Lazaro Vega

This one, Jim: http://www.concordmusicgroup.com/albums/Th...intet-Sessions/ http://www.amazon.com/Legendary-Prestige-Q...s/dp/B000F5GNXS And Jim you're right about the Jam Session track.

(From the L.A. Times) Here, There and Everywhere: The Times October 27, 2008 - irom By Don Heckman When I attended the Thelonious Monk Jazz Competition events this past weekend, I ran into many friends from the jazz community. Since the Competition is an international event, there were folks from L.A., as well as many other parts of the coutnry and the world. Every one asked me about the diminishing presence of jazz coverage in the Los Angeles Times. Knowing that I have been covering jazz, and other musics, at the paper for more than twenty years - as the principal jazz critic and jazz writer since Leonard Feather died in 1994 - they all expressed concern about whether they would continue to read my commentaries in the LAT. Today I've received a flurry of emails, as well as copies of letters sent to the Times expressing concern over the cutback in jazz coverage. Some have distorted or misunderstood the situation, as I discussed it with my friends and colleagues at the Monk gathering. So I thought it would be useful to simply explain what I know about it. The reduction in jazz coverage at the Times actually began 7 or 8 years ago when jazz was moved into the Pop Music area. Prior to that I frequently did three or four reviews a week, as well as a Sunday record review column and a Friday Jazz column. Under Pop Music, the coverage was reduced to two reviews a week, the Sundy jazz record review section to once a month, and the Friday column was discontinued. Several months ago, a new editor took over the reins of the pop music department from the acting editor. I was told, almost immediately, by her that jazz reviews would be reduced in number, and would essentially have to be pitched to her for approval That represented an immediate and significant change, since - as one who is deeply aware of developments in jazz, here and elsewhere - I had generally done my own scheduling of reviews, with oversight from the acting editor. In addition, the Sunday jazz record review spotlight disappeared. In scheduling my reviews - of both live concerts and recordings - I tried to balance the major name programs with as much coverage as possible for the Southland's huge array of world class jazz talent. That approach became virtually impossible when the reviews were cut back to one a week. Within a month or two, they were cut to one every ten days. After that it became a matter of submitting events I thought were important, and hoping that coverage would be permitted. It usually wasn't. About two or more months ago, I was advised by that the free lance budget for Pop had run out for the year, and that I should contact my editor in late December to consider what could be covered when the new budget came into effect in January. Basically that meant that I could do no reviews for the last 3 1/2 months of the year. Let me add a little background here. Despite my 22 years and over 5,000 bylined reviews, articles and stories in the LA Times, I am still nominally a free-lancer, since I've always refused offers to go on staff. What this means, of course, is that - if there is no free-lance budget - a staff writer could be assigned to cover jazz reviews, despite the fact that there is no one on the staff who is qualified to do so. Starting about a month ago, I began emailing my editor, pointing out that - if there if only one jazz event could be covered before the end of the year, it should be the Monk Competition event at the Kodak this past weekend. My request was refused several times. I informed the Monk folks of the situation, and they began to contact my editor to urge coverage. Eventually, she apparently agreed to do so, assigning a staff writer to do the review. It will appear in the paper tomorrow. It may well be that the letters that are being sent to the LAT, expressing concern about the reduction of jazz coverage, will be responded to with some minimal coverage of jazz by staff writers with little knowledge of the music. And tomorrow's review of the Monk event will no doubt be cited as evidence of the paper's continuing interest in jazz. This, despite the fact that it will be the first jazz review in the paper since August 1. But I can only wonder why the Music department seems to have a budget to employ a free-lance reviewer one or two times a week to write about European classical music, while similar funds cannot be allocated to the Pop department to allow me to continue the coverage - however modest in numbers it may have to be - that jazz needs and deserves. I have no inside source of information at the paper, although it's apparent to everyone that the problems seem to be multiplying rather than diminishing. My real concern is for the knowledgable representation of the music that is America's greatest cultural achievement. --

A package of CD arrived yesterday from Acrobat Music including the Miles Davis Sextet in various versions broadcasting from Birdland, The Spotlight in Washington D.C. and The Cafe Bohemia. The info isn't up at the web site yet. But this one was part of the package, too: Brubeck live at Basin Street, NYC, and The Blue Note in Chicago: http://www.acrobatmusic.net/?cid=5&AlbumId=535

That was a typo: Naked City.

Right. Sorry -- thought I'd heard something in the stacks here, though Spy vs Spy is Tim Berne, and Sanborn is not on Naked Lunch, which I was thinking he was. Nor Mickey Spilaine. The point is, though, that they worked together, not something I could see Najee doing (the Naj can play with organ trios, but I don't see him taking it out). If someone wants to say there's more to David Sanborn than money grabbing, that he's a more substaintial musician than some of the weaker records he's issued, it wouldn't lead me to torpedo the magazine that said it. Plenty of better examples, I suppose.

I don't agree with this writer about David Sanborn. Haven't read the pieces he flambes, but if they contend that David Sanborn is the real deal I'd agree with that. And Sanborn has made some records I'm not real keen on, and others, even in the pop vien, which are a gas. Sanborn isn't a purely jazz saxophonist, but he's a damn good saxophonist. He's not a great improvisor but he has a great sound and can hit a groove. His ability to play the blues has always been part of his approach so the new CD dedicated to Hank Crawford isn't some weazle money grab but a return to roots and, seems to me, a sincere tribute. Then there's the records he made with Zorn. Having had the pleasure of interviewing Sanborn, despite what I might think of some of his Warner Brothers mid-1980's disco influenced records, there's no doubt he's a musician first, "commodity" second.

(Forwarded message:) Dear Los Angeles Jazz Community, I just learned from a dear friend in our Los Angeles Jazz community that our local newspaper, the Los Angeles Times, quietly ended jazz coverage from the pages of its entertainment section, Calendar, as part of recent "budget cuts." That means no more reviews, previews, feature stories, or even listings of shows/events. I grew up reading the Times at home and when I moved, faithfully resubscribed to it in my own abode. However, I'm not sure that I - in good conscience - could continue supporting a publication that turns its back on my first favorite music... Los Angeles is a city too rich in jazz history and people still contributing to the artform for this music to be cut off from coverage in our major city paper. If you feel as strongly as I do that we - as afficionados, educators and/or creators of jazz music - should have representation in our city's major news publication, the Los Angeles Times, please make your voice heard by writing a polite but passionate piece to Editor Russ Stanton at the address below: russ.stanton@latimes.com Thank you for your urgent concern and consideration. - A. Scott Galloway Music Editor asgbeat@ca.rr.com Urban Network

Love "Creative Orchestra Music," though the mix on the first track is a bit darker than the LP. The symphonic work is a bit much. As Chuck knows, Maestro Murray Gross was the music director of the West Shore Symphony Orchestra in Muskegon for many years (he's one of the conductors on the A.B. opus) who I believe is now in Adrian, Michigan, with their symphony. The work would have benefited from more rehearsal time, perhaps, and as Larry mentioned the ability to discern the different symphonies. With Surround Sound technology what it is now it would good to hear A.B. try this major work again.

Am-mer-i-ka Ammer-i-ka God mend thine every flaw.....

What about the Sun Ra version of Batman?

Jason sent along some you tube links of Braxton: http://www.youtube.com/user/mosaicrecords from: > Jason Guthartz >

You mean the pieces with Bill Dixon that have come out? Yes, they're powerful.

It's back on eMusic again, but it's filed under "Andrew & Chico Hamilton Hill". With an extra track that wasn't there before. The bonus track, Composition B, is also on the new CD issue.

Typo fixed! I like that long free piece in the middle. Yet what's really getting my attention is another one of those Ornette Coleman un-recorded compositions taught to pianist Joachim Kuhn (who's now recorded a handful of them) that came to Stenson via a French bassist and is recorded here as "A Fixed Goal." New Ornette!

It's just been announced that Jim Hall is having emergency back surgery and will not be appearing in Grand Rapids on October 7th as planned. Russell Malone will appear to play duets with Bill Frisell. Hall had been laid up for 9 weeks in the hospital already this year following back surgery -- fractured disc. He'd been up and about using a cane but was on the mend more than fully functioning. Hope he gets better soon.

You are invited to attend the Third Annual Chicago Calling Arts Festival! CCAF3 takes place October 1-12, 2008, featuring Chicago-based artists collaborating in performances and projects with artists living in other locations -- both here in the U.S. and abroad. These collaborations will be prepared or improvised, and some performances will involve live feeds between Chicago and elsewhere. Among the scheduled projects are: a Chicago-based musician/composer collaborating with a composer from the Philippines, Chicago-based poets connecting over the radio with poets from Hawaii, and a Chicago-based musician collaborating with a British visual artist. Venues for CCAF3 will include Elastic Sound & Vision Gallery, The Velvet Lounge, Black Rock Pub & Kitchen, Heaven Gallery, Little Black Pearl Art & Design Center, WNUR (Northwestern University), Peter Jones Gallery, 32nd&Urban Gallery, AV-aerie, Café Mestizo, and other locations. http://www.chicagocalling.org From: Daniel Godston dgodston@sbcglobal.net

Thanks man. Its on early out there. Rivers "Walkin'" with Miles; Classic Blue Note stuff; his working trio; the Rivbea All Star Orchestra; the Dave Holland Quartet; Tony Williams "Spring"; live from "Wildflowers"; with Reggie Workman and Andrew Hill; as well as the NOJO feature for Rivers, "The Glassblower;" and a bit of the album with Adam Rudolph (amongst other things).

Please join us: http://www.bluelake.org/radio

Tenacious D plus Charlie Haden, tonight's guests on Entertainment Tonight! Mary talks to the band following their performance of "Is This America?" from Charlie's hit record "Not In Our Name"! Don't miss it!

My name is Darren Critz and I am the producer for Symphony Space in New York. Anthony Braxton is appearing at Symphony Space on October 24th as part of a benefit for Creative Music Studio. All the best, and thanks in advance! Darren Critz Darren Critz Producer of Performing Arts Programs Symphony Space 2537 Broadway New York, NY 10025 212.864.1414 (phone) 212.865.8619 (fax) www.symphonyspace.org

Well, that may be. My wife told me today.

....Jack Black (As heard over NPR from Terry Gross).

There's a version of "It Gets Better" from a Radio Nederland 'for broadcast only' selected radio recordings compilation called "North Sea Jazz Festival / The Hague Years." Killin. Had the chance to see Miles with a few thousand of his Detroit fans at the Masonic Temple just after his return to active playing. Miles was a showman extrodinaire at that stage just by being himself, though the frenzy he summond from Mino Cinelu that night -- he put Cinelu on the spot -- was showboating. Miles succumbed to being an entertainer if we're to believe that turning the back routine meant he never was.

There's a lot going on. We're broadcasting interviews these days with Jim Hall, Wayne Shorter, members of the Imani Winds and, hopefully soon, Maria Schneider. In talking with Monica Ellis, bassoonist in the Imani Winds, we focused on Shorter's compositions “Pegasus,” “Prometheus Unbound” and “The Three Marias” which the winds play with him in concert Saturday in Ann Arbor. She mentioned Shorter recently played “Prometheus Unbound” with the Concertgebouw Orchestra of Amsterdam; that he took a section from the large orchestra work and scored it for the wind quintet. In any case, about 5 minutes of the conversation will air Saturday morning between 9 a.m. and 10 a.m. via www.bluelake.org/radio during “Jazz a la Carte.” Most of that hour will feature a few recorded quotes by Shorter, too, and guitarist Jim Hall talking about recording with Sonny Rollins (Hall’s in Grand Rapids October 7th with guitarist Bill Frisell).

From: http://www.bluelake.org/radio Under "The Jazz Datebook" Timely Hits: Thursday, September 25th at 8 p.m. “The Paganini of the double bass” travels from Paris to Kalamazoo and opens the new season jazz series presented by Fontana Chamber Arts. Renaud Garcia-Fons Trio features the five string bass virtuoso in a pan-global music, blending sounds from the Mediterranean, North Africa and India through the gypsy and Andalusian music traditions of Spain and presenting that blend through carefully composed or spontaneously improvised performances. “Arcoluz” is the newest recording/DVD by his trio featuring Kiko Ruiz, Flamenco guitar and percussionist Pascal Rollando. http://www.renaudgarciafons.com/ . All concerts take place in the Dalton Center Recital Hall, Western Michigan University, Kalamazoo. The Tord Gustavsen Trio performs Thursday, January 15th at 8 p.m. and Stefon Harris and Blackout on Thursday May 14th. Information from (269) 382-7774. The Fontana Chamber Arts is located at the Epic Center, 359 S. Kalamazoo Mall, Suite. 200, Kalamazoo, MI 49007. www.fontanachamberarts.org . Saturday, September 27th at 8 p.m. the legendary jazz composer and saxophonist Wayne Shorter leads his quartet augmented by the African-American wind quintet, The Imani Winds, in his 75th birthday celebration at Ann Arbor’s Hill Auditorium, 825 North University Avenue, Ann Arbor. Please see www.ums.org/news for information or call (800) 221 – 1229. Saturday, September 27th at 8:30 p.m. nine-time Grammy Award-winning jazz trumpeter Wynton Marsalis leads The Jazz at Lincoln Center Orchestra with the Detroit Symphony Orchestra in the premiere of Marsalis’s new piece “Two In 3” at Orchestra Hall, Detroit. . Tickets are available through the Max M. Fischer Music Center box office (3711 Woodward Avenue, Detroit), by calling (313) 576 – 5111, or logging on to www.detroitsymphony.com . Sunday, September 28th at 7 p.m. in Milwaukee, Alternating Currents live presents The Charlotte Hug and Fred Lonberg-Holm Duo in the Woodland Patterns Book Center, 720 East Locust Street, Milwaukee (414) 263 – 5001. Please see: http://www.woodlandpattern.org/gallery/acl.shtml . Friday, October 3rd at 8:15 p.m. bassist Tom Knific and Friends celebrate the release of Tom’s third CD, “Lines of Influence,” made possible through the Bullock Performance Institute, Western Michigan University School of Music, Kalamazoo. The Dalton Center Recital Hall Concert features Tom’s son John at the piano, with saxophonist Chris Beckstrom; percussionist Ryan Andrews, drummer Keith Hall and members of the Western Jazz Quartet sitting in. Tickets through the Miller Auditorium Box Office, (800) 228 – 9858. Sundays October 5th and 19th from 6 to 8 p.m. The Grand Rapids Jazz Orchestra performs at Founder’s Brewing Company, 235 Grandville Avenue S.W., Grand Rapids. They’ll be conducted by the Grammy Award Winning composer/bandleader Maria Schneider at Aquinas College in October. See below. Information from www.grjo.com. Sunday, October 5th Rag Time Rick and The Chefs of Dixieland; and play early jazz presented by The West Shore Jazz Society at The Oakridge Country Club Ballroom, 513 West Pontaluna Road, Muskegon. Tickets are $20 for members of the WSJS or $25 for non-members. The season includes these performances: November 2nd, The Chicago Salty Dogs. For season tickets or membership in The West Shore Jazz Society please call WSJS President Bill Blakeman at (231) 759 – 0071 or write West Shore Jazz Society, P.O. Box 175, Muskegon, MI 49443. Tuesday, October 7th at 7:30 p.m. guitar greats Jim Hall and Bill Frisell open the Jazz Series at the St. Cecilia Music Center’s Royce Auditorium, 24 Ransom Avenue N.E. The duo is performing at a select few venues to promote their recent collaborative album (released October 15th from www.artistshare.com ). Hall is coming off 9 weeks hospitalization following back surgery. Frisell is a former student of Halls and one of contemporary American music’s most prolific guitarists. The Jazz Series features vocalist Karrin Allyson on November 19th , and vocalist/pianist Freddy Cole, Nat King Cole’s younger brother, on January 22nd, 2009. Special season tickets are available from (616) 459 – 2224 or see www.scms-online.org . Wednesday and Thursday, October 8th and 9th the Grammy Award winning composer/bandleader Maria Schneider appears at Aquinas College, Grand Rapids. See www.mariaschneider.com for her incredible music. October 8th from noon to 1 p.m. in the Wege Center Loutit Room at Aquinas College Schneider discusses “how Does a Woman Make Her Place in the Jazz World?” Then, October 9th from 7:30 to 9:30 p.m. Maria Schneider and The Grand Rapids Jazz Orchestra in the Wege Center Ballroom present what’s been described by the Los Angeles Times as “the first truly novel approach to big jazz band composition of the new century.” Free tickets to the October 9th performance are available from the Circle Theater Box Office, 1703 Robinson Road SE, Grand Rapids, from Monday, October 6th through Thursday, October 9th. Any remaining tickets will be given away at the door from 5:30 to 7:15 p.m. the day of the show. Thursday, October 16th at 8 p.m. The Dave Brubeck Quartet appears in the Bank of America Paradise Jazz Series in Detroit’s Orchestra Hall. The piano legend is heard with Bobby Millitello, saxophone and flute; Michael Moore, bass and Randy Jones, drums. Tickets are available through the Max M. Fischer Music Center box office (3711 Woodward Avenue, Detroit), by calling (313) 576 – 5111, or logging on to www.detroitsymphony.com .