Lazaro Vega

http://www.guernseys.com/Auctions/Jazz/Featured.html

Throughout much of the 1980's Larry Nozero was the music director at Mackinaw Island, too.

Was it on? I'm at work and was just wondering.....

Heard about it through Tony Gasperre (sp) at the Jazz Programmer's list (for radio programmers). He runs the Jazz Week chart you see on the front of AAJ and is putting together television listings. As part of his request for information on where to find jazz on t.v. (anyone?) he included this listing.

You think the nasties here are bad, Branford Marsalis just shut down his forum do to "childish bullshit." It was out of hand, rounding the bend towards Penthouse Forum. Sockpuppets are dangerous mouthy creatures better left un-eaten; cooked or raw they're unpalatable. p.s. I think Wardell Gray's "Easy Swing" is Bird's "Steeplechase" but I'm waiting for some help on that one.....

The Jazz Record Mart in Chicago is mecca (so's their web site). Or there's always Chuck's basement!

Cecil Brooks III Big Band Cecil's Big Band, led by Joe Elefante, will be featured on ABC's Nightline this Friday, Feb. 18th, at 11:30 PM EST.

Yeah, I guess Ruffin is there to provide a "smooth jazz" or "fusion" perspective and that, ultimately, is forced. We've been broadcasting this Sunday evenings from 6 to 8 p.m. since the start of the year. Public Radio International blew it with the local stations -- they wouldn't let us buy anything a la carte -- so Minnesota Public Radio pulled out of the deal, taking "A Prarie Home Companion" with them. Well, not only that, but many fine classical programs. So we had to ditch Jim Wilke's "Jazz After Hours" and "Riverwalk" (on the jazz side of things) and picked up "Listen Here," "Jazz Profiles" and for the overnights "Jazz with Bob Parlocha." Wilke is far better, especially as his program is live, but the expense is just way too much for overnight jazz. p.s. You ARE a freeyake!

http://www.grammy.com/features/2005/0216_v...e-vanguard.aspx

Neil Tesser really takes the LCJO version of "A Love Supreme" to task....

A band is playing at the lavish wedding reception for a Mafia member's daughter. A tough looking guy walks up to the band leader and says, "My cousin Angelo wants that you should play 'Come Rain or Come Shine'.....and if I was you, I'd play both."

p.s. Kalaparush has a new release on C.I.M.P. records called Kalaparush M. McIntyre & The Light meet Adam Lane -- Paths to Glory. Includes a couple of duets with K and bassist Lane, among them "Confirmation."

10 p.m. Jazz From Blue Lake Theme: Bennie Green, "Blow Your Horn" Air -- I'll Be Right Here Waiting -- Air Time (Nessa) Flute Force Four -- T. B. A. -- Flutistry (Soul Note) Henry Threadgill -- Platinum Inside Straight -- Every Mouth's A Book (PI) Air -- King Porter Stomp -- Air Lore (Novus) Jazz Datebook -- concert info Madelin Peyroux -- Weary Blues -- Careless Love (Rounder) Preservation Hall Jazz Band -- Eh La Bas -- Sampler (Pres Hall) Louis Armstrong -- St. James Infirmary -- BBC Louis Armstrong -- Lazy River -- Volume 7 (Columbia) Claude Hopkins -- Memphis Blues -- Grand Piano (Sackville) David Fathead Newman -- Deed I Do -- I Remember Brother Ray (High Note) Kevin Mahogany -- Don't Get Around Much Anymore -- Big Band (Mahaogany) 11 p.m. Henry Threadgill's Zooid -- Look -- Up Popped Two Lips (PI) Henry Threadgill Sextet -- When Was That? -- When Was That? (About Time) David Murray Octet -- Dewey's Circle -- Ming (Black Saint) Jazz Datebook Ravi Coltrane -- Dear Alice -- In Flux (Savoy) Kenny Wheeler/John Taylor -- For Tracy -- Where Do We Go From Here? (Sunnyside) Pierre Dorge New Jungle Orchestra -- Body and Soul -- Dancing Cheek to Cheek (Stunt) Jimmy Smith -- Blue Moon -- The Sounds of Jimmy Smith 12 midnight (Out On Blue Lake) Air -- No. 2 -- Air Time (Nessa) Reading from Larry Kart's "Jazz In Search of Itself," page 192 Roscoe Mitchell -- The Maze -- L-R-G/The Maze/S II Examples (Nessa) ....and so it goes...out on blue lake ends at 1 a.m....jazz from blue lake continues until 3 a.m...... Lazaro Vega, Jazz Director Blue Lake Public Radio 300 E. Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3 / WBLU FM 88.9 www.bluelake.org radio@bluelake.org (231) 894-5656

Thanks Ghost -- I'm pushing hard to have us on the net by then....

New version of "Accentuate" by Al Jarreau..."Blues in the Night" by Woody Herman, Mel Torme with Buddy Rich and perhaps best of all by Hot Lips Page with Artie Shaw....For "Get Happy" there's Coleman Hawkins from "Bean Bags" or the Red Norvo's Fabulous Jam Session with Bird and Diz...perhaps....Love Ray Charles singing "Come Rain for Come Shine." Trane doing "My Shining Hour." .....Harold Arlen said his favorite was "Last Night When We Were Young"...heard that on the radio today....Tony Bennet with Stan Getz do justice to "Out of This World," though the mac daddy "Out of This World" belongs to Coltrane....

Favorite compositions of his as played by jazz musicians? Chuck, any chance of you sharing your Art Pepper "Over the Rainbow" story?

Friday, March 4th through Saturday, March 19th, 'O5: Henry Grimes & Marshall Allen SPACESHIP ON THE HIGHWAY ! a road tour of the northeastern U.S. << >< > < > <> < > <> < >> > < > Contact: Margaret Davis, (212) 841-O899, musicmargaret@earthlink.net << >> <> < >< > <> < >< > <> > Friday, March 4th: Henry Grimes & Marshall Allen, An Die Musik, 4O9 North Charles St., 2nd floor, Baltimore, Maryland, sets at 8 & 1O p.m., 888-221-617O, www.andiemusiklive.com, furmuda1@yahoo.com. Sunday, March 6th: Henry Grimes & Marshall Allen, Brew House (not a brewery, but the former Duquesne Brewery, now an art gallery, performance space, and lofts), 21OO Mary St. at 21st St. across from UPMC Hospital, South Side Flats, Pittsburgh, PA, 412-381-7767, one set at 9 p.m. Look for the big clock; enter through Space 101 Gallery on 21st. Tuesday, March 8th: Henry Grimes & Marshall Allen, radio broadcast with Lazaro Vega over WBLV-FM, 9O.3 / WBLU-FM, 89.9, Blue Lake Public Radio, Twin Lake, Michigan, 1O-11 p.m. 231-894-5656, ext. 1O4, www.bluelake.org, radio@bluelake.org. Wednesday, March 9th: Henry Grimes & Marshall Allen, Young Soul Rebel Records / CPOP Gallery, 416O Woodward Ave., Detroit, Michigan, 313-833-99O1, 313-832-2OO1, www.CPOP.com, PFrisco@hotmail.com. Friday & Saturday, March 11th & 12th: the Henry Grimes Quartet featuring Marshall Allen, Fred Anderson, & Avreeayl Ra, HotHouse, 31 East Balbo Ave., Chicago, IL, one set at 9:3O p.m. each night, 312-362-97O7, www.hothouse.net, www.hothouse.net/calendar/genre/jazz.jsp#667. Tuesday, March 15th: Henry Grimes & Marshall Allen, Passport Project's Global Community Arts Center, 128O1-3 Buckeye Rd., Cleveland, Ohio, workshop at 4 p.m., concert at 8:3O, 216-721-1O55, http://passportproject.org/goingsOn.php, chloe@passportproject.org. Thursday, March 17th: Henry Grimes & Marshall Allen, Rosewood Theater, 218 Walnut St., Morgantown, WV, 3O4-292-8999, www.rosewoodtheatre.com, Gary@rosewoodtheatre.com. Friday, March 18th: Henry Grimes & Marshall Allen, Slought Foundation, 4017 Walnut Street, Philadelphia, PA, 8 p.m., 215-222-9O5O, http://slought.org/content/11282, info@slought.org, markc@slought.org. Saturday, March 19th: Henry Grimes & Marshall Allen, Vision Series, Clemente Soto Velez Center, 1O7 Suffolk St. betw. Rivington & Delancey (2 blocks east of Tonic), New York City, one set at 1O p.m. , 212-26O-4O8O, http://csvcenter.com/2005, www.visionfestival.org, info@visionfestival.org.

Friday, March 4th through Saturday, March 19th, 'O5: Henry Grimes & Marshall Allen SPACESHIP ON THE HIGHWAY ! a road tour of the northeastern U.S. << >< > < > <> < > <> < >> > < > Contact: Margaret Davis, (212) 841-O899, musicmargaret@earthlink.net << >> <> < >< > <> < >< > <> > Friday, March 4th: Henry Grimes & Marshall Allen, An Die Musik, 4O9 North Charles St., 2nd floor, Baltimore, Maryland, sets at 8 & 1O p.m., 888-221-617O, www.andiemusiklive.com, furmuda1@yahoo.com. Sunday, March 6th: Henry Grimes & Marshall Allen, Brew House (not a brewery, but the former Duquesne Brewery, now an art gallery, performance space, and lofts), 21OO Mary St. at 21st St. across from UPMC Hospital, South Side Flats, Pittsburgh, PA, 412-381-7767, one set at 9 p.m. Look for the big clock; enter through Space 101 Gallery on 21st. Tuesday, March 8th: Henry Grimes & Marshall Allen, radio broadcast with Lazaro Vega over WBLV-FM, 9O.3 / WBLU-FM, 89.9, Blue Lake Public Radio, Twin Lake, Michigan, 1O-11 p.m. 231-894-5656, ext. 1O4, www.bluelake.org, radio@bluelake.org. Wednesday, March 9th: Henry Grimes & Marshall Allen, Young Soul Rebel Records / CPOP Gallery, 416O Woodward Ave., Detroit, Michigan, 313-833-99O1, 313-832-2OO1, www.CPOP.com, PFrisco@hotmail.com. Friday & Saturday, March 11th & 12th: the Henry Grimes Quartet featuring Marshall Allen, Fred Anderson, & Avreeayl Ra, HotHouse, 31 East Balbo Ave., Chicago, IL, one set at 9:3O p.m. each night, 312-362-97O7, www.hothouse.net, www.hothouse.net/calendar/genre/jazz.jsp#667. Tuesday, March 15th: Henry Grimes & Marshall Allen, Passport Project's Global Community Arts Center, 128O1-3 Buckeye Rd., Cleveland, Ohio, workshop at 4 p.m., concert at 8:3O, 216-721-1O55, http://passportproject.org/goingsOn.php, chloe@passportproject.org. Thursday, March 17th: Henry Grimes & Marshall Allen, Rosewood Theater, 218 Walnut St., Morgantown, WV, 3O4-292-8999, www.rosewoodtheatre.com, Gary@rosewoodtheatre.com. Friday, March 18th: Henry Grimes & Marshall Allen, Slought Foundation, 4017 Walnut Street, Philadelphia, PA, 8 p.m., 215-222-9O5O, http://slought.org/content/11282, info@slought.org, markc@slought.org. Saturday, March 19th: Henry Grimes & Marshall Allen, Vision Series, Clemente Soto Velez Center, 1O7 Suffolk St. betw. Rivington & Delancey (2 blocks east of Tonic), New York City, one set at 1O p.m. , 212-26O-4O8O, http://csvcenter.com/2005, www.visionfestival.org, info@visionfestival.org. O U T O F T H I S W O R L D !! Master bassist HENRY GRIMES, missing from the music world since the late '6O's, has made an unprecedented comeback after receiving the gift of a bass (a green one called Olive Oil!) from William Parker in December, 'O2 to replace the instrument Henry had been forced to give up some 3O years earlier. Between the mid-'5O's and the mid-'6O's, the Philadelphia-born, Juilliard-educated Henry Grimes played brilliantly on some 5O albums 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 ... and then one day, for reasons largely related to troubles in the music world at the time, he disappeared. Many years passed with nothing heard from him, yet after a short while with his new bass, he emerged to begin working with Bobby Bradford, Nels and Alex Cline, Joseph Jarman, and others at the World Stage, the Howling Monk, the Jazz Bakery, and Schindler House in the Los Angeles area. On his triumphant return to New York City in May, 'O3, Henry Grimes played as special guest on two nights of the six-night Vision Festival, gave live concerts and lengthy interviews on the air daily during a five-day WKCR Henry Grimes Radio Festival, and offered a bass clinic before 5O New York-area bassists who haven't stopped talking about him since. He followed this with three virtually sold-out nights at Iridium in New York City leading his own band. These days, Henry Grimes lives, works, and teaches in New York City and has been working almost exclusively as a leader with Fred Anderson, Rob Brown, Roy Campbell, Jr., Daniel Carter, Marilyn Crispell, Andrew Cyrille, Hamid Drake, Charles Gayle, Jane Getz, Edward "Kidd" Jordan, Sabir Mateen, Bennie Maupin, Jemeel Moondoc, David Murray, William Parker, Marc Ribot, and many more. He has toured Austria, Belgium, Canada, Finland, France, Holland, Italy, Slovenia, Sweden, Switzerland, and the U.S. in 'O3 and 'O4, with more to follow. To the astonishment and joy of all, he's playing at the very height of his artistic powers (or indeed anyone's), just as though he'd never stopped at all! The recipient of a "Meet the Composer" award in 'O3, Henry was designated "Musician of the Year" by "All About Jazz/ New York" in 'O4. Still in his sixties, he's healthy and strong, and his gentle, humble bearing and courageous life story have inspired all those privileged to know him, hear him, play music with him. For further information: www.HenryGrimes.com, MusicMargaret@earthlink.net. MARSHALL BELFORD ALLEN, alto saxophonist, multi-instrumentalist, composer, bandleader, arranger, was born May 25, 1924 in Louisville and started clarinet lessons at age 1O. During the mid-'5O's, Marshall met Sun Ra and became a student of his precepts. After joining the Sun Ra Arkestra in 1958, Marshall Allen led Sun Ra's formidable reed section for over 4O years (a role akin to the position of Johnny Hodges in the Duke Ellington orchestra). Marshall Allen lived, rehearsed, toured and recorded with Sun Ra almost exclusively for most of his musical career. As a featured soloist with the Arkestra, Marshall pioneered the avante-garde jazz movement of the early '6O's, expanding a style rooted in Johnny Hodges and Don Byas, and influencing all leading avante-garde saxophonists thereafter. Marshall Allen is featured on over 2OO Sun Ra releases, as well as appearing as special guest soloist in concert and on recordings with such diverse groups as NRBQ, Phish, Sonic Youth, Diggable Planets, Terry Adams, and Medeski, Martin & Wood. Perhaps most significantly, Marshall Allen assumed the helm of the Sun Ra Arkestra in 1995 after the ascension of Sun Ra in 1993 and John Gilmore in 1995. Maestro Allen continues to reside at the Sun Ra residence in Philadelphia, composing, writing and arranging for the Arkestra much like his mentor, totally committed to a life of discipline centered on the study, research, and further development of Sun Ra's musical precepts. He maintains the Sun Ra residence as a living museum dedicated to the compilation, restoration and preservation of Sun Ra's music, memorabilia, and artifacts. He is also writing fresh arrangements of Sun Ra's music, as well as composing new music for the Arkestra. He works unceasingly to keep the big-band tradition alive, reworking arrangements of the music of Fletcher Henderson and Jimmie Lunceford for the Arkestra to play, along with many other American standards. For further information: www.thesunraarkestra.com. For high-res photos, interviews, press seats, CD's, bookings, or more information: Margaret Davis Henry Grimes's partner (& manager) www.HenryGrimes.com, www.jazznewyork.org, musicmargaret@earthlink.net, Voicemail (212) 841-O899. Please note: There will be no recording or filming at any Henry Grimes concert without written permission in advance. Photos by Giovanni Piesco, GPiesco@sbk.nl

7:30pm. The performance is free and open to the public. Friday, March 4 -- 7:30pm Schuler Books and Music 2660 28th Street Grand Rapids, Michigan (616) 942-9660 Kalaparush and The Light will also perform live on Blue Lake Public Radio, WBLV FM 90.3/WBLU FM 88.9, on Thursday, March 3rd at 10 p.m. in a program hosted by Lazaro Vega. Blue Lake serves all of Western Lower Michigan from the campus of Blue Lake Fine Arts Camp, the international summer school for the arts (www.bluelake.org). Kalaparush was a founding member of Chicago's AACM (Association for the Advancement of Creative Musicians) music collective. Often described as soulful and lyrical, Kalaparush's playing has been topic for nearly forty years since his historical appearance on Roscoe Mitchell's 1966 album, "Sound," the AACM's debut recording. The Brooklyn based Kalaparush and The Light recorded their latest album, "Morning Song" (Delmark 553) while in town for their appearance at the 2003 Chicago Jazz Festival. The 2004 Penguin Guide to Jazz recently awarded the album 4-stars and declared, "...marvelous...a set in which blues, bebop, raw field shouts and more classical forms all seem to have contributed to an extraordinary musical alloy." Kalaparush & The Light is Kalaparush Maurice McIntyre (tenor saxophone), Jesse Dulman (tuba), Ravish Momin (drums, percussion). Neither of Kalaparush's cohorts was yet born when Kalaparush was making history in the mid 1960s -- Momin born in 1973 and Dulman in 1981. # # # #

http://www.listenhereradio.com/show.html

Amen to that. Jim your Feb. 13, 1:44 p.m. post is excellent. The group most largely impacted by Wynton's mission are students and beginners. The Lincoln Center Band sells out concert halls all over the world with huge student audiences. Some of the audiences in Europe, as seen in video clips on WM's web site, look like soccer crowds (Marciac, esp). He arrived at a moment when jazz was passing from a living musical expression to by and large an institutionalized art form, and much of that institutionalization is occurring in the ill defined but prevalent 'jazz in schools' movement, and that's more North Texas than 'Bama State Collegians. We live in the age of competence on your instrument but where are the bands? Where's the evolution of ideas within those bands? There are handfuls now where there was once abundance. Much of the attention is focused on transcription -- as people who come to Wynton's defense will call you out on that first, like being able to WRITE IT DOWN LIKE CLASSICAL MUSIC proves some higher value -- but what is being learned by transcription? That technique for study has been around since recordings. It just seems that today's listener or student will write out a solo and that's enough. They've learned the solo, but they haven't learned what it is communicating, or don't think to consider it in that fashion, i.e. the music part. Remember that Ellington tune from one of his small band sides in the 50's, "Where's the Music"? It wasn't on paper, and it was barely even a sketch, but there it was: The Ellington Effect, again. Different world, different scene. And by the way I think Larry Kart does a great job of comparing the short comings of Wynton's writing as compared to Duke's (and who doesn't fall short of THAT mark?) in his book Jazz In Search of Itself in case there are any out there who need that sort of specificity in order to feel someone has the right to disagree.

The only logical retort to the "LEE'S DEAD, & FREDDIE DON'T PLAY NO MORE!" line that would even sink in is, "So are Louis and Duke." The rejoineder, of course, will be something about timelessness. Hard to say Lee or Freddie aren't timeless. Wading into this if only you want to be heard by the person speaking in the first place. It is interesting that Branford will lay this style over substance issue at the feet of the cult of "Giant Steps" worshipppers, young musicians he sees as jazz geeks, who are mainly the result of the turn from jazz as a way of life to jazz as a "major" in school. (Not that I'm speaking for him, just read his thoughts on it quite a bit at his forum). The anthropological influences on many of the early modernists is perhaps one reason why their period of imitation and assimilation of the language of jazz was, well not "shorter," but happened at an earlier age -- Kenny Dorham at 20 was not that different than Kenny at 30 in terms of the identity Jim is speaking of -- his personality as a player. Same with Miles, Diz, Rollins....Yes, they changed, but they seemed to be aware of themselves as musicians sooner than the current set. It is George Lewis who equates Lincoln Center appearing in the world of jazz with Wal Mart appearing in a city of mom and pop stores.

And don't forget, The U.S. Constitution was a Christian Document. NOT!!!!

http://www.thestar.com/NASApp/cs/ContentSe...id=970599119419

The "back to basics" description was held out for blues and gospel as those root forms found their way into modern jazz of that era...Smith, in other words, helped define "hard bop" as players began to get away from the headier aspects that bop had wandered off into and tried to reconnect with the listener's heart, or ass, as the case me be. But because the back to basics aspect was there does not mean it was mutually exclusive to bop. It was based on bop.