Lazaro Vega

Don Juan's Reckless Daughter with Joni Mitchell. That's not a bad pop cross over album with jazz musicians.

You mean "Whitehall, Michigan"?

Since I don't have it in front of me I can't recall the author's name, perhaps they've been mentioned, but in that Columbia publication, Current Musicology, which contained excerpts of George Lewis' forthcoming book on the AACM in New York, there was an in depth chapter dedicated to Lee Morgan's musical life BEFORE he came to New York...good information, lots of leg work, etc. Fitz?

Jim, they haven't changed a bit in 20 years. You'd fit right in. When you go to the streaming page, there's a second link which you might try...

Nice job Ann... Of course when Blue Lake Fine Arts Camp is "in session" all employees wear the standard issue "baby 'n navy" in various blends of durable polyester. Striking a match near by would be bad for everyone.

Maybe via Organissimo's web site, but not at Blue Lake's. No capacity.

p.s. Thanks to Chuck for suggesting Miles in 1954. What an incredible year of recording sesssions.

What a blast! Thanks to everyone who "tuned in." The sound people will have a mix down from 12 tracks for us in the future and we'll be playing the dickens out of that Arno Marsh tune "Sweet Potato Pie," which about drove Ann Nessa nuts...dug Dan Jacobs coming by to sit in, too. Great to see everyone -- Chuck, Ann, Skid, the band. Lovin' live radio.... Lazaro

For what it is worth, Michael, the little and even mid-sized labels do, with some effort, hear you and ultimately want their music played. And they're business people. If you're hitting a many, many times larger on-air audience than a streaming one, why go with restrictions which will hurt you (?). Jazztrain, When the man at RIAA said "copyright owners" to me, I asked, "you mean the record companies?" and he said, "Yes." Again, he's not our lawyer, and he didn't want to directly oppose RIAA's own mission of protecting artist's income, but he allowed for this option. I also sent it to some artists, local and regional, who have been public about maintaining rights to their own music. As far as the 78 rpm era I'm afraid that is a hard row to hoe as the majority of jazz 78's are in the hands of companies who lobbied congress via the RIAA for these restrictions. You might want to turn your web stream off during a 78 rmp program, or play the game: When featuring Benny Carter you skate in and out of his recordings as a leader (playing no more than 4 in a three hour period, and no more than two in a row from the same disc, unless it is a compilation, then you can play up to three pieces in a row). Since the Spike Hughes Negro Orchestra is often anthologized under Carter's name I would not "count" it as Carter appearing as a sideman. Even though he is a sideman, true, unless you had a record under Spike Huges name that contained that material...but I don't -- it's in the Carter Time-Life set, and on the Carter Chronological Classics..In other words I don't want to take that risk. But you can find lots of Carter with Fletcher Henderson, Lionel Hampton and Billie Holiday (in two different eras), as well as that Jam Session at Verve with Bird and Hodges, plus Jazz at the Philharmonic. So that's the thing: if you want to play lots of Benny Carter, you can. If you want to play what you think are Benny's "best records," you might not get to all of them. Benny recorded more than 4 sides as a leader which have stood the test of time. And then I would say "A Love Supreme" is a single work, a la Classical music. Check that out: if you can't play more than three cuts in a row by the same artist there are a lot of left over last movements from symphonies. Suites have to be considered single works and can't be segmented by movement. A "featured artist" to me means the leader. So when Red Norvo recorded with Sinatra, I don't count that in the four pieces total for Norvo, but Sinatra. You only report the leader, tune, album title, label -- I think. There's an exemption on reporting to Sound Scan for station's with a staff smaller than 10, which would be us. What Sound Scan and CPB negotiated was a flat fee on royalties for all the station's under CPB qualification. Anything outside the agreement you pay for, or possibly lose your statutory liscence to stream, unless, according to RIAA, you have a waiver in writing that you can submit with the airplay sheets. We have hard copy waivers on file should any kind of audit be requested. If there's one place that Benny Carter issued music which we have a blanket waiver for, anytime that's played it won't "count" in the four cut total. And if Blue Lake had a live recording of Benny Carter, say from a broadcast with our big band live at Blue Lake Fine Arts Camp, we can do whatever we want with that as the copyright owner (unless there was a contract which said differenly at the time of the performance/broadcast). (We don't have such a recording. This was an example). This is all for potentially 70 listeners on the internet -- the maximum who can log on at any one time to our web stream. More than that and we were worried the web stream would degrade and not sound too good. A radio is the best way to listen to the radio. Low tech as it gets, and the most equitable broadcast media in the world. We'll be streaming at 10 p.m. next Monday, though, for Arno with Organissimo live from our woodland studios. Hope that helps keep your choo choo chugging Mr. Jazztrain....

That's the Digital Millennium Copyright Act..i.e. Congress, under lobbying pressure from the RIAA and others.....hey, artists are getting checks for these extra plays. I've heard they're as high as .33 cents a play per 100 people listening on the web...so if you get someone to play five cuts by you in less than a three hour period, or play more than two in a row from the same CD, and there are 500 listeners on the stream, that's around $165 (?) the station would pay in royalties to Sound Scan to have done that one extra play ouside the restrictions. Or, the station could be punished and have their statutory license to stream revoked. WDET in Detroit just got this issue together and they’re on the web. Ed Love has an incredible series of live music planned for the fall. Where this runs into trouble is when programming historic jazz, i.e. the 78-rpm era. It turns a featured artist into a game of "Where's Waldo?" Blue Lake has the ability to turn on or off the web stream according to what waivers we have, who's featured, etc. Some labels won't grant a blanket waiver, but they will go on a case-by-case basis, which means a programmer needs to be even more organized but that's life in the big time. Last night we played Louis Armstrong for July 4th and it is very important that our regular listeners who've heard us play music without these restrictions hear what they've come to expect for more than 20 years on the FM. The FM audience is far larger than the web stream audience so, if we don't have a waiver, the FM listeners get the good stuff, and then we program to the restrictions while streaming. Riffin’.

The notes are written...probably not as well as some of the stuff around here, but they are now being proof read for clarity, readability and such...we'll see what you think Jim, and everyone in the world who loves this band.... will have them to you soon....short and almost fast.... LV

Well, Blue Lake is going to have another live BAND on the radio next Monday, Arno Marsh with Organissimo....

Jazztrain, I contacted the Vice President of RIAA and though he legally can not council us what he did say is you can get around these restrictions by obtaining a waiver from a copyright owner...So, I wrote up a waiver for the times we broadcast jazz which asked that we be able to broadcast more than 4 recordings by the same artist in such and such period of time, etc. What you want to be clear about when talking to the labels is that your station pays it's flat rate royalties to Sound Exchange (by either being a CPB Qualified station, where CPB takes care of it, or on your own) and that this waiver effects only the "extra" plays you'd be giving an artist. Also, as this involves the legal departments of the record companies, where such things exist, you'll want to make sure if your station has a lawyer that they are involved with what you are doing. Here's an example of the waiver I circulated... From the hours of 10 p.m. to 3 a.m. Monday through Friday, 7 a.m. to 10 a.m. Saturday morning, and 7 p.m. to 11 p.m. Sunday evening, Blue Lake Public Radio, WBLV FM 90.3/WBLU FM 88.9 as streamed on the Internet via www.bluelake.org is hereby waived of following these provisions of the Sound Recording Performance Compliment, 17-USC-114 (j) (13) for copyrighted sound recordings published by (name of record company) : “In any three (3) hour period you can transmit up to three (3) different selections of sound recordings from any one CD, but you can transmit no more than two (2) consecutively. Additionally, in any three (3) hour period you can transmit up to four (4) different selections of sound recordings from the same featured artist, or up to four (4) different selections of sound recordings from any set or compilation CD’s, but you can transmit no more than three (3) consecutively.” ************

The Monday, July 11th performance has changed to a live radio broadcast on Blue Lake Public Radio, 10 p.m. -- 11 p.m. eastern standard time, featuring Arno Marsh and Organissimo. Please join us on the web via www.bluelake.org

This came in to the station and thought it worth passing on...from Daddy O-Daily... Mr Vega, You're "WBEZ sucks! Please, please, please, look at me I'm playing Albert Ayler for dozens of listeners. I am one bad dude!" schtick, is a bit tired. Sure, WBEZ isn't playing any Ayler, Brotzman, etc, but the other artists you list is pretty much what WBEZ plays - Duke, Dinah, etc. Do you attack Ed Love at WDET for not playing enough Albert Ayler? Probably not. Do Jim Wilke or Bob Parlocha often fill the late night airwaves with Henry Grimes and Willam Parker? What major public station as large as WBEZ (say, WBGO) plays any substantial amount of truly outside music? In Chicago, the audience who wants the Ayler brothers to bring their version of the truth marching in already listens to WNUR's 8 hours a day. And there are plenty of knowledgable college and community djs in small cities and towns all over the country dropping the needle on Ayler or Vandermark or whoever, so what makes you so brilliant? Are you actually a creative musician or something? I'm sure you do good work up there in the woods, but the incessant self-serving posts on Chi-Improv, All About Jazz and everywhere else make you really look desperate for validation. And the pre-occupation with WBEZ makes you look jealous...and makes you just come off as small time. Do you spend all your non-radio hours on the web trying to promote yourself, or do you actually have a life? Maybe a family? Just wondering...

Just played: Albert Ayler, Ghosts (Second Varition), Spritual Unity Marc Ribot, The Truth is Marching In, Spiritual Unity Henry Grimes and Marshall Allen on Blue Lake, first piece (bass and alto) Yuganaught (Steve Rush, Tom Abbs, Geoff Mann), Stumble Chuck, live on Blue Lake 6-24-05 Reggie Workman, Encounter, Summit Conference Reggie Workman, Fast Forward, Cerebral Caverns (Julian Priester is the featured artist, happy birthday Slide Priest) I wonder what WBEZ was doing this hour?

I see Brownie already had this up...I'll send Margaret the link....

This came across from Margaret Davis: "The Village Voice," June 29th-July 5th, 'O5 "The Sound of the City" At a converted synagogue downtown, the faithful are rewarded VISION FESTIVAL Angel Orensanz Foundation for the Arts June 14 through 19 DELIVERANCE by Larry Blumenfeld A sound man desperately tried to signal the set's end, but WARM -- an elder-statesmen quartet comprising bassist Reggie Workman, drummer Pheeroan akLaff, and saxophonists Sam Rivers and Roscoe Mitchell -- paid no attention. They were lost in a glorious balladic tune, transported to some delicate, unbound space. And the crowd that packed the Angel Orensanz Center was right with them, never mind the time. It was an inspiring Tuesday-night start to the 1Oth annual Vision Festival, as fine and focused a celebration of free-jazz improvisation as we have, and an event full of heroic hook-ups that regularly transcended limitation. Two such performances book-ended Thursday night, which honored Chicago-based tenor saxophonist Fred Anderson, who is admired for his subtle mixture of lyrical swagger and post-bop invention and for providing two generations of musciians with a place to play: his venerable South Side club the Velvet Lounge. Opening was the Fred Anderson 196O's Quartet, which reconnected Anderson with homeboys Joseph Jarman on saxophone and flute and Alvin Fielder on drums and included Chicagoan Tatsu Aoki on bass. Anderson, who stoops over when playing, holding his horn close to the floor, began by blowing gentle figures that gradually gained more volume and complexity. Jarman, on alto, added precise harmonics that created subtle halos around the tenor lines. When Jarman switched to bass flute, he played Asian-sounding flutters, with Anderson adding softly phrased lines that extended into long tendrils of be-bop expression. The rhythm section stuck for the most part to a reactive rumble, calibrated throughout to the tone and energy of the horns. Later, Anderson was joined by fellow tenor saxophonist and septuagenarian Kidd Jordan from New Orleans for a quartet that included Chicagoan Hamid Drake on drums and bassist William Parker, a ubiquitous presence throughout the festival. Jordan, who has a peculiarly beautiful style of producing squirrely squeals from his horn, stooped down to match Anderson's characteristic posture as he did so. Anderson reached into the upper registers of his horn's overtones to match Kidd's pitch. Parker worked his way in with strong undergirding lines that also lent potent melodic suggestion. Drake joined in with a brief bombast, which settled quickly into an insistent swing, and they were off on a riveting display of brute force blended with tender beauty, the two tenors issuing lines that flapped like ribbons in the wind, tethered to the flagpole of Parker and Drake's groove. ... [Edited out for the moment: material on other groups who played] ... All this was nearly enough to make you forget that the JVC Festival was simultaneously under way at concert halls uptown. Underneath the peeling paint that adds flecked beauty to the Orensanz, originally one of the first synagogues on the lower East Side, the Vision Festival faithful were presented with a still-vital aesthetic that needs no corporate sponsorship, answering instead to a higher authority. #### This article is not up on the Web yet; I've transcribed it into the computer from the print version of the newspaper. I'll provide a link as soon as there is one so you can read the complete version. There's a great photo of Henry Grimes in the print version, too (though photos sometimes don't appear in the Web version). Blessings on Larry Blumenfeld, the rarest of New York press persons who can hear, feel, express, and celebrate the holy, rapt, devout, profoundly religious communal experience that is the Vision Festival. Will someone please print this out and give it to Fred? Thanks!

This thread makes me want to play Rova's electric version of "Ascension" Wednesday at midnight "Out On Blue Lake." I've played some of it and, woo hoo dadaroo, this shit is OUT. I think the parts where the strings improvise could be anything, not just "Ascension" but any improvised setting, though the rest of it is an evolution.... Who knows. Right now I'm featuring Jimmy Mundy arrangements. www.bluelake.org Every weeknight, Saturday morning, early Sunday evening, jazz which comes to you in the best of taste from Blue Lake. See you in the heliocentric world of cyber space....

This Saturday's (June 25) "Extensions" program on WBEZ features the AACM to commemorate the organization's 40th anniversary. "Extensions" airs Saturday morning at 1 am (Central Time). http://chicagopublicradio.org/programs/ext..._extensions.asp

I have Gemini, on vinyl, but probably won't be playing that until later into the night....

That is, we're featuring his recordings. This is not a live in studio performance, though we do have a recording of his nonet tribute to Louis Armstrong live at the Wealthy Theater in Grand Rapids, Michigan.

Web stream begins at 11:30 p.m. est (gmt plus 5?) and continues to 3 a.m. www.bluelake.org

Looking forward to hearing the mixes!

Nice hit on the radio tonight.