kh1958

She is not retired. She's playing in Dallas on September 1.

Collector's Records was the one I liked.

It is excellent.

On first two listens, I quite liked it. The Three Sounds, Groovin' Hard (Resonance)

Some information here: Also, Clark Terry has some big band recordings on Vanguard.

That was such a vile store. The owner gave me the creeps. And everything there reeked of cigarettes.

Epistrophy Arts presents Tarbaby at Draylen Mason Music Studios at KMFA Wed, September 25, 2024 08:00 PM - 11:00 PMCDT 41 Navasota St, Austin, TX 78702, USA A collective trio of 20+ years “with an impeccable pedigree,” Tarbaby is “a freewheeling unit that has embodied the equilateral triangle concept of the piano trio since they convened in 2001. Featuring Grammy nominated pianist Orrin Evans, a “poised artist with . . . ideas at his command” (New York Times); Grammy winning bassist Eric Revis (a longtime Branford Marsalis collaborator); and drummer Nasheet Waits (son of jazz legend Freddie Waits and a key member of Jason Moran’s Bandwagon), the trio “stretches the jazz fabric without ripping it apart and absorbs everything from Thelonious Monk and Charles Mingus to John Coltrane and Ornette Coleman, sending it all back in torrents of molten musicianship” (Jazz Times). Tarbaby has released several recordings including The End Of Fear (2010) and Dance of the Evil Toys (2022) featuring guest avant-garde elder statesman, saxophonist Oliver Lake. Cleanfeed Records writes, “Dance of the Evil Toys finds a rare balance between brute force and mathematical rhythmic signatures...one of the most exciting jazz bands around offer us, again, a magnificent opus.” The trio also released a second recording in 2022 featuring guest saxophonists Branford Marsalis, J.D. Allen and Bill McHenry on Evans’ Imani Records label, which he founded in 2001 and relaunched in 2018. Tarbaby is touring in support their new release 'You Think This America' on Giant Step Arts. 09/26/2024 Tarbaby SEPTEMBER 26, 2024 8:00 PM SEPTEMBER 26, 2024 10:00 PM THE DELUXE THEATER Nameless Sound presents ... Tarbaby Orrin Evans - piano Eric Revis - double bass Nasheet Waits - drums The three members of Tarbaby – pianist Orrin Evans, bassist Eric Revis, and drummer Nasheet Waits – share a long history together, dating back to well before the formation of the trio. They share core beliefs about acknowledging the over-arching tradition of the music while being true to one’s own story; they’re an ensemble of serious intentions and riotous humor, fervid spirit and fierce intellect, passion and purpose. All of that melds and collides in their provocative and risk-welcoming sound. The New York Times has hailed the trio as, “a strong postbop collective with plenty of moves at its command: advanced rhythmic calculus, sly harmonic implication, [and] cohesive elasticity.” Lucid Culture described Tarbaby as, “Intense, enigmatic, often very funny… Darkly melodic, fearlessly spontaneous and bristling with combustible energy.” 2024 will see two bold new releases from the eclectic power trio. For the first time in a career marked by collaborations, You Think This Is America marks the first time that Tarbaby has recorded an entire album strictly in piano trio format. Recorded live at New York’s Hunter College for photographer/engineer Jimmy Katz’s Giant Step Arts imprint, the confrontational date mixes originals with wide-ranging covers by Ornette Coleman, David Murray, Andrew Hill, Sunny Murray, and The Stylistics. A yet-to-be-titled studio release will follow later in the year with a number of special guests: Philadelphia spoken word artist Ursula Rucker, the powerhouse tenor saxophonist JD Allen, the exploratory, tightrope-walking saxophonist Bill McHenry, and the pseudonymous “Prometheus Jenkins” (a few notes will suffice to identify the sax master behind the alias). “The story has its roots in Africa and then traveled across the ocean – just like we did.” – Nasheet Waits, drums “I don’t want to hug the tar baby.” – Tony Snow, White House Press Secretary 2006-07 Nearly two decades later, the controversy that greeted the late Tony Snow’s use of the term “tar baby” remains indicative of the uncomfortable discourse around race in the country – a point that, ironically, is well illustrated by the very metaphor that he unwisely chose. Co-opted as a racial slur, the term “tar baby” has its roots in a folk tale that depicts the wily Br’er Rabbit becoming increasingly mired in a tar dummy the more he struggles with it – a vivid depiction of the sticky discussions involving race in 21st century America. Tarbaby fully intended every one of those associations to arise, in all of their uneasiness, combativeness and contradictions, when they decided to adopt the name for their collective trio. “We knew the name would be controversial and misconstrued, but that it would ultimately encourage some discourse. That intent took precedence over any notions of ‘commercial’ success,” says Revis. The scare quotes that Revis places around the word “commercial” reflects the fact that such value judgments can be elusive, but it’s undeniable that all three bandmates have achieved considerable recognition and acclaim. Evans has released more than 25 albums without the support of a major label, becoming the model of a fiercely independent artist while making a habit of rattling the jazz world’s confining cages. That determination has paid off in such accolades as a pair of Grammy nominations for his raucous Captain Black Big Band. His ever-expanding “Village” of collaborators has recently included the likes of Nicholas Payton, Kevin Eubanks, Immanuel Wilkins and Kurt Rosenwinkel, among others. In addition to manning the bass chair in Branford Marsalis’ revered quartet since 1997 (scoring a Grammy in the process), Revis has also recorded eight brilliant and wildly diverse albums as a leader, teaming him with visionary artists like Jason Moran, Ken Vandermark, Kris Davis and Andrew Cyrille, and appeared on the soundtracks to the Netflix features Ma Rainey’s Black Bottom and Rustin. Waits, whose mentors include such pioneers as Max Roach and his esteemed father, percussionist Freddie Waits, has propelled such era-defining ensembles as Jason Moran’s Bandwagon, Andrew Hill’s bands and the Fred Hersch Trio. More recently he’s been an integral part of bands led by two renowned bassists: Christian McBride’s adventurous New Jawn and Dave Holland’s New Quartet with Kris Davis and Jaleel Shaw. Tarbaby’s self-titled 2008 debut on Imani was recorded as a quintet with saxophonists JD Allen and Stacy Dillard and vocalist TC III. Their 2010 follow-up, The End of Fear (Posi-Tone), invited trumpeter Nicholas Payton and iconic saxophonist Oliver Lake into the fold. The latter has remained a frequent collaborator, returning alongside trumpeter Ambrose Akinmusire for 2013’s Ballad of Sam Langford (Hipnotic), for Fanon (Rogue Art) in 2014 with guitarist Marc Ducret, and for 2022’s Dance of the Evil Toys (Clean Feed) with trumpeter Josh Lawrence. On stage, creative partners have also included poet Sonia Sanchez and saxophone legend David Murray, while inspiration has come from sources as far flung as Don Cherry, Fats Waller and Bad Brains. “We’re just three cats that believe there are certain truths to this music that should be held sacred.” – Orrin Evans, piano Tarbaby didn’t set out to become a band. It arose from a conversation, one that in many ways had been going on for decades and continues to this day. That dialogue centers on the respect, or lack thereof, with which “jazz” (in these discussions, that word is often voiced tenuously if at all) is regarded by those who claim to uphold its traditions. The music’s origins are a key factor, especially as they are so intimately tied to uncomfortable facts that many, even those who reap its benefits, would prefer to ignore. “There are aspects of American history that are intertwined with the music that we play that most people don’t want to touch,” Waits asserts. “That’s the function the Tar Baby plays in that story: initially Br’er Rabbit doesn’t want to touch the Tar Baby, and when he finally does he can’t shake it off.” This concert is funded in part by the City of Houston Through Houston Arts Alliance. Admission - Pay What You Can

Nduduzo Makhathini, Unomkhubulwane (Blue Note)

Bunk Johnson, Bunk Plays the Blues and Spirituals in New Orleans (American music ten inch) Howard Rumsey's Light House All Stars, volume 3 (Contemporary ten inch) James P. Johnson, Jazz Band Ball (Blue Note ten inch)

I do know what you mean, from the not retired perspective. It sounds like an event I would enjoy.

The great kora player, Toumani Diabate, has died. https://www.africanews.com/2024/07/20/malis-king-of-kora-toumani-diabate-dies-at-58/

Helen Gillet, Tephra Sound, Horizon

Buddy Tate and His Buddies (Chiaroscuro) Double Image, Dawn (ECM)

Nicole Glover, Strange Lands (Savant)

Kris Davis' Diatom Ribbons, Live at the Village Vanguard

George Benson, It's Uptown (Columbia) Bill Evans, Peace Pieces (Riverside/ABC) Sphere, Four in One (Elektra Musician) Dexter Gordon, American Classic (Elektra Musician)

Amina Scott, Where the Wild Seed Grows

Erik Truffaz, Rollin' (Blue Note)

Horace Silver,It's Got to Be Funky (Columbia)

Horace Silver, Pencil Packin' Papa (Columbia)

Crescent City Piano Players (American Music)

Centennial King Oliver's Creole Jazz Band / Various Artists Add to Cart Centennial will be released on August 30, 2024; order before August 1 for the steepest discount. The 1923 recordings by King Oliver’s working Chicago band are the stuff of legend. Nothing like them had ever been heard on record before, and nothing in jazz would be the same afterward. Here, for the first time, all 37 sides are presented—in release order—on two LPs and two CDs, along with 55 additional tracks (on CDs 3 and 4) that allow us to understand these musical giants not only as innovators but also as products of the acoustic-era recording industry. With all-new restorations and remastering by Richard Martin, these selections have never sounded better. Further, there’s an 80-page book included, where GRAMMY-winning author Ricky Riccardi insightfully tells the story of the relationship between “Papa Joe” Oliver and “Little Louis” Armstrong and gives detailed notes on the tracks. Produced by Archeophone’s Meagan Hennessey and Richard Martin, GRAMMY-winning producers of Lost Sounds. Celebrate the 100th anniversary of these landmark records! List price: $114.95 Sale price: $99.95 OVERVIEW Catalogue number: ARCH 6014 UPC: 860003210093 Original release date: August 30, 2024 Box set features 4 CDs, 2 LPs in a double gatefold, an 80-page hard-bound book and a 22″ by 33″ poster packaged in a hard slipcase In Archeophone’s Jazz, Dance & Blues series Tracks and Sound SamplesAdditional PhotosVideos TRACKLIST: CD 1 (KING OLIVER’S CREOLE JAZZ BAND) 1. Dipper Mouth Blues King Oliver’s Creole Jazz Band 1923 2. Weather Bird Rag King Oliver’s Creole Jazz Band 1923 3. Just Gone King Oliver’s Creole Jazz Band 1923 4. Canal Street Blues King Oliver’s Creole Jazz Band 1923 5. Mandy Lee Blues King Oliver’s Creole Jazz Band 1923 6. I’m Going Away to Wear You Off My Mind King Oliver’s Creole Jazz Band 1923 7. Froggie Moore King Oliver’s Creole Jazz Band 1923 8. Chimes Blues King Oliver’s Creole Jazz Band 1923 9. Snake Rag King Oliver’s Creole Jazz Band 1923 10. Sobbin’ Blues King Oliver’s Jazz Band 1923 11. Sweet Lovin’ Man King Oliver’s Jazz Band 1923 12. Dipper Mouth Blues King Oliver’s Jazz Band 1923 13. Where Did You Stay Last Night? King Oliver’s Jazz Band 1923 14. High Society Rag King Oliver’s Jazz Band 1923 15. Snake Rag King Oliver’s Jazz Band 1923 16. Krooked Blues King Oliver and His Creole Jazz Band 1923 17. Alligator Hop King Oliver and His Creole Jazz Band 1923 18. Zulus Ball King Oliver and His Creole Jazz Band 1923 19. Workingman Blues King Oliver and His Creole Jazz Band 1923 TRACKLIST: CD 2 (KING OLIVER’S CREOLE JAZZ BAND) 1. Jazzin’ Babies Blues King Oliver’s Jazz Band 1923 2. Chattanooga Stomp King Oliver’s Jazz Band 1923 3. New Orleans Stomp King Oliver’s Jazz Band 1923 4. The Southern Stomps (take 1) King Oliver’s Jazz Band 1923 5. The Southern Stomps (take 2) King Oliver’s Jazz Band 1923 6. Riverside Blues King Oliver’s Jazz Band 1923 7. Mabel’s Dream (take 1) King Oliver’s Jazz Band 1923 8. Mabel’s Dream (take 2) King Oliver’s Jazz Band 1923 9. London (Café) Blues King Oliver’s Jazz Band 1923 10. Camp Meeting Blues King Oliver’s Jazz Band 1923 11. Tears King Oliver’s Jazz Band 1923 12. Buddy’s Habit King Oliver’s Jazz Band 1923 13. Working Man Blues King Oliver’s Jazz Band 1923 14. Riverside Blues King Oliver’s Jazz Band 1923 15. Room Rent Blues King Oliver’s Jazz Band 1923 16. I Ain’t Gonna Tell Nobody King Oliver’s Jazz Band 1923 17. Mabel’s Dream King Oliver’s Jazz Band 1923 18. Sweet Baby Doll King Oliver’s Jazz Band 1923 BONUS: Non-Oliver flip sides: 19. Choo Choo Blues Art Landry’s Syncopatin’ Six 1923 20. New Orleans Hop Scop Blues Clarence Williams’ Blue Five 1923 21. Dearborn Street Blues Young’s Creole Jazz Band 1923 TRACKLIST: CD 3 (LOUIS’ RECORD COLLECTION) 2. Tell Me Pretty Maiden Sextette from Florodora 1901 3. Semper Fidelis March Sousa’s Band 1906 4. The Holy City Henry Burr ca. 1903 5. Oif’n pripetshok (A Little Fire Burns in the Stove) Naum Coster 1918 6. Flee as a Bird Frederick Wheeler 1911 7. O Didn’t He Ramble Dan W. Quinn 1904 8. Bugle Calls of the United States Army Bugle Calls ca. 1902-04 9. Maple Leaf Rag U.S. Marine Band 1909 10. The Fatal Stone (from Aida) Arthur Pryor and Emile Kenecke, acc. Pryor’s Band 1909 11. Swiss Echo Song (L’Eco) Luisa Tetrazzini 1911 12. Darling Nellie Gray Haydn Quartet 1908 13. A Little Bunch of Shamrocks Edgar Stoddard and Henry Burr 1913 14. Carnival of Venice Herbert L. Clarke 1909 15. High Society Prince’s Military Band 1911 16. Quartet—Bella figlia dell’ amore (from Rigoletto) Amelita Galli-Curci–Flora Perini–Enrico Caruso–Giuseppe de Luca 1917 17. Shout All Over God’s Heaven Fisk University Male Quartette 1915 18. Play that Barbershop Chord Billy Murray & American Quartet 1910 19. That Haunting Melody Al Jolson 1911 20. It’s a Long, Long Way to Tipperary John McCormack & Male Chorus 1914 21. Ballin’ the Jack (Intro. “What It Takes to Make Me Love You, You’ve Got It”) Victor Military Band 1914 22. M’appari (from Martha) Enrico Caruso 1917 23. Ole Miss Rag Handy’s Orchestra of Memphis 1917 24. Clarinet Marmalade Blues Original Dixieland Jazz Band 1918 25. The Moon Shines on the Moonshine Bert Williams 1919 26. Darktown Court Room Shelton Brooks & Co. 1921 TRACKLIST: CD 4 (JOE’S JAZZ KINGDOM) 1. Don’t Take Away Those Blues Flo Bert 1920 2. Avalon (Intro. “The Japanese Sandman”) Art Hickman’s Orchestra 1920 3. Wang-Wang Blues Paul Whiteman and His Ambassador Orchestra 1920 4. Royal Garden Blues Mamie Smith’s Jazz Hounds 1921 5. St. Louis Blues Original Dixieland Jazz Band (vocal: Al Bernard) 1921 6. Wabash Blues Isham Jones Orchestra (laughing cornet: Louis Panico) 1921 7. Frisco Jazz Band Blues Ethel Waters’ Jazz Masters 1921 8. Bugle Blues Johnny Dunn’s Original Jazz Hounds 1921 9. My Honey’s Lovin’ Arms Levy’s Trio 1922 10. I’m Going Away to Wear You Off My Mind Original Memphis Five 1922 11. Hot Lips Specht’s Society Serenaders 1922 12. Krooked Blues Roberta Dudley, acc. Ory’s Sunshine Orchestra 1922 13. That Sweet Something Dear Ruth Lee, acc. Ory’s Sunshine Orchestra 1922 14. I Wish I Could Shimmy Like My Sister Kate The Georgians 1922 15. Panama Friars Society Orchestra 1922 16. Buddy’s Habits Charley Straight and His Orchestra 1923 17. Jazzin’ Babies Blues Eva Taylor (acc. Clarence Williams’ Trio) 1923 18. Play That Thing Ollie Powers’ Harmony Syncopators 1923 19. Sobbin’ Blues Art Kahn’s Orchestra 1923 20. The Black Sheep Blues Midway Dance Orchestra 1923 21. Barney Google Original Capitol Orchestra 1923 22. You Ernest Stevens’ Dance Orchestra 1923 23. London Blues Jelly Roll Morton’s Jazz Band 1923 24. Ringside Blues Greenwich Village Orchestra 1923 25. Old Black Joe’s Blues Henderson’s “Club Alabam’” Orchestra 1923 26. When the Jazz Band Starts to Play Thomas Morris’ Past Jazz Masters 1923

Sunday night at the Balcony Club with the Jonathan Fisher Trio plus Shelley Carrol. They play such a beautiful version of Love Theme from Apache (masterfully recorded by Coleman Hawkins on his impulse release, Today and Now).

Wadada Leo Smith and Amina Claudine Myers, Central Park's Mosaic of Reservoir, Lake, Paths and Gardens Ravi Shankar In New York (World Pacific)

Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958-1971 (Smithsonian Folkways) An anthology of private recordings of Texas blues, from the famous to the obscure. 3 CDs and a Book with lots of photos, from Smithsonian Folkways, currently on sale for $48.. https://www.amazon.com/dp/B0BTL7J2F4/ref=sspa_dk_detail_2?psc=1&pd_rd_i=B0BTL7J2F4&pd_rd_w=mfyr2&content-id=amzn1.sym.8c2f9165-8e93-42a1-8313-73d3809141a2&pf_rd_p=8c2f9165-8e93-42a1-8313-73d3809141a2&pf_rd_r=Q2RG1C0F0EW3641TWDHS&pd_rd_wg=nmnu8&pd_rd_r=3aaec7b4-ab04-4800-9a6a-39a116346b6c&s=music&sp_csd=d2lkZ2V0TmFtZT1zcF9kZXRhaWw