Lazaro Vega

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.

www.gf.org./newfellow.html#US John Simon Guggenheim Memorial Foundation 2008 Fellows ­ United States and Canada · Len Ackland, Associate Professor, School of Journalism and Mass Communication, University of Colorado, Boulder: Nuclear power at a crossroads. · Martha Ackmann, Writer, Leverett, Massachusetts; Senior Lecturer in Gender Studies, Mount Holyoke College: Toni Stone's challenge to baseball and America. · Yacine Ait-Sahalia, Otto Hack 1903 Professor of Finance and Economics, Princeton University: The econometrics of jumps and volatility. · Ken Alder, Professor of History and Milton H. Wilson Professor of the Humanities, Northwestern University: Personal identification from the Renaissance to the genome. · Meena Alexander, Poet, New York City; Distinguished Professor of English, Hunter College and CUNY Graduate Center: Poetry. · Geri A. Allen, Composer, Upper Montclair, New Jersey; Associate Professor of Jazz Piano and Improvisation, University of Michigan: Music composition. · Natalia Almada, Filmmaker, Mexico City and Brooklyn, New York: Filmmaking. · Margaret Lavinia Anderson, Professor of History, University of California, Berkeley: The Armenian Genocide: A German story. · Nancy Evelyn Andrews, Professor of Art and Design, College of the Atlantic: Filmmaking. · Rae Armantrout, Poet, San Diego, California; Professor of Poetry and Poetics, University of California, San Diego: Poetry. · Douglas N. Arnold, Professor of Mathematics, University of Minnesota, Twin Cities: Finite element exterior calculus. · Shimon Attie, Visual Artist, Brooklyn, New York: Video installation. · Dean Bakopoulos, Writer, Mineral Point, Wisconsin; Executive Director and Lillian Greenwood Artist-in-residence, Shake Rag Alley Center for the Arts, Mineral Point: Fiction. · Randy E. Barnett, Carmack Waterhouse Professor of Legal Theory, Georgetown University Law Center: The reconstructed constitution. · Mason Bates, Composer, Oakland, California: Music Composition. · Keith Bearden, Filmmaker, Long Island City, New York: Filmmaking. · Brigitte Miriam Bedos-Rezak, Professor of History, New York University: The imprint and a logic of signs in medieval Europe (1150-1350). · Jeffrey L. Bennetzen, Norman and Doris Giles Professor of Molecular Biology and Functional Genomics, University of Georgia: Genetic diversity and population structure in the parasitic weed Striga and its crop hosts in Mali. · Toni Bentley, Writer, Los Angeles, California: Ida Craddock and the birth of the first American sex manual. · Michael P. Berman, Artist and Photographer, San Lorenzo, New Mexico: Photography. · Harry Bernstein, Writer, Brick, New Jersey: Now in my nineties. · Michael D. Bess, Chancellor's Professor of History, Vanderbilt University: A historian's perspective on human biological enhancement. · Joao Biehl, Associate Professor of Anthropology, Princeton University: Transcendental values and political life in postcolonial Brazil: The Mucker War. · Erika Blumenfeld, Artist, Marfa, Texas: Environment-based installation. · Howard Bodenhorn, Professor of Economics, Clemson University; Research Associate, National Bureau of Economic Research, Cambridge, Massachusetts: The political economy of Jacksonian New York. · Tim Bowling, Poet, Edmonton, Alberta, Canada: Poetry. · Stanley Brandes, Professor of Anthropology, University of California, Berkeley: Pets and their people. · Michael F. 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Efros, Assistant Professor of Computer Science and Robotics, Carnegie Mellon University: Inferring geometric, photometric, and semantic scene properties from an image. · Rodney Evans, Filmmaker, Brooklyn, New York: Filmmaking. · Xiaohui Fan, Associate Professor of Astronomy, Steward Observatory, University of Arizona: The end of cosmic dark ages: beyond the redshift seven barrier. · James Farquhar, Associate Professor, Earth System Science Interdisciplinary Center and Department of Geology, University of Maryland: Isotopic investigations of microbial sulfur metabolisms. · Robert Feintuch, Artist, New York City; Senior Lecturer in Art, Bates College: Painting. · Molissa Fenley, Choreographer, New York City; Artistic Director, Molissa Fenley and Dancers; Associate Professor of Dance, Mills College: Choreography. · G. R. F. Ferrari, Professor of Classics, University of California, Berkeley: Fiction and the limits of social meaning. · Leon Fink, UIC Distinguished Professor, Department of History, University of Illinois, Chicago: Regulating labor in the Atlantic world, 1800-2000. · Edward Fowler, Writer, Irvine, California; Professor, School of Humanities, University of California, Irvine: A family memoir. · Mark I. Friedman, Member and Associate Director, Monell Center, Philadelphia: Diet and obesity. · Victor A. Friedman, Andrew Mellon Professor in Slavic Languages and Literatures, University of Chicago: Multilingualism, identities, and the sociolinguistics of the Balkan Linguistic League. · Rachel Fulton, Associate Professor of History, University of Chicago: The Virgin Mary and the art of prayer, 1000-1500. · Joe Fyfe, Painter, Brooklyn, New York; Visiting Assistant Professor, Pratt Institute, Brooklyn: Painting. · David W. 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Pildes, Sudler Family Professor of Constitutional Law, New York University School of Law: Political power, democratic politics, and constitutional theory. · Claire Preston, Fellow and Lecturer in English, Sidney Sussex College, University of Cambridge: English literature and scientific investigation in the seventeenth century. · Richard Primus, Professor of Law, University of Michigan: Constitutional authority in the wake of civil war. · Andrew Stein Raftery, Artist, Providence, Rhode Island; Associate Professor of Printmaking, Rhode Island School of Design: Engraving. · Rufus Reid, Composer, Bassist, and Clinician, Teaneck, New Jersey: Music composition. · Enrico Riley, Artist, Norwich, Vermont; Senior Lecturer and Area Head of Painting and Drawing, Dartmouth College: Painting. · Lance Rips, Professor of Psychology, Northwestern University: Concepts of individuals and their persistence. · Oren D. Rudavsky, Filmmaker, New York City: Filmmaking. · Paul Rudy, Composer, Kansas City, Missouri; Associate Professor and Coordinator of Composition, Conservatory of Music and Dance, University of Missouri, Kansas City: Music composition. · John Gerard Ruggie, Kirkpatrick Professor of International Affairs, Kennedy School of Government, Harvard University: Governing multinationals: the case of human rights. · Ben Russell, Filmmaker, Chicago, Illinois; Visiting Assistant Professor in Moving Image, University of Chicago: Filmmaking. · Nancy Ruttenburg, Professor of Comparative Literature, English, and Slavic Literatures, and Chair, Department of Comparative Literature, New York University: Dostoevsky and the culture of American democracy. · Lisa Sanditz, Artist, Tivoli, New York: Painting. · Sigrid Sandström, Artist, Tivoli, New York; Assistant Professor of Studio Arts, Bard College: Painting. · Philip W. Scher, Associate Professor of Anthropology, University of Oregon: Tourism, the state, and the performance of identity in the neoliberal Caribbean. · Jeffrey Schiff, Artist, Brooklyn, New York; Professor of Art, Wesleyan University: Sculpture. · Laura Elise Schwendinger, Composer, Madison, Wisconsin; Associate Professor of Composition, University of Wisconsin, Madison: Music composition. · Reginald Shepherd, Poet, Pensacola, Florida; Associate Poetry Faculty, Low-Residency MFA Program, Antioch University: Poetry. · Vicky Shick, Choreographer, New York City: Choreography. · Arthur P. Shimamura, Professor of Psychology, University of California, Berkeley: A neurocognitive approach to the psychology of art and aesthetics. · Gary Shiu, Associate Professor of Physics, University of Wisconsin, Madison: Connecting string theory to experiment. · Kathryn Sikkink, Regents Professor and McKnight Distinguished University Professor, University of Minnesota: The origins and effects of human rights trials in the world. · Susan S. Silbey, Leon and Anne Goldberg Professor of Humanities and Professor of Sociology and Anthropology, Massachusetts Institute of Technology: Trust and surveillance in the cultures of science. · Kaja Silverman, Class of 1940 Professor of Rhetoric, Film, and Art History, University of California, Berkeley: The miracle of analogy. · Ruth Lewin Sime, Professor Emeritus, Department of Chemistry, Sacramento City College: A biographical study of Otto Hahn. · Paul Sorrentino, Professor of English, Virginia Polytechnic Institute and State College: The life of Stephen Crane. · Alan M. Stahl, Curator of Numismatics, Princeton University: The nexus of wealth and power in medieval Venice. · Kurt Stallmann, Composer, Houston, Texas; Assistant Professor and Lynette S. Autrey Chair, Shepherd School of Music, Rice University: Music composition. · Alexander Stille, San Paolo Professor of International Journalism, Graduate School of Journalism, Columbia University: Family matters: a memoir. · Katherine V. W. Stone, Professor of Law, University of California, Los Angeles: The remaking of labor relations in the twenty-first century. · Peter Stone, Associate Professor of Computer Sciences, University of Texas, Austin: Ad hoc teams of mobile robots. · Robin Stryker, Professor of Sociology and Affiliated Professor of Law, University of Minnesota, Minneapolis: Social science in government regulation of equal employment opportunity. · Marc A. Suchard, Assistant Professor of Biomathematics, Biostatistics, and Human Genetics: Towards solutions to the fundamental problems in statistical phylogenetics. · David J. Taylor, Photographer, Las Cruces, New Mexico; Associate Professor of Photography, New Mexico State University, Las Cruces: Photography. · Keith Terry, Choreographer, Musician, and Dancer, Oakland, California; Artistic Director, Crosspulse: Choreography. · Christian Tomaszewski, Artist, Brooklyn, New York; Lecturer in the Program in the Visual Arts, Princeton University: Fine arts. · Anton Treuer, Associate Professor of Ojibwe, Bemidji State University: Ojibwe grammar project. · Marc Trujillo, Artist, Sherman Oaks, California; Professor of Drawing and Painting, Santa Monica College: Painting. · Alexander van Oudenaarden, Associate Professor of Physics, Massachusetts Institute of Technology: Stochastic gene expression in development. · Ashutosh Varshney, Professor of Political Science, University of Michigan: Cities and ethnic conflict: a multi-country study. · Mary Kay Vaughan, Professor of History, University of Maryland: Intimate paths to Mexico 1968. · Val Vinokur, Assistant Professor of Comparative Literature, Eugene Lang College, The New School: A translation of Marie Vieux Chauvet's Amour, colère, et folie. · Roger D. Waldinger, Distinguished Professor, Department of Sociology, University of California, Los Angeles: America's new immigrants and their homeland connection. · Nicholas Watson, Professor of English and American Literature and Language, Harvard University: Vernacular theology and the secularization of England, 1050-1550. · Sarah Watts, Professor of History, Wake Forest University: The political satires of Lyonel Feininger. · Andrew Weaver, Professor, School of Earth and Ocean Sciences, University of Victoria, British Columbia, Canada: Biogeochemical feedbacks on polar climate stability. · Jonathan Weiner, Professor, Graduate School of Journalism, Columbia University: A book about science and art. · Barbara (Bobbi) Wolfe, Professor of Economics, Population Health Sciences, and Public Affairs, University of Wisconsin, Madison: Understanding the tie between income and health disparities. · Linda Woodbridge, Josephine Berry Weiss Chair in the Humanities and Professor of English, Pennsylvania State University: English revenge drama. · Donald A. Yates, Writer and Translator, St. Helena, California; Professor Emeritus of Latin American Literature, Michigan State University: Jorge Luis Borges: A life in letters. · Pamela Yates, Filmmaker, New York City; President and Cofounder, Skylight Pictures, Inc: Filmmaking. · Kevin A. Yelvington, Associate Professor of Anthropology, University of South Florida: Melville J. Herskovits and the making of Afro-American anthropology. · Rachel P. Youens, Artist, Brooklyn, New York; Adjunct Lecturer, Parsons School of Design; Adjunct Assistant Professor, LaGuardia Community College, City University of New York: Painting and sculpture. · Jason X.-J. Yuan, Professor of Medicine, University of California, San Diego: Role of ion channels in stem cell proliferation and differentiation. · Bill Zavatsky, Poet, New York City; Teacher of English, Trinity School, New York City: Poetry. · Miguel Zenón, Composer, New York City: Music composition. · Li Zhang, Associate Professor of Anthropology, University of California, Davis: The rise of psychotherapy in post-reform China. · Thad Ziolkowski, Writer, Brooklyn, New York; Associate Professor of English and Humanities, and Director, Writing Program, Pratt Institute: Fiction.

The Detroit jazz record label Mack Avenue invites you to tune in for “Live From Blue Lake,” five live jazz performances from the studios of Blue Lake Public Radio, starting this Thursday, April 10th at 10 p.m. when Detroit jazz great Geri Allen (www.geriallen.com) performs solo on the Boesendorfer Imperial Grand Piano at Blodgett Recital Hall, Blue Lake Fine Arts Camp. Then, on Wednesday, April 16th the four time Grammy award winning bassist who spent 8 years performing with the Tonight Show Band Bob Hurst is heard live at 10 p.m. “Live From Blue Lake” is underwritten by Mack Avenue Records, the road to great music, www.mackavenue.com and is supported by a grant from the Holland Area Arts Council and the Michigan Council for the Arts and Cultural Affairs. Additional support is provided by The Weathervane Inn, Montague; and The West Michigan Jazz Society. As young musicians both Geri Allen and Robert Hurst attended Blue Lake Fine Arts Camp and both are on the music faculty at the University of Michigan in Ann Arbor. We hope you will please join us and please tell any of your friends who might be out of our listening area to join Blue Lake on the Internet for a live web stream of the performances. To tune in: WBLV FM 90.3 for Muskegon and the Lakeshore. WBLU FM 88.9 in Grand Rapids. And streaming live on the World Wide Web from http://bluelake.ncats.net/ . Thanks again Lazaro Vega Blue Lake Public Radio 300 East Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3 / WBLU FM 88.9 www.bluelake.org

p.s. in the "second movement" of "Chicken or Beef," the part called "That's Chicken or Beef," they do, don't they, quote liberally from "King of the Road"? Now that was unexpected.