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I recently read that the Oklahoma border casinos are a problem for mid-size concert venues in Dallas, as they easily outbid the Dallas concert promoters and impose a contractual geographic covenant not to compete which includes Dallas.

I suggest starting in the parking lot at Winstar, where you will find a large concentration of the oppressed worker masses whose pockets have been picked clean by surviving Native Americans, serving the dual purpose of providing a form of indirect reparations out of the pockets of the workers, authorized by the capitalist overlords in order to soothe their tiny nub of a conscience, and to provide the workers with the illusion of potential wealth.

BIG EARS TICKET ALERT! We’re certainly thrilled to report that Big Ears 2020 has experienced unprecedented response and demand for weekend passes. If the current pace continues, we expect the 2020 festival to sell out weeks in advance for the first time in Big Ears history. The limited quantities of Weekend Premier and Sonic Explorer VIP passes will be the first to go. We expect both to sell out during the holidays, but possibly sooner. The remaining GA passes will also be reaching the Tier III pricing level in the near future as well. Because of this, there is a high likelihood that no single day passes will be available for the 2020 festival. This will be officially determined soon after the first of the year – when we will also share details of the daily line ups and additional festival programs. IF single day passes are released, the allotments will be relatively small and they will not include a VIP or Premier pass option. We are very grateful for and inspired by this tremendous response to Big Ears. We are preparing yet another unforgettable weekend of extraordinary concerts and much, much more. Still to come are details of the returning Big Ears Film Festival – in partnership with Regal – and an expanded literary facet of the festival as well. As usual, we’ll also have informative talks and discussions, installations, workshops, and other surprises in store for the weekend. Be on the lookout for all of this information – including ticketing updates – in the coming weeks.

Winnipeg 45

Kokoroko (Brownswood) Jupiter and Okwess, Troposphere Stanley Turrentine, Hustlin' (Blue Note Tone Poet)

McCoy Tyner Quartet with Gary Bartz at the short-lived Judge's Chambers?

Anyone in Dallas with free time Sunday afternoon (the last day), this exhibition is rather fabulous and well worth a trip to Irving. I just noticed this exhibition, but unfortunately this is the last weekend. BILLIE HOLIDAY AT SUGAR HILL: PHOTOGRAPHS BY JERRY DANTZIC Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic, features 56 vivid, breath-taking photographs. They offer a rare glimpse into both the public and private life of one of the 20th century’s most iconic, significant artists: thAnye consummate jazz and blues singer, Billie Holiday. Captured by photojournalist Jerry Dantzic during a week-long run of performances at the Newark, New Jersey nightclub, Sugar Hill in April of 1957, the remarkable images reveal the warmth, complexity, elegance, star power, and humanity of an artist who would pass away tragically just two years later at the age of 44. All photographs © 2018 Jerry Dantzic/ Jerry Dantzic Archives. All rights reserved. **Pictured above: Billie Holiday embraces a fan on Broad Street after receiving a gift; Carl Drinkard is behind her flicking his cigarette into a trashcan, Newark, New Jersey, April, 1957. RELATED EVENT An Evening with Author/Archivist Grayson Dantzic– Behind the Scenes Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic October 10 @ 6:30PM Gallery Hours: Mon, Tues, Wed and Fri: 9:00 a.m. to 5:00 p.m. Thursday: 9:00 a.m. to 8:00 p.m. Saturday: 10:00 a.m. to 5:00 p.m. Sunday: 1:00-5:00 p.m. WHEN September 14 - November 17 Main Gallery 3333 North MacArthur Blvd. Irving, TX 75062 United States Free QUESTIONS? Call the box office at 972-252-7558 ADD TO CALENDAR

Sonny Stitt, Moonlight in Vermont (Denon) Elvin Jones, Clark Terry, James Moody, Bunky Green, Summit Meeting (Vanguard) Chico Freeman, The Outside Within (India Navigation)

Sonny Rollins, a collection of well-recorded concerts from 1950s/1960s/1970s.

If you are going to attend the full festival, you definitely want one of the versions of the weekend pass. The basic general admission weekend pass gets you into everything over the four days, space permitting. You do have to stand in line to get in. That's what I did the last two years--no problems the first year. Last year, there seemed to be longer lines and for one event I gave up. It seemed like last year the festival organizers misjudged in some cases the audience size relative to the venue chosen. (Ralph Towner in a relatively small church for example.) The two premium weekend passes allow you to bypass the general admission line and use a special line for premium pass holders. This year I decided that was worth the extra cost. It is worth noting that at this festival they clear the house after each concert. So you basically have to pass through a line for each concert, even if you are attending a series of concerts in the same venue.

He is deserving of one of the major awards for musicians from the National Endowment for the Arts, Doris Duke Foundation or MacArthur Foundation. I believe I have seen him live six times. With Malachi Thompson at Sweet Basil. With David Weiss and Charles Tolliver at the Iridium. With The Cookers at Winter Jazz Fest. With Elio Villafranca, and paired with David Murray at the Appel Room. With Randy Weston in San Antonio. And (finally) as a leader at Smoke.

You probably want to do that now, at least if you are confident of attending. Ticket prices go up the closer one gets to the festival. General admission weekend passes are at tier 2 of 3, while Premier and Sonic Explorer weekend passes are at tier 3 of 3 already. Perhaps they will sell out? I'm not sure as I buy them about the time of the main lineup announcement. For hotels, it's probably too late to get a reasonable price in the downtown area. Now is the time to make a (cancellable) hotel reservation. I use expedia.com.

Lineup additions. 11.12.2019 BIG EARS EXPANDS 2020 LINEUP Big Ears Festival is proud to announce that rock icon, writer, poet, photographer Patti Smith will make her Big Ears festival debut March 26-29, 2020 in Knoxville, TN, where she’ll perform with her band as well as present a literary program / conversation during the weekend. Cited by Rolling Stone in 2010 as one of our 100 Greatest Artists of All Time, Smith galvanized the New York punk scene in 1975 with the release of her debut album, Horses. She is now a member of the Rock & Roll Hall of Fame as well as a Commander of the French Ministry of Culture’s Ordre des Arts et des Lettres. She received the National Book Award in 2010 for her memoir, Just Kids, which chronicles her friendship and journey in art with photographer Robert Mapplethorpe. She has since published several other acclaimed collections of poetry and prose, including the recently released The Year of the Monkey. The Big Ears lineup has expanded to include the 100th anniversary of the invention of the Theremin, where Theremin master Rob Schwimmer will lead a trio featuring pianist Uri Caine and violinist Mark Feldman in a concert marking the 20th anniversary and recent release of their collaboration, Theremin Noir. Montreal’s post-rock chamber ensemble Bell Orchestre, featuring Arcade Fire members Sarah Neufeld and Richard Reed Parry, will make their Big Ears debut on the heels of a long-awaited new recording. Adam Wiltzie and Dustin O’Halloran’s A Winged Victory for the Sullen return to Big Ears with a stunningly beautiful new recording, The Undivided Five, inspired by the mystic Swedish painter, Hilma af Klint. Chicago’s groundbreaking chamber group Ensemble Dal Niente will be joined by saxophone virtuoso Ken Vandermark, performing music written for them by Roscoe Mitchell, along with works by Anthony Braxton, George Lewis, and others contemporary composers. Dal Niente and Vandermark are also planning a kaleidoscopic array of performances at the Knoxville Museum of Art during the festival weekend. Fennesz, whose richly textured guitar and electronics dazzled the very first Big Ears audience on opening night back in 2009, returns to the festival at long last. His latest release, Agora, was cited as one of the best recordings of the year in Pitchfork, which described it has having “a cumulative force that is unlike anything he’s done in years.” Nivhek is the name of a new project from Big Ears alum, Liz Harris (Grouper), also cited by Pitchfork as one of the finest records of 2019, “…her music remains in an enigmatic class of its own.” Danish sound artist Jacob Kirkegaard will bring his evocative and mysterious explorations of the world that surrounds us, with both installations and live performance. New additions include Pakistani singer / composer Arooj Aftab and the Vulture Prince Ensemble, with Gyan Riley, Maeve Gilchrest, Shahzad Ismaily, and Greg Fox; the mysterious mezzo-soprano folk singer Josephine Foster channeling Harry Smith’s “old weird America;” composer / percussionist extraordinaire John Hollenbeck’s minimalist/maximalist post-jazz ensemble, The Claudia Quintet; Chicago’s adventurous, boundary-pushing composer / cornet player Ben LaMar Gay and his band; an evocative solo performance from Múm’s cellist and singer Gyda Valtysdottir; saxophonist Sam Gendel’s haunting reimagining of jazz standards; the spirited Argentine / Mexican / North Carolina string band wizardry of Che Apalache; composer/performer Astrid Sonne, who explores perception and its accompanying emotional states through her viola and electronics; Sonja LaBianca, whose solo saxophone performances create poetic, minimalist soundscapes; cellist D. Scot Williams performs solo music by Hindemith, Crumb, and Overall. Additional artists and special performances will be announced, along with information about the film and literary programs, talks and discussions, and other facets of the Big Ears experience. Stay tuned.

Tom Harrell has a number of good CDs on High Note.

Yes, his final studio session, from December 10, 1954. Perhaps his best recorded studio session. His sound on alto is quite vividly captured. The master take of Love for Sale is the best.

Charle Parker Plays Cole Porter (Verve)

Art Farmer Quintet, The Time and the Place (Columbia) Grant Green, Born to be Blue (Blue Note Tone Poet)

He is not a frequent tweeter, but an interesting one. Conversation Wayne Shorter @Wayne_Shorter Art Blakey would tell us, “If there is just one person in the nightclub, don’t walk out on the stage and just get super relaxed because there is only one person. Perform like it is your last moment, with that one person in mind.”

Wayne Shorter‏Verified account @Wayne_Shorter FollowFollow @Wayne_Shorter More I used to see Lester Young when I was very young. He’d come with Jazz At The Philharmonic to a theater around the corner from where I lived in Newark. I’d get together with some guys and we’d go up the back fire escape and sneak into the theatre. 12:34 PM - 8 Nov 2019 208 Retweets 924 Likes 20 replies208 retweets924 likes Reply 20 Retweet 208 Like 924 New conversation Wayne Shorter‏Verified account @Wayne_Shorter 19h19 hours ago More There’d be Billy Eckstine opening up with Stan Getz, and Charlie Parker with strings, and Lester would have the finale. I noticed that Lester Young was different from everybody. 1 reply24 retweets185 likes Reply 1 Retweet 24 Like 185 Wayne Shorter‏Verified account @Wayne_Shorter 19h19 hours ago More The show was long on and here comes Lester walking into the lobby. He was the only one who used to carry the saxophone in a bag; the rest of the guys had big, heavy, hard cases. His bag was shaped like a saxophone and he had this black overcoat and his pork pie hat. 3 replies18 retweets167 likes Reply 3 Retweet 18 Like 167 Wayne Shorter‏Verified account @Wayne_Shorter 19h19 hours ago More As he was walking in everybody, all the promoters, would run down into the lobby yelling, “There he is…there’s The Pres!!” 2 replies16 retweets160 likes Reply 2 Retweet 16 Like 160 Wayne Shorter‏Verified account @Wayne_Shorter 19h19 hours ago More Lester’s style was all-encompassing. He hardly moved his fingers on a horn. Or when he walked into a room, same thing, you’d hardly see him do it. He walked with his feet close to the ground. He lifted them up and didn’t scrape them, but they were always close to the ground 1 reply29 retweets187 likes Reply 1 Retweet 29 Like 187 Wayne Shorter‏Verified account @Wayne_Shorter 19h19 hours ago More And he never made a false move. If somebody came into a room to surprise you or upset a household, he’d be the last one to turn around. Not deliberately or trying to be cool. Eventually he’d turn around and say, “Heyyy what’s happenin’” or “Don’t you belong in the hospital?”

Last night, Mr. Sipp, at the Guitar Sanctuary in McKinney.

His Masters of Suspense group recordings are good--Forsooth, Heavy Mirth, and To Hellas and Back, for example. He's also records with the excellent group The Jazz Tribe (Everlasting and The Next Step).

You can just look on his website and see his annual 100 best albums list. http://tedgioia.com/bestalbumsof2018.html

I believe that is in the vicinity of the Village Vanguard, Smalls, Mezzrow and the 55 Bar; another music club is always welcome.

Do you have that record? It must be pretty rare.

Mine is complete. Listening recently and on my 14th of the 21 discs at present. Really enjoyed the AEC discs, especially Urban Bushman and Tribute to Lester.