Lazaro Vega

Jazz From Blue Lake WBLV FM 90.3/WBLU FM 88.9 www.bluelake.org January 8, 2008 10 p.m. - 3 a.m. est 10 p.m. Miles Davis, Tune Up; The Chronicle: Prestige. Dave Holland Quartet, Four Winds; Conference of the Birds: ECM. Barry Altschul, You Can’t Name Your Own Tune; You Can’t Name..: 32 Jazz. Barry Altschul Trio, Be Out S’cool; Brahma: Sackville. Nicole Mitchell’s Black Earth Ensemble, Cause and Effect; Unstoppable Blackness: Delmark. Paul Motian Trio, K.T.; Time and Time Again: ECM. Keith Jarrett Trio, I Guess I’ll Have To Hang My Tears Out To Dry; My Foolish Heart: ECM. Pierre Dorge New Jungle Orchestra, Blue Mask; Jazz Is Like A Banana: Steeplechase. 11 p.m. Dave Holland Quartet, Conference of the Birds; Conference of the Birds: ECM. Kenny Drew, Rianne; And Far Away: Steeplechase. Barry Altschul, Orange Was the Color of Her Dress Then Silk Blues; For Stu: Soul Note. Charles Mingus Sextet, Jitterbug Waltz; Cornell 1964: Blue Note. Joe Lovano/Hank Jones, Lullabye; Kids: Blue Note. Michael Musilliami Trio, Stark Beauty; The Treatment: Playscape. 12 a.m. Julius Hemphill, Lyric; ‘Coon Bid’ness: Black Lion. Barry Altschul, Butterflies; Virtuosi: Improvising Artists. Steve Lehman Quintet, Analog Moment; On Meaning: PI Records. Joe Fielder Trio, A Frankfurter In Caracas; Crab: Clean Feed. Peter Paulsen Sextet, Nefertiti; Change of Scenery. Ron Blake, Atonement; Shayari: Mack Avenue. Joe Lovano, Boplicity; Streams of Expression: Blue Note. 1 a.m. Steve Swell/Gebhard Ullmann Quartet with Barry Altschul, Box Set; Live from Blue Lake, June 2004. Steve Swell/Gebhard Ullmann Quartet with Barry Altschul, For Grachan; Live in Grand Rapids, April 2007. John Scofield, Strangeness in the Night; This Meets That: Emarcy. Hans Glawischnig, Oceanography; Panorama: Cam Jazz. Miles Davis, C.T.A./I Waited For You; Vol. 2: Blue Note. Gil Coggins, Vierd Blues; Better Late Than Never: Smalls. 2 a.m. Circle, Nefertiti; Paris Concert: ECM. Anthony Braxton, Four Winds; News From the ‘70’s: Felmay. Steve Swell/Gebhard Ullmann Quartet w. Barry Altschul, Planet Hopping on a Thursday Afternoon; Live in Grand Rapids, April, 2007. Lazaro Vega Jazz Director Blue Lake Public Radio 300 East Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3 serving Muskegon and the Lake Michigan shoreline WBLU FM 88.9, Grand Rapids Streaming live from www.bluelake.org.

Jazz From Blue Lake Playlist Monday, January 7, 2008 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Duke Ellington, Rhapsody In Blue; Complete…: Mosaic. Red Allen, Harlem Stomp/World On A String/Rug Cutter’s Swing; Jubilee Vol. 17: Storyville. Red Allen New York Orchestra, It Should Be You/Biffly Blues; 1929-33: Classics. Sweet Willie Singleton, Wind Machine; Live 5-07: Blue Lake Public Radio (Thanks to Mack Avenue and the Holland Area Arts Council). Carmen Lundy, My Wedding Vows; Come Home: Afrasia. Joe Lovano, Chelsea Bridge; Billy Strayhorn: Lush Life: Blue Note. 11 p.m. Fletcher Henderson, King Porter Stomp/Queer Notions; 1932-34: Classics. Billy Banks, Bugle Call Rag/Oh Peter; 1932-33: Classics. Spike Hughes and His Negro Orchestra, Sweet Sorrow Blues; Benny Carter, 1929-34: Classics. Henry Red Allen, Rosetta/Body and Soul; 1933-35: Classics. Joe Fielder Trio, The Crab; The Crab: Clean Feed. Nicole Mitchell’s Black Earth Ensemble, The Creator Has Other Plans for Me; Black Unstoppable: Delmark. Joe Locke, I Fall In Love Too Easily; Sticks and Strings: Jazz Eye. Lazaro Vega Jazz Director Blue Lake Public Radio 300 East Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3 serving Muskegon and the Lake Michigan shoreline WBLU FM 88.9, Grand Rapids Streaming live from www.bluelake.org.

Jazz a la Carte Playlist Saturday, January 5, 2008 Artist—Song Title – Album Title – Record Label 7 a.m. Eastern Time Oscar Peterson, Tenderley; Best of…; Concord Music. Oscar Peterson, Things Ain’t What They Used to Be; Night Train: Verve. Sarah Vaughn, World On a String; How Long Has This Been Going On?: Pablo. Oscar Peterson/Milt Jackson, On Green Dolphin Street: Very Tall: Verve. Jazz Datebook, www.bluelake.org/datebook.html. Joe Lovano, The Summary; I’m All For You: Blue Note. Judi Silvano, Ballad For Miles; Women’s Work: JSL Records. Miles Davis, Concierto De Aranjuez; Sketches of Spain: Columbia. 8 a.m. Stephen Riley, Lover Come Back To Me; Once Upon a Dream: Steeplechase. Oscar Peterson, In A Mellow Tone; Perfect Peterson: Concord. Ben Webster, Sunday; Meets Oscar Peterson: Verve. Anita O’Day, Tenderly; Sings The Most: Verve. Oscar Peterson, Lil’ Darlin’; Europe 1: RTE. Jazz Datebook, www.bluelake.org/datebook.html. Eldar, Place St. Henri; Re-Imagination: Sony. Monterey 50th Annv. All Stars, Monterey Mist; Live in 2007: Monterey Jazz. Paul Keller Trio, Like Someone In Love; To Oscar, With Love: PKO. 9 a.m. Peter Paulsen Sextet, Nefertiti; Change of Scenery; Steve Davis, Milestones; Alone Together: Mapleshade. Joe Locke, The Rosario Material; Sticks and Strings: Jazz Eye. Pierre Dorge New Jungle Orchestra, Forgotten Highway; Jazz is Like; Steeplechase. Jazz Datebook, www.bluelake.org/datebook.html. Stacey Kent, Breakfast on the Morning Tram; Breakfast on the Morning Tram: Blue Note. Steve Lehman Quintet, Open Music; On Meaning: PI Records. Nicole Mitchell’s Black Earth Ensemble, February; Black Unstoppable: Delmark. McCoy Tyner, Walk Spirit, Talk Spirit; Quartet: Tyner Records. Lazaro Vega Jazz Director Blue Lake Public Radio 300 East Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3 serving Muskegon and the Lake Michigan shoreline WBLU FM 88.9, Grand Rapids. Streaming live from www.bluelake.org.

Jazz From Blue Lake Playlist Friday, January 4, 2008 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Duke Ellington, Rhapsody In Blue; Complete…: Mosaic. Count Basie, Magic; April In Paris: Verve. Count Basie, Secrets; Kansas City 7: Impulse. Frank Wess Orchestra, Entre Nous; Entre Nous: Concord. Bill Easley, Mentor; Business Man’s Bounce: 14th and Vine. Jazz Datebook, www.bluelake.org/datebook.html. Oscar Peterson, Place St. Henri; The Canadiana Suite: Verve. Ted Brown, Embraceable You; Shade of Brown: Steeplechase. Billie Holiday, Miss Brown To You/Good Morning Heartache; Rare Live Recordings: ESP. Dave Bennett, Running Wild; Remembering Benny: PKO. 11 p.m. Count Basie, Two Franks Please; 16 Men Swinging: Verve. Count Basie, Corner Pocket; April In Paris: Verve. Count Basie, Blue and Sentimental; Greatest Hits: Roulette. Count Basie, Seque in C; Complete Live Roulette: Mosaic. Count Basie, Lullabye of Birdland; Complete Live Roulette: Mosaic. Jazz Datebook Deep Blue Organ Trio, A Deeper Blue: Folk Music: Origin. Joe Lovano, The Summary; I’m All For You: Blue Note. Eliane Elias, Here Is Something For You; Something For You: Verve. Mark Johnson, Shades of Jade; Shades of Jade: ECM. Lazaro Vega Blue Lake Public Radio 300 East Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3, Twin Lake/Muskegon; WBLU FM 88.9, Grand Rapids www.bluelake.org

Jazz From Blue Lake WBLV FM 90.3/WBLU FM 88.9 www.bluelake.org January 3, 2008 10 p.m. - 3 a.m. est 10 p.m. Duke Ellington, Rhapsody In Blue; Complete Reprise: Mosaic. Dizzy Reece, Color Blind; Blues In Trinity: Blue Note. Dizzy Reece, I Wished On the Moon; Star Bright: Blue Note. Dizzy Reece, Sands; Comin’ On: Blue Note. Jazz Datebook. Stephen Riley, Tune Up; Once Upon A Dream: Steeplechase. Jon Mayer, Blues By Five: So Many Stars: Reservoir. Marcus Printup, Donna Lee; Bird of Paradise: Steeplechase. Gerald Wilson, I Concentrate On You; Monterey Moods: Mack Avenue. Monterey 50th Ann. All Stars, Romance (Winter Love): 2007: Monterey Jazz Fest. Records. 11 p.m. Dizzy Reece, The Rake; Star Bright: Blue Note. Clifford Jordan Big Band, Third Avenue; Play What You Feel: Mapleshade. Dizzy Reece, Con Man; Manhattan Project: Bee Hive. Jazz Datebook. Nicole Mitchell’s Black Earth Ensemble, Cause and Effect; Unstoppable Blackness: Delmark. Deep Blue Organ Trio, The Chant; Folk Music: Origin. Kurt Elling, The Sleepers; Night Moves: Blue Note. Thad Jones, Something To Remember You Buy; RVG Sampler: Blue Note. 12 a.m. Dizzy Reece, I Had the Craziest Dream; Blues In Trinity: Blue Note. Dizzy Reece, The Story of Love; Comin’ On: Blue Note. Paris Reunion Band, The Burner; French Cooking: Gazelle. Joe Lovano/Hank Jones, Four In One; Kids: Blue Note. Paul Motain Trio, Light Blue; Time and Time Again: ECM. Drew Gress, Neopolitan; The Irrational Numbers: Premonition. Jason Lindner Big Band, Freak of Nature: Live at the Jazz Gallery: Anzic. 1 a.m. Andrew Hill, Sideways/Plantation Bag; Passing Ships: Blue Note. Dizzy Reece, Manhattan Walk; Manhattan Project: Bee Hive. Dizzy Gillespie, Things To Come; Reunion Big Band: MPS. Duke Jordan, Flight to Jordan; Flight to Jordan: Blue Note. Joe Locke, All of You; Sticks and Strings: Jazz Eyes. Peter Paulsen Sextet, Nefertiti; Change of Scenery: R&L Records. 2 a.m. Steve Lacy/Roswell Rudd, Eronel: Early and Late: Cuneiform. Bud Powell, A Night In Tunisia; Blue Note, Paris, 1961: ESP. Billie Holiday/Stan Getz, Lover Come Back To Me/T'Ain’t Nobody’s Business; You’re Driving Me Crazy; Rare Live Recordings: ESP. Paris Reunion Band, Klook’s Theme; French Cooking: Gazell. Dizzy Reece, Yule on the Hudson, Manhattan Project: Bee Hive. Clifford Jordan Big Band, Third Avenue; Down Through the Years: Milestone. Clifford Jordan Big Band, Evidence; Play What You Feel: Mapleshade. Dizzy Reece, A Variation on Monk; Star Bright: Blue Note. Lazaro Vega Jazz Director Blue Lake Public Radio 300 East Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3 serving Muskegon and the Lake Michigan shoreline WBLU FM 88.9, Grand Rapids Streaming live from www.bluelake.org.

I recall talking to Barry Altschul on the air about Sunny Murray and was trying to put into words what Murray did, and Barry said, to paraphrase, "That's the way you play drums if you're playing Cecil's music." Jim has enlightened that point. By the way, did you check out the You Tube links near the bottom of this entry?

Jazz From Blue Lake Playlist Wednesday, January 2, 2008 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Thelonious Monk, Let’s Cool One; Genius of Modern Music V. 2: Blue Note. Oscar Peterson-Milt Jackson, Work Song; Very Tall: Verve. Milt Jackson-Oscar Peterson, Stuffy; Ain’t But A Few of Us Left: Pablo. Oscar Peterson-Milt Jackson, Nature Boy; The Very Tall Band Live: Telarc. Jazz Datebook, www.bluelake.org/datebook.html. Paul Keller Trio, Hymn To Freedom; To Oscar With Love: PKO. Benny Green/Russell Malone, Wheatland; Bluebird: Telarc. Monterey Jazz Festival All Stars, Monterey Mist; Live at the 2007: Monterey Records. Terrell Stafford, Old Folks; Taking Chances: Max Jazz. 11 p.m. Milt Jackson-John Coltrane, Bags & Trane; Bags & Trane: Atlantic. Modern Jazz Quartet, Topsy; This One’s For Basie: Pablo. Count Basie Jam Session, Now’s The Time; Montreux Jazz Fest ’75: Pablo. Jazz Datebook Billie Holiday, I’ll Get By/Billie’s Blues/Do Nothin’ Till You Hear; Rare Live Recordings, 1934-59: ESP. Buddy DeFranco, Walk This Way; Charlie Cat II: Arbors. 12 a.m. Out On Blue Lake Joe Fielder Trio, The Crab; The Crab: Clean Feed. Burton Green, Cluster Quartet; Bloom in the Commune: ESP. Francios Houle, Moment Tendu; 9 Moments: Red Toucan. Nicole Mitchell’s Black Earth Ensemble, Black Unstoppable: Delmark. Myra Melford Trio M, Niave Art: Big Picture: Cryptogramophone. Mike Ellis, Parts 17,18,19; Chicago Spontaneous Combustion Suite: Alpha Pocket Records. Jazz Datebook 1 a.m. Steve Davis, Milestones; Alone Together: Mapleshade. Joe Locke, The Rosario Material; Sticks and Strings: Jazz Eyes. Pierre Dorge New Jungle Orchestra, Forgotten Highway; Jazz Is Like A Banana; Steeplechase. Ari Brown, Richard’s Tune; Live at the Green Mill: Delmark. Steve Lehman Quintet, Haiku d’Etat Transcription; On Meaning: Pi Records. 2 a.m. Milt Jackson, Heart Strings; Plenty Plenty Soul: Atlantic. Miles Davis, Bag’s Groove; The Chronicle: Prestige. Thelonious Monk, Evidence/Epistrophy/Misterioso/I Mean You; Wizard of the Vibes. Milt Jackson, Angel Face; The Jazz Skyline: Savoy. Milt Jackson, I Remember Clifford; Bag’s Opus: Blue Note. Ron Blake, Atonement; Shayari: Mack Avenue. Hans Glawischnig, Gypsy Tales; Panorama: Sunnyside. Lazaro Vega Blue Lake Public Radio 300 East Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3, Twin Lake/Muskegon; WBLU FM 88.9, Grand Rapids www.bluelake.org

That is a trope, isn't it? That the drummer's role was time keeping and it changed to a more equal partner with the front line soloists, primarily by shifting focus from the hi-hat to the ride cymbal facilitating an ability for the whole rhythm section to transform from "Errol Garner and two other guys" to a fully interactive ensemble. Baby Dodds drove the form -- those solo drum records on Folkways? Right there he's playing the strains and varying his patterns, rhythmically and coloristically. I think Chick Webb started the popularization of drums in the public mind though from the git they're the quintessential jazz instrument. Traps had to evolve a solo language which took a bit more time than the trumpet or clarinet or piano, but it was a newer instrument. edit to correct "trope."

http://www.m-etropolis.com/wordpress/p/the...-recordings/en/

Thanks for the pic! And thanks for tuning in: we had one of our biggest on-line audiences in some time for this program. Skid, what did you think of the live stuff? Not a great recording but a hell of a performance.

Jazz From Blue Lake WBLV FM 90.3/WBLU FM 88.9 www.bluelake.org January 8, 2008 10 p.m. - 3 a.m. est 10 p.m. Miles Davis, Tune Up; The Chronicle: Prestige. Dave Holland Quartet, Four Winds; Conference of the Birds: ECM. Barry Altschul, You Can’t Name Your Own Tune; You Can’t Name..: 32 Jazz. Barry Altschul Trio, Be Out S’cool; Brahma: Sackville. Nicole Mitchell’s Black Earth Ensemble, Cause and Effect; Unstoppable Blackness: Delmark. Paul Motian Trio, K.T.; Time and Time Again: ECM. Keith Jarrett Trio, I Guess I’ll Have To Hang My Tears Out To Dry; My Foolish Heart: ECM. Pierre Dorge New Jungle Orchestra, Blue Mask; Jazz Is Like A Banana: Steeplechase. 11 p.m. Dave Holland Quartet, Conference of the Birds; Conference of the Birds: ECM. Kenny Drew, Rianne; And Far Away: Steeplechase. Barry Altschul, Orange Was the Color of Her Dress Then Silk Blues; For Stu: Soul Note. Charles Mingus Sextet, Jitterbug Waltz; Cornell 1964: Blue Note. Joe Lovano/Hank Jones, Lullabye; Kids: Blue Note. Michael Musilliami Trio, Stark Beauty; The Treatment: Playscape. 12 a.m. Julius Hemphill, Lyric; ‘Coon Bid’ness: Black Lion. Barry Altschul, Butterflies; Virtuosi: Improvising Artists. Steve Lehman Quintet, Analog Moment; On Meaning: PI Records. Joe Fielder Trio, A Frankfurter In Caracas; Crab: Clean Feed. Peter Paulsen Sextet, Nefertiti; Change of Scenery. Ron Blake, Atonement; Shayari: Mack Avenue. Joe Lovano, Boplicity; Streams of Expression: Blue Note. 1 a.m. Steve Swell/Gebhard Ullmann Quartet with Barry Altschul, Box Set; Live from Blue Lake, June 2004. Steve Swell/Gebhard Ullmann Quartet with Barry Altschul, For Grachan; Live in Grand Rapids, April 2007. John Scofield, Strangeness in the Night; This Meets That: Emarcy. Hans Glawischnig, Oceanography; Panorama: Cam Jazz. Miles Davis, C.T.A./I Waited For You; Vol. 2: Blue Note. Gil Coggins, Vierd Blues; Better Late Than Never: Smalls. 2 a.m. Circle, Nefertiti; Paris Concert: ECM. Anthony Braxton, Four Winds; News From the ‘70’s: Felmay. Steve Swell/Gebhard Ullmann Quartet w. Barry Altschul, Planet Hopping on a Thursday Afternoon; Live in Grand Rapids, April, 2007. Lazaro Vega Jazz Director Blue Lake Public Radio 300 East Crystal Lake Road Twin Lake MI 49457 WBLV FM 90.3 serving Muskegon and the Lake Michigan shoreline WBLU FM 88.9, Grand Rapids Streaming live from www.bluelake.org.

That's a great story -- glad he was found and told and appreciated before it was too late.

With that Voyager program Lewis has interfaced his trombone with the computer, and there was a lot of that at the performance in Ann Arbor, as well as the more orchestral wash of sounds from "just" the lap top. He's found a way of using one of those Yamaha silent practice mutes, the ones that attach to headphones so you can hear your full sound but it is quiet in the room, as a midi interface between trombone and computer. Having heard Lewis and Abrams improvise as a duo during the AACM's 25th Anniversary concert at the Getz Theater (and the long mostly duo piece "Dramaturns" on "Streaming,") I went to Ann Arbor expecting that, and was suprised in a Homer Simpson sense that what transpired was much more akin to or evolved from "L-R-G" than anything else. The interplay between Lewis and Roscoe was far, far along a personal musical understanding -- there was nothing tentative about it. Muhal was often silent in the concert. Since I stayed for both "sets" and heard up to two hours of this it was easier to hear how Muhal found his way in. The concert was one of the finest experiences in music I'd ever heard -- so mature now. Going out later to hear other bands was a complete let down. Having hear this, too, while reading Konitz's book made it that much more vivid and clear. I'd like to write more about the performance but my daughter just walked in, hollered "Good morning 'bazzooes'" lifted her skirt over hear head, ran full blast at me and without slowing down jumped into my lap and is now pointing at the emoticons on the screen and laughing.

Any other opinions on New records from 2007?

Was "Streaming" in '06? Glad there were follow up tours from it this year. The Abrams solo album, then, this year.

Yes, Abbey Sings Abbey is a more compelling album. Shank does alright with the music, she just dosn't bring it to life the way Abbey does. There's a version of "Down Here Below" where Shank is cast alongside a bass clarinet, from what I remember, and it works musically -- yet when Abbey sings it you know right off that this song is a prayer first and always then a song. The Slate list is good. Hard to argue with. For a fuller view of the year include something from the Monterey Jazz Records series, the Miles Quintet with George Coleman, Herbie, Carter and Williams for instance; as well as mention of the great King Oliver re-issue from Off the Record. As for new albums, this year was made that much richer with "Streaming" by Muhal, Roscoe and Lewis; as well as The Exploding Star Orchestra, "We Are All From Somewhere Else."

http://www.slate.com/id/2180205/

The Hornsby album's alright from what I've heard of it, though it didn't catch my attention enough to return to it again and again. He's trying some different approaches to Un Poco Loco, but could anything be greater than Bud's original?

"The power of positive swinging." "Hawg Jaws." "Bayside Cookout." Perfect as "Puck." He's using a lot of the third valve by itself in that video.

The Hornsby album features Jack DeJohnette and Christian McBride and includes a previously un-recorded Ornette Coleman composition, so, yeah -- it's a jazz trio album trying to find a place amid that crowded field of instrumentation.

It was good cross promotion, in any case, having a program of his music on Friday and another on his birthday Sunday. Seeing that he's from Michigan originally it was a strong tribute to his music, even though in both programs we focused on "the good stuff" and not his more popular music.

+++++++++++++++++++++++++++++++ http://www.nysun.com/article/67690 The Shape of Jazz's Past & Present Live Review By Will Friedwald Jazz BY WILL FRIEDWALD December 7, 2007 URL: http://www.nysun.com/article/67690 Over the decades the terms for a particular, oft-employed jazz technique have changed, just as the technique itself has drifted into and out of fashion: In descriptions of jazz of the 1920s, it is called a "chase chorus." In the annals of swing-era jam sessions, it's referred to as "trading fours." Later, Charles Mingus and other modernists had their own variations on the idea. The idea sounds simple: One soloist plays a few bars (usually a metrically divisible number, such as eight measures, four, or two), then another horn player answers him with a solo statement of the same brief length. Then the first player responds to the second, and so on. Traditionally, these exchanges were used for the sake of variety, or as an excuse to give the drummer a chance to interact with the front-line horns at the end of a set. But lately, as in the music of the Dave Douglas Quintet ‹ which is appearing this week at the Village Vanguard ‹ and that of the all-star quartet Shapes of Jazz, with Joe Lovano and Tom Harrell ‹ appearing until Sunday at Iridium ‹ this formerly marginal concept is becoming a key driving force in the way contemporary jazz is created. It could be described as a "conjoined solo." In the opening set for each group ‹ Mr. Douglas on Tuesday and the Shapes on Wednesday ‹ the first two numbers included a piece that was tightly composed, with a clear and distinct opening melody, and another that was largely improvised, leaving lots of room for the two central horns to interact and create something new on the spot. Mr. Douglas began with a memorable and hummable new piece, "Campaign Trail," before progressing to "Moonshine," in which the melody was less important than the interaction the trumpeter-leader achieved with his longtime fellow front-liner, the tenor saxophonist Donny McCaslin. "Moonshine" is also heard in a very different form as the title cut on a new album by Keystone, Mr. Douglas's more electronica-driven group, which will be distributed to stores next month but is already available for downloading at Musicstem.com. The Douglas quintet at the Vanguard also utilized some pop elements, notably a Fender Rhodes in place of acoustic piano, played by Orrin Evans, and, frequently, an underlying foundation of funk vamps. On many of his conjoined solos with Mr. McCaslin, Mr. Douglas played with a hard-driving, straight-ahead attack, while the tenorist has developed a style that strings short, percussive notes into long phrases that come off as somehow staccato and legato at the same time. The two horns sounded together, yet distinct. It's also important to note that even when Mr. Douglas, as a composer, doesn't stress the opening melody, he nonetheless takes the trouble to write out transitional passages in between solos and even backgrounds for the horns to play behind Mr. Evans's keyboard solo. Where Messrs. Douglas and McCaslin work together regularly in this long-standing quintet, the saxophonist Joe Lovano and trumpeter Tom Harrell only appear jointly on special occasions. Still, they share a history of more than 25 years of working together in different situations, all of which they can channel in concert. Their most famous collaboration was on the 1994 "Quartets: Live at the Village Vanguard," and, since this week they're working in the same format of trumpet, tenor, bass (Cameron Brown), and drums (Cindy Blackman), they began with two tunes from that set: Mr. Lovano's "Fort Worth" and Mr. Harrell's "Sail Away." Both are strong melodic lines, but it's the way the two tackle them together that's remarkable. On Wednesday, Mr. Harrell played "Fort Worth" on flugelhorn, and Mr. Lovano, appropriately, softened his own sound in response. The latter can play with a biting edge when he wants to, but here he made the timbre of the horn match the flugel, and the two interacted throughout, playing equal parts that added up to a tune. "Sail Away" is perhaps Mr. Harrell's most widely heard composition, a slower piece that's not quite a ballad. At the Iridium, it sounded more joyous and upbeat than on most of its many recordings, possessing a Gerry Mulliganesque quality that I've never heard before. This was contrasted by the next piece, which referenced the leader of the most famous two-horns and two-rhythm group of all time, Ornette Coleman, via Mr. Coleman's famous dirge, "Lonely Woman." Here, Messrs. Lovano and Harrell matched their sonic personalities once again: When Mr. Harrell switched to the harsher sound of the trumpet, Mr. Lovano pulled out the sharper-sounding and less mellow soprano saxophone. The Vanguard and Iridium sets had something else in common, too: The two groups concentrated on their own originals at the beginning, then moved on to jazz standards at the end. Halfway through Tuesday's set, Messrs. Douglas and McCaslin treated us to one of Thelonious Monk's most touching ballads, "Reflections," in a loose, not restrictively Monk-ish interpretation. Here, Mr. Evans's solo was particularly impressive; I can imagine that it must be imposing to tackle the work of the man who made the piano sound like a completely different instrument on a Fender Rhodes. Mr. Douglas's big surprise was "Nobody Else But Me," one of Jerome Kern's final songs, and one, unfortunately, that is rarely played by jazzmen, as Mr. Douglas indirectly acknowledged when he said he learned it from a Mabel Mercer album. He gave it a bright and open tone, more like a swing stylist (e.g., Roy Eldridge or Bobby Hackett), taking the tune seriously but with a sense of humor to lighten it. For the second half of their set, Messsrs. Lovano and Harrell also gave us unique takes on standards, or rather, variations on variations, namely "I'm All for You" (the tenorist's revision of "Body and Soul"), and they closed with a hell-for-leather "Oleo," Sonny Rollins's take on the "I Got Rhythm" changes. In fast and furious numbers over familiar chord changes such as these, the two horns up front tend to engage in more of a duel than a collaboration, which is another venerated tradition of jazz: Even when they're playing against each other, they're still playing with each other. wfriedwald@nysun.com --

David, What was the music on the promo?

In the 20's today. Hope it stays this way until March. None of this snow, thaw, snow, thaw, snow, thaw routine which produces too much flu.

Blue Lake featured Donald Byrd this Friday -- "Lover Come Back to Me" from Off To the Races; "Air Mail Special" by Hampton's Big Band; "Little Rootie Tootie" by Monk at Town Hall; and "Here I Am" from Byrd in Hand is how it began. What a musician in that period. One of the reasons we don't hear as much from him today as we could have is because of that embrochure pictured above: he set up to expose more of the soft flesh inside his lips, which gave him a great sound, but it was unsustainable, even detrimental. Or that's what I've been told by other trumpets. Byrd's 1955 session with Frank Foster, Hank Jones, Paul Chambers and Kenny Clarke, Long Green, was the first Savoy label recording I'd ever owned. Still can't get enough of his "Star Eyes" from that date. Where's Larry's quote from?