Lazaro Vega

For those who might be interested... I'll be blogging "live" from the Monterey Jazz Festival for the brand new "Jazz Observer" website (www.jazzobserver.com). Drop on by for reports and reviews filed throughout the weekend! My "No Cover No Minimum" program will therefore not air tomorrow, but will return next week on KZSU-FM. Cheers! [FB] Forrest Dylan Bryant ----- Jazz Director, KZSU 90.1 FM PO Box 20510, Stanford CA 94309 // jazz@kzsu.stanford.edu

Very strange and wonderful version of "Shaw Nuff" amongst the original music. http://www.joyousshout.com/chupw95.html

Rhythm in Mind is under Steve Coleman's name (1992, Novus).

That show is going away. They've stopped producing new ones. When you have time you can really go to work on producing script, recording interviews, and developing voice montages to present them, then layering music through and between the montages or stand alone announcements. Thought this is a great radio show. Blue Lake runs it Sunday evenings at 6 p.m. for now.

Organissimo's Groovadelphia... the whole package I have to admit that when I preview new music from a group anchored by the jazz organ, I do so with great hope.. A hope that there will be fresh creativity and diversity within the selections. So many times I receive new 'burner' albums where each song, one after the other, sounds like the same session.. then repeated in reverse. I am happy this week. A new CD came into the radioIO studios from the organ based trio 'Organissimo'. The album is called 'Groovadelphia'... and it destroys all of the stereotypes. Organissimo is led by organist Jim Alfredson with Joe Gloss on guitar and Randy Marsh playing drums and yes... harmonica! 'Groovadelphia' sure passed my test. The most notable experience I had on first listen of the CD revealed the variety from one song to the next. Once I finished the preview it became obvious to me that a major strength of this entire package lies in the manner that each song compliments the entire package. It is evident that much thought went into the recording and production of this album. Let me try to explain what you will experience when putting this CD in your player. Of course there is the typical bop jam as we would expect.. 'Third Right on the Left'. I especially enjoyed the organ solo on this upbeat track. I couldn't keep my right hand still while listening. The tune that immediately follows is 'Traces' with a mellow Latin feel. This song has a spatial depth created by a complimenting dialogue between Gloss on guitar and Alfredson on keys. The depth of expression from both soloists captured and held my attention. Gloss's performance on 'Traces' blended with the subtle organ support is absolutely perfect... it is simply beautiful. The entire album moves about like this. It is rich in contrasts and diversity with constant surprises. I had to pinch myself on occasion to remember that all that I am hearing comes from only three players. I am not usually partial to electronic effects and synthesis for jazz production unless integrated with intelligence and taste. Sometimes synthesized voices conflict with musical thought and can negatively date the production. However, done correctly, the synthetically produced sounds can be a huge draw for my personal enjoyment. I have often been thrilled on the occasion when new voicings are used artistically such as listening to track six.. 'If Not Now, When?". The use of the Synth solo in this track is fabulously integrated, providing a texture that fits. The deliberately funky 'Bleecker' and the fun 'My Sweet Potato Pie' with Marsh on Harmonica battling it out with both Gloss and Alfredson are two of my favorite songs from 'Groovadelphia'. We are going to have these tracks and others from the CD out in front for weeks to come on radioIO Real Jazz.. This is truly a magnificent collection of intelligent arrangements and performance. Let me know what you think. Email drmike@radioio.com Submitted by drmike/ Michael Matheny/ radioIO Real Jazz www.radioio.com <http://www.radioio.com/>

Heard that while driving from Grand Rapids to the Lakeshore with a backseat full of tired kids. We'd just met Lucy, the Newfoundland addition to my sister-in-law's family, out in Ada. Left tv coverage of the DNC and caught Organissimo in the car. Tuned in right at the end of the title track and recognized it. That's a great climax. By the time the girls had talked themselves nearly to sleep, Les and I thought to turn on the DNC coverage from NPR on the radio. Right when we did they announced Ted Kennedy appeared in person and gave most historic speech of his career.

non commercial

I really never wait on on airplay for the proposed "add" date. When it comes into the station if it is a goodie, it's on.

Now on the radio at Blue Lake.

Beware of Strangers Two Aliens landed in the Arizona desert a few yards from an old gas station that was closed for the night. They approached one of the gas pumps, and the younger alien addressed it saying, 'Greetings, Earthling. We come in peace. Take us to your leader.' The gas pump, of course, didn't respond. The younger alien became angry at the lack of response. The older alien said, 'I'd be calm if I were you.' The younger alien ignored the warning, and repeated his greeting. Again, there was no response. Annoyed by what he perceived to be the pump's haughty attitude, he drew his ray gun and said impatiently, 'Greetings, Earthling! We come in peace. Do not ignore us this way! Take us to your leader, or I will fire!' The older alien again warned his comrade saying, 'You probably don't want to do that. I really don't think you should make him mad.' ' Rubbish,' replied t he cocky, young alien. He aimed his weapon at the pump and opened fire. There was a huge explosion. A massive fireball roared toward them, and blew the younger alien off his feet, and deposited him, a burnt smoking mess, about 200 yards away in a cactus patch. Half an hour passed. When he finally regained consciousness, he refocused his three eyes, straightened his bent antenna, and looked dazedly at the older, wiser alien who was standing over him shaking his big, green head. 'What a ferocious creature!' exclaimed the young, fried alien. 'He damn near killed me! How did you know he was so dangerous?' The older alien leaned over, placed a friendly feeler on his crispy friend and replied, 'If there's one thing I've learned during my intergalactic travels, you don't want to mess with a guy who can wrap his penis around himself twice, and then stick it in his ear.'

Patrick, no I'm sorry they're not. LV

Thanks for tuning in on-line, folks. Had a good audience last night at midnight.

Jazz From Blue Lake airs from 10 p.m. to 3 a.m tonight and celebrates the 78th birthday of singer/actress Abbey Lincoln. At midnight, after hearing her duo with Max Roach of "Prayer/Protest/Peace," we'll enter the world of Roscoe Mitchell's composition "Nonaah" and hear the Art Ensemble's September 1973 version of it with Muhal Richard Abrams guesting on piano, followed by Mitchell's solo saxophone version from the Montreal Jazz Festival in October of 1973 and the solo version from November of 1973 in Pori Finland (both on the Solo Saxophone Record, Sackville). Then the 22 minute soon to be re-issued solo alto saxophone version of "Nonaah" recorded in 1976 in Willisau will blow you away. The midnight hour concludes with the Anthony Braxton Creative Orchestra Music performance featuring Mitchell, alto, Braxton, sopranino, followed by the 1977 piece for the same duo "Off Five Dark Six." No-nay-ah.

Ted, no, I'm sorry they are not but if you p.m. aloc he might have something for you. Werf! Was thinking about you -- glad you caught that. And thank Heaven for Roscoe Mitchell's music. "Ericka" really caught me this time in the solo version from "Nonaah." It's as if two different people were having a conversation about the same piece: the melody guy and an interloper, with the interloper emerging victorious.

The center section of the alto saxophone quartet version of "Nonaah" is just beautiful, while the outer sections are a challenge. The first for the repetition of the same motive -- though the sonic clarity of the CD allows one to hear a part which is not fixed -- and the third section for the collective power jam free jazz shout chorus. Not a typical program in that we don't play anything from the recording "Sound," or from the Roscoe Mitchell/Fred Anderson Quartet live in Grand Rapids. Though you will hear some Benny Golson, Eric Dolphy, Ornette Coleman and John Coltrane in the first two hours of the program tonight.

Nearly impossible to encapsulate Roscoe Mitchell's music in a radio program -- the list of recordings is massive. Will do our best tonight from 10 p.m. to 3 a.m. including solo, trio and quartet pieces from the forthcoming Nessa double CD reissue of "Nonaah." The sound of the reissue is frightening. Lookout for Roscoe in the 1970's! http://www.bluelake.org/radio

Doug Ramsey's review is elevating. Was responding to this general air of struggle in some of these between in or out, up or down, accept or warn off of as relates to the indefinable "jazz" line in the sand.

And I really don't find the language that troublesome. Given that Clem thinks I'm a moron in the reading cata-goy, take that as you will.

Well put.

Early Arno Marsh.

p.s. re: no Salmon. "Fish Market." And that little rant was for the published reviews not the general "audience" responses.

Man, these "reviews." Good for the band to have the publicity, but, wow: if I read another "you might like it but it's not jazz" sentiment I'm going to throw a Jelly Roll collection at the writer...because, as the great Jelly Roll proclaimed, "You can take any song and make it jazz." Why not Ska, why not whatever? After all the oceans of music created in the last 40 or more years that fall into the avant-garde or free or whatever label you need to deal with experimentalist musical mind sets, to have writers wrestling with the "accesible/non-accessible" parameter as the only insight into that history leads one to conclude that they have nothing on Entertainment Tonight. Referencing Zappa isn't much better, because no previous band sounded like this one -- you can't "sum up" Reptet with comparisons. Perhaps the Reptet is helping to push the boundaries of what jazz is and can be -- an idea which does not cross the minds of some of these writers, who have it all set up for the music to fit where they are and don't seem ready to meet the music where it is. Like, wow.

His music director and bassist Hilliard Greene has come to play here a couple of times now. Great guy, versatile musician.

Morgan's solo on "Dat Dere" with Blakey! Wow. While he wasn't an avant gardist per se Morgan was leaning toward more open modal forms near the end -- the Light House sessions, for instance. Hadn't heard that he'd had his teeth knocked out, though. Is that well known? Or is this being confused with Chet Baker? And wasn't it a Ford ad that they used The Sidewinder for, a Mustang? For some reason I recall seeing a white Mustang convertible driving down a two lane road from an arial three quarters view associated with The Sidewinder.

Arno, Thank you. It was our pleasure. Terry Martin noted during the party that as many of the “Four Brothers” tenor players aged their sounds grew darker and more grainy, and that your playing is authentic. Couldn’t agree more. Chuck, please thank Anne for the hand made card: looking to frame it. It was good to see – and hear! – everyone. LV