Dan Gould

"dickhead" "Head Dick"-- you say "tomato" I say "tomahto"

And the trio is pretty good too, Brad. I have the CD they did with Teddy Edwards, I'll check to make sure that this isn't a comp. of issued material but is an unissued tune from the date.

From Mr. Crawford. I've bolded the one that I definitely am interested in. New Releases - Shipping: June 3, 2003 Available from: Stateside Distributors 1004 N. California Chicago, Illinois 60622 Tel: 1-888-776-0436, Fax: 773-862-8630, e-mail: stateside@prodigy.net SteepleChase SCCD 31538 - John Abercrombie/ Andy LaVerne - "Timelines"- This is the second outing for SteepleChase as a duet for Guitarist Abercrombie and pianist LaVerne (see SCCD 31301 "Nosmo King). Both students of Jim Hall and Bill Evans have been playing together since the late 60's. Eight Standards and three LaVerne originals are presented here. UPC# 716043153824 SCCD 31539 - Ted Brown "Preservation" - Tenorman Brown is a graduate of the formative Lenny Tristano groups of the late 40's which included players like Lee Konitz, Wayne Marsh, and Bily Bauer. At 75 years of age he is backed here by the Harold Danko Trio in his second outing as a leader for SteepleChase. The first (SCCD 31466 - "Dig It") which he co-led with Konitz has received much praise from critics. This 24 bit recording features seven standards and 2 Brown originals. UPC#716043153923 SCCD 31540 - Steve LaSpina - "Remember When"- featuring: Steve LaSpina (bass), Dave Ballou (tpt.), Andrew Rathbun (ten, sop sax), Vic Juris (guitar), and Jeff Hirshfield (drums). This 24 bit recording features nine original compositions from LaSpina. UPC#716043154029 SCCD 31541 - LeeAnn Ledgerwood Trio - "Walkin' Up" featuring: LeeAnn Ledgerwood (piano), John Graham Davis (bass), and Brandon Lewis (drums). Aggressive renditions of Bill Evans' "Walkin' Up", Tyner's "Passion Dance", Wane Shorter's "This is for Albert" among 8 performances presented here on this 24 bit recording. UPC# 716043154128 Further information on these and other SteepleChase recordings available at http://www.steeplechase.dk. Stunt Stu 03062 - Enrico Rava - jazzpar 2002 sextet- "Happiness is…." In his 40 years as a professional musician, trumpeter Enrico Rava has made over 100 recordings, toured with Mal Waldron, Steve Lacy, Roswell Rudd, The Jazz Composer's Orchestra, Gil Evans, Cecil Taylor' big band, and many others. This "live" recording features Gianluca (trombone), John Abercrombie (gtr.), Stefanp Bollani (piano), Jesper Bodilsen (bass) and Morton Lund (drums). UPC#663993030623 Stu 03072 - Bob Rockwell 5 - "Bob's Wilder"- featuring: Bob Rockwell (tenor, sop sax) Marten Lundgren (tpt. Flh), Kasper Villaume (piano), Marc Davis (bass), and Karsten Bagge (drums). Tenor giant Rockwell leads the quintet as they cover 13 tunes composed by the great American popular composer Alec Wilder. This one swings! UPC# 663993030722 Stu 03082 - Josefine Cronholm & IBIS "Hotel Paradise"- Original music featuring Cronholm (vcl. gtr), Flemming Agerskov (tpt. electronics), Henrik Sundh (piano, rhodes,korg MS 20, sampler), Thommy Andersson (double bass), and Lisbeth Diers (drums, percussion). UPC# 663993030821 Stu 20312 - Thomas Agergaard - Jazzpar 2002 Octet - "Little Machines" Ten avant-garde compositions by Agergaard recorded live for Danish Radio. This veteran band includes: Geraldine Keller (vcl.), Thomas Agergaard (ts), Peter Fuglsang (ts, b clarinet), Klaus Lohrer (b tbone, tuba), Hank Roberts (cello), Krister Jonsson (gtr), Miroslav Vitous (bass), Jim Black (drums). UPC# 663993203126 Further information on these and other Stunt recordings available at http://www.sundance.dk. Timeless CDSJP 465 - Rein de Graff "Now is The Time" Live Duo/Trio/ Quartet/Quintet recordings from over the years when de Graff's trio backed many American jazz giants on tour. Performances and cameo appearances include: "Days of Wine and Roses" w/ Dexter Gordon, "Tenderly" w/Teddy Edwards, "Now is the Time" w/Charlie Rouse, along with performances by Tom Kirkpatrick (tpt), James Clay (ts), Bob cooper (ts), Herb Gellar (as), and Bud Shank (as). UPC#8711458046534 CDSJP 464 - Deborah J. Carter - 'Round Moonlight"- Fourteen tunes (some original) from vocalist Carter backed by piano trio w/ occasional vibes, sax and guitar. See www.deborahcarter.com. UPC# 8711458046435 CDSJP 463 - Stepko 'Steve' Gut - "Sketches of Balkan" Ten original tunes penned by Tenorman Gut as he leads a quintet including: Alec Jacimovic (tpt, flg), Peter Mihelich (pno), Predrag Revishin (bass), Luka Boskovic (drums). UPC# 8711458046336 CDSJP 462 - Marc van Vugt's Big Bizar Habit- "Strings Only" - Original music featuring an 11 piece ensemble which includes a jazz string quartet, a 3 piece horn section, guitar/banjo, bass, drums, and vocal. 17 tunes on two CDs priced as one. See www.marcvangut.com. UPC# 8711458046237 Further information on these and other Timeless recordings available at http://www.timeless-records.com

It occurs to me that with so many to choose from, it might be best to have a second round vote to determine the AOTW winner. What do you think?

Yes indeed I do. Please go to this poll for details: http://www.organissimo.org/forum/index.php...=ST&f=20&t=1524

OK, here's the deal: 1. All members interested in participating are asked to contact me via PM. 2. This poll will be active through Wednesday, June 4th, at which point a winner will be declared and the AOTW for June 15-21st will be announced. Edit: Pending the result of This Followup Poll a winner will be announced or a run-off poll will be run. Thanks for bearing with me! Another edit: Since it looks like we will have a run-off vote, will anyone vote and break the logjam of candidates tied for second?

Folks, as Jim Sangrey said, I have a most interesting proposition, however the logistics will take some extra time. Therefore, I am handing off the naming of the Album Of The Week for June 8-14 to our gracious host, B3-er himself. Jim, the floor is yours. My selection for AOTW will be for June 15th-21st, and those details will be up in just a moment or two.

Excuse me, but shouldn't the poll have included the digits 1-10 PLUS Benny Golson? OK, the name of the album was "pick a number *from* 1 to 10" but still ...

Uh .... because it was organized by Alfred Lion whose company had no relationship to United Artists at the time?

If Hillenbrand keeps his batting stroke through the whole season, Arizona will love him. If his average/production continues to trail off and he doesn't show some plate discipline, you'll hang your GM. They're both All-Stars but I do think Kim is a more complete player, meaning that he has all the skills needed to perform at this level while Hillenbrand is still a work in progress. He does have great upside potential. But Kim is already higher up the talent level.

Well, the will they or won't they finally ended yesterday with the trade of Red Sox third baseman Shea Hillenbrand to the D-Backs for BK Kim. I wasn't too thrilled when I heard about it because Hillenbrand led the team in RBIs and was clearly the best first baseman option they had, but Kim is a major upgrade for the bullpen and its clear that to get to October we need pitching upgrades more than we need hitting. Of course, Kim's history against the Yanks is not exactly something a Red Sox fan wants to remember!

All I know is that I spent a lot of money acquiring vinyl copies that I didn't need-same as the Carmell Jones.

Big Wheel only captures part of the Bob Jones story. Perhaps I misread his post, but to be sure, the University is indeed religious in nature and intent. And I'm not so sure that "very few" religious schools don't require religion classes. I'm guessing that Oral Roberts does and probably Liberty College (or whatever the name of Falwell's school is). Anyway, the school was in the public eye way back in 1983 in a case that reached the Supreme Court. Here's a good summary of the background and issues, including a description of the school's attitudes, from Pearson/Prentice Hall: Bob Jones University v. United States, 1983 Historical Background State and federal laws sometimes come into conflict with religious practices, as Reynolds v. United States, 1879, the so-called "Mormon polygamy" case, clearly showed. When religious beliefs and practices protected by the 1st Amendment conflict with the law, which side should take precedence? In what situations does government have the authority to declare that religious institutions are not tax-exempt? The composition of the Court that would consider these and other questions in Bob Jones University v. United States had not changed since the Island Trees decision. Chief Justice Burger presided, with Justice William J. Brennan, Jr. (1956) the senior member and Justice Sandra Day O'Connor (1981) the newest member. Circumstances of the Case This case concerned Bob Jones University, a Christian school located in Greenville, South Carolina. About half of the school's 5,000 students, from kindergarten through college and graduate school, were studying for the ministry or some other Christian service. As a private, religious school, Bob Jones University accepted no federal, State, or local funding. Nor, as a tax-exempt, charitable organization under Section 501©(3) of the Tax Code, did it pay any taxes. The school's administration believed that the Bible prohibited dancing, movies, jazz, and rock music, as well as interracial dating and marriage. These beliefs were enforced through a code of student conduct. No African Americans were admitted to Bob Jones University before 1971. Between 1971 and 1975, only married African American couples could be admitted. After 1975, African Americans could be admitted regardless of marital status, but the policy banning interracial dating and marriage was strictly enforced. Meanwhile, the Internal Revenue Service (IRS) became part of a concerted effort to combat racial discrimination in schools throughout the country. The IRS determined that the Federal Government had established a "public policy" that prohibited the granting of any public subsidy to public or private educational institutions that practiced discrimination. In the 1970s, the IRS ruled that a private school could no longer be ruled a "charitable" organization unless its admissions and educational policies were nondiscriminatory. The tax-exempt status of discriminatory institutions would be revoked. Decisions by federal courts and federal courts of appeals upheld the IRS's policy. Under this new interpretation of federal "public policy," the IRS revoked Bob Jones University's tax-exempt status. To recover its lost status, the university paid a $21 unemployment tax to the Federal Government and then sued, as a tax-exempt institution, to recover the money. The IRS responded with a bill for $490,000 in back taxes, which the agency said were owed from 1971 to 1975 when the university was not tax-exempt. Constitutional Issues The issue involved a clash between the 1st and 14th amendments. Does the 1st Amendment's Establishment Clause protect all church practices, making Bob Jones University tax-exempt even if its rules conflict with "public policy"? Should the 1st Amendment's Free Exercise Clause take precedence over the 14th Amendment's Equal Protection Clause? Does the 14th Amendment guarantee of due process prevent the IRS from depriving the university of property without a full hearing in a court of law? Arguments For Bob Jones University: The Establishment Clause prevents the state from favoring one church over another. By taking away the university's tax-exempt status, the Federal Government is favoring other churches over the Christian fundamentalism of the university. Moreover, the 1st Amendment's free exercise guarantee, a fundamental protection under U.S. law, should not be taken away under any circumstances. By determining public policy, the IRS has illegally assumed the power of Congress. Furthermore, by its unilateral action the IRS has deprived citizens of property without being bound by the rules of a courtroom—a violation of the due process provisions of the 14th Amendment. For the United States: By taking away the university's tax-exempt status, the government is endorsing a standard for admissions and education policies required to obtain tax-exempt status. The 14th Amendment guarantee of equal protection should take precedence over 1st Amendment rights in this case. Lower courts have repeatedly upheld the IRS's new interpretation of the tax code which requires that all tax-exempt organizations be "charitable," among other things. An organization cannot be considered "charitable" if it violates "public policy" by practicing racial discrimination. Moreover, the courts have repeatedly backed the IRS's power to make decisions and enforce tax codes without being bound by the rules of a formal court of law. Decision and Rationale The Court voted 8–1 to uphold the revocation of the tax-exempt status of Bob Jones University. Chief Justice Warren Burger, in his majority opinion, reaffirmed the Court's belief in interpretation. "It is a well-established canon of statutory construction that a court should go beyond the literal language of a statute if reliance on that language would defeat the plain purpose of the statute." In reviewing the IRS tax code, Burger found that the "intent" was for tax-exempt organizations to meet certain "common-law standards of charity—namely that an institution seeking tax-exempt status must serve a public purpose and not be contrary to public policy," emphasizing that U.S. public policy was one of nondiscrimination. Burger next reviewed the long history during which Congress gave the IRS power to make decisions without a court proceeding. He concluded that in this case, the demands of the 14th Amendment superseded those of the 1st Amendment. Burger found the "governmental interest at stake" in the case—namely, "eradicating racial discrimination in education"—to be "compelling." He concluded that a compelling "governmental interest substantially outweighs whatever burden denial of tax benefits places on petitioners' exercise of their religious beliefs." Questions for Discussion Should the motivation for discrimination make any difference before the Court? The Court found that Bob Jones University was truly a "religious" school, and that its polices were motivated by a sincere interpretation of the Bible. In light of that fact, what is your opinion of the Court's decision? Members of the Court sometimes favor one side of a particular issue because the alternative would be worse. Had the Court decided for Bob Jones University in this case, what alternative precedent would it have set? What would have been the consequences of that precedent? Given your conclusions regarding the alternative, what is your view of the Bob Jones decision?

Expect a lot of swing, soul and bop and some time-worn but always entertaining stage patter. Oh, and expect at least one vocal, most likely "Whiskey Drinking Woman".

My wife has had a major hankering for ribs ever since her braces came off so this past Friday we went to Outback, mostly on the recommendation of a friend. She satisfied her craving but I can't say that I was too thrilled. Overcooked and the sauce was too sweet. Guess I should have insisted on my initial plan to satisfy her jonesing-a trip to Texas or Memphis or the Carolinas.

"So what this Jefferson dude was saying was, 'Hey! You know, we left this England place because it was bogus. So if we don't get some cool rules ourselves, pronto, we'll just be bogus too.' Yeah?" – Jeff Spicoli, Fast Times at Ridgemont High

Well, while you two were gazing deeply into one anothers eyes, I sure hope you reminded him to keep searching around in that closet of his for the Lee Morgan radio show tape that he stashed away----we're dying to hear it. Dan, keep slammin' when you feel the need! I can take it, but let's try to disagree in an adult manner... ....for the sake of the kids, of course. But since I prefer not to get weird looks from my co-workers when I do this or this I think I'll stick with this approach

Just saw this one online, is anyone familiar with it or is it on one of those Fantasy two-fers? I didn't know that Billy Higgins and Paul Chambers had done an album with Groove.

You know, the other choice has to be my main man Gene. After all, without the sale of all those Sounds records, there might not have been a "Blue Note House Sound" at all!

Because when I saw the bouncing boobs I found them quite amusing.

I don't see where "versatility" enters into it. Who epitimomized the Blue Note "house sound"? If Blue Note had a house sound, that sound was hard bop. Horace Silver is THE hardbop pianist, after all, he's the hardbop grandpop. QED

Even if their original name was Jazz Crusaders?

Oops, my bad, I knew I should have checked first but since it was 7 AM on the East Coast I figured I'd be the first to see the Grimes article in the Times, but Brownie beat me to it. That's one thing that would help the software is the ability to delete threads/posts if you were the one who wrote them

Silent 30 Years, a Jazzman Resurfaces By NEIL STRAUSS In avant-garde jazz circles in the mid-1960's, Henry Grimes was one of the most respected bassists working. Trained at Juilliard, he had already played with Anita O'Day, Charles Mingus, Thelonious Monk, Gerry Mulligan, Miles Davis, John Coltrane and Sonny Rollins when he was in his 20's. He went on to play on some of the seminal albums of the free-jazz era, by such musicians as Cecil Taylor, Albert Ayler, Don Cherry and Pharoah Sanders. He was known for his ability to alternate from long Eastern-sounding bowing to hard pizzicato plucking, all of which generated tremendous calluses on his hands. But in the early 70's, after moving to California, Mr. Grimes disappeared. For three decades nobody in music circles heard from him. Several reference works listed him as dead. And that is how the story of Mr. Grimes might have ended if it were not for a determined fan from Athens, Ga., named Marshall Marrotte. Mr. Marrotte, a social worker, pored through court records and death certificates and interviewed family and friends of Mr. Grimes's before finding him earlier this year living in a one-room efficiency in downtown Los Angeles. According to Mr. Marrotte, Mr. Grimes no longer owned a musical instrument; he had never seen a CD, although his work is on them; and he was unaware that many of his colleagues had died, including Ayler, the tenor saxophonist, who was found drowned in the East River off Manhattan in 1970. Now, thanks to Mr. Marrotte and the bassist William Parker, who donated a bass that Mr. Grimes received two months ago, Mr. Grimes is back on the music scene and plans to stick around. "My calluses are in good shape, you know," he said last week, speaking from the lobby phone of the hotel efficiency where he still lives. Tonight, as part of the avant-garde jazz Vision Festival in New York, Mr. Grimes will perform with Mr. Parker and others as part of a memorial concert for the singer Jeanne Lee at Old St. Patrick's Youth Center (268 Mulberry Street, between Prince and Houston Streets). That performance will be his first in New York since he left in 1968. Mr. Parker, a founder of the Vision Festival, said Mr. Grimes's versatility was impressive ? he could play with a wide range of jazz musicians and innovators. He also coaxed a distinctive sound from his bass. "On the records he was on, he stood out," Mr. Parker said. "He had a big sound, and it really punched out whatever ensemble he was in." Mr. Grimes said that he knew the music he was making in the 60's and the musicians he was playing with were "fantastic." But one reason he went into "isolation," as he put it, was because his "perceptions" ? a word he uses when talking about making music ? were continually being clouded by his emotions. "Emotions can get you in a lot of trouble or hassle," he continued. "And you can either let them bother you or you can find a way to get something out of them." When he left the East Village decades ago, "economically I was in no shape at all," he said. "My money was down to nothing. So I came to California, where the sun shines. Mostly that was the idea. I didn't want to be subject to the cold." The last person he remembered playing with was with the pianist LaMont Johnson in the early 70's. Soon after, he sold his bass to a violin maker. "It wasn't enough," he said of the money he received. "But I still sold it anyway. I was feeling that was what I had to do, so I just did it." It seems strange that one of the in-demand jazz bassists of the 60's could just walk away from music, but to hear Mr. Grimes talk, it sounds as if 30 years was just a short vacation. During that California period, sometimes he was homeless, he said. He survived by working as a janitor at a Beverly Hills Hebrew school and at a bowling alley in Long Beach. "In between those jobs," said Mr. Grimes, now 65, "I did a little construction work. It keeps me in shape now." As for royalties from his recordings, Mr. Grimes said he received none and never even thought about it after leaving New York. (Now, he said, he may seek advice on how to pursue payments.) Though Mr. Grimes is vague about why he disappeared, in an interview with Mr. Marrotte, he said he said he took medication for manic depression, which he said cleared up in 1978. One of the first things that Mr. Marrotte did when he found Mr. Grimes was to reintroduce him to his music. "I was amazed," Mr. Grimes recalled, "because I listened to some CD's of some of the Cecil Taylor and Albert Ayler things, and some of my music. At the time, I didn't pay that much attention to them. But when I listened to them again, it was amazing what I heard. There was more to it than I ever realized." Despite his lost years, Mr. Grimes said he had no regrets: "I'm working on straightening things out now. But I'm back for good."

First of all, isn't a three star rating pretty good? It seems to be the default rating they use, and I often suspect that it is indeed a default and not an actually rated record. But three stars is nothing to sneeze at, so I guess the point of this exercise is that these LPs are *that* much better than 3 stars? I generally don't agree, though, amongst these, I would probably agree that Street of Dreams is a bit better than 3 stars. But I think a better poll would select two star recordings since those are plainly "fair" ratings. As to the Big John Patton reviews, did you pull these from the online reviews or perhaps an earlier print edition? I ask because I went into this with "Jazzypaul" at AAJ and pointed out that early editions of AAJ had Yanow reviewing darn near everything and its fairly clear that he's not a big fan of most late 1960s-1970 era organ dates. However, since then, they have seemingly tried to reassign these records to reviewers who have a far greater appreciation for that era's groove music.