Lazaro Vega

Pianist Steve Talaga will give a solo performance tonight live on Blue Lake Public Radio from 10 to 11 p.m.

Jazz vs. Pop? By Teresa Wiltz THE WASHINGTON POST Aug. 22 — This is how jazz flutist James Newton found out-eight years after the fact-that he was on a popular rap recording: A student strolled into his class and said hey, prof, I didn’t know you performed with the Beastie Boys. NEWTON WASN’T happy. A six-second snippet of his song “Choir” was a featured attraction in the 1992 Beastie Boys hit “Pass the Mic.” He says that he’s never received any compensation for the band’s use of the recording and that the Beastie Boys never bothered to ask his permission. ‘UNORIGINAL’ Finding out that the song had made it onto a “Beavis & Butt-head” cartoon only fueled his ire. Newton, a professor at California State University, Los Angeles, says that if he’d been asked, he never would have granted his permission. So in 2000 he sued the Beastie Boys, charging the group with copyright infringement. And, to his surprise and rage in June, he learned he’d lost the case. In her ruling, U.S. District Court Judge Nora M. Manella said that Newton’s sequence was basically a “recording,” for which Newton and his publisher had already been compensated, as opposed to a “composition,” and that it was “unoriginal as a matter of law.” (She also denied a motion filed by the Beastie Boys seeking reimbursement from Newton for almost $500,000 in legal fees.) Newton is appealing the decision, and has taken to the Internet in search of support. The case in the U.S. District Court for the Central District of California pits Newton, a critically acclaimed avant-garde jazz flutist and former Guggenheim fellow, against the Beastie Boys, a rap group known for both its innovation in sampling (the use of snippets of other artists’ recordings) and for its progressive politics. Composers are nervously keeping an eye on the case, wondering what kind of precedent it will set if Manella’s ruling is upheld. At issue are complicated questions of copyright law, and whether Newton’s permission was needed for the “Choir” sample. Licensing a sample is a two-part process: Permission is needed from both the record label and the composer. The Beastie Boys licensed the sample from Newton’s record label, Munich-based ECM, but neither the company nor the group got permission from Newton. Manella’s ruling in effect said that since the sample was a recording and not a composition, his permission wasn’t needed. “The ruling in this case will have a chilling effect on musically creative artists,” says Richard Kessler, executive director of the American Music Center, a New York-based arts service organization with more than 3,000 composers in its membership. Kessler said his organization is considering joining an amicus brief with other musical organizations for the appeal. As Kessler sees it, “the idea that the judge would take a look at these six notes and determine that they are not original and didn’t warrant protection, it’s something musical artists, composers will and should fear.” ‘LEGALLY AND FAIRLY’ Says Billy Taylor, jazz pianist, composer and Kennedy Center fixture: “If I create something, whether I create it in my head or on some electronic machine, it’s just as finite as if I write it on a sheet of paper. It doesn’t matter if it’s not written down if it’s something he created, whether he whistled it or hummed it.” The sequence in question is a six-second sample of “Choir,” a 1982 recording during which Newton simultaneously sings notes while playing the flute using an overblowing technique, creating a “multiphonic” composition. The segment, which was inspired by Newton’s Southern Baptist roots, opens “Pass the Mic,” and then loops repeatedly throughout the piece. The Beastie Boys album “Check Your Head,” released in 1992, went multi-platinum. The Beastie Boys continue to perform the song in concert, and it appears on a DVD released in 2000. The Beastie Boys’ attorney, Adam Streisand, did not return a phone call requesting comment. In a prepared statement, Mike D of the Beastie Boys said: “We have dealt with this entire matter legally and fairly from day one. It’s clear by the judge’s rulings that she agreed as well. It’s unfortunate that Mr. Newton wouldn’t reason with us earlier and that it had to come to this.” Newton said that the Beastie Boys offered to compensate him for the use of his material but that the figure was “insulting.” Neither he nor his attorney, Alan Korn, would comment on the amount of the offer. A spokesperson for ECM said that the label tried to contact Newton, but the flutist had moved and the company did not have a current telephone number. The label mailed him a check, for a modest amount, the standard fee for licensing agreements, but it was returned for lack of a forwarding address. This isn’t the first time the Beastie Boys were sued for copyright infringement related to sampling, nor is it the first time that a rapper has been sued for sampling. In a 1991 landmark ruling, Biz Markie lost a court case for sampling Gilbert O’Sullivan’s 1977 hit “Alone Again (Naturally)” in his song “Alone Again.” His record “I Need A Haircut” on which the single appeared, was subsequently pulled from the shelves. “For my music to be dispelled by the court in this fashion was a very difficult pill for me to swallow,” Newton said. “It sounds racist to me,” Taylor said. “Pure English. Here’s a [judge] who’s saying if it’s not written in the old European form that I may have heard about from someone who studied Mozart,” it’s not a legitimate composition. © 2002 The Washington Post Company :sw

Maybe how are rhythm sections different today from his storied past -- are there changes in the rhythm section's general approach to what he might have expected in the late 50's early 60's. Of course individual players have different approaches, and different combinations jell in different ways no matter the era, but as Jim points out there was formerly a "proving ground" for young players learning to swing, and that was in r&b road bands (witness the recent Ray Charles bio pic). Today, that scene is dried up, so much of the early experiance is coming out of schools. Is there a different feel to that? Do you have to spend more time working on the rhythm section to get them where everything's straight?

Both of these work for me: it wouldn't take much transciption to figure out what minor scale is being alluded to; and the idea that a piece of music is "telling a story" worked for Lester Young listening to Trambauer, and understandably works for John L. listening to Ornette. The academic may be found out, but the human element as amplified by these phrases is part of the mystery of emotional response which is at the heart of listening.

Having a permanent space, and that mortgage, isn't always the berries if you want to go your own way. But if any place could support it, Chicago.

After spending some time checking out Dusty Groove and other on-line jazz resources I see you're right -- it isn't just popping up as available....I believe it was first on MPS Records..... This from Margaret Davis: "George Lewis sites 'Gittin' To Know Y'all' as the recording that presents a meeting between AACMers and Europeans. ( Hey George, what's the label and catalog number?)," you can find this on the Web at www.tomajazz.com/vsop/bowie_lester_baden.htm, written in Spanish: Lester Bowie & the Baden-Baden Free Jazz Orchestra: "Gittin' to Know Y'All," MPS LP 15269, recorded at the Baden-Baden Jazz Meeting, 12-15 December, 1969, produced by Joachim E. Berendt, as follows: CARA [sIDE] A: 1.- Gittin' To Know Y'All/Part I (Lester Bowie) 23:35 CARA B: 1.- Gittin' To Know Y'All/Part II (Lester Bowie) 8:25 THE BADEN-BADEN FREE JAZZ ORCHESTRA dirigida por [directed by] LESTER BOWIE: Trompetas: Lester Bowie, Kenny Wheeler, Hugh Steinmetz Trombones: Albert Mangelsdorf, Eje Thelin Saxo soprano: Joseph Jarman Saxo alto: Roscoe Mitchell Saxos tenores: Alan Skidmore, Heinz Sauer, Gerd Dudek, Bernt Rosengren Saxo barítono: John Surman Clarinete bajo: Willem Breuker Guitarra: Terje Rypdal Piano: Dave Burell Piano preparado: Leo Cuypers Bajos: Barre Phillips, Palle Danielsson Baterías: Steve McCall, Tony Oxley, Claude Delcloo CARA B: 2.- Ved Soerevatn (Terje Rypdal) 8:38 THE TERJE RYPDAL GROUP Joseph Jarman (flauta) Bernt Rosengren (flauta, oboe) Karin Krog (voz) Terje Rypdal (guitarra) Barre Phillips y Palle Danielsson (bajos) Steve McCall (batería) Claude Delcloo (campanas) CARA B: 3.- For My Two J.B.'s (Karin Krog) 1:06 KARIN KROG Karin Krog (voz) CARA B: 4.- May Hunting Song (Willem Breuker) 4:49 THE WILLEM BREUKER-JOHN SURMAN DUO Willem Breuker (clarinete bajo) John Surman (clarinete bajo). << >> << >< >< > > >

Man James, That's a drag. My Dad had that operation but it was for a fairly small rip so his was only one entry point. As a swimmer that's something I've avoided but probably need on my left shoulder...I don't know what I was thinking about the broadcast start time. Will that be archived?

http://timeoutchicago.com/article.jsp?xy=m...10.music.opener

Had the good fortune of seeing Rollins with Marvin Smitty Smith exploding behind him. It was one of those nights. Also heard him with just hand drums, no drummer on the set, and, though less estatic and sometimes meandering, none the less hit several brilliant passages. Rollins recent recordings with either Idris Muhammad or Jack DeJohnette are fine in the drum department. People seem to have trouble with his electric bass in the ensemble but somehow manage to leave Shirley Horn alone on that account (as it is a made up issue). Though Perry Wilson is unknown to me except through Sonny Rollins his drumming isn't embarassing. The thing is Sonny Rollins is alive and speaks clearly about his music -- that's the premise in this article I don't know about, that he isn't talkative. When I compared his approach to improvisation with Earl Hines' he was plenty talkative, but didn't gush or lose it. He's to the point. In any case if he's tired of the whole business of talking about his music now, then he certainly has racked up enough column inches over his career, reems of direct quotes and how many taped interviews? to be more interesting on the subject of his own music than anyone else. Would much rather read what HE has to say about "Did You See Harold Vick?" after reading Jim's comments on that tune than what Stanely offers here. Though I'll check out "Silver City." I guess "writers" are supposed to like that, though "G-Man" was a pick hit of the scribes since it first blew out the speakers.

What's that in the pool, algaeeee?

Yikes! Sorry Damon -- wonder who the other Damon is on Chi Improv? That attribution was on me. My bad. LV

Within the pages of Ornette Coleman at Hill Auditorium you'll find a casual review written about this band. The return of Henry Grimes and the touring of Ornette Coleman are the biggest musical stories in the music right now. P.S. I never did hear from Denardo about that encore in Ann Arbor -- when the saints come marching in, or what it was.... http://www.organissimo.org/forum/index.php...wtopic=7451&hl=

How did it go?

Writing From Europe via Chicago Improv: For those of you who may want more background information on the current state of European improvisation this is probably the most scholarly and comprehensive resource around - http://www.shef.ac.uk/~ps/efi/efhome.html Giles Thomas

So that's 5 o'clock in New York? A dinner concert! And since 'tater cuff is such a non-invasive proceedure these days you'll be slingin' it with medication and everything will be B-)

From Margaret Davis and The Braxton List: For those in the New York area, Wadada Leo Smith will play trumpet and processed sound with videographer Nicole Jaquis on the first half of a double bill with the Leroy Jenkins World Quartet (Jin Hi Kim, Rmesh Misra, Yacouba Sissoko) in New York City on the 2Oth of May at the Community Church of New York, 4O East 35th St. betw. Madison & Park Ave's starting at 8 p.m. It's an AACM New York Chapter presentation, information 212-594-7149. << >> <<> < >< > > > On Friday, April 29, 2005 at 7:30 PM, Franz Fuchs at f.fuchs@gmx.net wrote: JAZZ NOTES Creating music that's never the same twice By Bill Beuttler, Globe Correspondent | April 29, 2005 The last time the avant-garde trumpeter and composer Wadada Leo Smith performed in Boston was 17 years ago, when he played a 1988 duet set with the late, great drummer Ed Blackwell. So maybe it's fitting that his return visit tomorrow night, for a Boston Creative Music Alliance concert at the Institute of Contemporary Art, will involve only Smith and percussion as well. This time around, though, the percussion will come from the laptop computer of Ikue Mori, best known for her work with cutting-edge types such as Arto Lindsay and John Zorn. And Smith, too, will be accessing electronic effects via his horn. Opportunities to hear what they sound like together are rare. Smith and Mori have played a handful of concerts in New York, and one more apiece in Portugal and Bosnia. And Mori appears on two duet tracks on Smith's CD ''Luminous Axis," which came out in 2002 on Zorn's Tzadik label. ''It does have an electronic feel to it," says Smith, 63, by phone from his California home. ''But I would say it's much warmer than most electronic music. And it's creative, meaning that when we step on the stage we don't have a note in mind, we don't have a rhythm in mind. All we have in mind is that we're going to take this score, or we're going make a collaborative improvisation, and we go from there." More: http://makeashorterlink.com/?G24261EFA or boston.com/news/globe/living/articles/2005/04/29/creating_music_thats_ne ver_the_same_twice/

From Mike Corsa at WNUR: You might have to wait until Sunday for the AACM 40th Anniversary Concert at the MCA, but you can listen to the music of AACM artists all this week on WNUR's Jazz Show. All week long from 5am to 12:30pm the Jazz Show will be featuring recordings from AACM musicians starting in the 60s and going to the present -- about 350 different albums . . . seriously. There will also be some archived live performances and interviews. So tune in to WNUR 89.3 FM in Chicago or on the web at www.wnur.org. Call in and make requests and comments (847-866-WNUR). Also, make sure to check out the 40th Anniversary Concert at the MCA this Sunday (www.aacmchicago.org for more info.) Thanks, Mike (p.s. - for those interested in hearing the recently mentioned "Gettin' To Know Y'all" recording, it will be featured on Wednesday at 8am.)

Is the Saville Theater in Oceanside?

What Jim said. I'll join you in the celebration of the life well lived. And, by the way, Charlie Parker, Ornette Coleman AND Roscoe Mitchell....

Look at how high on the charts "Morning Dance" made it on the "Smooth Rock" radio stations when that band first broke out. That was their crowd. Commercial Easy Listening. As Johnny Griffin would say, "Callitwatchyawanna." (edit to change from "Easy Listening" to "Smooth Rock").

I think for a "regular" radio station streaming on the web if you go outside of the statutory regulations for streaming on the web the pricing is something like thirty cents a play per 100 listeners -- far higher than any standard broadcast royalty. So, we're limited by the statutory license to only play four selections by the same artist in a three hour period. If we were to play 5, that fifth play would be the one charged. This is tabulated by Sound Scan which stations report to. To get on the web, maintain our statutory license and not pay huge sums of money while still providing classic jazz programming (these rules were not made for 78 rpm length recordings) we've written record companies (copyright holders) asking for permission to operate outside of the Digital Millenium Copyright Act (yes, it isn't RIAA, it is Congress) as regards 'this material at this time' streaming on the web. Some of that is micro-managed, and some labels gave us blanket waivers. As for Pod-casts who knows, but that is a ball park on costs as they've been related to me by record companies.

Listening to that recording in the car and would never have guessed it was Goodman. Goodman had a strong sense of the blues and though his sound leaned towards Jimmy Noone's "cleaner" approach than the old New Orleans guys, hearing him play classical music was really different. Progam notes: Ingrid Jensen Concert this Saturday morning -------------------------------------------------------------------------------- Our funder ends Friday and it is back to "normal." Ingrid Jensen's Quartet with Geoff Keezer piano and rhodes, Matt Closey on bass, and John Wikan on drums as recorded on April 18th in Muskegon will be heard this Saturday morning from about 8:45 to 9:55 a.m. The performance includes a Keezer piece called "Tea and Watercolor," plus "The Night Has A Thousand Eyes," a ballad feature for Closey which is based on a standard, can you guess which one? And two numbers Ingrid wrote on her honeymoon cruise in Alaska, one of which, "Captian John," features Wikan at length. Hope you can join us. Followed by Joey Calderazzo on "Piano Jazz" at 10 a.m. And by the way, guitarist Jim Hall is the featured artist on this week's "Jazz Profiles" from NPR which airs on Blue Lake Sunday night at 10 p.m. www.bluelake.org

Looks like Ingrid Jensen's concert will air from around 8:45 a.m. to 9:55 a.m. this Saturday morning during "Jazz a la Carte." www.bluelake.org

So Sonny Greer didn't play proper swing drum styles against the pulse of Chick Webb or the fluidity of Jo Jones, but his mastery of the colors a percussionist could provide an ensemble was music to Ellington (even though he might have put up "Harlem Air Shaft" to give Greer a run at Jones). Would one condescend to, "Well, we all know Greer was at best a pit band drummer?" And yet he doesn't fit the sort of narrative attempting imposition of propriety for jazz as much as he does fit soley (soul-ly) Ellington's music. Hey, how does one dance to "Creole Love Call"? Duke wasn't such a great dance band leader when he made me pick up a fan: I want to foxtrot! Let these absurdities be words from a Dead Gator, a dicty one, but still cold in hand.

Motian advanced texture and color as primary contributions to the ensemble from the drums, and by doing so helped produce a more fluid, interactive, orchestral ensemble sound for the trio, concepts he's put forth in the rhythm sections of countless bands by now, including his Electric Bebop Band and the trio with Frisell and Lovano. The degree to which that can be counted as an advancement must be seen within the general changes jazz was undergoing in the late 50's early 60's as more traditional models for jazz performance were being scrutinized by even the leading figures in the music, not just the dedicated fringe. That Motian has all but flourished into his 70's speaks to his contribution's importance. If this were not an advancement he would have fallen off the scene from indifference.