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Lazaro Vega
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Posts posted by Lazaro Vega
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Taborn's hook up with Tom Rainey on Drew Gress's album "7 Black Butterfies" is solid. He's also on the Roscoe Mitchell recording in the original top 10 list at the head of the thread.
The job of jazz radio is to, as a friend once explained to me, engage the audience. That's it.
Speaking of living musicians, we'll have the Bronx Bossa Nova Trio playing live in our studio tomorrow night, and Cuong Vu in February.
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Again, 10 is not enough.
Yes, the Diz and Bird/Monk and Trane were the best releases of the last year. The music is ageless. Imagine if the Bird and Diz would have been available in it's time, or the Monk and Trane. They would have come down as classics of their time. Both releases give a clearer picture of the time period from an aesthetic, musical point of view.
And so did the Sonny Rollins disc from last year. That Rollins allowed a "bootleg" to be issued thereby giving us one of his incredible live performances is big news.
Fred Hersh's "Leaves of Grass" would have been my other pick for "vocal" album (the Sutton record is pretty and listenable and the band swings but her delivery is so dominated by classical perfection that there are reservations on my part). The list included the Feather because I was trying to find a swing album. And though what Jim and Ness are saying is true, Feather's is just a record I liked on it's own terms. Face it, Abby Lincoln and Cassandra Wilson didn't make records this year and Shirley Horn's 'best of' included some performances that were, you know, she forgot the words. It was touching the way the crowd let her off the hook.
When people start talking about how music is better because it's new I'm reminded of the dixieland crowd who forego the classic recordings of Johnny Dodds, for instance, in favor of recreations because the new players, they say, play "better" and the sound quality it better. That's just bunk.
The Bird and Diz, Monk and Trane are aesthetically, historically and musically head and shoulders above this past year's new releases. Those recordings will be studied for years, probably by the same people who made new records this year.
As far as radio goes, we program a jazz retrospective every night to feature an historic artist (about 20 minutes an hour) and then get into new releases. Our Saturday morning program from 7 to 10 is primarily new records (the Arno Marsh over the weekend used historical music to set up his newest stuff).
If the promotional wing of the record industry today has its way jazz radio would ONLY play new music.
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This week we've featured retrospective programs on Dexter Gordon, Sonny Rollins, John Coltrane, Wayne Shorter and tonight Von Freeman. Playing right now (12 a.m.) at www.bluelake.org is "Have No Fear" and coming up will be a 1993 concert by Von Freeman, John Young, Eddie Calhoun and Phil Thomas from Blue Lake Fine Arts Camp.
Please join us tomorrow morning from 7 to 10 a.m. for the music of Arno Marsh with Woody Herman's 1953 Thundering Herd as well as live on Blue Lake Public Radio last summer with Organissimo (Blue Lou in both cases).
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Listening to the Von Freeman/Ed Peterson record on Delmark and there's a strong Dexter sound influence coming out of Von on "Lover Man," sounds almost an hommage.
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Jim: "I don't need to take "Rockin' In Rhythm" and recast it as White Hat & Tails & all that crap."
Ahahahaha. Yeah, O.k. Soft shoe and shuckin, razzle dazzle. I get what you mean...Her song is about a summer resort having a dance which, sure, is manufactured nostalgia. It is.
And yet, Duke WAS all about that high society dicty life, to which Bubber replied, famously, "It's don't mean at thing if it ain't got that swing." Jim, you're Bubber! The Cotton Club and Ellington's image there was Top Hat, Tails AND theater. Looking at that scene and it's amazing Duke did was his own thing -- it's amazing that the conventions of musical theater didn't corrupt his music with limitations but inspired a radical approach to voicings and functionality. He played the social card right into the bank, too. There's an aspect of that which is all People Magazine and celebrity based attention, two dimenstional, like an advertisement, but by now that's, hopefully, faded away. Then again, uptil the day he died Cab Calloway's press agents advised when setting up a phone interview with him to NOT UNDER ANY CIRCUMSTANCES ask him about his first night M.C.ing at the Cotton Club. That's pretty shallow to even ask Cab about, you know, when you could talk about running from an angry mob in Memphis (or whatever that story was he told on Milt Hinton's Chairoscuro CD) or Ike Quebec or Cozy Cole or Chu Berry or where DID he buy his pot, anyway, was it Mezz?
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Like I said, there's no defense for choosing Lorraine Feather as a top ten, but those were some thoughts on why. So, pick a swing/big band/or vocal record from last year. Perhaps a worthy effort was Jack Sheldon's big band date of Tom Kubis charts on Butterfly Records, especially for Sheldon's tribute to Louis. But I went with the Feather instead.
Regarding the past verses the present -- you know, English departments need to have this discussion, too: to hell with Shakesphere's work, we have W.S. Merwin and Robert Bly to celebrate. Write your bookstore! Clear the shelves! Let's help feed some real poets. What a ridiculous arguement to make.
Today's jazz players aren't merely compeating with some past artists, they're compeating with the BEST past musicians, people who rose through the competition of Cass Tech High School in Detroit, for example, or the amazing musical education system in Philly, for instance, then went through a period of seasoning in the minor leagues (where their personhood evolved hand in hand with their music), maybe got on the bus with a major big band and then emerged as recording artists and touring musicians (often constant touring, not just "project" or occasional run-outs) with powerful musical conceptions as bandleaders and instrumentalists.
Today's system has levels of accomplishment, but they are not the same criteria as in the past, and, like it or not, it shows. And the public can tell. Musicians are projecting differently now.
The undiscovered music of Bird and Trane deserves our fullest attention and surprise, surprise it received it this year. That may be sour grapes to some but to me that's fine wine.
What's being missed here, too, is the public. The public went for Coltrane this year, and even without the giant marketing machine the Bird and Diz, too. What new artist connected with the public with such daring music on that level this year? You can't "blame" that on marketing, really, because there wasn't much for the Bird and Diz. Buzz is more organic than mere marketing. Same thing happened in classical music this year with the discovery of an unknown manuscript.
Gregg Osby's trio record is very creative. The bassist Matt Brewer is the son of Paul Brewer who teaches at Aquinas College in Grand Rapids and Interlochen, so there's plenty of political reasons for someone from here to pick that as a "best of" (and Tain certainly had a day on that Osby date "Channel Three.") However, it pales in comparison to Bird and Diz at Town Hall. Or, it just doesn't offer the same level projection of ideas. The impact of Bird and Diz's music is still being felt, jazz wouldn't be the same without it. Gregg is developing on a different level. An excellent musician, a broad mind (his appearance on the Yo Miles date Upriver was a treat) yet that Blue Note recording will never have the impact of Monk's Quartet with Coltrane. If it did when that trio plays New York there'd be the same hullabaloo that greeted Monk at the Five Spot. You have to, ultimately, credit Monk's music for making that happen.
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Isn't it strange that when Dexter tosses in "The Mexican Hat Dance," "Off to the Races" or any of a number of melodic quotes from other tunes he's judged as coasting yet when Sonny Rollins does it it's viewed as a window into the deep well of his musical knowledge and understanding?
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Well, I'm married to one and it appears the additives to my brain food are having their desired effect.
Yeah I can't defend that. The Drew Gress recording 7 Black Butterflies where drummer Tom Raney plays out of his mind great, or anything by Braxton from this last year, the String Trio of New York with Oliver Lake...Weak choice on my part.
Feather's vocal versions of Ellington's music made me listen to the originals, Doin' the Voom Voom, Dooji Wooji, Harlem Airshaft, and that was something. One of Dick Hyman's arrangements is there so you know it is listenable professonalism. Feather's record is hipper than a pretty girl holding a red balloon. How can a record make your day for an hour and still be on the "best of list"? Sentimentality recovering associations of summer 2005. That's the sad truth. I went to her "Calistoga Bay" like a toddler to M and M's because I thought it would remind people of The Fruitport Pavillion.
Feather's disc is what some people would call "kicky."
The propensity of singers with a theater background who picked jazz as a vehicle for their CDs in 2005 is a thread, but, granted, not a "best of" 2005, more like something that is grinding away like a mechanical tennis ball launcher. The way some of these people project emotions in jazz sounds like a clumsey Ethel Merman, or lieder rhythm sung laser pitch perfect, or cafinatted faux riff singers who couldn't throw out an honest feeling with a gun to their heads. Feather put her theater into the lyrics, and backed the showbiz into the words which allowed the music to, as Ellington's music always has, swing.
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Gibbs was a guest at Blue Lake a few years ago: he was the guest artist with the Blue Lake Monster and it was a good concert: "Opus One," "What's New" and one of those Lionel Hampton-like two finger piano sprees on "Flyin' Home."
The night before the concert he came by the radio station and went on the air from 10 p.m. to about 11:30 or so, just playing records and talking about his book (which was just coming out). After he left I went kinda nuts and played all this Terry Gibbs music, all this Woody Herman sideman stuff, just riffed around the theme of Terry Gibbs, played music by his son, that great band Terry had with Buddy DeFranco, the quintet things with Benny Goodman, some of his earliest music as a leader on Prestige. His solo on "Early Autumn" is still one of his greatest recorded efforts.
At the concert the next night he said to the crowd he was a bit tired because he stayed up listening the radio in his hotel room until 3 a.m. He turned to the wings and said, "Everytime I'm falling asleep, Lazaro would play something I hadn't heard in years. He kept playing me, so who can sleep?" Then he fluffed it off saying something about his body clock being on West Coast time. Best review of a radio program one could hope to hear.
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I met Mercer Ellington at his home in Denmark in 1985. While having drinks and talking "Things Ain't What They Used to Be" came up. Mercer said, "I wrote it in twenty minutes." His wife then poked her head around the kitchen door and yelled, "He was drunk!" Mercer explained that "Pop" called him very early in the morning, knowing Mercer had been out all night, and said we have an early recording session and need some new music. That is the legend of Ellington's method of discplining the troops, anyway, give them extra work... so I bought it. Great story.
Years later David Berger told me that "Things Ain't What They Used To Be" was actually a Johnny Hodges tune that he lost in a poker game to Mercer.
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Wow. Just happened to be featuring Dexter Gordon tonight on Jazz From Blue Lake and took up Chuck's advice by cueing a smoking "Sonny Moon for Two" from an old Black Lion LP. God love Kenny Drew.
I thought Dexter got his behind-the-beat phrasing from Lester Young, and who was hipper than Pres? Not Dexter, but he gave it a go; he and Jug.
Heard news that Dex's 1987 Chicago Jazz Festival appearance with Bobby Hutcherson was available on some bit torrent web stream here about a week ago. Sorry, no details. I remember driving by the Petrillo Music Shell stage that night while hearing WBEZ's broadcast of the performance on the car stereo and seeing Dexter riling the out of their minds crowd. Nessa was in there. Had to split and drive to Detroit to get sleep the next day then get up and help anchor the national broadcast of the Detroit Montreux Jazz Festival (the first and only time for such an honor). Here he was larger than life a year after appearing in "Round Midnight" and you can't imagine the adulation from Chicago.
Dexter's solo with Eckstine on "Lonesome Lover Blues" and the way he blends in and riffs with Sonny Stitt, Budd Johnson, Gene Ammons and Leo Parker under the trombone solo, well...no one swings like that anymore. The development of that solo's riff as "Long Tall Dexter" (with Bud Powell's solo extending the idea to a point where all the pearls are about to drop from the string), is great stuff: it swings like mad. Dexter's extended "Cherokee" solo from that live 1947 Central Avenue marathon with Wardell -- he surpassed that at times in the 60's at Monmartre, but there's something about him looping the "High Society" quote in 1947 before punching a riff down the scale, then picking up a variation on "High Society" that's new and surprising. There are "Dexterisms" but those are not limitations in his music, no more than they were in Pres's or Tricky Sam Nanton's, for that matter.
There are many examples of bebop coming out of Pres (Four Brothers), but where did they get the idea for that? The way Gordon "boots" the low notes during his solo on Herbie's "Watermelon Man" shows that Pres influence hung on for a long time. Catch a ride with Pres.
Can only imagine that Dexter, like Young, was into Sinatra. Dex's "Guess I'll Hang My Tears Out To Dry" is melodically sophisticated against Sinatra's purely phrased version, I mean, my God, what an imagination. The extended version of "Guess I'll..." from the Dexter in Radio Land series on Steeplechase is a knockout, too. Same basic arrangement but even more development.
There's no denying the 50's were not his decade (from wence to Dooto) though the Bethlehem quartet recording (Daddy Plays the Horn) and his appearance on Stan Levey's Bethlehem date are memorable.
The Detroit bassist Jaribu Shahid just about wanted to kill me when he read a review I wrote in the Grand Rapids Press praising the Dexter Keystone Recordings that were issued in the 80's on Blue Note. And this was years after the review. Waiting at dinner with the Roscoe Mitchell band when Jaribu, out of the blue, said anyone who thought those Keystone Corner recordings were good didn't know Dexter's true music, that it wasn't the Dexter he knew. He couldn't imagine anyone hearing that as wonderful. My eyes about popped out because who in Detroit would ever see a copy of the Grand Rapids Press?
In Gordon's prime, though, he breaks up the phrases as much emotionally as he does musically...I mean Dexter's an entertainer, too, coming out of Louis Armstrong and Hampton's bands -- you can hear that in his solos. When Dexter cuts up it just makes me feel like he's thinking about BUSINESS as much as when his improvising makes clear his playful nature.
The ups and downs of the man's life and music lived on the world stage equaled his humanity. What more is there to hear?
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Man, who are those vocalists?
What great variety. Miss that in the world of jazz these days. Nowadays it seems a club is one thing or another but not everything (or maybe that's the audience).
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Kinda suprised the Heliocentric Worlds Vol. 3 isn't listed in the "New Releases" catagory as it is popping up on "best of" lists for 2005.
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Great thread, though the idea that his hard bop era is divorced from his post 1965 era is heel digging. Check out Porter's book on Trane for specific examples of how "The Night Has A Thousand Eyes" recording relates to some of the late material (I believe the example he uses is "Venus" though I'm not able to open the book right now). The gestures may be more general, even vague, but are rooted in his artistic development, his whole development.
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Trane made the list with Monk as a new release. The Half Note is a helluva record, but it isn't new. Just picked it up. There's also Omar Sosa's "Mullatos;" The Ken Walker Sextet disc; Grachan Moncur's Octet Cd; the great Drew Gress recording "7 Black Butterflies;" George Russell's "80th Birthday Concert;" Charles Lloyd's "Jumping the Creek." Put Lorraine on there as a nod to trad jazz and to have one vocal record (the other "canidate" would be Fred Hersch's "Leaves of Grass" with Kurt Elling singing Walt Whitman). Feather's is a swinging big band oriented CD of mostly Ellington music with her lyrics. That was in there for Mr. and Mrs. America. So, who else is going to chime in with their top ten?
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p.s. a broader overview of the year in jazz, including some Grammy nominations and Organissimo with Arno Marsh playing "Blue Lou" live on Blue Lake last July, may be heard New Year's Eve morning from 7 to 10 a.m. est over Blue Lake Public Radio, www.bluelake.org
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Top 10 Jazz 2005
Blue Lake Public Radio
Lazaro Vega, Jazz Director
Dizzy Gillespie – Charlie Parker: Town Hall, New York City, June 22, 1945; Uptown.
Thelonious Monk Quartet with John Coltrane: At Carnegie Hall; Blue Note.
Sonny Rollins: Without A Song, The 9/11 Concert; Concord.
Roscoe Mitchell Quintet: Turn; Rogueart.
Rova, Orkestrova: Electric Ascension; Atavistic.
Wayne Shorter: Beyond the Sound Barrier; Verve.
Maria Schneider: Concert in the Garden, ArtistShare.
Billy Bang: Vietnam: Reflections; Justin Time.
Organissimo: This is the Place; Big O.
Lorraine Feather: Dooji Wooji; Sanctuary.
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http://www.holtzbrinckpublishers.com/acade...BookKey=1408980
Low Down, A. J. Albany's artfully composed and critically acclaimed memoir of life with her father, the great jazz pianist Joe Albany, is the story of one girl's gritty and unsentimental education in and around Los Angeles.
Joe played with the likes of Charles Mingus, Lester Young, and Charlie Parker, but between gigs he slipped into drug-induced obscurity. It was during these times that his daughter knew him best. After her mother disappeared, six-year-old A. J. (or Amy Jo) and her charming yet deeply troubled father set up house in a seamy Hollywood hotel. While Joe finished a wee-hours set in some red-boothed dive, Amy would often be nearby, fast asleep on a patron's fur coat and clutching, perhaps, a 78 of Louis Armstrong's "Sugar Blues"—or, later, a photograph of the man himself, which was inscribed, "To little Amy Jo, always in love with you—Pops."
Wise beyond her years and hip to the unpredictable ways of "Old Lady Life" at all too early an age, Albany here guides readers through the dope and deviance—as well as the jazz and genius—that characterized the Hollywood underground of the late 1960s and early 1970s. Low Down is a raw, gripping, and surprisingly sympathetic portrait of a young girl trying to survive amid outcasts, misfits, artists, and other troubled souls.
Quotes
"Albany recreates a landscape of her childhood where misery is a faraway sound floating above a voice speaking in tones of affection, terror, rage, love, and, most of all, a hipster's defiance."—Greil Marcus
"In this beautiful memoir of jazz and junk, loyalty and abandonment, A. J. Albany [writes] with such straight-up charm and unsentimental lucidity that she makes her harrowing childhood seem as romantic and thrilling as she remembers it."—Francine Prose
"On one hand, [this books offers] an authentic trip through Hollywood's lower depths. On the other, it examines the conflict between the need for drugs and the neediness of children. In presenting her father's generosity as well as his failings, A. J. Albany uses language that is both astringent and compassionate."—Carolyn See, The Los Angeles Times
"The daughter of famed jazz pianist Joe Albany recounts a childhood marked by music, drugs, and thwarted potential in this impressive debut. Albany's hipster pedigree is impeccable: her mother was fresh off an affair with Beat poet Allen Ginsberg ('I gather Mom was Ginsberg's last heterosexual liaison') when she married musician Joe Albany, a troubled heroin addict credited as one of the inventors of bebop. Amy Jo was born early in the doomed marriage; by the time she was five, her mother had disappeared and the preschooler was living with her father in the St. Francis, a colorful flophouse in Hollywood ('like Eloise without the frills'). Young A. J. Albany became a fixture in the L.A. jazz scene, accompanying her father to the smoky bars and clubs where he performed. In addition to jazz legends such as Dizzy Gillespie and Charlie Parker, Albany's girlhood was populated with a nearly unbelievable cast of one-eyed junkies, dwarfs, and the inevitable hooker-with-a-heart-of-gold; each of these down-and-out figures is a nuanced character rather than a cliché. Thanks to her judicious use of humor, the book is truly affecting rather than maudlin, even in its most
dn0 tragic moments. Albany employs an episodic structure that allows her the freedom to record events and memories in a way that seems true to her fragmented, tumultuous childhood. Though slim, Albany's well-wrought memoir contains emotional and lyrical volumes."—Publishers Weekly
"The daughter of jazz pianist Joe Albany, a key figure in the birth of bebop, exposes the seamy world of Hollywood in the 1960s and 1970s while spinning a pathetic tale of growing up as the child of addicted parents. When A. J. is five her mother deserts, and father and daughter take up residence in the St. Francis Hotel on Hollywood Boulevard. In poignant staccato chapters, the author evokes vivid portraits of her fellow residents, a 'vast assortment of misfits' including a baby-sitter 'who did a lot of mescaline,' a cook-companion who was a transvestite and an addict himself, and her friend LaPrez, son of a 'strung-out hooker' who disappears after his mother overdoses. Joe's friendships with Charlie Parker, Louis Armstrong, and Sinatra are all part of the mix, but so is Dalton, the porno moviemaker who introduces A. J. to speed. A. J. is seduced by an uncle at 12, attempts suicide at 14, and eventually gives up trying to save her father, who dies alone in 1988 . . . The author has perceptively written what she knows."—Booklist
"The daughter of respected jazz pianist Joe Albany debuts with a memoir of her young world, bracketed by a father's addiction and a mother's abandonment. The unnerving text primarily chronicles the nine years following 1962, when heroin-addicted Joe and his equally drug-dependent third wife had a baby girl and named her Amy Jo, after two of Little Women's heroines. Filtered through a child's eyes, the author's memories of those years in southern California include not just the dangerous shards to be expected, but also fragments of happiness and expectancy set against a backdrop of alternating neglect and loyalty. Albany's mother, who left when she was five, is almost always loaded on Dilaudid. Her father, on the other hand, in his loving, feckless way, made her the center of his unstable universe; he hugged her, brought her to work, and protected her fiercely . . . when he wasn't in rehab or jail. 'Trying to look out for yourself at all of six years old can be a brain-twisting experience,' writes Albany, and 'joy [is] strictly a luxury item.' Still, she unsentimentally captures the offbeat, fleeting pleasures: getting the television out of hock, taking trips to the Italian market with Dad, or catching a nap behind the bar at one of his late-night gigs. Circumstances guaranteed that Amy Jo would meet plenty of unsavory characters (the lecher who wanted her to check out his magic gizmo, the uncle who introduced her to incest), but also that she could lose herself in the music that surrounded her. Her prose resembles the shimmering complexity of bop, with its feeling of tight yet improvisational dartings through memory. From the slag heap of the junkie lifestyle, she manages to spin literary gold. [This book is] a vibrant testimony to survival founded on the author's childhood philosophy: 'Find love in some form, even when it appear to be absent.'"—Kirkus Reviews
Author Biography
A. J. Albany grew up in Hollywood. She now lives in Los Angeles with her husband and two children.
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Jorrit Dijkstra Flatlands Collective Tour
www.jorritdijkstra.com Jorrit Dijkstra - alto sax, lyricon - http://www.jorritdijkstra.com/
James Falzone - clarinet
Jeb Bishop - trombone
Fred Lonberg-Holm - cello
Jason Roebke - bass
Tim Mulvenna - drums
12/7: Chicago, IL - Hothouse, http://www.hothouse.net/
12/8: Bloomington IN - Bear's Place, http://www.bearsplacebar.com/index.php
12/9: Ann Arbor, MI - Kerry Town Concert House, http://kerrytownconcerthouse.com/
12/10: Grand Rapids, MI - Urban Institute for the Contemporary Arts, http://www.uica.org/music.html
12/11: Kalamazoo, MI Krafbrau, http://www.kraftbraubrewery.com/
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Without being facitious, maybe Sonny Rollins could speak to Mr. Rivers. Such a strong philosophical guide he, more than anyone, might offer Rivers a suitable shoulder now....
This came across the Jazz Programmer's List:
My presenting organization hosted Sam's Trio last May in Tucson and I had
a chance to satisfy my curiosity about a matter that had long interested
me. I asked Sam if he had retained the publishing rights to his most
famous (and frequently recorded composition) "Beatrice." He told me
"that's my retirement." What better tribute to a wonderful woman and
partner in life.
Steve Hahn, KUAZ-FM
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UPCOMING MUSIC CONCERTS
FLATLANDS COLLECTIVE
with special guests WINDY & CARL
Performing Saturday, December 10
8 PM
The Urban Institute for Contemporary Arts
41 Sheldon Blvd.
Grand Rapids, MI
www.uica.org
Flatlands Collective:
Jorrit Dijkstra’s Flatlands Collective is a new project that brings some of Chicago’s hottest improvisers together with a remarkable alto saxophonist and composer from the lively Dutch improvisation scene.
Dijkstra, Jeb Bishop and Kent Kessler had a successful musical encounter in Chicago’s Candlestick Maker in 2003, and found a common ground in a more international way of improvising, blending American and European improvisation traditions. Dijkstra met James Falzone in an ensemble he was coaching at the New England Conservatory in 1998, dedicated to the music of Dutch musical thinkers Misha Mengelberg and Guus Janssen. After projects in Paris, Vancouver, Edinburgh and Boston, the Chicago Collective is another example of Dijkstra’s interest in uniting musicians from different cities in the world, sharing similar improvisation ideas.
Dijkstra says: ”I believe that the landscape in which you grow up has an effect on how your music sounds. This is what’s so interesting about jazz: musicians in New York, Barcelona, Moscow, Shanghai or Addis Abeba play this music, but there is always a distinctive local interpretation.” And he adds: “The first thing I noticed in Chicago is how flat it is. Whether this has an effect on the local musicians just as it had on me coming from the Netherlands, I’m researching with this project.”
Jorrit Dijkstra writes most of the music, focusing on contrapuntal melodies, layered rhythms in multiple tempos and light electronic modifications. Plus of course lots of space for improvisation, sometimes in the form of little musical games or sets of cues. The Flatland Collective toured the Midwest in May 2004 and plans to do a second tour in the fall of 2005.
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Man, there's no way I'd miss a Freddie Redd club hit right now. He hasn't toured to Chicago or Detroit in how many years? You guys are missing out on one of the great composer/pianists, and at 77 it's hard to say how many more of those club dates he'll have. AND, of course, the club needs to see people in the door. Don't let the tiny things in life keep you away from such an authentic jazz musician. And thanks for the note about his activity. Does he have an agent, or does he tour at all anymore (other than festivals)?
Yukijurushi live on Blue Lake Public Radio
in Jazz Radio & Podcasts
Posted
Yukijurushi
The Bronx Bossa Nova Band
Live on Blue Lake Public Radio
Tuesday, January 10th from 10 to 11 p.m. est.
WBLV FM 90.3/WBLU FM 88.9 in West Michigan
and
www.bluelake.org
Yukijurushi is:
Eiji Obata - Guitar
Todd Nicholson - Bass
Tatsuya Nakatani - Drums/Vocals
http://home.earthlink.net/~supertao/Yukijurushi/
Yukijurushi
US Tour Dates in January
Check our website for full schedule details:
http://home.earthlink.net/~supertao/Yukiju...i/schedule.html
January 7 - Easton, PA
January 8 - Ohm Lounge, Syracuse
www.ohmlounge.com
January 9 - Nighttown, Cleveland
http://www.nighttowncleveland.com/
January 10 - Blue Lake Public Radio appearance, Grand Rapids, MI
Listen live over WBLV FM 90.3 in West Michigan, WBLU FM 88.9 in Grand Rapids, or on the Internet from www.bluelake.org
January 11 - Hot House, Chicago
www.hothouse.net
January 12 - ACME Art Company, Columbus, OH
http://www.iceboxshows.com/