw. Canal & Grand St's, New York City, 212-219-8242, http://www.roulette.org/events/upcoming, roulette@roulette.org; and Thursday, March 17th, 6-8 p.m. (pre-event reception at 5:3O): Henry Grimes in panel discussion with interdisciplinary scholars about Albert Ayler, at Case Western Reserve University, Thwing Center Ballroom, 11111 Euclid Ave., Cleveland, Ohio, free and open to the public, registration recommended, 216-368-266O, http://tinyurl.com/3y6bcmo, info@music.case.edu, thwing@case.edu. This event is held in conjunction with Marc Ribot’s Spiritual Unity playing music by and for Albert Ayler at the Cleveland Museum of Art the next day: Friday, March 18th, 2O11, 7:3O p.m: Marc Ribot & Spiritual Unity, w/ Roy Campbell, Jr., Henry Grimes, and Chad Taylor, Cleveland Museum of Art, 1115O East Blvd., Cleveland, Ohio, 216-421-734O, -735O, http://www.clevelandart.org, http://tinyurl.com/3379jh5, info@clevelandart.org. Later in March, there will also be concerts in Detroit and Chicago, details to be announced. And Henry's Web site is here: http://www.henrygrimes.com. I probably should have posted these events somewhere else on Organissimo, but I can't seem to find where. Advice on that, anyone? Also, I tried to attach a photo, but it just isn't working, but here's a beautiful high-res photo of Henry taken in January by Pete Gannushkin (downtownmusic.net): http://www.henrygrimes.com/Photos/GrimesHenryByPGannushkin2011.jpg.

"It should have been Henry Grimes" ... Henry played in the Guelph Jazz Festival (Ontario) that night. But thanks!

About the ugly slap at Henry Grimes by "MomsMobley" (above), maybe YOU wouldn't hire him, but these days Roscoe Mitchell hires him, Marc Ribot hires him, Fred Anderson hired him up until the end, Cecil Taylor has hired him seven times in the past few years, and so many other great musicians continue to hire him, and in turn, Henry has hired Rashied Ali, Marshall Allen, Fred Anderson, Marilyn Crispell, Andrew Cyrille, Bill Dixon, Edward "Kidd" Jordan, David Murray, William Parker, and many more in the past few years. Marc Ribot called Henry the Cecil Taylor of the bass, and Roscoe Mitchell said that Henry is among the greatest improvisers living in the world today (and he has known a few), and Roscoe also called Henry's playing "exquisite." Of course, in your not-so-humble opinion, they're all crazy and don't have any idea what they're doing. But you go right on not hiring Henry Grimes, okay? Somehow he'll muddle through without you.

Hello, all. I'm not so sure the Velvet Lounge is "gone forever." 67 East Cermak Road, where it was last housed, is empty now, and nature abhors a vacuum, and since Fred's family isn't using it and nobody else is using it, maybe, just maybe, the brilliant, powerful, beautiful people of the Velvet Birdhouse Coalition will bring it back to life. Let's hope so! And if not, maybe the Velvet can reopen at another location. Meanwhile, as "thedwork" wrote, "knowing the creativity, motivation, spirit, and respectful nature of the current group of creative artists in the chicago scene i'd bet that they'll pull something good out of this bad event," and the Coalition is doing that, presenting concerts in the spirit of Fred Anderson in various places around Chicago, and that's a very fine thing. And there's a grand event planned for Fred's birthday date, March 22nd, at another historic Chicago jazz site. I'll leave it to the Velvet Birdhouse Coalition people to put out the word when they're ready. Viva Fred Anderson, his music, his spirit, and his truth!

Before playing, Henry Grimes read to the audience this tribute at the Rashied Ali memorial celebration at the Clef Club of Philadelphia on October 25th, 2OO9: "Rashied Ali was one of the most creative and exciting musicians ever to come on the scene. To play music with him was to rejoice in the exhilarating rhythms he contributed to the music of our time, and his. We hope that more and more, the world will come to recognize the tremendous artistic gifts Rashied Ali has given us. "We have come to a time and a feeling of last days with the demise of so many of our brothers and sisters in the music and in the literary world. I was fortunate enough to share in the last days of brother Rashied Ali. We came out of each other’s beings and had the opportunity to work on some music in a short time, and in that time we became friends, a rare occurrence in these times. The music we produced in that short period was truly inspiring -- gigging in upstate New York at Hamilton College, in Camden, New Jersey at Rutgers, in Philadelphia and New York City, and in some other places. We also began to do some recording, which is some serious work to accomplish. "It was very inspiring to play with this brother. I knew him when he used to work with Mr. Coltrane during the ‘6O’s, when he worked a little with me also and with other groups at that time. Before Rashied left us, it looked like the ‘6O’s were coming back for a while. "Now I hope people will be able to have some experience with the musical legacy of our friend Rashied Ali. His music, his knowledge, and his charm will continue to reach people everywhere. Rashied Ali knew how to cause music to have life and give life. "Peace, salaam alaikum, and love, "Henry Grimes" << >> << >> < <> > In the past two years, Rashied and Henry had a great duo collaboration going. They recorded "Going to the Ritual" in duo up at the WKCR studios on March 2Oth, 'O7, and that's out on Porter Records (#PRCD-4OO5, 2OO8), with their second duo recording, "Spirits Aloft," now in post-production. Rashied also played six other concerts with Henry between 'O7 and 'O9: * April 21, 'O7, duo, Brecht Forum, NYC; * June 19, 'O7, Vision Festival, NYC, trio with Marilyn Crispell; * January 29-31, 'O9, duo residency, workshops, and concert at Hamilton College of Performing Arts, Clinton, NY; * February 7, 'O9, duo, Rutgers U., Camden, NJ; * June 19, 'O9, duo, Middle Collegiate Church, NYC; and * June 21, 'O9, duo at West Oak Lane Festival, Philadelphia. Even though Henry and Rashied were around the same age and were both born and raised in Philadelphia, they had only recorded together once before 2OO7, and that was in 1965 on Archie Shepp's album "On This Night" on Impulse!. The others in that group were Bobby Hutcherson, J. C. Moses, Joe Chambers, Ed Blackwell, and Christine Spencer. http://www.henrygrimes.com Rashied Ali (left) and Henry Grimes (right), photo by Michael Lowe

Well, that's not Kori Withers, folks. I'll try to attach a photo of Kori Withers. Also, I forgot to mention that there's an incredibly thrilling documentary around from a festival in Zaire in 1974; it's called "Soul Power," and it stars Muhammad Ali (talking some heavyweight truth), James Brown, Celia Cruz, B.B. King, Miriam Makeba, Hugh Masekela, Bill Withers, and many more. The scene at the beginning would cause extreme consternation among airline personnel if it took place today! You can read about the film and find out where it's playing at www.sonyclassics.com/soulpower/site.html.

Hello, all. I just wanted to let you all know that there's a recent interview with Bill Withers in audio and as a transcript at http://www.npr.org/templates/story/story.php?storyId=7236327. And there's a documentary film out now called "Still Bill"; see http://stillbillthemovie.com; the screening schedule is at http://stillbillthemovie.com/screenings; there's also an unusual marketing technique being used to present the film -- you can host your own screenings! And... you can also buy the DVD: http://stillbillthemovie.com/dvd. Here's what the promoters say about "Still Bill": STILL BILL is an intimate portrait of soul legend Bill Withers, best known for his classics “Ain’t No Sunshine,” “Lean On Me,” “Lovely Day,” “Grandma’s Hands,” and “Just the Two of Us.” With his soulful delivery and warm, heartfelt sincerity, Withers has written the songs that have – and always will – resonate deeply within the fabric of our times. Filmmakers Damani Baker and Alex Vlack follow Withers and offer a unique and rare look inside the world of this fascinating man. Through concert footage, journeys to his birthplace, interviews with music legends, his family and closest friends, STILL BILL presents the story of an artist who has written some of the most beloved songs in our time and who truly understands the heart and soul of a man. (I might add that he just may truly understand the heart and soul of more than one woman too.)

Oh, thanks for the photo, Mark! Henry will cherish that. And you're right: Olive Oil is a stay-at-home girl unless Henry's playing here in town or we have a van and driver to take us out on road tours. Even then she's had a couple of mishaps, but nothing irreparable. But Henry's heard too many horror stories about basses damaged -- even smashed -- on planes and trains, so he plays loaner basses brought to each venue when we don't have a van and driver, or if we're taking planes. And very, very warm wishes to you and Ann, Chuck!

Wonderful photos, Mark! By any chance did you get any of Henry and Giuseppe together ??

Yes, unfortunately the Vision Festival is one of those festivals with concerts and other events overlapping in separate spaces of the venue. So Milford Graves's set that evening was scheduled in the upstairs space for 9 p.m., but being the third concert in that space for the evening, things were running late by then, and Milford's concert didn't begin anywhere near on time. Meanwhile, Henry's set was scheduled for 9:45 in another space. So Milford's audience stayed till the end of his concert (naturally) and then came over to the space where Henry played, arriving about halfway through. Likewise, many in Henry's audience would have headed off to hear Lisa Sokolov afterwards, and her set was supposed to begin at 1O:15 in the space where Milford had played earlier, and so Henry's audience would probably have arrived at Lisa's concert halfway through... And so it goes, to quote Mr. Vonnegut's refrain.

Nobody wrote that Mr. Logan is not "physically able to play." He is playing his alto saxophone beautifully, but not for sustained periods of time, and he is playing piano beautifully for long periods of time. We don't know for sure why he stops playing his horn when he does, whether it's physical or not. As to the set mentioned in "Signal to Noise," I was told that there were quite a few other people on the bandstand with him, and Mr. Logan played briefly among them.

Me too, Mark. I've posted a fairly lengthy report on Giuseppe Logan here: http://www.organissimo.org/forum/index.php...49298&st=30 . http://www.henrygrimes.com musicmargaret[@]earthlink.net .

P.S. Mark Sheldon posted a short report and a photo of Giuseppe Logan at the piano here: http://www.organissimo.org/forum/index.php?showtopic=53354.

Several months later... Giuseppe Logan (who spells his first name with an "e" at the end) appeared again at (though not in) the Vision Festival in NYC this year and seems to be in better circumstances. He told us that he has an apartment of his own now in the East Village, which I was told by a very reliable source was acquired with the help of the Jazz Foundation. He's trying to play his alto saxophone with very few teeth, which is virtually impossible; the only other person I've known to do it successfully was the great Clarence "C" Sharpe. Mr. Logan seems to have trouble playing the alto saxophone for more than a few minutes, and it's hard to know why for sure, teeth or otherwise, but it seems to me that he stops because he's not happy with his playing. On the other hand, there was an upright piano in back of the room used as a dining hall by the Vision Festival for six nights, and Giuseppe Logan sat there and played the piano for hours on end for several evenings, and what he played was really lovely and fascinating, hesitantly delivered, but with exquisite harmonics. (He was working on "Giant Steps" for most of one evening while we were there.) This is from a man who probably hasn't had the opportunity to spend time with a piano for half a century. According to “The Encyclopedia of Jazz in the ‘6O’s" (Leonard Feather) and some other sources, Giuseppe Logan was born in Philadelphia on May 22, 1935. After singing in choirs and playing in his school band, he made his professional debut at 15. He studied with Dennis Sandole and others, and also at New England Conservatory. When interviewed for “The Encyclopedia,” he stated that politics, religion, and philosophy play an active role in all arts, and his ambition was to write a symphony. A somewhat mysterious figure, Mr. Logan was self-taught on piano and drums from age 12 before switching to reeds. At 15 he began playing gigs (his most conventional job was with Earl Bostic). In 1964 he moved to New York and became closely involved with the “free jazz” scene. Mr. Logan (who at that time played alto, bass clarinet, flute, tenor, piano, and Pakistani oboe) worked with Bill Dixon, Pharoah Sanders, and Archie Shepp, then formed his own quartet, which also included a young Don Pullen, Eddie Gomez, and Milford Graves; they appeared at the October Revolution in Jazz in 1964. Later on, Giuseppe Logan had a different quartet with Dave Burrell, was a member of Byard Lancaster‘s band, and toured with Patty Waters. He recorded three sets as a leader for ESP (reissued on CD) and also made guest appearances on records by Ms. Waters and Roswell Rudd (the latter for Impulse!). About his recordings, these comments appear in the "All Music Guide" and elsewhere: One of the most uncompromisingly “out” free jazz records of its time is The Giuseppe Logan Quartet (re-released on ESP CD in ‘O8). This 1964 session features Giuseppe Logan on tenor and alto sax, Pakistani oboe, clarinet, flute, and even bass, backed with a piano-bass-drums trio featuring drummer Milford Graves, who doubles on tabla, adding the then-unique Indian percussion sound to the opener, “Tabla Suite.” The other four tracks are slightly more restrained than that wild start, but while pianist Don Pullen and bassist Eddie Gomez occasionally slip into recognizable chord patterns and time signatures (particularly on the almost conventional opening section of the 15-minute “Bleeker Partita”), the completely free playing of Mr. Logan and Mr. Graves keeps the set firmly in free jazz territory. “More” with the same quartet was released on ESP in ‘65 and reissued on Calibre in 2OO2; and “At Town Hall” was released on ESP also in ‘65 and is not known to have been rereleased. Sonny Murray made these comments to "Paris Transatlantic": "They had a nice band with Giuseppe Logan. I was never sure when they first started if any of them knew what to do (laughs) but then I found out Giuseppe had a Masters degree, Don Pullen was highly educated, and Milford was good on all that Latin percussion. It was a great group, really. Giuseppe Logan lost his mind, which was really sad. That came about because his wife left him and took his son with her. He had a twelve-year-old son who could read music backwards, play the trumpet, and was a real genius. Giuseppe was very proud of his boy. When his wife left, that threw him into a tailspin he never recovered from, and he searched down south, everywhere, and he could never find his son or his wife." Coming back to this year's Vision Festival, Henry Grimes and Giuseppe Logan felt an immediate rapport, and Henry invited Giuseppe to play during Henry's solo set. It was the first time they had played together, there was no piano in that particular space, and Giuseppe only played his alto saxophone with Henry for about two minutes, but those were the most beautiful and emotional two minutes imaginable. It was the first time, but let's hope it won't be the last. http://www.henrygrimes.com musicmargaret[@]earthlink.net

As I wrote, "... the Vision Festival does indeed have a lot of musicians who are or may be younger than 3O, including (I'm not exactly sure of all their exact ages, so don't hold me to this list): Shayna Dulberger, Atticus Cole, Althea SullyCole, two or three members of the Sun Ra Arkestra, Darius Jones, Darius Savage, Isaiah Spencer, Adam Lane, Tyshawn Sorey, Forbes Graham, Eri Yamamoto, and [several student bands] playing on Sunday afternoon. This is not to mention spoken-word people, people who dance, people who made things on display, and so forth, with whom I'm not familiar enough to say anything about their ages. Maybe someone else on this list can chip in about them." So... thanks for chipping in! As to earlier inquiries about the weather here in New York City, as of tonight it's cool and damp. You can get a week's forecast by going to http://weather.msn.com, entering the zip code 10002, and clicking "go." I'm pretty sure that whatever results you get will be wrong, though. This society may have produced some great scientific achievements, but accurate weather forecasting still seems beyond us.

I assume your comment is sarcastic, but the future of jazz is indeed assured when the living masters of the music are heard as much as possible and revered and supported as much as possible while they are still among us. Some of them play younger music than any juveniles and continue to grow more and more youthful as the years go by. When they do go on ahead to the next life, they will leave a legacy of inspiration that will hearten and embolden the young ones coming up to fill the bandstands of the future. Meanwhile, the Vision Festival does indeed have a lot of musicians who are or may be younger than 3O, including (I'm not exactly sure of all their exact ages, so don't hold me to this list): Shayna Dulberger, Atticus Cole, Althea SullyCole, two or three members of the Sun Ra Arkestra, Darius Jones, Darius Savage, Isaiah Spencer, Adam Lane, Tyshawn Sorey, Forbes Graham, Eri Yamamoto, and most of the students playing on Sunday afternoon. This is not to mention spoken-word people, people who dance, people who made things on display, and so forth, with whom I'm not familiar enough to say anything about their ages. Maybe someone else on this list can chip in about them. www.henrygrimes.com (at 72, Henry is one of the youngest of them all) musicmargaret@earthlink.net

It's been a long time since I posted a "Grimes Times" here! -- Either that or I've been posting them in another thread, but I can't remember where. In any case, here we are in June, 'O9 with Henry Grimes: GRIMES TIMES !! HENRY GRIMES TIMES !! JUNE, 'O9 Wednesday, June 1Oth (Marshall Allen Celebration Day), Vision Festival, special set at 7:3O p.m: Marshall Allen, Edward “Kidd” Jordan, Henry Grimes (double-bass and violin), William Parker, and Hamid Drake, at Henry Street Settlement, Abrons Arts Center, 466 Grand St. betw. Pitt & Willet St’s, NYC, 212-254-542O, 212-598-O4OO, ext. 22O; 212-766-92OO, http://www.visionfestival.org/schedule.php, info@visionfestival.org, info@henrystreet.org, http://www.henrystreet.org/site/PageServer...name=abt_dirAAC, map at http://maps.google.com/maps?q=466+Grand+St...ork%2C+NY+10001. Public transportation: F train to East Broadway or Delancey St; D or B train to Grand St; J or M train to Essex St; M15 bus to Grand St; M22 to Montgomery St; M9 or M14 to Grand St; 14A bus to Pitt St. Thursday & Friday, June 11th and June 12th, 2OO9 International Society of Bassists Convention: Henry Grimes featured in Mark Dresser's "New Double-Bass Music Summit" with a panel discussion on Thursday, June 11th, 4-5 p.m. in Room 11O, School of Music, on the topic “Listening, Rhythmics, Meaning and Metaphor,” playing time from the spiritual and philosophical dimensions to the musicianship levels”; and Henry Grimes playing a featured solo double-bass concert Friday, June 12th at 1O:3O p.m. at Esber Recital Hall, School of Music, all Convention events taking place at Penn State University, State College, PA, 814-865-8339, 972-233-91O7, x 2O4, http://www.music.psu.edu, http://tinyurl.com/qbk63e, directions http://www.isbworldoffice.com/convention/G..._UNIVERSITY.pdf, info@ISBWorldOffice.com, rcn3@psu.edu. Saturday, June 13th, Vision Festival, special set at 9:45 p.m: Henry Grimes, solo double-bass, violin, and poetry, at Henry Street Settlement, Abrons Arts Center, 466 Grand St. betw. Pitt & Willet St’s, NYC, 212-254-542O, 212-598-O4OO, ext. 22O, 212-766-92OO, http://www.visionfestival.org/schedule.php, info@visionfestival.org, info@henrystreet.org, http://www.henrystreet.org/site/PageServer...name=abt_dirAAC, map at http://maps.google.com/maps?q=466+Grand+St...ork%2C+NY+10001. Take F train to East Broadway or Delancey St; D or B train to Grand St; J or M train to Essex St; M15 bus to Grand St; M22 to Montgomery St; M9 or M14 to Grand St; 14A bus to Pitt St. Monday, June 15th, Vision Festival, 7 p.m: Henry Grimes (playing violin) w/ Jason Hwang's Spontaneous River (28 string players and one drummer), also including Cristian Amigo, Trina Basu, Sarah Bernstein, Michael Bisio, Charles Burnham, David Chevan, Mark Chung, Andrew Drury, Bradley Farberman, Nicole Federici, Ken Filiano, Francois Grillot, Rosi Hertlein, Judith Insell, Clifton Jackson, Kirsten Jeme, James Keepnews, Ha Yang Kim, Daniel Levin, Dom Minasi, Marlene Rice, Dave Ross, Tor Snyder, Curtis Stewart, Elektra Stewart, Hans Tammen, Tomas Ulrich, at Angel Orensanz Center, 172 Norfolk St. just below Houston St. & just east of Ave. A, NYC, 212-529-7194, 212-78O-O175, 212-254-542O, http://www.visionfestival.org/schedule.php, info@visionfestival.org, http://www.orensanz.com, map at http://newyork.citysearch.com/profile/map/...foundation.html, info@orensanz.org, events@orensanz.org. Friday, June 19th: Henry Grimes (double-bass, violin, poetry) and Rashied Ali (drums), Middle Collegiate Church, 2nd Ave. betw. 6th & 7th St's, NYC, 7:3O p.m.[?], 212-477-O666, http://www.middlechurch.org/calendar.asp (click on the date), map at http://tinyurl.com/my2e6v, JDudley@middlechurch.org. Sunday, June 21st: Henry Grimes and Rashied Ali, West Oak Lane Festival, 7152 Ogontz Ave., Stage 2, Philadelphia, PA, 12:45-1:3O p.m., 215-557-7277, 856-424-4668, http://www.westoaklanefestival.com, http://www.westoaklanefestival.com/page/full-schedule, http://www.westoaklanefestival.com/page/getting-here, lifelinemusic@comcast.net. http://www.henrygrimes.com musicmargaret@earthlink.net 212-841-O899. The photo below is Henry Grimes and Rashied Ali, taken by Michael Lowe a couple of years ago.