Lazaro Vega

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?

If you're starting out on Arnett Cobb perhaps the Lionel Hampton sides are a good place as it puts the rest of his career in context. There's a nice Decca CD under Hamp's name called "Midnight Sun" featuring "Flying Home #2" and "Cobb's Idea," I think. I hope that's right. His early Okeh recordings, the first version of "Smooth Sailing" and the reason why it became a staple for the rest of his career, may be available CD through Classics, but here is the lp that features this bootin' music: http://tinyurl.com/9utsr Another good place for some jumpin' Arnett Cobb is that Delmark release of Apollo recordings, "Arnett Blows for 1300." There was a time in the 1980's that Cobb was recording on Progressive Records, too, usually in quartets and that stuff compliments the Prestige material, helps to fill out the picture. I think those Progressive Records were done right before or about the same time as the "Live at Sandy's" taping, but I favored the Progressives back in college radio days just because they were more organized, better recorded and swung like mad.

Just opened it last week and have been playing Pith during most of our evening broadcasts, streaming live from www.bluelake.org from 10 p.m. to 3 a.m. monday through Friday (best to log on before 10 p.m.). Still need to listen to the middle pieces more carefully. The usual ECM caveats apply -- floating textures, subdued lines, rubato in excess.

The Bjork composition is "Cocoon."

Werf, you don't stream? Man that's news to me. Do you know why? After our conversation I listened to Rangell's American Songbook album on Koch from last year, much of which has a highly produced pop quality to it, but listening to him and you were right, he's coming more out of the cutting sound of Sanborn than the lighter tones of Grover. His multi-instrumentalism produces music that wouldn't be confused with David. He does the whistling thing on the Jobim tune on this disc. Hey, maybe GVU, Organissimo and Nelson can work out a web hosting agreement for here? Congratulations to everyone! Glad it was a sucess!

http://offbeat.com/artman/publish/article_1277.shtml

http://www.jerryjazzmusician.com/mainHTML....nathentoff.html

Opened a new quartet album from Larry Goldings last night but haven't heard it, and it is not up on the Palmetto web site just yet.....here's something from jazzmatazz: Larry Goldings - Quartet (Palmetto Records) Jan 24 — Larry Goldings (accordion, piano, Wurlitzer piano, harmonium, Hammond b-3 organ, glockenspiel); John Sneider (trumpet, cornet); Ben Allison (bass); Matt Wilson (drums) — originals, plus covers of tunes by Bjork, Faure, Monk and Handy; Madeleine Peyroux guests on one track

That "Pushkin Suite" is happening. The rest I'm not so sure about and haven't heard enough. At the risk of raising Clementine's ire here's a review: http://www.villagevoice.com/music/0548,davis,70433,22.html

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:xneq97egkrkt What is striking is the orchestral scope of the ensemble. This sounds like a band three times it's size. Those guitars just fill up everything. Yeah, they have no problem covering the horn parts from Pith, for instance, and Motian follows the rise and fall of the emtionalism of Mingus piece, but it's in his own way, you know, not as ecstatic as Mingus. Weren't Malaby and Cheek the two tenors on Charlie Haden's Liberation Music Orchestra release from last year? Interesting partnership. Unlike any other two tenor combo I can think of.

This is back in stock at Dusty Groove

Recorded live in Seattle following their introduction by Don Byron, with "additional production" from Ben Surman. The 11 and a half minute title piece is killin' -- Frisell improvising on electric at length with DeJohnette's full kit (and amazing bass drum sound -- he makes it sound like a Fender Bass) showing his evolution of ideas since his Miles Davis days. DeJohnette does that free funk thing better than anyone. Their interaction on the title number makes for an interesting comparison to how the young drummer Ted Poor played with Frisell in last year's Cuong Vu CD. In Seattle there's good "blowing" on "Otherworldly Dervishes," too, after several textured performances fade by where DeJohnette employs all kinds of percussion sounds, such as what might be metal circle chimes as backdrop for Frisell's banjo as koto on "The Garden of Chew-Man-Chew." If you dug the DeJohnette/John Surman duets on ECM this is another story in the multi-directional musical world of DeJohnette. (p.s. I haven't heard the entire disc yet). 2006, Golden Bean Productions, GBP-CD-1116

That's cool. How exciting for the Bad Plus to be "discovering" this incredible music for themselves. The Bad Plus is coming into West Michigan for the Gilmore Keyboard Festival, should anyone care to hear them live in these parts. Clementi, is that Lewis a new release?

How did it go? How did it work out musically?

WGVU FM in Grand Rapids, Michigan. They're on line. You'll want to contact Scott Vanderwerf. They program jazz most week nights after 7 p.m. and all weekend. Blue Lake may be interested in putting it on Sunday night at 7. I can talk to our P.D. Is there a cost involved? In Ypsilanti there's WEMU FM. Linda Yahn (I think that's how it is spelled) is the contact. And in Mount Pleasent there's WCMU which is distributed around most of norther lower Michigan and part of the uppper penninsula. They feature jazz every night.