Lazaro Vega

Charlie Parker would be 85 today. Jazz from Blue Lake with Bird in 1944, including the newly discovered Town Hall Concert, on the web starting at 10 p.m. tonight. www.bluelake.org

8-19-05 Jazz From Blue Lake WBLV FM 90.3, Muskegon and the Lakeshore / WBLU FM 88.9, Grand Rapids Trumpeter Tim Hagans featured 10 p.m. Tim Hagans/Marcus Printup- /Backlash/ Hub Songs- Blue Note Joe Lovano Nonet- /Tadd’s Delight/ 52nd St. Themes- Blue Note Norbotton Big Band /Twist and Out/ Future North- Double Time Jazz Datebook Blue Lake Sextet /Soho Down/ Live 8-18-05 Mose Allison /Seventh Son/Eyesight to the Blind/ Greatest Hits- Prestige Mose Allison /What’s Your Movie?/ Live in London- Blue Note 11 p.m. Karrin Allyson /Everybody’s Cryin’ Mercy/ In Blue Concord John Fedchock(w.Hagans) /Nefertiti/ New York Band- Reservoire UMO Jazz Orchestra (. Hagans) /Prince of Darkness/ Electrifying Miles- A Records Tim Hagans /Trumpet Sandwich/ Animation Imagination- Blue Note Jazz Datebook (Web Stream Begins) Organissimo /Stomp Yo Feets/ This Is the Place- Big O Stanley Turrentine /Sunny/ The Spoiler- Blue Note Jeremy Pelt /Eddie’s Story/ Identity- Max Jazz Freddie Cole /The Southside of Chicago/ This Love of Mine - High Note 12 a.m. Duke Ellington /Rhapsody In Blue/ Complete… Mosaic Bob Belden (w. Hagans) /City of Angels/101 North/ Black Dahlia- Blue Note Grismore/Scea Group(w.Hagans) /I Found a Shirt in my Yard/Die for a Metaphore/ Of What – Accurate Mark Masters Ensemble (w.Hagans) / It Ain’t Necessarily So/ - Porgy and Bess…Capri Woody Herman (w. Arno Marsh) /Apple Honey/Stompin at the Savoy/ Scene and Herd 1952 Arno Marsh Quintet /Embraceable You/ Quintet- Woofey Randy Reinhardt /Mood Indigo/ As Long As I Live- Arbors Paul Anka /True/ Rock Swings- Verve 1 a.m. UMO Jazz Orchestra(w. Hagans) /High Speed Chase/ Electrifying Miles-A Records Norbotten Big Band(w. Hagans) /Noogaloo/ Future North- Double Time Ernie Wilkens /Hi Fly/ Amost Big Band- Storyville Tim Hagans /I Hear a Rhapsody/ Audible Architecture- Blue Note 2 a.m. Coleman Hawkins /Rifftide/ Hollywood Stampede- Capitol Dizzy Gillespie-Charlie Parker /Groovin’ High/ Town Hall..1945- Uptown Fats Navarro /Nostalgia/ Groovin High- Savoy Norman Granz’s JATP /The Things We Did Last Summer/ Carnegie Hall, 1949-Prestige Clifford Brown-Max Roach Quintet /Stompin’ at the Savoy/ Complete- Emarcy Mile Davis /Straight, No Chaser/ Complete John… Columbia Orange Then Blue (w. Hagans) /Ornette’s Muse/ Orange.. GM Grismore-Scea Group (w. Hagans) /Dream Theme/ Just Play- Accurate Maria Schneider Jazz Orchestra (w. Hagans) /Night Watchman/ Coming About- Enja 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

To put the concert in context, too, and correct me if I'm wrong in the specifics, it needs to be mentioned that Byas had his own spotlight on this stage; that the Bird and Diz part was only one "set" of an evening featuring Erroll Garner's Trio by itself, then with Byas as well as Buck Clayton, and the finale was Pearl Bailey. What survives of Byas and Garner's material is not timid, or outdated. Though the Garner material was of it's time, Byas is timeless, and his music was a feat of sound and imagination that he exudes confidence. When you said he made a sudden and un-accounced for exit I thought you meant to Europe! When the Don Redman Band brought bebop to Europe it was with Byas, Billy Taylor and Tadd Dameron's charts as the bearers of the new sound. So, clearly a transitional figure who's style wasn't as old as Hawk or Pres. By the crowd reaction in Town Hall it is clear that Big Sid is a Star. I'm sure what Allen is talking about is true for musicians yet the musical changes were still coming on with the public, and the crowd sounds electrified to have Sid come on stage. They obviously loved him.

Bill Henderson with Ramsey Lewis is lovely, too: their "Joey Joey Joey" (which Nessa turned me on to) is probably the best version of that I've ever heard. Perfect pace, sense of drama, nuance and, of course, swing. Glad you liked the sets. God Bless Lucky Thompson and Al McKibbon.

8-15-05 Jazz From Blue Lake Oscar Peterson’s 80th 10:00 p.m. Oscar Peterson Fine and Dandy/I Only Have Eyes For You – Complete JATP – Verve Oscar Peterson I Got Rhythm/Tea For Two/The Man I Love – 1951 – Just A Memory Jeremy Pelt Re-invention -Identity Max Jazz Eric Alexander Almost Like Being In Love -Dead Center- High Note Lorraine Feather Calistoga Bay/Cicada Time – Dooji Wooji – Sanctuary Clayton-Hamilton Jazz Orch. Captain Bill/Mood Indigo – Live – MCG 11:00 p.m. Jazz Profiles preview module: Oscar Peterson Oscar Peterson Work Song - Very Tall - Verve Oscar Peterson Wheatland - The Good Life - Pablo (Begin Web Streaming) Dave Brubeck Unisphere - London Flat,London Sharp - Telarc Freddy Cole On the South Side of Chicago – This Love of Mine – High Note Yves Francois Blue For Hawk - Blues for Hawk Delmark Deep Blue Organ Trio These Foolish Things – Deep Blue Bruise – Delmark Mose Allison Ever Since the World Ended/You Call It Jogging – Live in London – Blue Note 12:00 Midnight Oscar Peterson SKJ - Very Tall Band - Telarc Oscar Peterson My Foolish Heart - Meets Roy Hargrove + Ralph Moore – Telarc Sarah Vaughn How Long Has This Been Going On? – How Long..- Pablo Mingus Big Band Orange Was the Color - I Am Three – Sunnyside Lucky Thompson Mumba Neua - Lucky Strikes – Prestige Tal Farlow I Hear A Rhapsody - Chromatic Pallette – Concord Jay Thomas/Wataru Hamasaki Free Verse - Accidentally Yours – McVouty Michael Mussilami Trio Dresden - Dachau – Playscape 1:00 a.m. Oscar Peterson Hymn To Freedom - A Summer Night In Munich – Telarc Oscar Peterson (w. Shirley Horn) I Can’t Face the Music/Here’s To Life – Tribute to..- Telarc Oscar Peterson Peace for South Africa - Legendary Trio – Telarc JATP All Stars 5400 North -Santa Monica Civic Auditorium – Pablo 2:00 a.m. Louis Armstrong (w.Peterson) I’ll Never Be the Same / Sweet Lorraine – An American Icon – Hip-O Coleman Hawkins (w. Peterson) Ill Wind/In A Mellotone – Genius of…- Verve Lester Young (w. Peterson) Just You, Just Me - The President Plays – Verve Dizzy Gillespie-Stan Getz (w. Peterson) It Don’t Mean A Thing If It Ain’t Got That Swing - Diz and Getz – Verve Zoot Sims (w. Peterson) Embraceable You/S’Wonderful – Meets the Gershwin Brothers - Pablo Bill Henderson You Are My Sunshine/I See Your Face Before Me - With the Oscar Peterson Trio – Verve Roy Eldridge (w. Peterson) Dale’s Wail/Little Jazz - Little Jazz – Verve Oscar Peterson Mainsteam/Don’t Get Around Much Anymore – History of An Artist – Pablo Anita O’Day (w. Peterson) We’ll Be Together Again – Sings the Most - Verve 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 WBLV FM 90.3, Muskegon and the Lakeshore / WBLU FM 88.9, Grand Rapids

8-13-05 Jazz a la Carte 7:00 a.m. (For Al McKibbon) Dizzy Gillespie/ Manteca / Complete/ RCA Al McKibbon/ Seven Steps to Heaven/ Tumbao Para…/ Blue Lady Parker/Gillespie/ Night In Tunisia / Carnegie Hall/ Blue Note George Shearing/ Little Niles / Capitol 50th/ Capitol Miles Davis Nonet/ Deception / Birth of the Cool/ Capitol Thelonious Monk/ Four In One/Criss Cross/ Genius…V 2/ ` Blue Note Jazz Datebook Mingus Big Band/ Orange Was the Color I Am Three/ Sunnyside/ Lorraine Feather/ Calistoga Bay/ Dooji Wooji/ Sactuary 8:00 a.m. (For Lucky Thompson) Lucky Thompson/ Just One More Chance/ & His Lucky 7/ Bluebird Lucky Thompson/ Tricotism / Tricotism / Impulse Stan Kenton/ Cuban Fire / Cuban Fire / Capitol Miles Davis/ Walkin’ / The Chronicle/ Prestige/ Jazz Datebook Charlie Parker/ Cherokee (1942)/ Early Bird / Stash Charlie Parker/ Cherokee (1942)/ Birth of Bebop/ Stash Charlie Parker/ Warmin’ Up A Riff/Koko/ Complete Savoy/ Savoy Gillespie/Parker/ Salt Peanuts/ Town Hall…1945/ Uptown 9:00 a.m. (Preview of Idlewild Jazz Festival) Mose Allison/ MJA Jr. / Gimcracks & Gewgaws /Blue Note Mose Allison/ You Call It Joggin/ Live in London/ Blue Note Eric Alexander/ Almost Like Being In Love/ Dead Center/ High Note Deep Blue Organ Trio / Willow Weep For Me/ Deep Blue Bruise/ Delmark Jazz Datebook Jackie McLean/ Demon’s Dance / Demon’s Dance /Blue Note Organissimo/ Smokin’ Section / This is the Place/ Big O Jeremy Pelt/ Excerent / Close To My Heart/ Max Jazz Chris Walden Big Band/ Cherokee/ Beautiful Heart/ Origin 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 WBLV FM 90.3, Muskegon and the Lakeshore / WBLU FM 88.9, Grand Rapids

MARK STRYKER'S JAZZ HIGHLIGHTS: Trio organissimo set to lay down greasy grooves at Baker's By MARK STRYKER FREE PRESS COLUMNIST August 12, 2005 The Lansing-based organ trio organissimo has been spreading its wings of late, performing more and more frequently in metro Detroit, and that's good news for anyone who loves the life-of-the-party vibe emanating from a kick-butt Hammond organist surrounded by simpatico mates. The trio returns to Baker's Keyboard Lounge this weekend for the second time since May, and this time, the band has a new CD to plug. "This is the Place" (Big O Records) is a gas. Organist Jim Alfredson, guitarist Joe Gloss and drummer Randy Marsh have a gift for classic soul-jazz language and a special fondness for greasy boogaloo grooves. The trio knows how to stomp the blues, bring a Latin twist to a standard ballad, turn up the heat for a rip-snorting romp in 6/8 or get down-and-dirty inside a funky-swamp beat. Alfredson handles the organ duties with panache, guitarist Gloss' solos and accompaniment mesh wonderfully and drummer Marsh lays down a red carpet of boogie with veteran authority. There's nothing too complicated about organissimo's approach: It's music that reminds of saxophonist Johnny Griffin's aphorism that jazz is music for people who have decided to feel good in spite of conditions. It's a shame that the organizers of the annual Detroit International Jazz Festival have yet to get hip to organissimo, but perhaps this showcase gig will fuel the grassroots buzz.

I think the next Organissimo album should be called, "steatopygous"

Haven't paged through the thread to see, so if this is redundant: http://villagevoice.com/music/0532,davis3,66646,22.html Unsuspected Treasure Dizzy Gillespie flies, Charlie Parker races, Symphony Sid jives, and you are there by Francis Davis August 5th, 2005 4:27 PM Dizzy Gillespie—Charlie Parker Town Hall, New York City, June 22, 1945 Uptown A CD whose most obvious selling point is its very existence, Town Hall, New York City, June 22, 1945 gives us Charlie Parker and Dizzy Gillespie fresh from the 3 Deuces and full of vim at the dawn of bebop, almost a decade before Massey Hall. No one even suspected this 40-minute set had been recorded until the professional-quality, unlabeled acetates circuitously found their way to Uptown's Bob Sunenblick. Despite needle hiss, the sound is vivid—Max Roach's bass drum rips through your woofer. (Bassist Curley Russell, alas, is as much a rumor as he was on contemporaneous studio recordings.) Symphony Sid's jive-ass announcements create a you-are-there aura, Al Haig's piano solos are little lyrical adventures, and though sitters-in Don Byas and Sid Catlett are out of their idiom, they're not enough to deter Parker and Gillespie from their artful games of double dare. Dizzy spends most of his choruses in the stratosphere; Parker spends his racing around bar lines as if they weren't there. The average length of the tunes is about seven minutes, roughly double that of the era's commercially issued sides, and you know you're in for a ride when the slowest tempo is "Groovin' High." With Coltrane at the Half Note in '65 and Monk at Carnegie Hall in '57 coming in the next few months, to say nothing of Miles at the Cellar Door in '70 and Sonny Rollins in Boston soon after 9-11, this is shaping up as a year of archaeological finds. But nothing figures to top this.

Both Philly Joe Jones and Dameronia recordings on Uptown.

http://www.usatoday.com/money/media/2005-0...ting-usat_x.htm Storm clouds gather over podcasting By Michelle Kessler, USA TODAY SAN FRANCISCO — At Seattle public radio station KEXP, there's a simple procedure for evaluating new technology. "We just go ahead and do stuff," says John Richards, the station's morning disc jockey. Nic Harcourt would like to podcast his 'Morning Becomes Eclectic' show, but licensing problems stand in the way.By Robert Hanashiro, USA TODAY That's how the quirky station created one of the first music podcasts — without support from major record companies. A podcast is a digital recording of a radio-style audio program that can be downloaded from the Internet and played on a digital music player. Many podcasters think the technology could revolutionize radio as TiVo did television. But record labels worry that listeners will pirate the songs contained in the downloaded radio shows. The result: yet another Napster-like standoff over piracy and music rights. Podcasting is a great way for KEXP to reach thousands of new listeners, especially those outside of Seattle, Richards says. But the station can't podcast programs such as John in the Morning —Richards' variety mix of independent and mainstream music — because record companies haven't provided an easy, affordable way for podcasters to license songs. That's why most podcasts today are talk radio. So KEXP last month invited 14 unsigned or small-label bands from the Seattle area to contribute songs to a podcast. Richards asked a lawyer — a listener who volunteers at the station — to draw up a simple contract for the bands. KEXP did not release numbers but said the podcast was a hit. KEXP is now podcasting some live performances to which it owns the rights. KEXP decided that "we couldn't sit around and wait and wait for a major (label) to sign off on this," Richards says. Pause, rewind Since podcasts are recordings, they can be played at any time. Listeners can pause, fast-forward or rewind them. And since podcasts are posted online, listeners can download programs from radio stations and independent broadcasters from all over the world. The podcasts can also be hacked and pirated. An enterprising listener could pull songs out of a podcast and turn them into music files or CDs. That's why many record companies say the technology is promising but problematic. For example, OK Go and several other emerging bands with EMI have their own podcasts. But EMI is not ready to approve a blanket podcasting license. "Podcasting is potentially very exciting," says Executive Vice President Adam Klein. But the company needs contracts "that are responsible to everybody," he says. Ruth Seymour, general manager at influential Los Angeles public radio station KCRW, worries that those contracts will take years to be worked out. That would keep podcasting from reaching its potential, she says. Several of KCRW's programs — notably a well-regarded new-music show called Morning Becomes Eclectic— would be perfect for podcasting, Seymour says. Many already have fans worldwide thanks to an early form of digital radio called streaming media. Streaming media is different from podcasting because it's not a recording, which makes it harder to pirate. A stream is essentially a broadcast that travels over the Internet instead of the airwaves. Record and radio companies have struck a blanket licensing agreement for streaming based on traditional radio licenses. No such agreement exists for podcasting. So if Seymour wanted to podcast Morning Becomes Eclectic, she would have to sign individual contracts with each record company. "That's an impossible process," says digital music analyst Phil Leigh at Inside Digital Media. For now, KCRW is podcasting only talk programs, live performances and independent bands. "I really want to podcast (major label) music!" Seymour says. "It's where the future is ... (but) I don't want a cease-and-desist order." Protecting artists Record companies say they're just trying to look out for their artists. Podcasting could exacerbate the piracy problem created by file-swapping sites such as Grokster and Kazaa. When listeners download a podcast, they "are getting a copy of an entire program ... an unprotected copy that they can do whatever they want with," says Steve Marks, a lawyer at the Recording Industry Association of America, a trade group. This difference between streaming and podcasting also has licensing implications, Marks says. Streaming is generally licensed collectively, while podcasting, because it is a download, is licensed by individual copyright owners. If the radio and recording industries do agree on a contract, it's unclear what it would look like — or cost. Most podcasts today are free, but that would change once podcasters have to start paying for broadcast rights, says Inside Digital Media's Leigh. Still, Leigh and others say a solution will eventually be found. Podcasting technology is too exciting to ignore, says Tom Poleman, senior vice president of programming for Z100, a top-40 station in New York. Z100 podcasts some talk portions of its morning show, and Poleman says he'd love to offer fans more. "A lot of people in radio may have the initial reaction to fear technology," Poleman says. "I think it's an exciting time, an opportunity for us to reinvent ourselves."

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