kh1958

You realize this is going to inexorably lead to someone posting the naked Herbie Mann cover?

Arnett Cobb, Funky Butt (Progressive)

The Genius of Ravi Shankar (Columbia) Erroll Garner, Magic Keys (Philips)

John Mayall's Bluesbreakers, Live in 1967 (Forty Below)

I saw Edmar Castaneda there at Jazz Standard one time; a really terrific concert.

Thanks. I ordered the CD.

Three Faces of Earl Hines (Jazzology)

Steve Turre, Sanyas (Smoke Sessions)

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