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Magos Herrera and Brooklyn Rider – Dreamers Sat, Oct 12, 2019 8:00 PM At Cullen Theater, Wortham Center TICKETS Performing works from their award-winning 2018 album Dreamers, Mexican-born songstress Magos Herrera and the omnivorous string quartet Brooklyn Rider join forces for an unforgettable musical journey, reinterpreting classic songs from Mexico, Chile, Brazil, Argentina and Spain, and celebrating texts by Octavio Paz, Federico García Lorca and Rubén Darío. ARTISTS Magos Herrera, vocalist Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Michael Nicolas, cello

My bad memory. 1972 or 1973, approximately the last time I listened to the LP, sure is long ago..

Getz is definitely on. The recording quality is very good. I've been very pleased with it. If you are a Stan Getz fanatic (like me) it is essential. If not, it's another very good Getz record.

Mountain, possibly. They are not in the movie or on the first two record sets. And I heard Leslie West say something like that in an interview.

World Music Unleashed 2019 World Renowned Musician Steve Smith (Drums), Plus Gourisankar (Tabla), Aboss Kosimov (Doyera), Tony Monaco (Hammond Organ), Indrajit Banerjee (Sitar), Indradeep Ghosh (Violin), Eduardo Cassapia (Oboe and Flute) and Brajeswar Mukherjee (Vocal). Friday, September 6 @ 8 PM Bates Auditorium UT, Austin

On the first CD, two of the eleven songs I find to be unlistenable sonically (Luther Allison and J.B. Hutto). One track (Otis Rush) is recorded very well (why not release this whole set?). The rest are in between, listenable (for me) but clearly audience recordings. The music quality is good to great (B.B. King's wonderful track, for example). I haven't ventured into CD2 yet. Actually, reading the fine print in the notes, the reason the Otis Rush is so sonically different is because it was actually recorded at a concert for the 1970 Ann Arbor Blues Festival.

As I listen to this, the sound is wildly variable. the Otis Rush track sounds like a professional recording, while the Luther Allison cut sounds like Dene Benedetti was there with his wire recorder.

Agreed. I think they must have played longer sets than 4-5 songs, judging from Magic Sam Live, which releases his set in full on two sides of an LP, as I recall.

For the Blues fans in the house, there is an interesting new release recorded live at the 1969 Ann Arbor Blues Festival, which might be the greatest assemblage of blues talent at one place ever to occur. The recording quality is not great, but seems acceptable for the most part. With my Time Machine, I would surely pick this Festival over Woodstock; an easy call. https://www.amazon.com/Ann-Arbor-Blues-Festival-1969/dp/B07SQ66W35/ref=sr_1_1?crid=2MA27X3OZHAYN&keywords=ann+arbor+blues+festival+1969&qid=1565367858&s=music&sprefix=Ann+%2Cpopular%2C154&sr=1-1 Tracklist ANN ARBOR BLUES FESTIVAL 1969 - VOL. 1 1 Dirty Mother for You – Roosevelt Sykes 2 So Glad You’re Mine – Arthur “Big Boy” Crudup 3 Too Much Alcohol – J.B. Hutto & His Hawks 4 I Wonder Why – Jimmy “Fast Fingers” Dawkins 5 Help Me (A Tribute to Sonny Boy Williamson) – Junior Wells 6 I’ve Got a Mind to Give Up Living – B.B. King with Sonny Freeman and the Unusuals 7 John Henry – Mississippi Fred McDowell 8 Everybody Must Suffer/Stone Crazy – Luther Allison and the Blue Nebulae 9 Tu m’as promis l’amour (You Promised Me Love) – Clifton Chenier 10 Hard Luck – The Original Howlin’ Wolf and His Orchestra 11 So Many Roads, So Many Trains – Otis Rush ANN ARBOR BLUES FESTIVAL 1969 - VOL. 2 1 Long Distance Call – Muddy Waters 2 Movin’ and Groovin’ – Charlie Musselwhite 3 I Feel So Good (I Wanna Boogie) – Magic Sam 4 Jelly Jelly Blues – Shirley Griffith 5 Call It Stormy Monday (But Tuesday Is Just as Bad) – T-Bone Walker 6 Ball and Chain – Big Mama Thornton and the Hound Doggers 7 Juanita – Big Joe Williams 8 Key to the Highway – Sam Lay 9 Mojo Hand – Lightnin’ Hopkins 11 Off the Wall – James Cotton Blues Band 12 Death Letter Blues – Son House

Thanks for the attention and the comments!

Don't tell them about that fire. Shhhh….

There were original recordings on Trip? I did not know that.

Well, Clifford Brown sounds so glorious on the Emarcy pressings... Those Trip LPs were everywhere in the 1970s. They were below-average pressings in an era when the average pressing was below-average compared to the 50s and 60s. I bought a fair number back then, but I would not today.

On 11, the singer is someone I heard in person from attending Winter Jazzfest in New York. I thought her set was great. Her backup group has been a working group for almost ten years, she said. The trumpeter is the producer of the recording and the best known player on the track by far. 12: The banjo player was in the Sun Ra Arkestra for many years. The soprano saxophonist is the leader and is younger (late 20s). He's someone I've encountered live a few times and really like, both in the modern jazz and traditional jazz contexts. I believe he attended the school where Ellis Marsalis teaches. 13: Not correct on guitar. The guitarist is of the "Young Lions" generation. I heard this band (without the guitarist) a couple of years ago; the swing was so intense. Really great set--they opened with this track, better than this version. 14. The vocalist is mostly a drummer, a prominent personage on his instrument is his city. The guitarist is young, one of his drum students, who one day told his teacher he played a little guitar as well, and this duo (augmented on the recording) was formed.

I don't know Julie Bonk. A singer?

Correct. From Fort Worth. The song is "And I Cried" concerning her diagnosis with an incurable disease affecting, among other things, her lungs-sarcoidosis. Years ago, I saw her play at the Caravan of Dreams several times with Charles Moffett. Also, she is the saxophonist on the final Ronald Shannon Jackson and the Decoding Society recording on DIW, Shannon's House. After disappearing from live appearances for many years, recently she seems to have rallied and plays an occasional concert, one of which I attended a few weeks ago. She mostly played EWI, but the three songs where she played her tenor were quite good--especially a wonderful version of Over the Rainbow.

Yes, a good idea (booking the band) ruined by an epically bad idea. I actually have not seen the band since they played weekly at the Iridium, and they moved to Jazz Standard ten years ago. So I'm not up on the current band composition.

Mingus Big Band Sat, August 17, 8:30 pm Miller Outdoor Theater The Grammy Award-winning Mingus Big Band celebrates the music of legendary composer/bassist Charles Mingus. The Mingus Big Band tours extensively in the United States and abroad, and has 10 recordings to its credit, including Mingus Big Band Live At Jazz Standard, winner of the Grammy for Best Large Jazz Ensemble Album. Ticket information here. Da Camera subscribers are eligible for assigned seats under the canopy!

The sound of the Texas saxophone.

Nope.

No, this is a "name" American jazz pianist, though usually regarded as a polar opposite of Hank Jones. And playing with a not that well recorded bassist who played with Max Roach.

I saw the Herbie Hancock group with Lionel Luecke, Terrace Martin, James Genus, and Vinnie Coliuta in New Orleans earlier this year; they are good but (at least at JazzFest) the sound was extremely loud (as in I had to wear earplugs which I don't like to do).

Yes, The Crave.

The first track is an early jazz composition from New Orleans; the performance is relatively recent; not Hank Jones, but a fairly well known pianist. The tenor sax on the second track is little known; only one recording as a sideman with a famous jazz leader to my knowledge. There is actually a tragic reason the track is brief. Number 3 is not Eddie Daniels. It is an original composition by the pianist; two contemporary artists who play together regularly. I've been listening to 3 CDs by the harp player a lot lately. And I love the tenor saxophonist. You have heard of the trumpet player on 11. 13 is a drummer led date. The guitarist on 13 is a name player (contemporary).

Coming to the House of Blues in Houston, but unfortunately not Dallas, on September 18: The Queen of Axé, Daniela Mercury is set to tour the United States in September 2019. The Latin GRAMMY winner and multi-platinum selling artist will tour with her full band to perform all her hits like “Canto da Cidade”, “Rapunzel”, “Nobre Vagabundo”, “Swing da Cor”, “Ilê Pérola Negra”,”Maimbê Dandá”, and also more recent hits like “Banzeiro” (2018 Best Carnival song in Bahia) and “Proibido o Carnaval”, released earlier this year. Daniela Mercury is known as “furacão” (hurricane) due to her powerful voice and tireless energy on stage, singing and dancing for hours without losing her breath. Daniela is also known as the Queen of Axé, the percussive and irresistible genre that emerged out of Bahia in the early 1990s, which made her a superstar in Brazil and then around the world.