Lazaro Vega

Was wondering if Roscoe ever shared the stage with Ornette.....might make for an interesting collaboration.....

Early in the evening you'll hear Carefree, Snurdy McGurdy, the AECO's version of Nutty, Hey Donald, Walking in the Moonlight and other "songs." Later at night we'll get into Sound, Nonaah and other major works. Hope you can join us. http://bluelake.ncats.net/

Then there's Riverside Blues (Oliver), 29th and Dearborn (Russell) and Dixieland Shuffle (Crosby) that will be coming up way late tonight, along with some Muggsy Spanier and Tommy Ladnier as they were perhaps closest to The King. Skirted Bubber Miley as we've done that comparison listening many times before.

Get a chance to hear any, Chuck? The King Oliver set with Blues Singers and Hot Bands on Frog will be heard tonight as well as the Off the Record re-issue of the Creole Jazz Band as this evening's program is on "Joe Oliver, who is still King." Never knew, until reading the liners, that Louis plays Oliver's solo from "Jazzin' Baby Blues" on "Muggles."

http://bluelake.ncats.net/

http://www.jazzinchicago.org/educates/podc...nthappa-podcast

Well, Joel, here's hoping you get some high speed in your life so you can hear Jazz From Blue Lake From time to time. Going full circle tonight by featuring Hank Jones on his 91st birthday. Haig's approach was a major attraction to Jones moving into bebop in the 40's. The last time we featured Jones the first set included music where he accompanied Coleman Hawkins, Lester Young and then Charlie Parker. Tonight I think we're going to start his recordings with James Moody and maybe touch on his recordings with Lucky Thompson and 'Trane and then go from there. LV

http://www.mlive.com/entertainment/grand-r...planned_fo.html

This came across from Charlie Kohlhase: Sent: Mon, Jul 27, 2009 11:19 pm Subject: Composer, Theoretician, Pianist George Russell Passes From: Sue Auclair, 617-522-1394 jazzwoman@earthlink.net For Immediate Release: COMPOSER, THEORETICIAN, PIANIST GEORGE RUSSELL PASSES Composer, theoretician, pianist George Russell passed away this evening, July 27, 2009 at approximately 9:10 pm from complications due to Alzheimer’s. He leaves his wife Alice Russell, his son Jock Millgardh and three grandchildren, Maya, Kalle and Max. There will be no funeral, but a memorial service will be planned in the future. Bio information: George Russell was a hugely influential, innovative figure in the evolution of modern jazz, the music's only major theorist, one of its most profound composers, and a trail blazer whose ideas have transformed and inspired some of the greatest musicians of our time. Russell was born in Cincinnati in 1923, the adopted son of a registered nurse and a chef on the B&O Railroad. He began playing drums with the Boy Scout Drum and Bugle Corps and eventually received a scholarship to Wilberforce University where he joined the Collegians, whose list of alumni include Coleman Hawkins, Benny Carter, Fletcher Henderson, Ben Webster, Cootie Williams, Ernie Wilkins and Frank Foster. But his most valuable musical education came in 1941, when, in attempting to enlist in the Marines, he was diagnosed with tuberculosis, spending 6 months in the hospital where he was taught the fundamentals of harmony from a fellow patient. From the hospital he sold his first work, "New World," to Benny Carter. He joined Benny Carter's Band, but was replaced by Max Roach; after Russell heard Roach, he decided to give up drumming. He moved to New York where he was part of a group of musicians who gathered in the basement apartment of Gil Evans. The circle included Miles Davis, Gerry Mulligan, Max Roach, Johnny Carisi and on occasion, Charlie Parker. He was commissioned to write a piece for Dizzy Gillespie's orchestra; the result was the seminal "Cubano Be/Cubano Bop" the first fusion of Afro-Cuban rhythms with jazz, premiered at Carnegie Hall in 1947 and featuring Chano Pozo. Two years later his "Bird in Igor's Yard" was recorded by Buddy DeFranco, a piece notable for its fusion of elements from Charlie Parker and Stravinsky. It was a remark made by Miles Davis when George asked him his musical aim which set Russell on the course which has been his life. Miles said he "wanted to learn all the changes." Since Miles obviously knew all the changes, Russell surmised that what he meant=2 0was he wanted to learn a new way to relate to chords. This began a quest for Russell, and again hospitalized for 16 months, he began to develop his "Lydian Chromatic Concept of Tonal Organization." First published in 1953, the Lydian Concept is credited with opening the way into modal music, as demonstrated by Miles in his seminal "Kind of Blue" recording. Using the Lydian Scale as the PRIMARY SCALE of Western music, the Lydian Chromatic Concept introduced the idea of chord/scale unity. It was the first theory to explore the vertical relationship between chords and scales, and was the only original theory to come from jazz. Throughout the 1950's and 60's, Russell continued to work on developing the Concept and leading bands under his direction. In the mid-fifties, a superb sextet, including Bill Evans and Art Farmer recorded under his direction, producing "The Jazz Workshop," an album of astonishing originality; the often dense textures and rhythms anticipated the jazz-rock movement of the 1970's. During this time, he was also working odd jobs as a counterman in a lunch spot and selling toys at Macy's at Christmas; the release of “The Jazz Workshop” put an end to Russell’s jobs outside of music. He was one of a group to be commissioned to write for the first annual Brandeis Jazz Festival in 1957--"All About Rosie" was based on an Alabama children's song. "New York, New York," with poetry by Jon Hendricks and featuring Bill Evans, Max Roach, John Coltrane, Milt Hinton, Bob Brookmeyer, Art Farmer and a Who's Who of the New York jazz scene is striking in it evocation of the New York of the late fifties. From 1960, Russell began leading his own sextets around the New York area and at festivals; he also toured throughout the Midwest and Europe with his sextet. One of the important albums of this time was "Ezz-Thetic," which featured Eric Dolphy, Don Ellis and Steve Swallow. Disillusioned by his lack of recognition and the meager work opportunities in America, he arrived in a wheel chair in Scandinavia in 1964, but returned five years later in spiritual health. In Sweden and Norway he found support for both himself and his music. All his works were recorded by radio and TV, and he was championed by Bosse Broberg, the adventurous Director of Swedish Radio, an organization with which Russell maintains a close association and admiration. While there, he heard and recorded a young Jan Garbarek, Terje Rypdal, and Jon Christensen. In 1969, he returned to the States at the request of his old friend, Gunther Schuller to teach at the newly created Jazz Department at the New England Conservatory where Schuller was President. He continued to develop the Lydian Concept and toured with his own groups. He played Carnegie Hall, the Village Vanguard, the Bottom Line, Newport, Wolftrap, The Smithsonian, Sweet Basil, the West Coast, the Southwest, and Europe with his 14 member orchestra. He continued to compose extended works which defined jazz composition. His 1985 recording, "The African Game,"one of the first in the revived Blue Note label, received 2 Grammy nominations. Russell has taught throughout the world, and has been guest conductor for Swedish, Finnish, Norwegian, Danish, German and Italian radio. In 1986, he was invited by the Contemporary Music Network of the British Council to tour with an orchestra of American and British musicians, which resulted in The International Living Time Orchestra, which has been touring and performing since that time. Among the soloists of stature are Stanton Davis, Dave Bargeron, Brad Hatfield, Steve Lodder, Tiger Okoshi, and Andy Sheppard. The musicians have developed a rare understanding of the music, astonishing audiences with fiery music both complex and challenging, but added to the dynamism and electric power of funk and rock. Russell himself is a tremendously visual leader, dancing and forming architectural structures with his hands. The Living Time Orchestra has toured all over the world. Most recent projects included a performance at the Barbican Centre in London and the Cite de la Musique in Paris, augmented with string players from the U.K. and France, the Theatre Champs-Elyse¥es for the Festival D'automne in Paris, the Glasgow International Festival, Queen20Elizabeth Hall, Tokyo Music Joy, the Library of Congress, Festivals of Umbria, Verona, Lisbon, Milano, Pori, Bath, Huddersfield, Ravenna, Catania, North Sea, and many more. Russell has received the MacArthur Foundation Fellowship, the National Endowment for the Arts American Jazz Master, been elected a Foreign Member of the Royal Swedish Academy, two Guggenheim Fellowships, the Oscar du Disque de Jazz, the Guardian Award, six NEA Music Fellowships, the American Music Award, and numerous others.

Great photos: http://www.forthemusiconly.com/?page_id=17...l&gallery=4

Our web signal now streams at 128 kbs from http://bluelake.ncats.net/ Pianist Al Haig's music will be heard tonight on Jazz From Blue Lake, with the focus on his own recordings from the 1950's and 1970's. JFBL airs tonight from 10 p.m. to 12 a.m. Tomorrow," The Art History Lesson" triple CD set is the primary focus of a five hour retrospective program on alto saxophonist Art Pepper. 10 p.m. to 3 a.m. edt. Hope you can join us on the web in "better" sound. Lazaro Vega

Sunnyside just released a CD featuring pianist Dan Tepfer and Lee in "a series of short pieces, one for every key." Improvised music, plus "Trees" and a free piece that meanders into "The Last Time I Saw Paris." The Cd is called "Duos with Lee."

Yup, and on Gil Evans "Las Vegas Tango" from "The Individualism of Gil Evans." Opted for Bushell's oboe playing on "India" from the complete Live at the Village Vanguard with 'Trane on tonight's program. Read that Bushell was a teacher of George Braith. Thanks again for the information on the Dunn sides.

Thanks Niko, and Jazz Train. Those Johnny Dunn records look worthwhile. Have you heard them? Any chance anyone out there has ever owned or heard Garvin Bushell's own record date from 1944? Looking at a session with Louis Bacon on trumpet, and Wellman Braud on bass, amonst others, and said in this discography to be on "Album No Record No. A-1". White Sands, Don't Ever Leave Me, Hold Back the Dawn and The Stars Looked Down on the titles.....

With the issue of "One Steady Roll" by Garvin Bushell on Delmark Records Blue Lake is broadcasting a retrospective on Bushell's music tonight after 10 on Jazz From Blue Lake. Many sources list Bushell as appearing with Jelly Roll Morton's Red Hot Peppers, though Jelly Roll's Centennial Collection on RCA doesn't list him anywhere, and the discography I'm using has one Carmelo Jari in the places listed as "unidentified" clarinet on the RCA set. Anyone know about Bushell recording with Jelly Roll? We're going to do our best tonight though I don't have, by any means, everything...including the Johnny Dunn sides with Bushell, nor some of the Clarence Williams music, nor Wild Bill Davison or Wilbur DeParis. We'll feature the DeParis Atlantic recordings tomorrow, however, when the program focuses on Omer Simeon. Though Bushell is on "The Big Reunion" with the Fletcher Henderson All Stars he doesn't solo once. Looking forward to buying his autobiography soon. Lazaro

Been very gratefully programming Remembering Weather Report all week. The idea of an equal whole, where musical roles are shared co-equally, is heartening to hear performed at this level. Cleaver and Vitous set up some swinging grooves on Universal Syncopations, the previous recording. Gerald's been happening for a long time now. Need to pick up his solo cd on, was it?, Criss Cross?

Just heard from my local 4 walls bookstore that the Navarro biography is late getting to the printer -- maybe a week from now? -- and should be out a little later than first anticipated.

1957, Count Basie at Newport (Verve): Roy and Illinois Jacquet are featured on "One O'Clock Jump."

The Day the Lady Died By Frank O’Hara It is 12:20 in New York a Friday three days after Bastille Day, yes it is 1959, and I go get a shoeshine because I will get off the 4:19 in East Hampton at 7:15 and then go straight to dinner and I don't know the people who will feed me I walk up the muggy street beginning to sun and have a hamburger and a malted and buy an ugly NEW WORLD WRITING to see what the poets in Ghana are doing these days I go on to the bank and Miss Stillwagon (first name Linda I once heard) doesn't even look up my balance for once in her life and in the GOLDEN GRIFFIN I get a little Verlaine for Patsy with drawings by Bonnard although I do think of Hesiod, trans. Richmond Lattimore or Brendan Behan's new play or Le Balcon or Les Nègres of Genet, but I don't, I stick with Verlaine after practically going to sleep with quandariness and for Mike I just stroll into the PARK LANE Liquor Store and ask for a bottle of Strega, and then I go back where I came from to 6th Avenue and the tobacconist in the Ziegfeld Theatere and casually ask for a carton of Gauloises and a carton of Picayunes, and a NEW YORK POST with her face on it and I am sweating a lot by now and thinking of leaning on the john door in the 5 SPOT while she whispered a song along the keyboard to Mal Waldron and everyone and I stopped breathing.

Ornette Coleman and friends Royal Festival Hall, London • * • John Fordham* • The Guardian, Tuesday 23 June 2009 Long after the last note, the crowd was still in the hall. Ornette Coleman's final gig, at the Meltdown festival he curated and played at, was carried off with typically wayward flair. His 50-year career has been stuffed with controversies, breakthroughs and accolades, but the 79-year-old sax improviser and composer seemed to sense something special was happening as he moved gingerly along the front of the stage, shaking the outstretched hands of people surging toward him. But then the music Coleman and his guests have been playing at Meltdown has been a revelation: vivid, witty, open and passionate. Coleman and his core band (his son Denardo on drums, Al MacDowell and Tony Falanga on electric and acoustic basses respectively) played Friday and Sunday, after ecstatic opening sets by the polyrhythmic dances of Morocco's Master Musicians of Jajouka. Guitarist Bill Frisell joined Friday's show not as a soloist but as a Coleman collaborator, and quickly became enmeshed in the churning rhythms. Sometimes the sound harmonised, sometimes it veered apart as Coleman blew that great particle collider he calls a saxophone. Patti Smith arrived to fire some edgy spontaneous poetry over Denardo's tramping, elemental drumming and his father's wailing instrument. On both nights, Falanga elegantly unfurled Bach's Cello Suite No 1 as Coleman, playing viola, brought to it a clamour of dissonant improv. The Rite of Spring opening, meanwhile, respectfully mirrored by Coleman's haunting sax line (and by Baaba Maal's soaring voice on Sunday), swelled into the band's own personal rite as a funk pulse grew. Coleman's classic Turnaround, a mix of mournful blues figures and spine-tingling long-note cries, preceded Red Hot Chili Peppers bassist Flea, who guested to make the group even more thunderously funky, particularly on the leader's trance-melody classic, Dancing in Your Head. But the encore trumped even that. Bassist Charlie Haden joined Coleman and Denardo's hushed cymbal pulse to play the saxophonist's yearning Lonely Woman, one of the most beautiful of all jazz ballads, first as a lament, then as a piece of absorbingly graceful, though sometimes tentative, swing. The ensuing crowd eruption wasn't just for an extraordinary show - it was for 50 years of Coleman as well.

ARTS / MUSIC | June 25, 2009 Music Review | Diana Krall: The Voice Is Dark and the Emphasis Mysterious By STEPHEN HOLDEN A subdued Diana Krall held forth on Tuesday at Carnegie Hall, where she gave the first of two concerts with a 41-piece orchestra, augmented by a jazz trio. http://www.nytimes.com/2009/06/25/arts/mus...l.html?emc=eta1

http://www.mlive.com/news/muskegon/index.s...roup_groun.html

The Cooper/Hay/VanLente Group did a nice tribute to Freddie Hubbard with his old friend Sweet Willie Singleton as guest trumpeter. This program will re-broadcast Saturday morning from about 8:30 a.m. to 9:55 a.m. Hope you can wake up to "Live From Blue Lake" this week if you missed the original broadcast. Lazaro

Promo copy of the CD for Blue Lake Public Radio.

http://www.jazzonthetube.com/