Robert J

Mission Statement - A statement of the role, or purpose, by which an organization intends to serve its stakeholders. Describes what the organization does (current capabilities), who it serves (stakeholders), and what makes the organization unique (justification for existence). Mission statements always exist at the top level of an organization, but may also be set for different organizational levels or components. Organissimo is not a corporation! Jim spelled it out here

The piano player is Tad Weed.

So Aric's boot-out was the defining ratings moment?

Oh Man don't go there!

I'm listening to Junior Mance right now as I write about Canadian income trusts

Thanks Lon! Didn't know about this archive. Will make the work day all that much better

Jazz Kat is too young to remember the BNBB

NEW YORK, March 15 /PRNewswire/ -- Detroit, Los Angeles, Kansas City, New Orleans, Philadelphia and Pittsburgh, and the significant impact these cities had on the development of jazz in America, will be the theme of Jazz at Lincoln Center's 2005-06 season entitled "Jazz from Coast to Coast." The not- for- profit organization dedicated to jazz continues to celebrate its new home, Frederick P. Rose Hall, at Broadway at 60th St. in New York City. Through concerts, educational programming and tours, the organization will honor these cities and their musicians who were important contributors to the art form. "As we strive to establish a greater rapport with our audiences in the House of Swing, our new season is designed to welcome musicians and fans from all over the U.S," said Wynton Marsalis, Artistic Director of Jazz at Lincoln Center. "Born in New Orleans, jazz music grew up in many important American cities. And even though almost everyone loves their home town, ultimately the most ambitious musicians brought their sounds and styles to New York. Jazz musicians nick-named New York the 'Big Apple.' They made New York swing. The sheer human complexity of Manhattan gave jazz a sophistication and toughness that served it well as it became an international artistic phenomenon. That's why the Apple is considered to be the capital of jazz. Yes, we love New York, but let's not forget the importance of those tributary cities that gave and continue to give this music a truly national foundation." He continued, "with pleasure, we present the music of elder statesmen and young fresh faces alike. We'll have 82-year-old Frank Wess, 18- year-old Eldar Djangirov, 51-year-old Bobby Watson and some first-class barbecue in the club to celebrate Kansas City. With entertaining educational programs, concerts and exhibits, we will create a festive atmosphere around a constellation of performances that feature the music of artists in and from New Orleans, Los Angeles, Detroit, Pittsburgh and Philadelphia. I'm talking about great people like Ron Carter, Yusef Lateef, Gerald Wilson, Jimmy Heath, Regina Carter, Jeff "Tain" Watts and Barry Harris. We plan on having a great time. We welcome you to join us." "The opening of Jazz at Lincoln Center's new home - Frederick P. Rose Hall - has enhanced the country's artistic landscape with significant effect and to international acclaim. We intend to continue our contribution to American culture in that tradition with our 2005-2006 season," said Derek E. Gordon, president and CEO of Jazz at Lincoln Center. "Our organization will celebrate this vital music by recognizing the great American cities where the masters of jazz were born or achieved fame," he continued. "All roads lead to New York, but it takes a nation to truly represent the art form of jazz. As each stream flows into the growing strength of the river, so Jazz at Lincoln Center adds to the positive forward momentum of jazz music. Our culture and this music are enriched by the regional influences of the cities where jazz was nurtured. Bringing it all together in the great city of New York will only heighten the creativity." Throughout the 2005-06 season, the Lincoln Center Jazz Orchestra with Wynton Marsalis and special guests will perform in the following festivals and concerts in Rose Theater. * Kansas City: KC and the Count will capture Kansas City's orchestral jazz that was influenced by the area's strong traditions of ragtime and blues. This series will feature the Lincoln Center Jazz Orchestra performing the works of Count Basie, Jay McShann, Bennie Moten, Bob Brookmeyer, Eddie Durham and Walter Page's Blue Devils. Special guests Frank Wess (saxophone) and Eldar Djangirov (piano) will join the resident orchestra on these evenings. * Detroit: Motor City Jazz will highlight the city's bebop revolution as well as celebrate the piano and bass legends. The orchestra will perform original music as well as works of Milt Jackson and Kenny Burrell with two legends of the Detroit scene, Marcus Belgrave (trumpet) and Ron Carter (bass). Curtis Fuller (trombone), Charles McPherson (alto saxophone) and Yusef Lateef (tenor saxophone, flute and oboe) will also appear as special guests. * Pittsburgh: From the Heart of Steeltown will focus on the city's long history in jazz and the many famous musicians from Pittsburgh. Joined by special guests Jeff "Tain" Watts (drums) and Steve Nelson (vibraphone), the Lincoln Center Jazz Orchestra will perform the music of Pittsburgh's sons and daughters including Billy Strayhorn, Art Blakey and Mary Lou Williams. * The first half of New Orleans: Congo Square will showcase the style of collective ensemble and the emphasis on swing in New Orleans jazz. The Lincoln Center Jazz Orchestra will perform the music of Jelly Roll Morton, Sam Morgan, Joe Robicheaux, Clyde Kerr and others. The second half will consist of a new commission with Yacub Addy and Odadaa! based upon the legendary Congo Square, the birthplace of jazz. * Los Angeles will demonstrate the jazz style that emerged in the 1940s called "cool" and gained popularity in the 1950s through film scores and soundtracks. The Lincoln Center Jazz Orchestra will perform the music and arrangements of Bill Holman, Gerry Mulligan, Duke Pearson, Charles Mingus, Quincy Jones and others with special guests Plas Johnson (saxophone) and Gerald Wilson (composer and bandleader). Resident ensemble Afro-Latin Jazz Orchestra with Arturo O'Farrill will perform a series of collaborations in Rose Theater. In Jazz Con Salsa, straight-ahead jazz artists including Joe Lovano and Greg Osby will be paired with the clave of the Latin big band. Jazz In Motion featuring the Afro-Latin Jazz Orchestra with Ballet Hispanico will be the band's first collaboration with a dance company. !Bajo! The Great Tradition of the Latin Bass will be a highlight of the season wherein the big band will present a concert featuring bass players including Israel "Cachao" Lopez, Andy Gonzalez, the Afro-Latin Jazz Orchestra's own Ruben Rodriguez and Charnett Moffett. The "Jazz from Coast to Coast" season will also include new collaborations including a Wynton Marsalis commission in honor of philanthropist Irene Diamond, written for jazz quartet, and the Orion String Quartet and Tappin' Into Monk will feature Savion Glover tap dancing to the musical styles of Thelonious Monk. In addition to these concerts, Jazz at Lincoln Center is thrilled to host Music of Wynton Marsalis -- 25 Years On the Scene, a retrospective and celebration featuring guest artists, combos and a string orchestra. Other highlights of the new season include: * The vibrant Red Hot Holiday Stomp featuring Wynton Marsalis, Wycliffe Gordon and others. * Philadelphia: City of Brotherly Jazz will highlight major jazz artists and organists who represent the Philadelphia jazz style. Jimmy Heath, Joey DeFrancesco and Pat Martino will perform the works of Lee Morgan, Jimmy Smith, Bobby Durham, Mickey Roker and Benny Golson. * Great American Songwriters series featuring artists including Bill Charlap, Ethel Ennis, Houston Person, Kenny Washington and Peter Washington. * Music of the Masters: Stanley Turrentine -- featuring Eric Alexander, Gene Ludwig, Grady Tate, Robert Stewart and Dave Stryker. * The Singers Over Manhattan series featuring today's best jazz singers on the scene including Carla Cook, Miguel Poveda, Tierney Sutton and Loston Harris. * Valentine's Day concert featuring Dee Dee Bridgewater. * Lincoln Center Jazz Orchestra members, in small combo configurations, will play original songs with all-star rhythm sections led by Mulgrew Miller and Cyrus Chestnut. Dizzy's Club Coca-Cola will also honor the jazz music of many cities -- from Los Angeles, California, to Cadiz, Spain -- and many generations and genres of swinging jazz styles and players -- from young pianist Robert Glasper to Jessica Williams and Chano Dominguez to Bobby Hutcherson and Lou Donaldson to the Juilliard Jazz Ensembles. Besides featuring the cultural traditions of jazz hotbeds such as Kansas City, Detroit, and Philadelphia, Dizzy's Club Coca-Cola will also regularly highlight the contributions of women in jazz including Toshiko Akiyoshi, Geri Allen, Eliane Elias, Renee Rosnes and Maria Schneider. Young jazz talent from area colleges and universities will continue to be featured during UPSTARTS! on Monday nights and during late night after hours programming.

Thanks Jim, I thought as much. Just doing some armchair ideas while at work. Like that Eurorack UB802, and inexpensive too. Like the stick on amp too, kind of sexy. Or I could go to Radio Shack. http://www.ee.washington.edu/circuit_archi...its/micamp.html

I have an older NAD receiver that has a built-in preamp for phono (turntable). Can I use this as a mike-preamp, or is the boost too high? I am looking at recording my acoustic piano. (excuse me if this sounds like a dumb question)

I know I've memorized a lot of tunes, but franky some of the time I still open a real book, or something with the changes when I am in a performance setting. It's a habit I'd like to change before I die at least. The odd thing is I barely look at the sheet music, but knowing it's there comforts me. Not sure what to make of that - lack of confidence or whatever. Another thing I've observed when I practice sort of free for all is I improv better when I have a page of any sheet music in front of me. I think it focusses me. Related story - I once played a solo gig at one of the best jazz clubs in Toronto. It was a tie-in - Canadian author was doing a book launch/reading there, his book was called Barrelhouse Kings. So I did a couple of sets before and after the reading. I was plenty nervous because I had no set tunes, just was going to play barrelhouse and the blues. There were lots of people there, TV crew, the author himself knew Otis Spann, etc. Luckily it was an awesome piano - 9 foot Yamaha. My first few tunes went by nervously and then I looked in my bag and I had only the lead sheet for Lady be Good. I put it in front of me and just stared at it and I had no problem the rest of the night improvising the sets. It was like that sheet focussed my attention.

"Anyone know how to turn this on?"

Some nice bon mots from one of my favorite pianists _____________________________________ Mulgrew Miller: No Apologies Panken, Ted 1 March 2005 Down Beat Copyright © 2005 Bell & Howell Information and Learning Company. All rights reserved. Ironies abound in the world of Mulgrew Miller. On the one hand, the 49-year-old pianist is, as Eric Reed pointed out, "the most imitated pianist of the last 25 years." On the other, he finds it difficult to translate his exalted status into full-blown acceptance from the jazz business. "It's a funny thing about my career," Miller said. "Promoters won't hire my band, but they'll book me as a sideman and make that the selling point of the gig. That boggles my mind." Miller would seem to possess unsurpassed qualifications for leadership. As the 2004 trio release Live At Yoshi's (MaxJazz) makes evident, no pianist of Miller's generation brings such a wide stylistic palette to the table. A resolute modernist with an old-school attitude, he's assimilated the pentagonal contemporary canon of Bill Evans, McCoy Tyner, Herbie Hancock, Chick Corea and Keith Jarrett, as well as Woody Shaw's harmonic innovations, and created a fluid personal argot. His concept draws on such piano-as-orchestra signposts as Art Tatum, Oscar Peterson, Ahmad Jamal and Erroll Garner, the "blowing piano" of Bud Powell, the disjunctive syncopations and voicings of Thelonious Monk, and the melodic ingenuity of gums like Hank Jones, Tommy Flanagan and Cedar Walton. With technique to burn, he finds ways to conjure beauty from pentatonics and odd intervals, infusing his lines with church and blues strains and propelling them with a joyous, incessant beat. "I played with some of the greatest swinging people who ever played jazz, and I want to get the quality of feeling I heard with them," Miller said. "It's a sublime way to play music, and the most creative way to express myself. You can be both as intellectual and as soulful as you want, and the swing beat is powerful but subtle. I think you have to devote yourself to it exclusively to do it at that level." Consequential apprenticeships with the Mercer Ellington Orchestra, Betty Carter, Johnny Griffin and Shaw launched Miller's career. A 1983-'86 stint with Art Blakey and the Jazz Messengers put his name on the map, and he cemented his reputation during a long association with Tony Williams' great cuspof-the-'90s band, a sink-or-swim environment in which Miller thrived, playing, as pianist Anthony Wonsey recalls, "with fire but also the maturity of not rushing." By the mid '80s, Miller was a fixture on New York's saloon scene. Later, he sidemanned extensively with Bobby Hutcherson, Benny Golson, James Moody and Joe Lovano, and from 1987 to 1996 he recorded nine trio and ensemble albums for Landmark and RCANovus. Not long after his 40th birthday, Miller resolved to eschew club dates and one-offs, and to focus on his own original music. There followed a six-year recording hiatus, as companies snapped up young artists with tenuous ties to the legacy of hardcore jazz. "I won't call any names," Miller says, "but a lot of people do what a friend of mine calls 'interview music.' You do something that's obviously different, and you get the interviews and a certain amount of attention. Jazz is part progressive art and part folk art, and I've observed it to be heavily critiqued by people who attribute progressivity to music that lacks a folk element. When Charlie Parker developed his great conception, the folk element was the same as Lester Young and the blues shouters before him. Even when Omette Coleman and John Coltrane played their conceptions, the folk element was intact. But now, people almost get applauded if they don't include that in their expression. If I reflected a heavy involvement in Arnold Schoenberg or some other ultra-modern composers, then I would be viewed differently than I am. Guys who do what I am doing are viewed as passé. "A lot of today's musicians learn the rudiments of playing straightahead, think they've got it covered, become bored, and say, 'Let me try something else,'" Miller continued. "They develop a vision of expanding through different areas-reggae here, hip-hop there, blues here, soul there, classical music over hereand being able to function at a certain level within all those styles. Rather than try to do a lot of things pretty good, I have a vision more of spiraling down to a core understanding of the essence of what music is." This being said, Miller-who once wrote a lovely tune called "Farewell To Dogma"-continues to adhere to the principle that "there is no one way to play jazz piano and no one way that jazz is supposed to sound." He is not to be confused with the jazz police. His drummer, Karriem Riggins, has a second career as a hip-hop producer, and has at his fingertips a lexicon of up-to-the-second beats. When the urge strikes, bassist Derrick Hodge might deviate from a walking bass line to slap the bass Larry Graham style. It's an approach familiar to Miller, who grew up in Greenwood, Miss., playing the music of James Brown, Aretha Franklin and Al Green in various Upper Delta cover bands. "It still hits me where I live," he says. "It's Black music. That's my roots. When I go home, they all know me as the church organist from years ago, so it's nothing for me to walk up to the organ and fit right in. I once discussed my early involvement in music with Abdullah Ibrahim, and he described what I went through as a community-based experience. Before I became or wanted to become a jazz player, I played in church, in school plays, for dances and for cocktail parties. I was already improvising, and always on some level it was emotional or soul or whatever you want to call it. I was finding out how to connect with people through music. "By now, I have played jazz twice as long as I played popular music, and although that style of playing is part of my basic musical being, I don't particularly feel that I need to express myself through it," he continued. "It's all blues. The folk element of the music doesn't change. The blues in 1995 and in 1925 is the same thing. The technology is different. But the chords are the same, the phrasing is the same, the language is the same-exact same. I grew up on that. It's a folk music. Folk music is not concerned with evolving." For all his devotion to roots, Miller is adamant that expansion and evolution are key imperatives that drive his tonal personality. "I left my hometown to grow, and early on I intended to embrace as many styles and conceptions as I could," he said. "When I came to New York I had my favorites, but there was a less celebrated, also brilliant tier of pianists who played the duo rooms, and I tried to hear all of those guys and learn from them. The sound of my bands changes as the musicians expand in their own right. I'm open, and all things are open to interpretation. I trust my musicians-their musicianship, insights, judgments and taste-and they tend to bring things off in whatever direction they want to go. In the best groups I played with, spontaneity certainly was a strong element." Quiet and laid-back, determined to follow his muse, Miller may never attain mass consumption. But he remains sanguine. "I have moments, but I don't allow myself to stay discouraged for long," he said. "I worked hard to maintain a certain mental and emotional equilibrium. It's mostly due to my faith. I don't put all my eggs in that basket of being a rich and famous jazz guy. That allows me a certain amount of freedom, because I don't have to play music for money. I play music because I love it. I play the music I love with people I want to play with. I have a long career behind me. I don't have to apologize to anybody for any decisions I make." -Ted Panken

Oh man I paid $50 for an extra manual from some publisher just to learn to program - and also because the Japanese to English teranslation from Yamaha left much to be desired. This new manual came with these floppy LPs (like Keyboard mag used to have). I remember for hours trying to get 1 usable sound and then ruining it with some oscillator I couldn't see because I hit the wheel by accident and you had to press 3 buttons at the same time to save something. I also remember crossing the Detroit river to get some extra sounds and the E! upgrade from some guy in Warren - from an ad in the back of Keyboard mag. It was a Sunday night, a friend drove because I didn't, and we're in this guy's basement while I gave him cash for the stuff. Kind of spooky when I look back. That's where I got the 5000 sounds I barely used, and the 16 track sequencer that I did (about 2 tracks). It was at that time that I realized we cannot all be Brian Eno just because we own the same stuff.

I used my brother's Champ once on a solo keyboard gig because of last minute complications. It was a small room (restaurant) and to my delight it was OK in a low volume setting for piano.

Now of course I can't stand the DX7 Rhodes sound because it was on so many late 80s tunes - crappy Chicago ballads, Billy Ocean etc. I sold the DX7 in 1994 and bought an acoustic piano - they never go out of style. Funny how you can listen to a radio station that plays retro 80s and I can pick out all the different keys available at the time - there's the DX7, Juno/Jupiter 6, Oberheim, Korg DW6000, Ensoniq, etc. The tech really drove the tunes and the solos. Think of Cindy Lauper's Girls Just Want to Have Fun loopy sounding key solo - no one would do that nowaday.

I used to look forward to Keyboard magazine each month to drool. I had this imaginary studio I would build for all the gear I would somehow afford to buy. This was the 80s as you say. Plus new advances in sound echnology each month created some cool gear, and some flops as well. Then around 1992 I stopped getting it as the tech started to solidify into certain defined areas: FM synthesis, PCM, etc etc. Keyboards started getting boring, in my opinion. All that promise of syntheseis and then the keys started sounding exactly like acoustic instruments. Plus after my DX7 phase, I realized I would never actually use 5000+ sounds. I sold my Rhodes for it, and during gigs I was playing the DX7 Rhodes sound about 80% of the time! As for recording, I did not become the Brian Eno I hoped to be. Now I use my Roland digital piano for 1 or 2 piano sounds, an organ sound, left hand upright bass, and maybe strings at weddings. No ideas what the Keyboard mag does now, probably all home studio as you say. (What drummer would read a catalogue anyway?)

Thanks everyone for the input. I think for where my son is at now with his Baby Taylor - he's gone through the Belwin method and the You're in the Band stuff as well as the usual stuff a conscientious teacher would give him (his teacher is also a huge Greg Alman fan), a tube amp may not be on the plate just yet. He only recently discovered overdrive! Plus my son's listening habits are still geared towards rap because that's about the only thing a 10 year hears, it seems. Though he's probably unconsciously picking up some of the tunes I play. I don't worry, he's got older cousins into rock and metal, who also stared out with rap. I've tried to point out the guitar lines whenever possible (though rap has so few guitar moments; more in the R&B pop tunes and old Public Enemy). His teacher gives him more rock things to do on the guitar, though he's patient with the rap phase (there's a rap tune out that uses Ozzy's Osbourne's 'Crazy Train" riff so Justin learned that and it gave me an opp to plug Randy Rhodes). In a year or two, my son will have the benefit of my extensive LP collection once he gets the "call" (that is if he figures out how to use my turntable). As for the amp advice above, I still may go with this Randall model for a few reasons. The 30W element is strong, the Celestion speaker is a plus, it has built in o/d etc, the EQ and the digital effects. An external multi-effect unit will still run around $150 to start if I had to buy a practice amp without one, and he's not going to be doing any Frippertronics just yet (though I hope). The headphone jack will be good for nighttime jamming and he can input his CD as well to do some play along stuff. I like the cabinet structure of the Randall's - they seem more secure than the comparable Marshall's. I've been told, but not sure if it is true - that Marshall uses a ply in the cabinet, whereas the Randall is a solid peice. Not sure if this would make either a sound or durability benefit - anyone know? My brother has a Champ amp like the one AB mentions, so if Justin needs to use a tube amp, he can borrow that one to compare sound. As for Peavey - that was my first amp I ever owned, c.1985. A big monster 8 channel powered head and huge woofer/horn combo cabinet. I used this for my Fender Rhodes and Moog, though it was overkill. I think my band ended up plugging into the unused chnnels for some of our mikes! while it was solid, in hindsight I don't think it was the greatest sound for what I was doing. But back then dedicated keyboard amps were rare and expensive. The Delta Blues amp looks good. I forgot that guitarists can (usually) out-talk (out-drool?) gear compared to the keyboard players. Even the B-3ers!

My son is will be completing his 3rd year of private guitar lessons this June. His 11th birthday is in May and I told him he could go electric after he'd been on the acoustic for awhile. He has a baby Taylor and is coming along nicely. In his last recital he played his teacher's electric - a Godin LGX-SA http://www.godinguitars.com/godinlgxsap.htm quite a nice guitar. It was his first public appearance with an electric and he's hooked. I'm looking at getting him an SD, at 379$ CDN http://www.godinguitars.com/godinsdp.htm because the neck is shorter and he's still a growing boy. Plus he doesn't need the bells and whistles (synth out, etc) just yet. My question is about the amp. I was going to do a samll practice amp - Marshall or Randall, but then I saw a nice 30W Randall that has a good combo of features - 12" Celestion, 16 built in effects, pedal, EQ, headphone (!) and CD input. I can pick one up here in Toronto for 299$ CDN. This should last him about 5 years whereas the smaller 10W practice amps probably wouldn't let him jam too well with others. http://www.samedaymusic.com/product--RANRX30D Anyone use Randall products? They seem really solid.

Yoshi's changed next week's scheduled Joey and Jimmy duo concert to a "Tribute". www.yoshis.com

I just heard a live phone conversation between a DJ on my local Toronto station Jazz.fm and Joey DeFrancesco. Joey is pretty shaken up, naturally, but spoke warmly of the new album they did called, fittingly, "Legacy". The station just got an advance copy today. Joey did say that the sessions were filmed with the intention of releasing it in that format as well.

At least Paul had a real acoustic piano.

Veal chops on the BBQ, even though there's snow and its well below zero. I need my grill! Veal marinaded with coriander, cumin, lime, garlic, and oregano. Parisienne broiled potatoes in the oven and mesclun salad with mango, blueberries and apple. I've had 2 beers (while making this meal) and a glass red wine with my wife during the meal.

News item we'd like to see: "Ten out of 11 women who tested a so-called Organissimo-tron reported an increase in sexual pleasure. 9 out of those 11 shouted the word 'Boogaloo' over and over when certain drawbars were pressed back and forth".

I am so jealous. I am a pianist with organ envy.