Lazaro Vega

There's a nice Bobby Shew feature on Menza Lines, the nearly 10 minute "Prelude to a Kiss," and the roaring side of Menza cruises over "After You've Gone" changes on "Time to Leave."

*** Some news from Senators' website, dedicated to Steve Lacy: FINDINGS, 2nd edition available... at last! Thanks to a new packaging (CDs are now included in the book), both the public price and the shipping fees are reduced. You can order through the website or contacting us. *** Nouveauté sur le site Senators dédié à Steve Lacy : La deuxième édition de FINDINGS enfin disponible ! Grâce à un nouveau conditionnement (les disques sont maintenant inclus dans l'ouvrage), le prix public et les frais d'envoi ont été réduits. Vous pouvez passer commande en ligne ou en nous contactant. the two CDs are now included in the book les deux CD sont maintenant inclus dans le livre Thank you very much for your interest in Steve Lacy's work. Merci de votre intérêt envers la musique de Steve Lacy. Vincent Lainé -- Senators: Steve Lacy's music modus operandi email: vincent.laine@stevelacymusic.org http://stevelacymusic.org/ If you follow the link then click "Homepage" you'll see more information: Findings 2nd edition (2006) "A fascinating collection of Lacy's musings, experiences and reminiscences about the soprano saxophone and his career. The book reveals much about Lacy's approach to music and improvisation, and his philosophy about his art, and the accompanying CDs help to shed more light on his observations and lessons." (In English and Français)

Selling my MUSIC COLLECTION! SALE Link on main page... http://www.bb10k.com/ = Music research, Writing, etc... CRISPELL; Wm. PARKER; RIVERS; SPEARMAN; D.S. WARE; Courvoisier; Eneidi; Ibarra; Maneri; Morris; Shipp Samuel Beckett Eulogy; Baseball & the 10,000 Things; LUCILLE-- a Reverential Journal of the Care of the Beloved Hag Time Stops; LOVETORN; HARD BOIL; ... ETC. CECIL TAYLOR RESEARCH GROUP: + CT Sessionography: http://www.webmutations.com/ceciltaylor/ ANTHONY BRAXTON PROJECT GROUP: ( Sessionography Coming !!! ) http://groups.yahoo.com/group/AnthonyBraxtonProject RivBEA_Research / SAM RIVERS RESEARCH COLLECTIVE http://launch.groups.yahoo.com/group/RivBEA_Research/

The delete button only shows up on secondary posts, right?, not the initial thread starting post. I've reported these to The Moderator, asking for deletion. Aha, now I see under "Moderation Options" there's a pull down for deleating threads you've created. Helps to read the rules, eh?

Well, that was dumb as hell. Instead of editing to put the punctuation in, I kept backing up to the original thread starter and putting it in, then pushing "post new thread." I think MTV has me down as their target audience for "Jackass."

WBLV FM 90.3, Musekgon and the Lake Michigan shoreline WBLU FM 88.9, Grand Rapids web casting from www.bluelake.org Rough draft of Feb. 11, 7 - 8 a.m. Joe Albany, Out of Nowhere ; Two's Company: Steeplechase Joe Albany , Ruby, My Dear; Portrait of an Artist : Elektra Lester Young, New Lester Leaps In/She's Funny That Way; Vol 4 : Blue Moon Warne Marsh , Dahoud/Now's the Time; Live at Dana Point, 1957 : V.S.O.P. Joe Albany , Yardbird Suite ; Bird Lives : Storyville Jazz Datebook Charlie Parker Trio, Cool Blues; Complete Dial : Stash Charlie Parker Septet, Relaxin' At Camarillo; Complete Dial : Stash Charlie Parker , Cheryl ; Boston, 1952 : Uptown Birdology , Big Foot ; Tribute to Verve Vol 1. : Birdology/Dreyfus (edit to include rough draft of second and third hours) 8- 9 a.m. Art Blakey and the Jazz Messengers, 1978 ; In My Prime: Timeless Dave Schnitter, All or Nothing at All; Sketch: Sunnyside The Steve Hall Quintet, On A Scale of One to Five; Quintet: Movealong Jazz Datebook Shahida Nurallah, Putting All My Eggs in One Basket; Ruby and the Pearl: Shadida Nurallah.com Barbara Morrison, (Take the) A Train; Live at the Dakota: Dakota Live Rene Lee and Oliver Jones, Sister Sadie; Just You, Just Me: Justin Time Organissimo, Greaze Monkey; This is the Place: Big O Wonderland Jazz Ensemble, My Delight; A Wish: Elferdink Rick Reuther, Hello Young Lovers; Mud in your Eye: Music Host 9 - 9:55 a.m. Frank Wess, Come Back to Me; Tryin' To Make My Blues Turn Green: Concord Count Basie Orchestra, Whirley Bird; Jazz Fest Master (N.O. '69); Scotti Bros Trio Con Brio, Button Up Your Overcoat; Live at 82 Hundred Brill; Stugglebaby Tony Bennett, Isn't It Romantic; Sings for Lovers: Concord Sarah Vaughn, But Beautiful; Sings for Lovers: Concord Red Garland Trio, Blues in the Closet; Live at the Prelude: Prestige Sonny Rollins, Without A Song; The 9/11 Concert: Concord

All the photos in the book are here, too, including Warne Marsh and Joe Albany relaxing in engineer Ralph Garretson's living room after recording The Right Combination: http://www.jerryjazzmusician.com/linernotes/joe_albany.html

http://www.organissimo.org/forum/index.php...J\.+Albany The copy of this I have is from the Denver Public Library. Too bad it went out so quick. Good book.

Bergan is a lot more theatrical than Sandy Stewart, more over the top. What did you think of that comparison?

SATURDAY, FEB. 25, 'O6 at Bard College, Annandale-on-Hudson, NY: HENRY GRIMES workshop in Bard Hall, 4 p.m, free; HENRY GRIMES Quartet featuring MARILYN CRISPELL, TANI TABBAL, and special guest ROSWELL RUDD, Olin Hall, 8 p.m., $15 ($1O for elders and students, free for Bard people with ID), information 845-876-7666, 845-758-7456, http://www.bard.edu/jazzatbard/series10, directions http://www.bard.edu/about/location, jazzatbard@bard.edu. For further information: http://www.HenryGrimes.com, MusicMargaret@earthlink.net. Roswell Rudd Special guest ROSWELL RUDD, trombonist, composer, bandleader, arranger (who just turned 70!), is proud to come out of the tradition of Jack Teagarden, Kid Ory, J.J. Johnson, and Joseph Nanton. Known for his work with groundbreaking groups and musicians such as Herbie Nichols, the New York Art Quartet, Cecil Taylor, Archie Shepp, Carla Bley, and Steve Lacy, his trailblazing on the trombone has influenced an entire generation of trombonists, who hear his extroverted gut-bucket stylings as the modern incarnation of the New Orleans style, along with an equal passionate lyricism in the tradition of American folk songs and ballads. Roswell Rudd has received international recognition as a performer and for his compositions and arrangements, ranging from large-scale music dramas to instrumental jazz suites. His jazz operas "Blues for Planet Earth" and "Gold Rush" have achieved cult status since they were played in the 1960’s. In 2OOO, he was awarded a Guggenheim Fellowship in composition; in 'O3, 'O4, and 'O5 he was voted Trombonist of the Year by the Jazz Journalists Association. Meanwhile, for a period of three decades, Roswell Rudd assisted Alan Lomax with his world song-style project, and the wealth of information on the music of this planet inspired Roswell to collaborate beyond the periphery of Western music. One result is MALIcool (Universal/Sunnyside), recorded in Bamako, Mali in 2OO1 with both Malian and American musicians; another is his most recent collaboration, Roswell Rudd and the Mongolian Buryat Band, released on Sunnyside in the fall of 2OO5. In 2OO4 he brought his Trombone Shout Band into the fourth Festival in the Desert in Essakane, Timbuctou, Mali. He co-leads an ensemble with Archie Shepp and tours with MALIcool, the Mongolian Buryat Band, and the Trombone Shout Band. Roswell Rudd is one of the giants, and his playing power and larger-than-life individuality are welcomed and honored everywhere. "Roswell is the most original and accomplished trombonist in the jazz world today, as well as a very important composer, arranger, teacher, and musicologist." -- Steve Lacy For further information: http://www.RoswellRudd.com. Marilyn Crispell The great pianist MARILYN CRISPELL started piano lessons at seven at the Peabody Music School in Baltimore and later studied piano and composition at the New England Conservatory in Boston. After a break for marriage and medical work, she returned to the music world six years later, attended Karl Berger’s Creative Music Studio, and studied jazz harmony with Charlie Banacos in Boston. She met Anthony Braxton at the Studio and toured Europe with his Creative Music Orchestra in 1978, recording on his “Composition 98” album in 1981. Ms. Crispell began playing solo and leading groups in the ‘8O’s and made several albums on the Music & Arts and Leo labels, working with Tim Berne, Andrew Cyrille, Anthony Davis, Reggie Workman, and others. She continued recording throughout the ‘9O’s, yielding a number of fine albums with Fred Anderson, Anthony Braxton, Mark Dresser, George Graewe, Gerry Hemingway, Paul Motian, Gary Peacock, Irene Schweizer, Reggie Workman, and more, as well as several solo recordings; in all, she has made nearly a hundred recordings under her own name and as a member of groups led by others. The recipient of fellowship grants from the New York State Foundation for the Arts and a composition commission from the Mary Flagler Cary Trust, Ms. Crispell has taught improvisation workshops and has given lecture-demonstrations at universities and cultural institutions throughout the U.S., Canada, and Europe. She has played in many festivals worldwide, including Vision Festival ‘O4 in the Henry Grimes trio, which also featured master percussionist Andrew Cyrille. “As far as I’m concerned, after Cecil Taylor, she’s the strongest pianist that I know of. She’s technically a virtuoso, she can read materials that I don’t think many pianists of her generation can comfortably take care of, she has the kind of facility that’s really awesome, she’s a real musician on the piano, she has a very keen intellect, and she can also respond quickly in the moment.” -- Anthony Braxton. Further information: http://www.MarilynCrispell.com. Tani Tabbal TANI TABBAL plays trap drums, North and West African percussion, tabla, and multi-percussion. In Chicago at age 5, he began playing & exploring drums, and by age 14 he was a professional, playing and performing with Oscar Brown, Jr. At 17, Tani had already played with Phil Cohran and was about to head out on tour with Sun Ra and his Arkestra. Tani Tabbal became known for his fluidity with odd and mixed meters, and his comprehensive knowledge of the tradition, combining with his passion for the avant-garde and pushing the jazz medium, as well as his astonishing ability to blend world rhythms, are all qualities that have brought him concerts, tours, and recordings with Muhal Richard Abrams, Geri Allen, Anthony Braxton, James Carter, Andrew Cyrille, Richard Davis, Oliver Lake, Roscoe Mitchell, David Murray, Pharoah Sanders, Henry Threadgill, and Cassandra Wilson, among others. Tani Tabbal has recorded on Atlantic, Black Saint, Blue Note, DIW, Saturn, Verve, and more. "I have had the honor and privilege to work with Mr. Tabbal for the last thirty years. Tani Tabbal is among the greatest living percussionists today." -- Roscoe Mitchell Further information: http://www.tanitabbal.com. << > ><> >< >< > > Some Bard College contacts: Jazz at Bard, 845-758-7456, jazzatbard@bard.edu; Bard Jazz Club, 914-329-7248, corleone62@aol.com; Bard College Public Relations, 845-758-7512, darrow@bard.edu; http://www.bard.edu/jazzatbard/series10.

"Blue Nefertiti" is based on the Miles Davis Quintet classic "Nefertiti." I wondered if the title piece is also based on a Wayne Shorter tune....?

I liked "Ray."

Been listening to that half of an album on Savoy with Bill Dixon on one side and the New York Contemporary 5 on the other, the version of the band with Curson on two cuts and Don Cherry on one (Sonny Murray playing drums). Curson was all up into Don Cherry on that session. His Cherry inspired playing on the Mingus Candid quartets is still so singable.

The Phillip Wilson duet record with Lester Bowie (Improvising Artists) may be on that list of Wilson's best records, too.

We had a listener in Mansfield, Ohio, call the station to say he thought Sandy Stewart sounded like Polly Bergen, actress in "The Winds of War."

And in related news: http://www.nydailynews.com/front/story/388230p-329199c.html New York Daily News - http://www.nydailynews.com Record of failure Friday, February 3rd, 2006 A nationwide poll released by Rolling Stone magazine and The Associated Press makes clear what music aficionados have been grumbling about for years: The music business is selling junk, and charging way too much for it. Music in general is getting worse, according to 58% of the survey's respondents, and a whopping 74% said the price of CDs is too high. But the real measure of dissatisfaction comes from the fans. "Less talented people are able to get a song out there and make a quick million and you never hear from them again," is how one 30-year-old from Massachusetts put it to the pollsters. The honchos at recording labels and commercial radio stations, who often seem literally deaf to audience feedback, need to wake up to reality. They can either restore quality to the airwaves and sales racks, or get used to shrinking audiences and vanishing profits. According to Nielsen Soundscan, 618 million CDs were sold last year, a drop of nearly 19% from the year before. And millions have abandoned commercial FM radio, with its stale, predictable playlists, in favor of satellite radio. I recently talked with jazz giant Ramsey Lewis, a Grammy-winning pianist and composer. Lewis, who has been selling records for decades, has partnered with public television in a major effort to set things right. Starting in April, the pianist will host a 13-episode weekly TV series, "Legends of Jazz," set to air on public television stations. The series will feature dozens of performers, mixing giants like Tony Bennett and Chick Corea with up-and-coming talent. It will be the first time in 40 years that live jazz performances will be aired on national television - a kind of return to the days when "The Ed Sullivan Show" introduced America to pop acts like Elvis, the Beatles and the Rolling Stones, along with jazz performers like Ella Fitzgerald and Rahsaan Roland Kirk. Lewis blames money-hungry record labels for the gap between what the public wants and what the industry sells. "They don't encourage quality today," Lewis said. "When I was coming along, Columbia Records would sit with you and assume it would take two or three albums to get the act where it needed to be. Then the company would structure its promotion based on one, two or three years. They encouraged quality and innovation - that's why groups like the Beatles would use sitars, string orchestras and so forth." By contrast, according to Lewis, "in the 1990s, companies began saying 'We've got 10 jazz acts and it will take two years to make our money back.'" Rather than nurture talent for the long term, he says, record labels began picking a handful of artists to promote, and dictated how they should sound to generate maximum sales. "It's corruption from the inside," Lewis said. "Not thievery or mischievousness, but falling prey to needing money quickly to pay the execs and shareholders." Lewis says the recent failures of the music business created the opening for him to get the new show off the ground. "The record industry as we knew it no longer exists," he said. "We're in the midst of companies looking for a new formula. Are we that formula? I don't know." But what we do know is that nobody's happy with the bland offerings of the music business. Here's hoping the record labels finally hear Lewis' wakeup call.

This sounds like it could be a good Hollywood movie. What the hell. The great Hollywood movie that needs to be made, though, is Louis Armstrong's My Life In New Orleans. Now that New Orleans is all but gone maybe it's time Hollywood brought it back to life.

http://www.beforethemusicdies.com/index2.html Film Summary With outstanding performances and revealing interviews, Before the Music Dies takes a critical and comedic look at the homogenization of popular music with commentary by some of the industry's biggest talent such as Stevie Wonder, Erykah Badu, Branford Marsalis, Dave Matthews, Elvis Costello, Bonnie Raitt, Questlove (from hiphop group the Roots), and many more. Using historic footage the film looks at the evolution of American music and the artists who created it and pulls back the curtain (in a very creative way) to expose the sad truth behind today's "artificial" music stars. "The reality is that superficiality is in," says Marsalis. "And depth and quality is kind of out." After the death of his musician brother, director Andrew Shapter was inspired to make this film. He and Producer Joel Rasmussen and the film crew traveled thousands of miles, visiting dozens of cities, speaking with hundreds of fans, journalists, record executives and musicians while searching for "real" American music. What they found were mega-talents without a major label, including one artist Eric Clapton believes is "the real thing." "I've never heard anyone like him," says Clapton. "He plays like nobody else." In addition to the artists, Shapter and Rasmussen put the questions to writers and critics from The Future of Music Coalition, Indie 911, CNN, USA Today, Rolling Stone, The New York Times, NPR and others. Many questions were raised such as "why do they always play the some few songs over and over again on the radio? Why do major labels no longer allow musicians to develop their career over time? Why do local radio stations not feel so local anymore? In addition, why is it that all the acts promoted as the 'new thing' seem to resemble fashion models?" The film also features live performances by many of the artists featured in the film including Dave Matthews, Erykah Badu, Calexico, Branford Marsalis, Eric Clapton, The Roots, Blaze, Guy Forsyth, and Correo Aereo.

Thanks for the info. My discography won't read at work since we're replaced computers. Need to get it fixed. In the mean time thanks again!

http://www.nytimes.com/2006/02/02/arts/mus...r=1&oref=slogin -------------------------------------------------------------------------------- February 2, 2006 Jazz Review | Vandermark 5 Giving Everything the Supercharged Treatment, Even Ballads By NATE CHINEN Enterprise and industry aren't qualities often attributed to jazz's rambunctious outer fringe. In the case of Ken Vandermark, though, they dominate the discussion. Mr. Vandermark, a saxophonist and clarinetist based in Chicago, has spent his career fusing the exploratory fire of free jazz with the do-it-yourself ethos of underground rock. Over the past decade, his efforts have yielded both a sizable fan base and a cottage industry: Mr. Vandermark's Web site, kenvandermark.com, lists eight releases from 2005, including a studio album and a 12-CD boxed set featuring his signature ensemble, the Vandermark 5. At Tonic on Tuesday night, halfway through a two-week tour, the Vandermark 5 sounded fierce and well honed. Their set comprised an even split of material from that last studio album, "The Color of Memory" (Atavistic), and pieces written more recently for the tour. The new compositions had a distinct purpose: to better accommodate the cellist Fred Lonberg-Holm, who joined the band last summer after the departure of the trombonist Jeb Bishop. Throughout the set, blustery solo exertions were framed by disciplined ensemble actions, resulting in a satisfying cycle of tension and release. "To Build a Fire," one of the newer tunes, gave Mr. Lonberg-Holm free rein in a prelude before introducing a minimalist motif — meditative quarter notes, played by Dave Rempis on tenor saxophone and Tim Daisy on a cymbal — that, in turn, ducked into a bright and driving swing. Mr. Rempis blew emphatically in this boppish setting until it morphed into an odd-metered hard-rock riff; then the solo spotlight moved to Mr. Vandermark, who shrieked and harrumphed on baritone saxophone. A subsequent section featured just cello and drums, concussing with full force. When the piece finally ended, after a flicker of the original motif, it was with an uneasy flare and plop. Mr. Vandermark's other compositions were just as action-packed. "That Was Now" riffled relentlessly through tempos, textures and ensemble groupings. "Convertible" shifted shapes and time signatures, making way for exchanges like a heated face-off between Mr. Lonberg-Holm and the bassist Kent Kessler. Even "Chance," a ballad, took off: after a terse and lyrical clarinet solo by Mr. Vandermark, the band kicked into double time. The enveloping thrust of these arrangements often makes the Vandermark 5 feel like a rock band, and that's surely not an accident. Yet Mr. Vandermark brings an obsessive historical awareness to his music, along with earnest reverence for jazz traditions. He made a point of explaining the dedication behind "Suitcase," a coolly swinging testimonial for Elvin Jones, Steve Lacy and Ray Charles, who died within the span of a month in 2004. Mr. Vandermark is well outside the orbit of those titans, who barely registered in the cadence of the tune. But in his tireless exploration, he upholds their legacy well. The Vandermark 5 plays tonight in Philadelphia; tomorrow in Arlington, Va.; Saturday in Knoxville, Tenn.; and Sunday in Lexington, Ky. Copyright 2006 The New York Times Company

I really don't see why we can't dig the whole thing. And if you say Blue Note you're talking all the way back to 1939: Ammons and Lewis, Fatha Hines, James P. Johnson, the great Bechet; and all the way up to Cecil and Ornette, Hill and Osby. Yes, there was a Blue Note "sound." But to be a dweeb about it, The Blue Note era is on-going, and if you consider the label's history it is more than bop. In any case, yes, at least there is activity to be checked out in the current scene. And yet also spent hours this week listening to records with bassist Isreal Crosby (who achieved a kind of free feel on his own within the Ahmad Jamal Trio, but started at age 16 playing strict time with Jesse Stacy and Gene Krupa) and did a program last night on James P. Johnson (with side trips to Fats Waller, Ellington). The many musical imaginations encompassed in the recorded legacy of "jazz" is ever fascinating.

Cuong's trio includes Stomu Takeishi, bass; Ted Poor, drums; and on the album "It's Mostly Residual" Frisell is described as a "Recruited Guest." Poor is alzo on the new Ben Monder recording "Oceana." Cuong's trio is coming out on tour and will play live on Blue Lake Public Radio Wednesday, February 15th at 10 p.m. I know they're hitting the Kerrytown Concert House in Ann Arbor and I'd bet they'll be in Chicago on this swing through the Great Lakes. A lot of the DeJohnette/Frisell duo album hangs time, music static as a mobile, turning, but hung. Purposeful rhthmic stasis. They create music spontaneously in all kinds of areas on this. The title track, though, is a riled up jam for electric guitar and drums that's killin'. Jack D!

New York jazz guitarist Joel Fass sent the link. He came through with trumpeter John Eckert two summers ago playing Tim Scully's "World Class Jazz Tour" ( west Michigan ).

Is Ellington's only recorded version of "Carolina Shout" the one Ken Dryden describes in the All Music Guide? (p.s. Also looking for a portait of James P. by Ellington if such a piece exists). Lil' help? by Ken Dryden Many of this three-CD set's tracks are available elsewhere, excepting three previously unreleased performances from the 1968 Newport Jazz Festival announcement party, long-unavailable recordings made specifically for Reader's Digest (plus some unreleased alternate takes), as well as unissued rehearsals for the bandleader's guest appearance with Arthur Fiedler & the Boston Pops. The press party is a noisy affair and the recording quality is hardly polished, as the crowd can't seem to shut up during Ellington's rollicking "Sweet Fat and That," "Satin Doll," and "Carolina Shout" (erroneously credited to Ellington instead of James P. Johnson), which is suddenly broken off by the pianist, who seems to be a tad rusty.

Isn't it sad that the last great television program he was involved in was The Sound of Jazz?