Lazaro Vega

Will be playing some of his music from Henderson's two recent Arbors releases tonight. While reading that Gil Evans biography published a couple years ago Skitch kept coming into the picture out there in California. That was insightful. Whatever you want to say about "businessman's bounce" there's something to be said for a generous musician as businessman, which Henderson was according to that Evans book. I don't know. Maybe I'm remembering wrong. But it seemed Henderson gave Evans employment. Gil grew to another level musically, no doubt, more personal than the commercial music world of Henderson, but Skitch helped Evans develop that through post-hole digging arrangement duties and the grind of rehearsing a working band, of being a music director, AND during an economically fragile time in Evans career, which about describes Evan' s entire musical life, doesn't it? It's been years, though....anyone on that connection?

Dear friends, colleagues and partners, i am back with informations about my work. For different reasons i got bored to send emails. sorry for that.... I am doing well and working hard, as usual. I want to inform you about my concert tour in october/november/december. If you are bored with my emails, please reply “unsubscribe”. yours, Franz _________________________________________________________________ USA *October 30th Sound Field Festival 2005 Chicago Cultural Center (6:00 PM) "Count the Stars/Neglected Rooms" a music and video composition by Vienna based composers Werner Dafeldecker and Burkhard Stangl, with video by Didi Bruckmeyer. The program also features improvisations by The Helsinki Trio (W. Dafeldecker (bass), B. Stangl (e-guitar), Franz Hautzinger (trumpet), with Didi Bruckmeyer (voice) Claudia Cassidy Theater Chicago Cultural Center 78 East Washington __________________________________________________________________ *October 31st Philadelphia at 8:00 PM Burkhard Stangl (e-guitar) Franz Hautzinger (quarter tone trumpet) Werner Dafeldecker (bass) Didi Bruckmeyer (voice) Slought Foundation 4017 Walnut St. Philadelphia, http://slought.org/ __________________________________________________________________________ GERMANY *November 3rd, Musikzone Festival, Volksbühne Berlin, großes Haus 21:30h Zeitkratzer & Keiji Haino www.volksbuehne-berlin.de Www.zeitkratzer.de __________________________________________________________________________ SLOVAKIA *November 5th, Festival in Kosice , Theatre Thalia, Mojmirowa 3 at 22.00h JACEK KOCHAN PAANSORI PROJECT Franz Hautzinger - quarter tone trumpet, Henryk Gembalski - violin Dominik Wania - Fender Rhodes and North Lead Jacek Kochan - drums, laptop, live electronics ___________________________________________________________________________ POLAND *November 6th, Audio Art Festival 2005 , Krakow, Bunkier Sztuki Franz Hautzinger - quarter tone trumpet, Jacek Kochan - drums, laptop, live electronics ___________________________________________________________________ AUSTRIA *November 11th, Vienna, Viveka Schikanedergasse 1, 20:ooh Ausstellung Erich Novosel, Malerei u. Zeichnungen F.H. Solo Trumpet ____________________________________________________________________________ *November 12th + 13th Vienna, dieTheater im Künstlerhaus, 20.00h Wien Modern festival with ensemble on_line vienna www.wienmodern.at www.eolv.at ______________________________________________________________________________________ BELGIUM *November 16th, novembermusic Gent, Kunstencentrum Vooruit, 21:00h zeitkratzer performs compositions by: Rudy Trouvé (B) Reinhold Friedl (D) Carsten Nicolai (D) Marko Ciciliani (NL) http://www.novembermusic.net/ ___________________________________________________________________ HOLLAND *November 17th, novembermusic, 's-Hertogenbosch, Toonzaal, 20:00h zeitkratzer performs compositions by: Rudy Trouvé (B) Reinhold Friedl (D) Carsten Nicolai (D) Marko Ciciliani (NL) http://www.novembermusic.net ____________________________________________________________________ *November 18th , Theater Kikker, Utrecht, 20:30h zeitkratzer performs compositions by: John Cage: Hymkus Reinhold Friedl: no:no Carsten Nicolai: synchron bitwave Marko Ciciliani: space melange http://www.theaterkikker.nl/ <http://www.theaterkikker.nl/> ____________________________________________________________________ GERMANY *November 19th, festival open systems, Essen,Philharmonie | RWE Pavillon, 20:30 zeitkratzer performs compositions by: Arto Lindsay (USA) with Arto Lindsay Reinhold Friedl (D) Marko Ciciliani (NL) http://www.festival-open-systems.de ZEITKRATZER: Reinhold Friedl (Berlin) piano/artistic director Burkhard Schlothauer (Berlin) violin Anton Lukoszevieze (London) cello Uli Phillipp (Wiesbaden) contrabass Franz Hautzinger (Vienna) trumpet Frank Gratkowski (Cologne) clarinets Benjamin Weidekam (Berlin) clarinets Marc Weiser [rechenzentrum] (Berlin) electronics Maurice de Martin (Berlin) percussion Ralf Meinz (Stuttgart) sound Andreas Harder (Berlin) light ______________________________________________________________________________ AUSTRIA *November 23th, Porgy & Bess, Riemergasse 11, 20:oo Jazz Session Kelomat + F.H. www.porgy.at ____________________________________________________________________ *November 24th, IG Jazz Clubfestival,Miles Smiles, Lange Gasse, Vienna, 20:ooh Trumpet solo concert. Double concert with Christoph Wundrak trumpet solo. ____________________________________________________________________ *December 1st, Graz,7.Medien und Architektur Biennale, Opening Festival,19:00h “Gomberg for quartertone trumpet solo” ARTIMAGE Hallerschlossstrasse 21, A - 8010 Graz, Austria http://www.artimage.at ____________________________________________________________________ *December 2nd, Vienna, University Vienna, Rennweg 8, institut für Rhythmik,18:oo John Sass, tuba Harald Huber, keyboards Franz Hautzinger, trumpet DANCERS of the Rhythmik Department ____________________________________________________________________ *December 4th, Vienna, Neue Musik in St. Ruprecht, 20:00h "duo hoch zwei" Axel Dörner - Trumpet Katharina Klement - Clavichord, Electronic Manon Liu Winter - Clavichord Franz Hautzinger - Trumpet Ruprechtskirche, Ruprechtsplatz 1, 1010 Wien ____________________________________________________________________ HUNGARY *December 7th, Budapest, Intro Festival - Contemporary Art Clamp, Budapest,20:00h Abstract Monarchy Trio performance -- CD presentation at Millenaris Park, Salon (Budapest, II. district, Feny utca 20-22.) Zsolt Söres, el. Viola, el.devices Zsolt Kovacs, el. Guitar Franz Hautzinger, pocket trumpet _____________________________________________________________________ * December 8th, vienna......Sleeping, eating, relaxing at my home, 24:oo hours............

Randy Weston's Hi Fly with Hawk and Kenny Dorham. Then Ellington's "Sepia Panorama" followed by Weston's version. Coming up in a few minutes over the Blue Lake web stream. After that.....Bird and Diz at Town Hall....

The idea that Grimes would appear with Jack Mac implies Jackie Mac's own band takes a back seat. I remember Nessa saying when they wanted Art Blakey as a single or guest with another orchestra for the Chicago Jazz Festival the Jazz Institute still had to pay the full fee for the Jazz Messengers. If Jackie were more a freelancer the idea of Grimes playing with him would seem tenable. So the band comes first. So it would seem more likely, with William Parker's Feel Trio association with Taylor and Parker's advocacy of Grimes, that a re-union with Taylor could happen (a two bass band). I bet Lucille Rollins fielded all kinds of jazz festival ideas for Sonny Rollins over the years, but, again, how often did he appear in special circumstances and how often with his own group of people? The Hill Auditorium concert program read Sonny Rollins is playing around 25 times a year. Maybe one of those could be a trio with Grimes and Al Foster (?, who? DeJohnette?). Rollins had Bobby Broom and Clifton Anderson each playing two choruses on ballads at Hill Auditorium. That took a while. Does anyone know the last time he played in the trio setting? You have to know someone's asked, "I've transcribed Oliver Nelson's music for "Alfie," and wondered if our band could have the honor of accompaning you playing that again?" The place for this kind of programming --The Jackie McLean/Andrew Hill Band with Henry Grimes; Grimes and Sonny; Grimes and Parker with Taylor and Tony Oxley, all on the same festival over the course of a weekend -- is (was) the Chicago Jazz Festival. Only better than what I just described. They'd manage to get 'Alfie' in, too, with a killer band of pros.

Henry mentioned in an interview with us, during that live on air performance with Marshall Allen, that he only wants to play free music now. I disagree about the Henry Grimes comeback scene being, whatever the implication, all about hype and not about music (you didn't say that, but that's generally the sentiment). He's a real guy. Just ask Fred Anderson. When Grimes went to the Velvet Lounge to "sit in" he never left the bandstand: played with everyone for going on 4 hours. Never let up. And it is not so much the total hours logged as much as it is this flow of original ideas. When he came into the station to set-up he started playing about 8:30 p.m. and didn't stop until after the live broadcast ended at 11 p.m. He's always had an incredible sound which might be something to ask him about: why he chose the route to the sound he had (and is redeveloping) rather than going with the prevelent tendancy to play high on the fret board through an amp. Because Grimes is so active now it might be a good idea to focus on what's happening now rather than the "silent period." He gets asked about that all the time. By the way, over at Sonny Rollins web site I see they will be including an interview with Grimes about his time with Sonny Rollins in the "reflections" section. Yes, it would be GREAT if Rollins and Grimes reunited. Would love to hear Sonny playing with an upright bassist again, if only for one night, though I don't know that Grimes is up on tunes right now. Henry Grimes fits in the great tradition of Jimmy Garrison, Malachi Favors, Fred Hopkins, even Alan Silva. I wonder what insights he has into those players, how would he express those insights in words.... And I think Chuck is right...back o'Rudy's....session was made there, sooo.....

Mike mentioned the Au Bar performances included in the "best of" collection which was recently issued and there's a real "Ella In Berlin" kind of moment during "I Didn't Know What Time It Was" where Shirley, bless her heart, just gets lost, forgets. The audience gives it up despite her lapse and you can tell she's moved, saying something like, "Oh, you're sweet." Here's a quote from a Washington Post article: But she also seemed frustrated, reduced to performing only a concert or two a month, backed by pianist George Mesterhazy. "I can't get into the music," she said. "I just get lost." That might be one reason why Verve chose only to issue a handful of cuts. Here are links to a couple of items that appear in the 10/22/05 Washington Post: _________________________ The Innate Tempo Of Shirley Horn By Richard Harrington Washington Post Staff Writer Saturday, October 22, 2005; Page C01 http://www.washingtonpost.com/wp-dyn/conte...5102102057.html ___________________________ Shirley Horn, 1934-2005 Mesmerizing Jazz Singer and Pianist By Adam Bernstein Washington Post Staff Writer Saturday, October 22, 2005; Page A01 http://www.washingtonpost.com/wp-dyn/conte...5102101624.html http://www.washingtonpost.com/wp-dyn/conte...02101624_2.html http://www.washingtonpost.com/wp-dyn/conte...02101624_3.html

If there's any chance we've picked up a few internet listeners by posting here, thought you'd like to know that the Thelonious Monk Quartet with John Coltrane will be our special CD premium from 7 a.m. to noon this Saturday, October 22nd; and that during the funder week ahead, from 10 p.m. to midnight Monday through Friday, we'll be offering the Bird and Diz at Town Hall Cd on Uptown as a special premium. www.bluelake.org or 1-800-889-9258 (Organissimo is also offering a signed copy of "This is the Place" for a pledge of $65. Any takers?).

Henry Grimes Trio featuring Andrew Lamb and Newman Taylor Baker designated "Best Jazz Trio of the Year" by "NYPress" in its "Best of Manhattan" issue, 2OO4! "Henry Grimes plays the bass with absolute control, spinning tales without words, enriching the room with the depth of his bass. Newman Taylor Baker can capture any rhythm and will surprise you two or three times each show with how far he can take percussion. And Andrew Lamb works his saxophone and flute, paying close attention to the silence between the sounds, layering. When you see this trio listed ... stop what you're doing." ~ Steven Psyllos, Editor, NYPress Stop what you're doing! Sat, Oct. 22, 'O5: Henry Grimes Trio w/ Andrew Lamb & Newman Taylor Baker, Edgefest, Kerrytown Concert House, 415 North 4th Ave., Ann Arbor, Michigan, Henry Grimes master class at 5, trio concert at 8, 734-769-2999, KCH@Kerrytown.com, http://kerrytownconcerthouse.com/calendar/...=10%2F25%2F2005, http://kerrytownconcerthouse.com/calendar/...79&d=10/25/2005 . Sun, Oct. 23: Henry Grimes Trio w/ Andrew Lamb & Newman Taylor Baker, HotHouse, 31 East Balbo Ave., Chicago, 7 & 9:3O p.m., 312-362-97O7, www.hothouse.net. Tues., Oct. 25: Henry Grimes Trio w/ Andrew Lamb & Avreeayl Ra*, Grinnell College, Grinnell, Iowa, 641-269-494O, www.grinnell.edu. Fri., Oct. 28: Henry Grimes Trio w/ Andrew Lamb & Avreeayl Ra* (IsWhat? duo opening), Madame Walker Theatre, 617 Indiana Ave., Indianapolis, Indiana, 8 p.m., 317-236-2O99, www.mythopeic.org, www.madamcjwalker.com... Missing from the music world since the late '6O's, master bassist HENRY GRIMES has made an unprecedented comeback after receiving the gift of a bass (a green one called Olive Oil!) from fellow bassist William Parker in December, 'O2 to replace the instrument Henry was forced to give up some 3O years earlier. Henry was born in Philadelphia in 1935 and was required to master five instruments in order to graduate from Mastbaum Technical High School; after continuing his education at Juilliard, he played brilliantly on some 5O albums between the mid-'5O's and the mid-'6O's with an enormous range of musicians, including Albert Ayler, Don Cherry, Benny Goodman, Coleman Hawkins, Roy Haynes, Lee Konitz, Steve Lacy, Charles Mingus (yes, Charles Mingus), Gerry Mulligan, Sunny Murray, Perry Robinson, Sonny Rollins, Roswell Rudd, Pharoah Sanders, Archie Shepp, Cecil Taylor, Charles Tyler, McCoy Tyner, Rev. Frank Wright, and many more. In 1968 Henry took his bass and drove to San Francisco with drummer Clarence Becton to work with Jon Hendricks, Al Jarreau, and others; when these dates were over, and not finding enough work in San Francisco to survive, Henry took his bass (by then in serious disrepair) to Los Angeles and then to a repair man, who gave him a high price for the necessary work, and since Henry was unable to pay, the repairman gave him a small sum for the bass instead, Henry apparently believing he'd be able to get it back after a while. Sadly, this turned out not to be the case. Many years passed with nothing heard from him, as he lived in a single-room occupancy hotel in downtown Los Angeles and sustained himself with survival work not related to music (construction, maintenance, janitorial, etc.), writing many handwritten books of poetry, philosophy, and metaphysics, and studying yoga. Yet after only a few weeks with his new bass from William Parker, Henry Grimes emerged from his tiny room in early 2OO3 to begin playing concerts again. Soon after, he moved back to New York City, and in many venues around New York and on tour in the U.S., Canada, and throughout Western Europe, working almost exclusively as a leader, he has been making music with Marshall Allen, Fred Anderson, Roy Campbell, Jr., Marilyn Crispell, Andrew Cyrille, Bill Dixon, Dave Douglas, Hamid Drake, Charles Gayle, Edward "Kidd" Jordan, Andrew Lamb, Joe Lovano, Sabir Mateen, Bennie Maupin, Jemeel Moondoc, David Murray, William Parker, Marc Ribot, and many more. To the astonishment and joy of all, Henry Grimes is playing at the very height of his artistic powers (or indeed anyone's), just as though he had never stopped at all! He's taught workshops and master classes at City College of New York and JazzInstitut Darmstadt; he was named "Musician of the Year" by "All About Jazz / New York" at the end of 'O3; he received prestigious Meet the Composer awards in 'O3 and 'O5; he has been twice nominated for an "L.A. Weekly" Best Jazz Artist Award ('O3 & 'O4); and he was recently featured in "Downbeat" (July, 'O5), "JazzTimes" (August, 'O5), and "Time Out New York" (September, 'O5). For further information: www.HenryGrimes.com, MusicMargaret@earthlink.net. ANDREW LAMB (saxophones, flutes) was born in Clinton, North Carolina and grew up in Chicago and in South Jamaica, Queens. Having studied with AACM charter member Kalaparush Maurice McIntyre, Mr. Lamb came into the City's "avant-garde" community in the '7Os, becoming an active presence in the vibrant Bedford-Stuyvesant arts world at that time, and winning a Brooklyn Arts Council grant. In 1994, he got the chance to lead a session for Delmark; he composed all the pieces on "Portrait in the Mist," which featured a backing unit of vibraphonist Warren Smith, bassist Wilber Morris, and drummer Andrei Strobert. Andrew Lamb has since recorded duets with Warren Smith ("Duet," WISland, '99) and "Dance of the Prophet," made a trio recording with Eugene Cooper and Andrei Strobert (Kiki Records), and in 2OO3 released "Pilgrimage" on CIMP with Tom Abbs and Andrei Strobert; his latest release, with his group The Moving Form, is "Year of the Endless Moment" (Engine Studios). Andrew Lamb and his ensembles remain a regular presence in the New York area and have frequently played in the annual Vision Festival, which began in 1996. In 2OO1, Andrew took part in Alan Silva's big-band project called the Sound Visions Orchestra; the following year he toured with AACM-affiliated drummer Alvin Fielder. This year, Andrew has played in Henry Grimes's trio with Newman Taylor Baker in Berlin and in the Henry Grimes Quartet with Marshall Allen and Hamid Drake in the 1Oth annual Vision Festival. Always, Andrew Lamb's music rises out of the African-American jazz, blues and church traditions and is deeply spiritual, profoundly emotional, and readily accessible to all who hear him. Wrote Steven Loewy for "All Music Guide," Andrew Lamb is "a serious musician seeking to uplift his soul through art, and, like John Coltrane and his progeny, Lamb's vehicle is the psalm-like expression of his tenor saxophone. The results reflect his quest, testifying to his musical abilities, enormous potential, and depth of character." Further information: theblacklamb@netzero.net, www.allaboutjazz.com/php/musician.php?id=2660. Virginia native NEWMAN TAYLOR BAKER (playing drums Oct. 22nd and 23rd), termed a "ceaselessly resourceful percussionist" by "Village Voice" writer Nat Hentoff, has long worked to bridge traditional African talking drum and Western European tympani, creating a diatonically tuned enhanced drum set that allows him to develop original compositions in a broad range of musical expressions. As a young man he studied composition and percussion, receiving a B.S. degree in Music Education from Virginia State U. and an M.M. from East Carolina U. Newman has played and toured in over 4O countries worldwide with Billy Bang, Kenny Barron, Bobby Bradford, Henry Grimes, Billy Harper, Eddie Henderson, Joe Henderson, Fred Hopkins and Diedre Murray, Ahmad Jamal, Leroy Jenkins, Jeanne Lee, James Moody, Dewey Redman, Sam Rivers, Henry Threadgill, McCoy Tyner, Reggie Workman, the Delaware and Richmond Symphonies, and more. Meanwhile, Newman is also a dedicated educator of long standing, noted for his work with the Avodah Dance Ensemble's Education Programs and with Mickey D. and Friends Dance Company. Other projects include Celebration of the Drum Set: Give the Drummer Some (Warwick, NY Summer Arts Festival), the Congolese Missa Luba (St. Andrew and Matthew Church, Wilmington, DE), The 3 Willies (music by Leroy Jenkins, libretto by Homer Jackson), Dialogue for 2OOO: A Duet for Drum Set (Whitney Museum of American Art), the Obie award-winning Running Man (music by Diedre Murray, text by Cornelius Eady), and Walcott Songs (music by Henry Threadgill, text by Derek Walcott). Newman is the recipient of a New York Foundation for the Arts Fellowship in composition for his project Singin' Drums. He teaches privately, is a lecturer at Rutgers U. in Newark, works with Young Audiences / New York, Arts Horizons, Arts Genesis, Friends of the Arts, and Jazzmobile, and serves on the Board of the Williamsburgh Music Center. About Newman's playing, Rich Scheinin advises in his liner notes for Billy Harper's recording "If Our Hearts Could Only See" (DIW), "Listen to the sparks, the effortless swing. With a single ping on a cymbal, he moves the music into a groove that's wide enough for a listener to lie down inside it." Further information: ntbsd@hotmail.com . Chicago master drummer / percussionist *AVREEAYL RA (playing drums Oct. 25th and 28th) was born in Chicago in 1947 and still lives there today. He is a renowned musician always in demand by visiting jazz artists in Chicago. Avreeayl's father, a tenor saxophonist, was mentor to many young Chicago musicians, including John Gilmore, later the mainstay of Sun Ra's Arkestra; Avreeayl's father played in one of Sun Ra's early Chicago bands, and Sun Ra played in one of his groups as well. Avreeayl is a long-term member of the Chicago AACM, his relationship with the seminal music organization having begun with early studies with AACM co-founder Kelan Philip Cohran. Avreeayl has performed and /or recorded with Fred Anderson, Amiri Baraka, Fontella Bass, Lester Bowie, Ari Brown, Oscar Brown, Jr., Henry Butler, Henry Byrd ("Professor Longhair"), Hamid Drake, Malachi Favors, Donald Raphael Garrett, Charles Gayle, Henry Grimes, Billy Harper, Joseph Jarman, Edward "Kidd" Jordan, Nicole Mitchell, Sun Ra, Pharoah Sanders, Malachi Thompson, and many more. The venerable "Chicago Tribune" music critic Howard Reich wrote recently, "An indispensable Chicago innovator, Avreeayl Ra shapes the music-making swirling around him with remarkable precision and poise... extraordinarily sensitive percussion." John Kelman of IndieJazz.com has described Avreeayl's playing as "part Tony Williams, part Elvin Jones, and all Avreeayl Ra." And John Litweiler in "The Chicago Sun-Times": "He supplies ingenious sound colors and textures." Avreeayl considers himself greatly blessed to have come up in the richly progressive Chicago "avant-garde" jazz community. Though he has lived briefly in New Orleans and New York and has toured widely in the U.S., Canada, Europe, the Far East, and Africa, he has always returned home to live in Chicago. Besides playing and recording music, these days Avreeayl devotes much of his time and phenomenal energy to documenting on film the hidden roots of Chicago music, focusing on the Congo Beach Initiative (which was inspired by Congo Beach in New Orleans), a drum- and spirit-centered society in which Chicago musicians, dancers, and artists of all descriptions, young and elders alike, have congregated for many years at 63rd Street and Lakefront, playing music and practicing their spiritual and healing arts throughout the night, while developing an undying, evolving, spontaneous, organic communal life based in the rhythms, sounds, images, and spirituality of the African-American soul. Avreeayl is also documenting the Chicago jazz community, in particular life stories of the elders in the music. And another project is the study and documentation of modalities for healing and spiritual balance both inside and outside the music. Further information: www.allaboutjazz.com/php/musician.php?id=2652, liberationmusic@hotmail.com . << >> << >> << >> << >> << >> P.S. from Vision Festival producer Patricia Nicholson Parker: "Henry Grimes is a very special gift to this scene. He plays with so much dedication and gentleness in his music. The group with Andrew Lamb and Newman Taylor-Baker under Henry's leadership is filled with freedom and zest and enthusiasm and great music. You really can hear the special voice of each musician. They give each other all the space and yet all the fullness of sound. It is wonderful to hear." << > >< >< >< > <> <> > > < > > < > For bookings, interviews, press seats, high-resolution photos, & further information: Margaret Davis Henry Grimes's partner (and manager), www.HenryGrimes.com, musicmargaret@earthlink.net, Voicemail 212-841-O899. NOTE: No recording or filming is allowed at any Henry Grimes concert without written permission in advance. Photos are permitted if taken discreetly without disturbing the audience (no flash during the music), and we appreciate receiving JPEG copies or prints.

Listening to "Free Jazz" right now and Hubbard and Cherry sound completely different than Lester Bowie in this setting, but the trumpets fit in fine with Ornette's classic.

They are the Melody makers.

Anthony Braxton Sextet Saturday, November 5, 7:30 pm and 10 pm Creative Music Alliance at the ICA This is the first Boston appearance by composer-improviser Anthony Braxton in more than 10 years. One of the key figures in American music of the past 35 years, Braxton leads a young sextet in the latest phase of his ongoing compositional explorations. Two shows. Admission for the Braxton Sextet concerts is $15. --- http://www.icaboston.org/Home/Events/ConcertSchedule Best regards Franz Fuchs

Attendance at Sonny Rollins Hill Auditorium concert as reported by Mark Jacobson, Programming Manager, University Musical Society, Ann Arbor, “Right around 3450 or so.... That's about 1000 more people than a Carnegie Hall sellout....." Mark Jacobson Programming Manager UMS Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011 www.ums.org

Maybe it was Jost in Free Jazz where it was first observed in writing that Lester Bowie was a pre-eminent trumpet player in “avant gard jazz” because he could match the colorful variety of timbres and intensities of the saxophonists who followed in the footsteps of Albert Ayler, Ornette Coleman and especially late ‘Trane. Chris Kelsey reflects that insight in Bowie’s biography section at the allmusicguide.com web site (a good overview), as in trumpeter “Bowie was most successful in translating the expressive demands of the music – so well suited to the tonally pliant saxophone…” and, as with David Murray or Eric Dolphy “…Bowie invested his sound with a variety of timbral effects; his work has a more vocal quality, compared with most contemporary trumpeters.” Kelsey then points to two precedents for that sound in jazz, Cootie Williams and Bubber Miley. That’s good as far as it goes. He wasn’t “just” the preeminent trumpeter of the jazz avant-garde from the 1970’s until his death in 1999: He was the preeminent trumpeter/bandleader in jazz. Bowie was a musician through which ran all the musical streams up to that point in history. I mean it wasn’t all about the trumpet. It seems Bowie took the “multi-culti” ideals of Don Cherry and filtered them through the brass band tradition of his own St. Louis family. St. Louis's implications in the history of jazz as played on trumpet fed him. Bowie and Earl Hines both had a show biz side, but rather than the great dance halls Bowie's early examples in bandleading were presented by blues legends Little Milton and Albert King, and that's another kind of show biz all together. Not to mention the mega-commercial nights of sitting next to players such as Blue Mitchell in trumpet sections of working show bands or Vegas big bands, say, helping Red Foxx knock ‘em dead. At the top of the Bowie recorded legacy is “Jazz Death,” “Numbers 1 & 2,” (the entire Art Ensemble collection on Nessa) and the duet album with drummer Philip Wilson, all pure jazz. Yet his reggae standards, R&B and blues favorites from all eras, gospel, African, American and European pop music was a repertoire to "hold" his jazz, his improvisations coming as much through Miles Davis and Don Cherry as Cootie, Bubber or The King himself, Joe Oliver. Bowie was the last of the non-corporate jazz stars, a both popular and challenging voice. His concept was consistently open from his playing on through his repertoire. And for what it is worth his parody was a much-needed antidote to the hubris of the times, something the current era is utterly afraid of developing. And I'm not talking just music: there is no opposition party in America. We need some music for that. Hearing Bowie reminds me there will always be hope for a progressive American future deeply grounded in it's artistic, cultural past. Lazaro Vega

Sonny Rollins at Hill Auditorium, Ann Arbor, October 1, 2005 Picking his spots Sonny Rollins appearance in Ann Arbor Saturday night unfurled in a careful arc of energy, one allowing the 75 year old musician to maintain the level of quality he’s exemplified in nearly 60 years of making music and still reach the heights of physicality his type of spontaneous expression demands. So while the the apex of Saturday’s performance came during a nearly fifteen minute tenor saxophone solo on “Don’t Stop the Carnival,” the kind of high energy, overflowing blowing he used to do for 50 minutes or longer, there was no diminution in the quality of the music. His ideas are abundant, his sound supreme and his wisdom profound. The “sides” of the arc up to and falling away from that apex were highlighted by Rollins’ musical interplay with guest drummer Al Foster, and long, long solos by electric guitarist Bobby Broom and the beautiful sounding trombonist Clifton Anderson. It was clear during the opening number “Biji” as his sidemen soloed at length on the lilting original, and the on second number “I Want To Talk About You" that at this stage of his career the tenor saxophone master is picking his spots: he conserves his energy by concentrating on sound, melodic interplay and leading his band before he’ll cut loose with tumultuous improvisations as in days of youth . And whenever he did step front and center his band fell into place with him -- they all rallied around his sound with a cohesion the members don’t always display on their own. With Bob Cranshaw playing minimal notes on electric bass and Al Foster playing in that free-funk bag people might recall from his time with Miles Davis the rhythm section took on a later electric Miles Davis flavor. Clifton Anderson’s lion share of solo space on “Biji” showed off his warm sound, flexibility (his ability to jump the same wide intervals as Rollins is prerequisite) and good melodic sense. In fact he may have even saved the boss on the bridge the first time through “I Want To Talk About You.” The choice of “I Want to Talk About You” with it’s ravishing melody, “They Say It’s Wonderful” with it’s tender romance, “A Nightingale Sang in Berkeley Square” with it’s minor tendency and “Why Was I Born?” featuring an unaccompanied, cadenza-like section amounted to a great program from which Rollins shared his sound and free melodic concept. Just hearing how Rollins plays heads is a lesson in possibilities: of playing off the time, tossing counter melodies against the trombone, improvising within the melody (and hanging the question, “Will this phrase ultimately fit?”) or joining in unison for a mellow blend with the trombone. Those great songs gave Rollins’ sound and melodic abilities a sparkling showcase. And though he didn’t step up to his full capacity until the third number, the direct interplay Rollins developed with Foster on “I Want to Talk About You” was highly musical. Rollins sticking to a riff and Foster improvising around it could have devolved into a game of musical patty cake -- too cute -- but didn’t. They made for an extended section of spontaneous interplay that is jazz at its musical best. Later in the concert when they revisited that direct interplay it was Foster who held the riffs and Rollins who improvised around them. Both of those moments were high points in the ensemble’s contribution. While staccato rhythms inspired by his calypso-based compositions have become the centerpiece of Rollins solo style, of his most inspired moments of improvisation, Saturday night’s concert showed, too, how at 75 bebop still lurks just beneath the surface of his music -- dig the quote of “Wee” or “Allen’s Alley” laying perfectly in the rhythmic motion of his “Don’t Stop the Carnival” solo, or other Birdlike asides that would flit by. The great swirls of free associated sound he created in the mid-60’s would race in at the conclusion of a knotty, complex high speed run, or bridge choruses; not to mention the “walking the bar” tradition of the tenor which he used to wake up the audience by pointing the bell right into the front row and blasting out dark basketball sized low notes. And quotes. Rollins even worked in “Santa Claus Is Coming To Town” at one moment. Knocked everyone out. The Hill Auditorium crowd was with him every step of the way from the opening standing ovation to greet him on stage to the end of the second encore which closed with an emotional quote of “St. Thomas.” Rollins signaled the entire concert was dedicated to the great tradition of jazz in Detroit, naming Tommy Flanagan and “the Jones brothers” specifically. Rollins at 75 has even more to say as a musician than Rollins at 25. And though his sound may have deepened with an oboe-like darkness it is still voluminous as ever and a captivating vehicle for the superior spontaneous melodic improviser he’s always been. Lazaro Vega is jazz director at Blue Lake Public Radio, www.bluelake.org

New review of the disc up at AAJ: http://www.allaboutjazz.com/php/article.php?id=19186 No mention of "Tenderly" or "Smoking Section."

Updated Schedule: October 1 – 23, 2005 at the Stone A Don Cherry Celebration curated by Adam Rudolph On the tenth anniversary of the passing of this luminous being, colleagues, collaborators and torchbearers perform Don’s compositions and play new music inspired by his creative spirit. Performers include – Dewey Redman, Henry Grimes, Hassan Hakmoun, Bill Dixon, Karl Berger, Bob Stewart, Badal Roy, Jai Uttal, Cyro Baptista, Joseph Jarman, Mark Helias, Bobby Few, Bailo Bah, Graham Haynes, Peter Apfelbaum, Oliver Lake, Steve Gorn, and many more (complete schedule below). THE STONE is located at the corner of avenue C and 2nd street ADMISSION $10 per set unless otherwise noted students 13 to 19 admitted half price - children 12 and under free there are no advance ticket sales -all admissions are at the door Don Cherry bio: http://www.jazzhouse.org/gone/lastpost2.php3?edit=920558579 The Stone on the Web: http://www.thestonenyc.com/calendar.php?month=1 More about the curator, Adam Rudolph http://www.metarecords.com/adam.html For contact information for any of the participants please email: arudolph@earthlink.net Curator’s statement: “I first met Don Cherry in 1978 – after recording together in Chicago, he invited me to live in his and Moki’s house in Sweden and to perform with him – my first European tour. It was a life changing experience - we played music around the clock with musicians from around the world who stopped through. He also introduced me to Ornette Coleman’s concept and got me started composing music. Don was so generous – he opened the door for me, as he did for so many. He was educating at every moment – you only had to listen and look. In my travels since then, I am always meeting musicians who were inspired by Don. Don pointed the way for so much of what is happening now in music. He was the prototype “world musician”; he knew how to lift the music of anyone he performed with, from any culture in the world, while always sounding like himself. For me, Don was a musical mentor as well as a life mentor. Don’s spirit, outlook and philosophy were so deep and radiant. From him I learned that music is more than a profession; that sound itself is sacred, that silence is sacred. I learned about having the courage to pursue your own creative vision, about the importance of listening and imagination, and about the relationship of knowledge to freedom. He showed that being open to seeking knowledge is integral to the life of an artist. Don said his trumpet was an amplifier to his inner voice. He showed how to reach for that. Don understood about humility. He often said “music doesn’t belong to anyone; we come to music.” I feel like this Don Cherry Celebration is already a success before the music has even started: just all of the musicians connecting and talking about and remembering Brother Don. It is best now, though, to let the music speak for itself…so, see you there…. “in a minute.” Peace, Adam Rudolph A Don Cherry Celebration October 1—23, 2005 10/1 Saturday 8 and 10 pm Karl Berger "In the Spirit of Don Cherry" Karl Berger (vibraphone, piano, melodica) Graham Haynes (cornet, dusu’ngoni) Peter Apfelbaum (tenor sax, flute) Mark Helias (bass) Tani Tabbal (drums) Ingrid Sertso (vocal, poetry) 10/2 Sunday 8 pm Opening Invocation: Mu Joseph Jarman (poetry, song, bamboo, woodwinds) Adam Rudolph (handrumset, percussion, voice) 10 pm Mark Helias and Graham Haynes Duo Mark Helias (bass) Graham Haynes (cornet) 10/4 Tuesday 8 pm Cyro plays Don Tim Keiper (drum set, percussion) Brian Marsella (pianoforte, keyboards, melodica) Peter Apfelbaum (piano forte, saxophone, melodica, percussion) Cyro Baptista (percussion) 10 pm Ira Cohen and Friends Ira Cohen (poetry) Brahim Fribgane (oud, dumbek, vocal) Harris Eisenstadt (drums) Graham Haynes (electronics, cornet) Matt Waugh (live sampling, electronics, guitar) 10/5 Wednesday 8 pm Ned Rothenberg Quartet Ned Rothenberg (alto sax, bass clarinet) Ray Anderson (trombone) Lindsay Horner (bass) Reggie Nicholson (drums) Premier performance of this 4-tet playing tunes by Don Cherry or inspired by him. 10 pm Avram Fefer Bobby Few Duo Avram Fefer (reeds), Bobby Few (piano) A rare visit from Paris by the master pianist. The duo presents material from their two new releases, "Kindred Spirits and Heavenly Places", as well as works by the great Don Cherry. 10/6 Thursday 8 pm The Marty Ehrlich Trio--"I Don't Know This World Without Don Cherry" Marty Ehrlich (woodwinds) Jerome Harris (bass guitar) Billy Martin (drums) 10 pm Harris Eisenstadt's "Where Is Brooklyn?" Vinny Golia (woodwinds) Achim Kaufmann (piano) Harris Eisenstadt (drums) 10/7 Friday 8 pm Bob Stewart’s "Don Cherry and Friends" Bob Stewart (tuba) Jerome Harris (guitar) Abdou Mboup (kora, percussion) James Zollar (trumpet) Carlton Holmes (piano) Buddy Williams (drums) 10 pm Dewey Redman and Friends 20 dollars (15 dollars for elders & students) 10/8 Saturday 8 and 10 pm Peter Apfelbaum and Friends Peter Apfelbaum (tenor sax, flute, piano) Peck Almond (trumpet, flute, kalimba) Jessica Jones (alto and tenor sax) Tony Jones (tenor sax) David Phelps (guitar) Booker King (bass) Dafnis Prieto (drums) 10/9 Sunday 8 pm Invocation: Mu Graham Haynes (cornet) Adam Rudolph (handrumset, percussion, voice) 10 pm Bern Nix and Joe Morris Duo Bern Nix (guitar) Joe Morris (bass) 10/11 Tuesday 8 pm Berber Bahia Blues Brahim Fribgane (oud, dumbek, vocal, percussion) Dende (Brazilian percussion) Adam Rudolph (hand drums, cajon, percussion) 10 pm Speak in Tones Tiokasan Ghosthorse (Lakota flute, opening prayer) Bai Koro Kouyate (tama) Marc Cary (piano) Fred “Catfish” Alais (drums) Tarus Mateen (bass) Daniel Moreno (percussion) Others tba 10/12 Wednesday 8 pm Full Moon Badal Roy (tabla) Steve Gorn (bansuri bamboo flute, soprano saxophone) Kenny Wessel (guitar) Daniel Moreno (pecussion) 10 pm Jai Uttal and Friends Jai Uttal (vocal, dotar) Steve Gorn (bansuri bamboo flute, soprano saxophone) Charlie Burnham (violin, mandolin) Daniel Paul (tabla) 10/13 Thursday 8 pm Invocation: Mu Oliver Lake (saxophones) Adam Rudolph (handrumset, percussion, voice) 10 pm Cameron Brown presents "Don in Copenhagen, March '66" Russ Johnson (trumpet, cornet, flugelhorn) Jason Rigby (tenor and soprano saxophones, bass clarinet) Tony Jefferson (drums, cymbals) Brandon Ross (guitar) Cameron Brown (bass) 10/14 Friday 8 pm Hassan Hakmoun: Gift of the Gnawa Hassan Hakmoun (vocal, sintir) Brahim Fribgane (dumbek, guitar) Adam Rudolph (cajon, hand drums) special guest Graham Haynes (cornet) 20 dollars 10 pm Hassan Hakmoun: Gift of the Gnawa Hassan Hakmoun (vocal, sintir) Brahim Fribgane (dumbek, guitar) Adam Rudolph (cajon, hand drums) special guest Vishal Vaid (ghazal vocalist) 20 dollars (15 dollars for students) 10/15 Saturday 8 and 10 pm Adam Rudolph’s Moving Pictures Graham Haynes (cornet) Gorn (bansuri bamboo flute, soprano saxophone) Shanir Blumenkrantz (bass, oud) Brahim Fribgane (oud, dumbek, vocal, percussion) Tani Tabbal (drums, percussion) Jerome Harris (guitar and acoustic bass guitar) Ned Rothenberg (shakuhachi, bass clarinet) Adam Rudolph (handrumset, percussion, voice) 10/16 Sunday 8 pm Gifts for Don Cherry Henry Grimes (bass) and (im)possible surprises Bill Dixon (trumpet(s)) and (im)possible surprises 10 pm Don Cherry’s Gifts Bill Dixon (trumpet(s)) and (im)possible surprises Henry Grimes (bass) and (im)possible surprises “From the time he was a very young man, Don Cherry was one of the greatest pioneers of our music, and he always will be. A magnificent musical aesthete, his gifts led many other musicians in that category to develop and display their own natural gifts. I and many others are forever indebted to Don Cherry. His music continues to live in us all.” -- With love and respect, Henry Grimes “I met Don shortly after he came to NY with Ornette. While I never knew him as well as I would have liked, his work on the instrument served as a repository of information and a source of inspiration. In my opinion, Don's best work has to be included with the work of the innovational performers on the instrument.” -- Bill Dixon 20 dollars (15 dollars for elders & students) or 35 dollars for both sets (25 dollars for elders & students). 10/18 Tuesday 8 pm Ravish Momin Trio Ravish Momeen (drums, percussion, tabla) Shanir Blumenkrantz (bass, oud) Jason Kao Hwang (violin) 10 pm Jason Kao Hwang and Sang Won Park Duo Jason Kao Hwang (violin) Sang Won Park (kayagum) 10/19 Wednesday 8 pm Invocation: Mu Sylvie Courvoisier (prepared piano) Adam Rudolph (handrumset, percussion, voice) 10 pm Speak in Tones: El Cherry Tree Tiokasan Ghosthorse (Lakota flute, opening prayer) Marc Cary (piano) Daniel Moreno (percussion) Bai Koro Kouyate (tama) Fred “Catfish” Alais (drums) Tarus Mateen (bass) Others tba 10/20 Thursday 8 pm Min Xiao-Fen, Okkyung Lee, Susie Ibarra Min Xiao-Fen (pipa, voice) Okkyung Lee (cello) Susie Ibarra (drums, percussion) 10 pm Invocation: Mu Susie Ibarra (drums, percussion) Adam Rudolph (handrumset, percussion, voice) 10/21 Friday 8 pm Closing Invocation: Mu Joseph Jarman (poetry, woodwinds) Adam Rudolph (handrumset, percussion, voice) 10 pm Flutists of Fula Flute Bailo Bah and Sylvan Leroux 10/22 Saturday 8 and 10 pm John Zorn Improv Party Many Special Guests A Stone benefit. 10/23 Sunday 8 pm Basya Schecter and Queens Dominon 10 pm Desireless Steve Gorn (bansuri bamboo flute, soprano saxophone) Adam Rudolph (handrumset, percussion, voice) Others tba http://www.metarecords.com/

Jazz from Blue Lake 9-23-05 (Web stream begins at 10 p.m. Waivers obtained and on-file.) 10 p.m. Miles Davis Quintet: Well, You Needn't; The Chronicle, Prestige Thelonious Monk, John Coltrane: Monk's Mood; Monk and Trane, Prestige John Coltrane: Straight Street; Coltrane, Prestige Thelonious Monk: Well, You Needn't; Monk's Music, Prestige Jazz Datebook Sonny Rollins: Charles M; This Is What I Do, Milestone 11 p.m. Shirley Horn: I Didn't Know What Time It Was; Best of, Verve Jeremy Pelt: Angular; Identity, Max Jazz Miguel Zenon: Aguinaldo; Jibaro, Marsalis Music Jazz Datebook Thelonious Monk: Trinkle, Tinkle/Nutty; Monk w. Trane, Prestige Thelonious Monk Quartet with John Coltrane: (Willis Conover introduction) Monk's Mood/Evidence; Live at Carnegie Hall, Blue Note 12 a.m. Pat Metheny: Giant Steps; Trio 99—00, Warner Bros String Trio of New York: 26-2/Eronel; Grand Rapids, 9-27-02, Blue Lake John Coltrane: Moment's Notice; Blue Trane, Blue Note Thelonious Monk Quartet with John Coltrane: Crepuscule with Nellie/Nutty; At Carnegie Hall, Blue Note Mingus Big Band: Song with Orange; I Am Three, Sunnyside Jazz Datebook 1 a.m. Organissimo: Smoking Section; This Is the Place, Big O Drew Gress: Bright Idea; 7 Black Butterflies, Koch Pat Metheny, Ornette Coleman: Mob Job; Song X, Nonesuch SF Jazz Collective: When Will the Blues Leave; SF Jazz Collective, Nonesuch Red Garland Quintet: Billie's Bounce; w. Coltrane, Prestige Thelonious Monk Quartet with John Coltrane: Bye-ya/Sweet and Lovely; at Carnegie Hall, Blue Note 2 a.m. Evidence: an hour long radio special about Thelonious Monk Quaret with John Coltrane at Carnegie Hall Lazaro Vega, Jazz Director Blue Lake Public Radio 300 E. Crystal Lake Road Twin Lake MI 49457 www.bluelake.org radio@bluelake.org (231) 894-5656

How'd the CD release party at Schuler Books go tonight?

You know, thinking about what T.S. Monk said, about the concert starting with a ballad...the first recording by Monk and Trane (with Wilber Ware on bass) was "Monk's Mood" in April of 1957...this live version makes an incredible contrast with that spare first effort....

I'm hoping to. Oh yeah.

Please join Blue Lake Public Radio tonight for music by John Coltrane. We'll focus on 1957. 10 p.m. to 3 a.m. est. www.bluelake.org

"Listen Here!" airs Sunday nights from 6 to 8 p.m. est on Blue Lake....

Sonny Rollins, tenor saxophone Clifton Anderson, trombone Bobby Broom, guitar Bob Cranshaw, bass Kimati Dinizulu, percussion Al Foster, drums Saturday, October 1, 8 p.m. Hill Auditorium, Ann Arbor University Musical Society of Ann Arbor www.ums.org

Thursday, September 22: The David Sanchez Quartet appears at Hope College's Dimnent Memorial Chapel, Hope College, Holland, Michigan. Tickets are available from (616) 395 - 7890. Master classes and an evening concert. Call for time and price. Saturday, October 8 at 8 p.m. the Pat Metheny Trio (Christian McBride, bass; Antonio Sanchez, drums) plus special guest David Sanchez (tenor saxophone) appears at Hill Auditorium, Ann Arbor. A presentation of the University Musical Society, www.ums.org