Lazaro Vega

http://www.kerrytownconcerthouse.com/calen...iew.asp?e=25138

http://www.npr.org/templates/story/story.p...toryId=90004452

Werfenstein!

Warne Marsh.

Mel Dalton live in 1991 on Blue Lake Public Radio

Up for broadcast right now. www.bluelake.org/radio

April 26, 2008 A Jazz Lifeline to Academia Is Severed By BEN RATLIFF Over the last week, the jazz world has been reeling from the announcement that the International Association of Jazz Educators, a de facto trade organization, is going out of business. In an e-mail message sent on April 18, the 10,000-member organization, based in Manhattan, Kan., announced that its executive board had decided to file for bankruptcy and that its annual convention, which was to be held in Seattle next year, had been canceled. The group’s demise is a major disappointment to jazz’s international network of professionals — educators, musicians, promoters, music publishers, critics, historians — who have few other occasions to meet, conduct business face to face or have their music exposed to a discerning public. The conferences offered hundreds of workshops, panel discussions and performances by top musicians and far-flung university big bands. At root, the annual convention — which alternates between New York and other locations — was a demonstration of jazz’s lifeline to academia: its reliance on students and instructors in the flourishing world of jazz education to keep the music circulating, program it for live performances on the university circuit and create its next generation of audiences. “The conference was an indispensable networking opportunity,” said Mitchell Feldman, who runs a jazz publicity and radio promotion business and is one of the thousands who attend the event every year. Russell Thomas Jr., a professor and director of jazz ensembles at Jackson State University in Jackson, Miss., said, “It gave the students a chance to hone their skill and see outstanding musicians that they wouldn’t see otherwise.” After meeting musicians like Donald Byrd, Jimmy Heath and Jackie McLean, he said, he found it easier to recruit them for clinics and concerts. Not all the conventions have been well attended. Despite a poor turnout in Toronto in 2003, the group’s annual event returned there in January, and attendance was down by 40 percent from the previous year, according to last week’s e-mail message. Not long after that, Bill McFarlin, the organization’s executive director for 24 years, left for another job. As word of the organization’s bankruptcy, a Chapter 7 liquidation, traveled throughout the jazz world, the reaction was mixed. Some had heard reports of overspending and had long felt that the organization’s ambitions were too big for its means. Still, many people seemed stunned by the speed and finality of its implosion. In early April, Chuck Owen, the president of the organization’s board, sent an e-mail message to the organization’s members, asking them each to pay $25 to help cover debts. That fund drive produced $12,000, according to the group’s recent message, but the debt was “in the million-dollar range,” said Alan Bergman, its legal counsel. The organization’s most recent available financial records, from 2005-6, show a deficit of $90,000, although two years earlier its revenues were in the black. The group also published a bimonthly magazine, Jazz Education Journal, but it depended almost solely on the conventions to cover its operating costs. Last year’s convention, held in Manhattan, attracted nearly 8,000 attendees and vendors, many of them paying a $250 registration fee. But the event moved back to Toronto this year, Mr. McFarlin said in an interview last week, because the hotels and convention center that housed it could write off the penalties owed from the poor performance of the convention there in 2003. This year, he said, the combination of the weak American dollar and expensive air fares dissuaded attendance and brought down the association. People within the group also point to its failed fund-raising efforts as a major reason for its implosion. It had sought to create an endowment — “a war chest for jazz,” Mr. McFarlin called it — with the Campaign for Jazz, a drive begun in 2006 whose costs, Mr. Owen said, “greatly exceeded the cash that was received.” It sought to raise $8 million to $13 million, but far less than that was pledged, and some of the money — including $1 million promised by a Los Angeles entrepreneur — never materialized. There has been speculation since the April 18 announcement, on Web sites and blogs, that Mr. McFarlin had stepped down because he knew that the association was on the verge of collapse. He denied this, explaining that he left because he “needed a break” after 20 years of service. “If I had known,” he said, “I would have tried to stay and work fervently to try and sustain the organization. It was our life’s work.” The cause of the crisis, said Laura Johnson, a board member and treasurer for the last two years, was “the accumulation of the debt incurred by the campaign” and the last conference. “We hadn’t realized early enough just how striking that amount was. We knew that there was a hole there, but we had no idea it was the size that it was.” Ricky Schultz, a former record executive, current jazz industry consultant and longtime member, said, “It was absolutely shocking to see this well-established organization that had a lot of support just pull the plug.” He added, “A million dollars in red ink is not a crazy, insurmountable amount of money.” The group’s board filed for Chapter 7 bankruptcy, Mr. Bergman said, “because we have outstanding obligations which we do not have money to pay, and we’ll probably be sued by creditors.” He added that “if someone were to come along and give money, it might still be possible to convert to Chapter 11.” The prominent jazz composer Maria Schneider said, “The old jazz culture doesn’t exist anymore,” adding that jazz is dependent on “educational institutions, for better or worse.” In her own case, Ms. Schneider’s career was given a major boost when she won a prize commission from the group in the early 1990s and played the work at the conference. That performance resulted in residencies and clinics at schools, as well as greater industry and critical recognition. “The saddest part about this,” Ms. Schneider said, “is that for a lot of young musicians, the I.A.J.E. conference is a place where they perform to professionals in the audience. You hear some kid get up and take a solo, and you say, ‘Oh, my God, who’s that?’ ” Copyright 2008 The New York Times Company Privacy Policy

(From the Jazz Programmer's List). I'm sorry to report that I just heard from Juanita Giuffre that Jimmy died of pneumonia and Parkinson's today (April 24) two days before what would have been his 87th birthday. I met them (via email) because they listened regularly to my show and we discovered that Jimmy and I shared our birthday, April 26. We usually exchanged cards this time of year. He was most famous for "Four Brothers" with Woody, or with Shorty Rogers "Martians Go Home" or the Lighthouse All Stars, but fewer are aware of the beautiful very personal music he made in the 70's, 80's and 90s, much of it very free but in a thoughtful, non-aggressive kind of way. He was very important as a teacher as well, notably at the New England Conservatory. I'm spending the evening listening to some of Jimmy's great trio music... right now the trio with Paul Bley and Steve Swallow "Fly Away Little Bird". I just read a beautiful article on Jimmy written about 5 years ago by Rex Butters on allaboutjazz.com . Jim Wilke I was going to play a few things by Jimmy on my show tonight to celebrate his birthday. Now I will also play, "Jimmy Giuffre, A Jazz Portrait" a half hour radio documentary I Produced about 10 years ago. It's Jimmy telling his own story, in his own voice, complemented by the music he heard and made throughout his long career. He was still teaching at NE Conservatory at the time, coming in to Boston from West Stockbridge, MA a few days a week. I also visited Jimmy and Juanita at their beautiful stone mill house in Western Massachusetts to complete the interview when Jimmy got too ill to travel into Boston. I'll air this program tonight at 9pm, Eastern Time. Rest in Peace, Jimmy Steve Schwartz Jazz from Studio Four Friday, 8p-midnight WGBH, 89.7FM, Boston ww/wgbh/org/jazz __________________

A reminder that Blue Lake is featuring Mel Dalton's music this Sunday evening from 7 to 10 p.m. (followed by Night Lights). The music from the club hit that Randy put together and m.c.'d is classic: 3 tenor players on Blues Up and Down, Sugar, Killer Joe, Anthropology. Mel was an important player locally -- while the other two men on this performance, Curt Purnell and Jackson, Michigan's, Benny Pool, are out of the swing and mainstream eras, Mel brought the expressionism of Joe Henderson and John Coltrane with him.

The Robert Hurst Trio broadcast will re-broadcast this Saturday morning at about 8:45 a.m. With Woody Goss, piano ( a 19 year old freshman at U of M who studies with Geri Allen) and Quentin Joseph, drums ( a 27 year old senior at U of M).

wow is right.

Ben Opie. Quote: Yes, that would be me. If you have any questions, direct them to my home email address: opek.music@verizon.net. Part of this weekend will be spent taking care of some major business for this mini-festival to happen: book flights, sign contracts, etc. There's no website yet, but I will probably set up a MySpace page for simplicity's sake. I can elaborate on a few details since my previous posting. There will (probably) be only one concert with pre-sales, and that would be at the Manchester Craftsman's Guild. That's the Braxton Septet, May 30, 8pm. I don't even know for sure yet, I have to ask them about that. Price will be below the $20 range. It's arguably one of the nicest halls in the US. For the May 31st concert, we have dubbed our group the Three Rivers Tri-Centric Ensemble. We're at thirteen pieces, with a small chance we'll add one or two more. No word yet on what compositions we'll play. There may be as many as three National Aviary appearances, each around 10am or so, on May 30, 31, and June 1. If this all seems vague or in the abstract, I'll repost the overall schedule when I get this on a webpage. Ben (unquote)

Well, Cecil did make a record with the Art Ensemble, and Braxton has appeared on Roscoe's records. Seemed they tried to telescope a larger press release into a single sentance. More importantly it is good to hear Roscoe being positive, being busy. A symphony. That is new, isn't it? This work, yes, but Roscoe with a symphony? Haven't heard that before.

"Flanagan's lyrical touch is legendary -- each note sounds like a pearl wrapped in silk -- and this is the first topic he addresses when the songs ends. "My touch comes from listening and trying to get a sound that I had in my head," he says in a gentle voice that rarely rises above a stage whisper. "I never did get much out of playing too hard. In fact, when I thought I was playing too loud, I'd use the soft pedal. I liked that -- you play harder but get a softer sound. I had an old, harsh-sounding piano at home, anyway."" A sound he may have gone for after hearing Earl VanRiper.

http://www.timeout.com/chicago/articles/mu...reative-writing

http://www.press.uchicago.edu/Misc/Chicago/476957.html

http://photos1.blogger.com/blogger/2479/27...lton-352X.1.jpg

I see where the Grand Rapids Jazz Orchestra performance at Founder's Brew Company this Sunday is dedicated to Mel's memory. Blue Lake Public Radio will air a special broadcast commemorating Mel Dalton on Sunday, April 27th from 7 p.m. to 10 p.m. which will include Blue Lake tapes of the 1991 Saxophone Summit (a concert produced by Randy Marsh), the Scott Veenstra-Mel Dalton Quartet in 1991, and last year's "Live From Blue Lake" with trumpeter Sweet Willie Singleton's band featuring Mel. Laz

The first time through Spanish Key, and not realizing the concept, I though they'd found some way to get tremendous presence on Miles's recorded sound from 1969. Listening more carefully and was, humm, never heard Miles do that before. Wallace Roney's impersonation is scary.

(Begin Forwarded Message): I think it's finally time for me to officially announcement the big Braxton project I've been organizing. I am helping to bring Anthony to Pittsburgh in late May. As with most things Braxton, it's grown and grown in scope since its inception. We're staging a mini-festival if you will, under the banner "Braxton Plays Pittsburgh Plays Braxton". There will be four public concerts, a private workshop with Anthony and my high school avant garde ensemble, and a recording session planned with him and myself. The public concerts planned are: May 30: Braxton Septet at the Manchester Craftsman's Guild, 8pm May 31: Syrinx Ensemble with Braxton, National Aviary 10am (+/-) also May 31: The Three Rivers Tri-Centric Orchestra plays Braxton (CAPA Antithesis opening), CAPA High School Theater June 1: Syrinx Ensemble with Braxton, National Aviary 10am A few details: CAPA Antithesis is the aforementioned HS avant garde ensemble I coach; Syrinx Ensemble is an improvising group which specifically works with birds; the Three Rivers Tri-Centric Orchestra (or should I make it the Tri-Rivers-Centric Orchestra? whatever...) will be essentially a pickup ensemble of local talent playing Braxton. So far I have a group of thirteen players, we may go a few higher than that. And as for the Manchester Craftsman's Guild, this is the "jazz palace" of Pittsburgh, an amazingly nice hall with superb acoustics. I have 2/3 of my funding in place, and feel confident that the remaining portion will come through (or I'll have some serious bills to pay). I don't have a website in place yet, but will probably set up a MySpace page before a week has gone by. So if any of you Braxtophiles are in neighboring communities, I think you won't want to pass up the opportunity to catch all of these events. I'll post more information when and if necessary. -Ben

Mel sounded good. He brought up the modern/mainstream side of things with his Joe Henderson inspired moves, but while he aged his playing grew in depth of feeling and personality. His latest recordings were with trumpeter Sweet Willie Singleton, and Sweet Willie's band with Mel played "Live From Blue Lake" last Spring. While forever the freelancer, he was also part of the band New Connections with trombonist John Hair in the 1990's, and added a nice dimension to a jam session Randy put together and Blue Lake Recorded: The Saxophone Summit Live at the Carribean Club in Grand Rapids. Mel was an inspiring figure on the scene. We were fortunate to have him as a "local" musician.

Wednesday, April 16th at 10 p.m. edt Detroit native Robert Hurst performs live on Blue Lake Public Radio with pianist Woody Goss and drummer Quentin Joseph. A respected, recognized composer, bassist, educator and recording artist who's earned four Grammy awards, bassist Robert Hurst recently appeared on record with Chris Botti, Diana Krall, Michael Buble, the San Francisco Jazz Collective, Charles Lloyd and Kenny Garrett. This former member of the Tonight Show Band with Jay Leno broke into the national jazz scene via extensive recording and tours with both Wynton and Branford Marsalis. Today Robert Hurst is Associate Professor of Jazz Bass and Improvisation Studies at the University of Michigan in Ann Arbor. He is also a former Blue Lake camper. Wednesday's live radio concert is underwritten by the Detroit jazz record label Mack Avenue ("The Road to Great Music www.mackavenue.com") with grant support from The Holland Area Arts Council through The Michigan Council for the Arts and Cultural Affairs. Additional support provided by Grand Rapids Magazine, The Muskegon Chronicle, The Weathervane Inn (Montague), and The West Michigan Jazz Society. Please see www.roberthurst.com WBLV FM 90.3, Muskegon and on The Lakeshore WBLU FM 88.9, Grand Rapids Streaming live on the web from www.bluelake.org/radio

Thanks U.S. The Holland Area Arts Council wants to know if their programs have "community impact" and with that in mind if any from the Organissimo community caught last night's broadcast, or will catch the encore broadcast this Saturday morning at 9 a.m., please send us a note to be forwarded to the granting committe: radio@bluelake.org Thanks again for tuning in. Geri was formidable.

Congratulations! From the Ann Arbor News: Geri A. Allen, an associate professor of music (at U of M), received the Guggenheim for a music composition project that celebrates the work of three artists - pianist-composers Herbie Hancock, McCoy Tyner and Cecil Taylor.

Rufus Reid was awarded one as well.