Lazaro Vega

No, that was it. There a just a couple of other pieces of the interview which are a minute or two long, each. Hour long interview cut into 9 segments, most of which made it over the 3 hours. LV

Cool. Glad that worked out.

That comment about W.C. Handy consolidating the blues into form so groups could play it came from a conversation by Chuck Nessa when he was explaining Ornette Coleman's way of phrasing. In a sense Ornette related to the blues before Handy, i.e. having form follow the emotional message of the tune; emotion driving the duration of melodies. In honor of Muhal Richard Abrams appearance with Roscoe Mitchell and George Lewis this Saturday at EdgeFest in Ann Arbor Blue Lake Public Radio will re-broadcast the three hour interview/music program which aired last Sunday. Please join Muhal Richard Abrams tonight, 10-17-07, at 12 a.m. until tomorrow, 10-18-07, at 3 a.m. over WBLV/WBLU FM and on line via www.bluelake.org/radio.html. (Those times in Chicago are 11 p.m. tonight to 2 a.m. tomorrow). The program’s original broadcast attracted more web-stream listeners than any other program broadcast all day Sunday. Thanks to Organissimo for that fact.

Have it, played some on the radio last Friday: the title piece, which is one long, multi-sectioned improvisation. Her band "Be Bread" is something else, too, as on the previous Crypto release, with Cuong Vu and Stomu Takaieshi (sp).

This from the Braxton list: Hi All! I thought I mayby should write down some impressions from the Italian Concerts with Anthony Braxton and Cecil Taylor. I know there is a lot of interest out there. I hade two great days in a sunny and nice Bologna, and with two very interesting concerts at Friday and Saturday. I start with Friday at Teatro Communal in Bologna…a very nice Italian Opera house. Mayby not a place where you think you should find Cecil Taylor and Anthony Braxton but this Friday you did. October 12, 2007 Cecil Taylor Antony Braxton Duo, Bologna, Italy The concert was announced as a duo, bit the first thing that one could note was that there was a bass at stage. I yes, the duo was expanded to a Trio with William Parker on Bass. Well, is some way that was great, but it also gave a feelning that not felt so good that mayby the duo was expanded into a trio because the dou format not worked so well. But this was just a feeling. I dont know if it is a fact. Anyhow the show ended in a very disappointing way which felt rather bad, but I will come back to that. 1th Set: a) Cecil Taylor reading two poems b) Anthony Braxton Solo altosax c) William Parker Solo d) Cecil Taylor Solo pno The 1th set was a series of great solos. Anthony Braxton solo was not a usual Braxton solo. It was a piece that sounded like a collage of compositions more the one composition. Mayby he was improvising. I like his solo very much, It was great. William Parker and Cecil Taylor also did great solos. The first set lasted about 1 hour. 2nd Set a) Cecil Taylor/William Parker/Anthony Braxton Trio The 2nd set was a disapointment indeed. They started to play, and it looked like Cecil didnt like what Anthony was doing. A couple or times Cecil stoped playing and waited until Anthony got silent, and then he started to play again. After about only some few minutes more then 20 Cecil Taylor suddenly took his notes, made a short nod towards the audience and left the stage. It was like he got angry, or like he just gave up. Angry on Anthony I mean. Well, Cecil left stage and William Parker put his bass down on the floor and left, and Anthony realized the situation in the middle of a phrase. Anthony made a nod towards the audience, said thank you, and left. They did not come back. I felt it to be a rather rude thing Cecil Taylor did. I wished more that he had stayed and had taken the fight needed. I felt it was rude towards the audience and rude towards Anthony. I thought Cecil embarrassed Anthony. It didnt feel any nice at all. And it was not so nice towards us in the audience. Well, I think the theater was sold out so there was a big audience waiting to see more. The music the played during those short 20 minutes was surpricingly soft and lyrical. I think I could have developt into something very nice if it not got interupted as it did. Or mayby the plans where just to play a very short piece…but after a 1th set and on intemission you expect the 2nd set to be longer, and if not so long as the first set rather close to it. October 13, 2007 Cecil Taylor Historical Quartet, Reggio, Italy The concert was announced as Cecil Taylor Historical Quartet w/ Anthony Braxton. Cecil Taylor pno, Anthony Braxton Reeds (sopranino, soprano, altosax, cantrabass clarinet), William Parker Bass, Tony Oxley drums, oercussin, electronics. It is the old CT "Feel Trio" + Anthony Braxton. And the instruments on stage clearly was put in sich way that there was a trio + Anthony. This night it was a great concert!! I loved it. Great music! There was no intermission tonight. All musci was played in one longer set. And the four of them stood in line to thank the audience for the applouse afterwards, and they even played on encore. Well this night it looked much more as a real connection between Cecil and Anthony with some smiles while playing. So this concert was in a better mode than the Bologna Duo (sorry Trio) show. The concert was also in an Oprea Housem but in Reggio (about 40 minutes with train from Bologna) a) Cecil Taylor – Tony Oxley DUO (Poetry and drums/electronics) b) William Parker SOLO (first on Shenai, then on Bass) c) Anthony Braxton SOLO (sopranino, soprano, altosax) d) Cecil Taylor SOLO pno e) Cecil Taylor Historical QUARTET f) Encore QUARTET It was a great show. The Taylor/Oxley Duo was great. It jsut stared with Cecil palying the piano standing. The he read poetry while Oxley was drumming and using electronics. It was around 15 minutes. William Parker made a great solo also. First he walked the stage playing shenai, unamplified. The it was a great solo on Bass. The solo from Anthony Braxton was very interesting, and different from things I have heard him play. He stared with whistleing, saying some letters, saying some numbers and the picked up the soprano and played (or was it the sopranino). He made some gestures, turned around. Said some more letters and numbers and the played the sopranino (if it was the soprano first). Then som more talking and then playing on the alto. It was a very interesting and nice solo. The Quartet played about 30 + 10 minutes. So it was rather short. It stared with some rather intense music with Anthony on alto. Great playing. There where moments when I just smiled and thought. Yes, this is music when it is the best music there is. Ever!! From the rather intense frist half it slowed down and became more lyrical. Both Anthony and Oxley became silent and where silent a long time. Anthony didnt play a note för the last 7,8 minutes I think. (so it was some feeling of seeing the feel trio plus someone). The piece ended with piano and bass duo. After a long and well deserved applause the quartet played a shorter encore. I musr have been a composition. Cecil Taylor actually turned the peper wirh notes that he had, and William Parker looked firmly inte his notes. This encore hade even more feeling of being the feel trio as it ended with a long silent from Anthony. Both the actual quartet and the encore ended with silence from Anthony. I thought that he made the right decision: the music was great and it didnt need him. Well, I guess that there is a lot more to say. Please correct me, anyone that find that I remember wrong will say. Or if you have another opinion about the bad things at the friday concert. Say it. Thanks Anthony, and thanks Cecil for some great music! All the best, Jan Carlsson Stockholm

Clem earlier suggested coverage of more women. Looking randomly at issues piled on the desk here, Annette Peacock with a cover headline from the Winter 2001 issue, and Marina Rosenfeld and Pauline Oliveros from Spring 2001...Tina Marsh would be welcome.....

Interval Overshadowing the Shadow A Carnegie triumph for Mr. Rollins proves that the Sonnymoon is never over by Francis Davis October 9th, 2007 5:23 PM Calmly guiding us through history in the remaking An all-star audience turned out for Sonny Rollins's Carnegie Hall show September 18, this year's be-there-or-be-square jazz event. Lou Reed and Laurie Anderson sat two rows in front of me, and I also spotted Lee Konitz, Jimmy Heath, Lou Donaldson, and Yusef Lateef; friends report sighting Pat Metheny, Joe Lovano, and John Zorn. Because Rollins typically plays New York once annually, his local appearances take on the weight of deific visitations. As much anticipation awaits them as once awaited new releases by Coltrane or Miles, though for a different reason—what everybody's hoping for isn't a clue to where jazz is heading next, just insight into Sonny's state of mind. Still, I don't recall there being quite this much fevered speculation since his 1985 solo concert at the Museum of Modern Art, where he made up for a hesitant 25-minute set with a euphoric 35-minute encore (when the tension gets to Rollins himself, the results can be bizarre). In previous years, he's often sought to increase ticket sales, or maybe just lessen the pressure on himself, by hosting another marquee name. But the only extra-added attraction this time out—and nobody could ask for better—was his own legend: the shadow of youthful greatness that's been striding onstage ahead of him and challenging him to keep step for half a century now, since Saxophone Colossus in 1956. The standing ovation that greeted Rollins—who was flanked only by drummer Roy Haynes and bassist Christian McBride; no piano or guitar, no other horn, nothing that needed to be plugged in—may have been as much for that shadow as for the man himself, but not the standing ovation the trio received at the conclusion of its 50-minute set. Although the concert was billed as a 50th-anniversary celebration of Rollins's first Carnegie Hall appearance (at which he also led a piano-less trio as part of an all-star package featuring Thelonious Monk, Ray Charles, Billie Holiday, and Dizzy Gillespie, among others), its real impetus was the chance discovery of tapes from that night's performances in an unmarked box at the Library of Congress three years ago. This was the find that yielded two sets by Monk with Coltrane, released by Blue Note to hosannas in 2005. We've yet to hear the rest, but in the same spirit with which he's been making vintage clips available on his website—and perhaps still mentally competing with Coltrane—this summer Rollins announced plans to release the three numbers he performed that night on his own label, side by side with new versions to be recorded with the same spartan instrumentation this year at Carnegie Hall, inviting us to contrast and compare. Just the prospect of hearing Rollins once more forgoing a chording instrument, as he did on Way Out West, A Night at the Village Vanguard, and The Freedom Suite way back when, would have been enough, but this was history in the remaking. Needless to say, the show sold out weeks in advance. So how was it? Before telling you why it had me walking on air (the first half, anyway—an opinion I trust I share with most of those in attendance), let me acknowledge some dissenting points of view. "Too much vibrato," Lee Konitz, who himself employs very little, told me when I bumped into him outside during intermission—a perfect example of why musicians don't really make good critics, since they tend to impose their own aesthetic on everyone else. Konitz, our greatest living saxophonist after Rollins and Ornette Coleman, said he was looking forward to the second set, featuring Rollins's working band and hopefully including some calypsos. What's more, a dear friend of mine whom I envy for also having been at the '57 concert complained that McBride didn't swing. You should know, however, that this is someone who often talks as if she believes no one under the age of 70 does. And I often have to agree with her—but not about McBride, at 35 two full generations younger than either Rollins (77) or Haynes (82). McBride fulfilled every requirement of a bassist in this context, beginning with providing a solid harmonic anchor. Though fleet and virtuosic to the point of showing off, his solo on "Mack the Knife" kept the familiar melody clearly in mind and maintained Rollins's slashing tempo. Best of all, he sensed exactly when to defer to his elders in what gradually became a dialogue on the value of dynamics between the god of tenor saxophone and a god of drums. A frequent complaint I heard in the days after was that Rollins never cut loose with chorus after chorus—that on the long, contemplative "Some Enchanted Evening," he didn't even take a solo as such, following a hesitant stab at one on the opening "Sonnymoon for Two," where he and Haynes were still feeling each other out. For me, the mock-aria from South Pacific—an unlikely vehicle for anyone but Rollins—was the evening's glory. He and Haynes didn't exactly trade fours on it for 10 minutes running, and they didn't exactly not; their exchanges followed the rules of conversation, not metrics. Analytical rather than discursive or ecstatic, Rollins treated the melody to an endless series of variations, slowing down his vibrato and dropping into a subtone to summon up the ghosts of both Enzio Pinza and Coleman Hawkins, all the while moving in and out of tempo within phrases shaped to Haynes's elegant brushstrokes. Even those who might have wished for conventional improvised choruses had to agree that it was magic. So was "Mack the Knife," highlighted by McBride's solo and crafty fours between Rollins and Haynes practically from beginning to end. The second half, with Rollins supported by trombone, guitar, electric bass, drums, and congas on a pair of cheery riffs and a closing calypso, figured to be anticlimactic, and it was. Konitz, I'm told, was gone before the calypso, which was probably just as well—he'd have objected to the interminable drum solo on top of an interminable conga solo, and he'd have been right. The contrast between the two sets revealed itself visually: In the nightcap, Rollins literally fronted a rhythm section, whereas if he'd moved any closer to the drums during the opener, he'd have been able to scoop Haynes's beats into the bell of his horn. Not that Haynes made all the difference. Rollins is a song man: Even when he briefly embraced free-form in the early '60s, hiring Don Cherry and Billy Higgins away from Ornette Coleman, he continued to use the occasional Broadway number as his launch. He may be able to forgo a chording instrument, but not chords. Blues and calypsos may give him plenty to work with rhythmically. But when Rollins is on, rhythm takes care of itself through the combination of his island heritage and a sense of comic timing worthy of Jack Benny. Not that Haynes didn't also benefit from the encounter. Generally recognized as our greatest living drummer now that Max Roach is gone, he's lately become overbearing when leading his own groups. Matching wits with Rollins, though, he regained the subtlety that earned him his reputation in the first place. (As an aside, Concord has just reissued 1957's The Sound of Sonny, one of Rollins's few recorded meetings with Haynes. Canonical only insofar as everything by Rollins from that period is, it's nevertheless delightful, no less thanks to Sonny Clark—if every pianist comped as sparely yet decisively as he does here, no saxophonist would ever dream of going piano-less.) What we've long wished for from Rollins is greater intimacy, if not in terms of smaller venues (no way he's going back to playing clubs), then in terms of trimmer ensembles. We've wanted to hear him mix it up with players of equal stature (Haynes comes close) and top-notch relative newcomers like McBride. Most of all, we've wanted surprise—not necessarily for him to break with jazz convention (if this were Ornette Coleman, Lou Reed and Laurie Anderson would have been onstage), just for him to break his own established routines. For 50 minutes at Carnegie, he came close to giving us all of this. The shame is that a good part of the crowd missed some of it, kept waiting in line for close to half an hour at a single will-call window—poor planning on someone's part. Rollins issued an apology on his website the morning after, but even factoring in the second set, he has nothing else to apologize for. It was some enchanted evening, all right.

http://italia.allaboutjazz.com/php/article.php?id=969

aloc, Ghost, Paul: thanks for tuning in. As Chuck said after the interview, "You survived." Felt the program needed to be this length to do him justice, and tried to let the musical selections be dictated by the content of the conversation (i.e. Jason Moran following Muhal's talking about young individualists; or 'Blu Blu Blu' following on the W.C. Handy comment, or "Bloodline" for Redman, Henderson and Carter after the segment about meeting Benny Carter. Follow the artist..... The piece from Nonaah is, according to Terry Martin's liner notes, based on limiting the range each instrument could play in. This program will air again Wednesday from midnight to 3 a.m. Thursday morning. And then, EdgeFest this Saturday. Looking forward to hearing Muhal live again.

Been digging into it slowly. Lee sure is critical, wow; yet what he has to criticize, and how he does it is related with a certain level of respect (Art Pepper, Anthony Braxton) which makes one pay attention to what he has to say as opposed to just getting mad and dismissing it. Makes me sorry I didn't get the Mosaic Kontiz/Marsh set.

Blue Lake only offers those two streaming options at this point, one which opens a Windows Media Player and another that allows for an MP3 stream (usually better with MACs). When you click on them the devices open up. I'm sorry I'm not familiar with the system you're working with and would bet that the NCATS people are not available to answer these questions on a Sunday. Lazaro

Jazz a la Carte Saturday, October 13, 2007 Artist—Song Title – Album Title – Record Label 7 a.m. Kurt Elling, I Like the Sunrise; Night Moves: Concord Music. Lambert/Hendricks&Ross, Moanin’; Everybody’s Boppin’: Columbia. Billy Taylor/Gerry Mulligan, Laura; Live at MCG: MCG Jazz. Jazz Datebook, www.bluelake.org/datebook.html Frank Tiberi, Four of a Kind; 4 Brothers 7: Jazzed Media. Stan Kenton, Young Blood; Stompin’ at Newport: Pablo. Stan Kenton, Lover Man; Retrospective: Capital. Billie Holiday, Mean To Me/Foolin’ Myself; Master Takes and Singles: Legacy. Lee Konitz, All of Me; Strings for Holiday: Enja. 8 a.m. Art Blakey and the Jazz Messengers, In Walked Bud; With Thelonious Monk: Atlantic. Bobo Mereno/Ernie Wilkins Almost Big Band, Milestones; Out of This World: Sundance Eric Alexander, Dave’s System; Temple of Olympic Zeus: High Note. David Hazeltine, Don’t Walk Away; Inspiration: Sharp Nine. Jazz Datebook Queen Latifa, I Love Being Here With You/I’m Gonna Live Until I Die; Trav’lin’ Light: Verve. Herbie Hancock, Edith and The Kingpin; River: The Joni Letters: Verve. Deep Blue Organ Trio, Short Story; Deeper Blue: Origin. Joe Henderson, La Mesha; Page One: Blue Note. 9 a.m. Lee Konitz (solo), Lover Come Back To Me; Grand Rapids, 1999: Blue Lake. Lee Kontiz/Jeff Halsey/Pete Siers, The Song Is You/Cool Blues; Grand Rapids, 1999: Blue Lake. Jazz Datebook Lennie Tristano Sextet, Wow; Intuition: Capital. Miles Davis Nonet, Move; Birth of the Cool: Capital. Lee Konitz/Miles Davis, Ezz-Thetic; The Chronicle: Prestige. Lee Konitz, Foolin’ Myself; Motion: Verve. Lee Konitz/Ohad Talmor String Project, Struttin’ With Some Bar-B-Que; Inventions: Omni Tone. 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

Jazz From Blue Lake Friday, October 12, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Bennie Green, Blow Your Horn; Blow Your Horn: Decca Diedre Murray/Fred Hopkins, Doo Wop; Stringology: Black Saint. Air, G.v.E, Air Time: Nessa. Don Pullen Sextet, Tales from the Bright Side; The Sixth Sense: Black Saint. Jazz Datebook, www.bluelake.org/datebook.html. Gloria Lynne, There Are Such Things; From My Heart To Yours: High Note. Bill Easley, Indian Sumer; Business Man’s Bounce: Allegro. Bobo Moreno/Ernie Wilkins Almost Big Band, Milestones; Out of This World: Sundance Music. John Scofield, Trio Blues; This Meets That: Emarcy. Cyrus Chestnut, Hound Dog; Cyrus Plays Elvis: Koch. 11 p.m. David Murray Octet, Shakedown Street; Dark Star: Astor Place. Arthur Blythe, Miss Nancy; Illusions: Columbia. Henry Threadgill Sextet, When Was That?; When Was That?: About Time. Jazz Datebook. Allan Harris, L-O-V-E; Long Live the King: Love Productions. Deep Blue Organ Trio, I Thought About You; Folk Music: Origin. Memphis Slim/Roosevelt Sykes, Mr. Sykes Blues/Eagle Rock: Double Barrel Boogie: Maison De Blues. 12 a.m. Maria Muldaur, New Orleans Hop Scop Blues/Smile; Naughty Bawdy & Blue: Stony Plain. Muhal Richard Abrams Orchestra, Oldfotalk/Find It Now/Bermix; Hearinga Suite: Black Saint. Air, Chicago Breakdown; 80 Degrees Below ’82: Antilles. Hamiet Bluiett, Solo Bass Improvisation No. 1/River Niger; The Clarinet Family: Black Saint. John Carter, Voyage; Dance of the Love Ghosts: Gramavision. 1 a.m. Jazz Datebook Marty Ehrlich/Myra Melford, A Generation Comes and Another Goes; Spark!: Palmetto. Myra Meford/Mark Dresser/Matt Wilson, The Big Picture; The Big Picture: Cryptogramaphone. Miroslav Vitous, Opera; Universal Syncopations II: ECM. Kahil El’Zabar Trio, The Ebullient Duke; Love Outside of Dreams: Delmark. Air, No. 2; Air Time: Nessa. 2 a.m. Eberhard Weber, Syndrome; Stages of a Long Journey: ECM. Jon Hemmersam/Dom Minasi, Inside Out; Quintet: CDM. Saco Yasuma, Invisible Matters; Another Rain: Leaf Note. Muhal Richard Abrams, Miss Richarda/Munktmunk; Colors in Thirty-Third: Black Saint. Sunny Murray’s Untouchable Factor, Over the Rainbow; Wildflowers: KnitMedia. Henry Threadgill, USO Dance; Wildflowers: Knit Media. Anthony Braxton, 73 degrees –S Kelvin; Wildflowers: Knit Media. 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

Ah.

What? Who's she? Potter contrasted to Shorter...

Jazz From Blue Lake Tuesday, October 2 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Mark Helias Open Loose: Subway, Chavez; Atomic Clock, Radio Legs. Oliver Lake Big Band: Round 2000; Cloth, Passin’ Thru. Allan Harris: Non Dimenticar/Pretend; Long Live the King, Love Productions. Straight Ahead: Children of the Forest Rain; Dance of the Forest Rain, Atlantic Alvin Queen: Shirley’s Song; I Ain’t Looking at You, Enja. Ari Brown/Earma Thompson/John Brumabach: Next Time You See Me; Madam Queen, Sirens. Gerald Wilson Orchestra: I Concentrate on You, Monterey Moods, Mack Avenue Diana Krall: East of the Sun; Best of, Verve 11 p.m. Mark Helias Open Loose: Cinematic; Atomic Clock, Radio Legs. Bass/Drum/Bone: Fictionary; (Hence the Reason), Enja. Ed Blackwell Project V. 2: Pentahouve, “What It Be Like?,” Enja. Regina Carter: Beau Regard; Regina Carter, Atlantic. Radam Schwartz: The Kicker; Magic Tales, Arabesque. McCoy Tyner: Search for Peace; Quartet, McCoy Tyner Music/Half Note. John Mayer: Blues By Five; So Many Stars, Reservoir Music. 12 a.m. Luciana Souza: Down To You; The New Bossa Nova, Verve. Herbie Hancock: Amelia, Nefertiti; River--The Joni Letters, Verve. Maria Schneider Orchestra: Cerulean Blue; Sky Blue, Artist Share. The String Trio of New York: Upside the Downside; Octagon, Black Saint 1 a.m. Mark Helias/Mark Dresser: The Comb Over; The Marks Brothers, Demo. Mark Helias Open Loose: Modern Scag; The Atomic Clock, Radio Legs. Marilyn Crispell Trio: Harmonic Line, Cosmology; Storyteller, ECM. Ingrid Jensen/Christine Jensen/Nordic Connect: Cowboy; Flurry, Artist Share. Carolyn Leonhart/Wayne Escoffery: If Dreams Comes True; If Dreams Come True, Nagel Hayer. Charles Tolliver Big Band: Right Now; With Love, Mosaic. Jackie McLean: Jacknife; Jacknife, Blue Note. 2 a.m. Dewey Redman: Thren; Joie De Vivre, ECM. Mark Helias: Le Tango; Split Image, Enja. Anthony Braxton: Composition 69 N/G; Quintet (Basel) 1977, Hat Hut. Sam Rivers Rivbea Orchestra: Arcs; Aurora, Rivbea Sound Company. Manu Katche: So Groovy; Playground, ECM. Modern Jazz Quartet: Da Capo; Third Stream Music, Atlantic. www.markhelias.com includes this interview: http://www.markhelias.com/rlcodapg.html . 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

Jazz From Blue Lake Wednesday, October 3, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Von Freeman, Disorder at the Border; The Great Divide: Premonition. Louis Smith, Body and Soul; Silvering: Steeplechase. Von Freeman, Blue Lester; The Great Divide: Premonition. Jazz Datebook. Thad Jones, Something to Remember You By; RVG Sampler: Blue Note. Horace Parlan Trio, Party Time; My Little Brown Book: Stunt. Bobo Moreno & The Ernie Wilkins Almost Big Band, Lil’ Darlin’; Out of This World: Stunt. Bobby Hutcherson, Don’t Blame Me; For Sentimental Reasons: Kind of Blue. 11 p.m. Von Freeman, If I Should Lose You; The Improviser: Premonition. Von Freeman, Have No Fear; Have No Fear: Nessa Jazz Datebook. Allan Harris, L-O-V-E; Long Live the King: Love Productions. Manhattan Jazz Quintet, Smoke Gets In Your Eyes; Someday My Prince Will Come: Videoarts Music. Queen Latifah, I Want A Little Sugar In My Bowl; Trav’lin Light: Verve. Gerald Wilson Orchestra, Blues; Monterey Moods: Mack Avenue. Eddie Daniels, Resolution; Homecoming: IPO. 12 a.m. (Out on Blue Lake) Bass/Drum/Bone, For Don C.; (Hence the Reason): Enja Don Cherry, Complete Communion; Live at Café Monmartre 1966: ESP. Sunny Murray, Interview “Musicians and Magic”/Angels and Devils; Sunny Murray: ESP. Albert Ayler Quartet, Ghosts/Infant Happiness; The Hilversum Session: ESP. Jazz Datebook. 1 a.m. Von Freeman, After Dark; Serenade and Blues: Nessa Von Freeman/Ed Peterson, Night In Tunisia; Von and Ed: Delmark Billie Holiday, Let’s Do It/Georgia/All of Me; Master Takes: Legacy. P.J. Perry/Campbell Ryga Quintet, Con Alto; Joined at the Hip: Cellar Live. Pat Metheny Trio, Change of Heart; Live in Monterey Sampler; Monterey Jazz. 2 a.m. Von Freeman, I Like the Sunrise; The Improviser; Premonition. Von Freeman, Crazy She Calls Me; Live at the Dakota: Premonition. Miles Davis Quintet, Autumn Leaves; Live in Monterey Sampler: Monterey Jazz. Herbie Hancock, Tea Leaf Prophecy; River: The Joni Letters: Verve. Miroslav Vitous, Opera; Universal Syncopations II: ECM. Antonio Sanchez, Solar; Migration: Cam Jazz. 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

Jazz a la Carte Saturday, October 6, 2007 Artist—Song Title – Album Title – Record Label 7 a.m. Kurt Elling, I Like the Sunrise; Night Moves: Concord Music. Modern Jazz Quartet, Fine; Third Stream Music: Atlantic. Billy Taylor/Gerry Mulligan, Line For Lyons; Live at MCG: MCG Bill Charalp Trio, Godchild; Live at the Village Vanguard: Blue Note Jazz Datebook Gerald Wilson, I Concentrate On You; Monterey Moods: Mack Avenue Allan Harris, Straighten Up and Fly Right/A Blossom Fell; Long Live The King: Love Productions. John Coltrane/Don Cherry, The Blessing; The Avant Garde: Atlantic. Straight Ahead, Children of the Forest Rain; Dance of the Forest Rain: Atlantic. 8 a.m. Hank Jones/Joe Lovano, Oh, What A Beautiful Morning; Kids: Blue Note. The Benny Carter Centennial Project, I’m In the Mood For Swing; Centennial..: Evening Star. Billie Holiday, I’m Gonna Lock My Heart and Throw Away the Key, Sugar; Singles and Master Takes: Legacy. P.J. Perry/Campbell Ryga, I Can’t Get Started; Joined at the Hip: Stunt. Jazz Datebook Kathy Kosins, Nice Girls Don’t Stay for Breakfast; Vintage: Mahogany Music. Metheny/Meldau Quartet, A Night Away; Quartet: Nonesuch. Herbie Hancock, Court and Spark; River: The Joni Letters: Verve. Maria Schneider Orchestra, Rich’s Piece; Sky Blue: Artist Share. 9 a.m. Horace Parlan, Fran Dance; My Little Brown Book: Stunt. Bobo Moreno/Ernie Wilkins Almost Big Band, Milestones; Out of This World: Stunt. John Mayer, Blues by Five; So Many Stars: Reservoir. Manhattan Jazz Quintet, So What; Someday My Prince Will Come: Video Artists Music. Jazz Datebook Allan Harris, L-O-V-E; Long Live the King: Love Productions. Queen Latifa, I Love Being Here With You/I’m Gonna Live My Life;Trav’lin’ Light: Verve. Tony Bennett, Anything Goes; Sings the Ultimate American Songbook: Sony Music. Diana Krall, East of the Sun; Best of: Verve. John Scofield, Trio Blues; This Meets That: Emarcy. 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

Jazz From Blue Lake Friday, October 5, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Duke Ellington Orchestra, Jack the Bear/Koko/Concerto For Cootie; Complete: RCA. Duke Ellington Orchestra, Cotton Tail/Bojangles; Complete: RCA. Jazz Datebook Allan Harris, Walkin’ My Baby Back Home; Long Live the King: Love Productions. Frank Tiberi, Tenor Conclave; 4 Brothers 7: Jazzed Media. Bobo Moreno/Ernie Wilkins Almost Big Band, Milestones; Out of this World: Stunt. Jon Mayer, Blues By Five; So Many Stars: Stunt. Alvin Queen, Old Folks; I Ain’t Lookin’ At You: Enja. 11 p.m. Duke Ellington/Jimmy Blanton, Pitter Panther Patter; Solos/Duos/Trios: Bluebird. Johnny Hodges Orchestra, Squatty Roo/Things Ain’t What They Used To Be/Goin’ Out the Back Way: Ellington Centennial: RCA. Duke Ellington Orchestra, Never No Lament/Harlem Airshaft; Complete: RCA. Duke Ellngton/Jimmy Blanton, Mr. J.B. Blues; Solos/Duos/Trios: Bluebird. Kathy Kosins, Penthouse Serenade; Vintage: Mahogany Music. Jazz Datebook. Benny Carter Centennial Project, I’m In the Mood For Swing; Benny Carter Centennial Project: Evening Star. Randy Reinhart, Too Late Now; As Long As I Live: Arbors. Joe Temperley, A Single Petal of a Rose; A Portrait: Hep Jazz. Maria Muldaur, T.B. Blues; Naughty, Bawdy & Blue: Stony Plain. 12 a.m. Duke Ellington and His Famous Orchestra, Sepia Panorama/In A Mellotone/Warm Valley/Across the Track Blues; Centennial Collection: RCA. Johnny Hodges Orchestra, Good Queen Bess/That’s The Blues Old Man/Jr. Hop; Centennial Collection: RCA. Charles Mingus Sextet, Take the A Train; Cornell 1964: Blue Note. Lucky Thompson, Tricotism; Tricotism: Impulse. Ella Fitzgerald, Our Love Is Here to Stay; Love Letter From Ella: Concord. Andre Previn, Night and Day; Alone: Emarcy. Jazz Datebook. 1 a.m. Jeremy Pelt & Wired, Beyond; Shock Value: Max Jazz John Scofield, House of the Rising Sun; This Meets That: Emarcy. Gerry Granelli V 16, It’s A Man’s World; Sonic Temple: Song Lines. Thelonious Monk Quartet, Rhythm a Ning; Monterey Highlights 1: Monterey Jazz. Jed Levy, The Neo-Hip-Hot-Cool-Kiddies-Community; Mood Ellington: Steeplechase. Horace Parlan, Party Time: My Little Brown Book: Stunt. Thad Jones, Something to Remember You By; RVG Sampler: Blue Note. 2 a.m. Herbie Hancock, Nefertiti; River: The Joni Letters: Verve. Maria Schneider Orchestra, The Pretty Road; Sky Blue: Artist Share. Myra Meford Be Bread, Your Face Arrives in the Redbud Trees; The Image of Your Body: Cryptogramophone. Miles Davis, He Loved Him Madly; Complete On the Corner: Sony Music. 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

Jazz From Blue Lake Thursday, October 4, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Steve Swallow, Let’s Eat; Real Book: ECM. Carla Bley, Baseball; 4 X 4: ECM. Paul Bley/Jimmy Giuffre/Steve Swallow, Play Ball; Life of a Trio: Sunday: Owl. Jazz Datebook Kathy Kosins, Penthouse Serenade; Vintage: Mahogany Jazz. Herb Geller, Close Enough For Love; At the Movies: Hep. Gerald Wilson Orchestra, Ballad; Monterey Moods: Mack Avenue. 11 p.m. Shelia Jordan, Falling In Love With Love/Dat Dere; Shelia: Blue Note. Paul Bley Trio, The Circle with the Hole in the Middle; Floater: Savoy. George Russell, Pan Daddy; Stratus Seekers: OJC. Zoot Sims, Move Out; Two Jims and a Zoot: Mainstream. Art Farmer, The Reluctant Groom; To Sweden With Love: Koch Jazz. Jazz Datebook Joe Cohn, Diffusion of Beauty; Restless: Arbors. Tadd Dameron Orchestra, Theme of No Repeat; Clifford Brown Memorial: OJC. Hod O’Brien, On A Misty Night; Third Set: Reservoir. Straight Ahead, Suite Arthur; Dance of the Forest Rain: Atlantic. 12 a.m. Gary Burton, General Mojo’s Well Laid Plan; Alone At Last: Atlantic. Gary Burton/Stephane Grappelli, Falling Grace/Eiderdown; Paris Encounter: Atlantic. Gary Burton Quartet, Duke Ellington’s Sound of Love; Picture This: ECM. Carla Bley Big Band, Goodbye Porkpie Hat; Big Band Theory: ECM. Herbie Hancock, Nefertiti; River: The Joni Letters: Verve. Antonio Sanchez, One For Antonio; Migration: Cam Jazz. Jazz Datebook. 1 a.m. John Scofield, Memorette; This Meets That: Emarcy. Steve Swallow, Ladies in Mercedes/Hullo Bolinas; A Bum’s Tale: Palmetto. Steve Swallow w. Robert Creeley, Names/Here Again/Ambition/Indians; So There: ECM. Manuel Valera, For Those Who Have Left; Vientos: Anzic. Marty Ehrlich/Myra Melford, A Generation Comes and Another Goes; Spark!: Palmetto. Jon Hemmersam/Dom Minasi Quartet, Woman; Quartet: CDM. 2 a.m. John Scofield, Trio Blues; This Meets That: Emarcy. Joe Henderson, Our Thing; Our Thing: Blue Note. Rashied Ali Quintet, Thing For Joe; Judgement Day V. 2: Survival. David Murray Blacksaint Quartet, The Prophet of Doom; Sacred Ground: Justin Time. Steve Swallow, L.I.T. 1 and 2; Lost in Transit: ECM. Stacy Kent, I Wish I Could Go Traveling Again; Breakfast on the Morning Tram: Blue Note. Nigel Kennedy, Maybe In Your Dreams; The Blue Note Sessions: Blue Note. 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

Jazz From Blue Lake Tuesday, October 9, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Bennie Green, Blow Your Horn; Blow Your Horn: Decca Kenny Garrett, Calling; Beyond the Wall: Nonesuch. Kenny Garrett, Equinox; Persuance: The Music of John Coltrane: Warner Bros. Fletcher Henderson, Christopher Columbus; Best of: Columibia. Fats Waller, Christopher Columbus; (Advance): Bluebird/Legacy. Joe Cohn, Little Juicy; Restless: Arbors. Deep Blue Organ Trio, This I Dig of You; Folk Music: Origin. Roni Ben-Hur, One Second Please; Keepin’ It Open: Motema. Gerald Wilson Orchestra, Ballad; Monterey Moods: Mack Avenue. Stacy Kent, I Wish I Could Go Traveling Again; Breakfast on the Morning Tram: Blue Note. 11 p.m. Kenny Garrett, Beyond the Wall; Beyond the Wall: Nonesuch. Freddie Hubbard/Woody Shaw, Desert Moonlight; Double Take: Blue Note. Mulgrew Miller Quintet, Soul-Leo; Wingspan: Landmark. Abby Lincoln, The Music is the Magic; Abby Sings Abby: Verve. Jentsch Group Large, Imagining the Mirror; Brooklyn Suite: Fleur de Son. Fred Hersch, Heartland; Night and the Music: Palmetto. Theo Bleckman/Ben Monder, At Night; At Night: Songlines. Paul Bley, Mondsee Variation X; Mondsee Variations I-X: ECM. 12 a.m. Kenny Garrett, Qing Wen; Beyond the Wall: Nonesuch. Kenny Garrett, Just a Second to Catch My Breath; Standard of Language: Warner Bros. Kenny Garrett, Liberia; Pursuance: The Music of John Coltrane: Warner Bros. Freddie Cole, Music Maestro Please; Music Maestro Please: High Note. Billy Taylor/Gerry Mulligan, Body and Soul; Live at MCG: MCG Jazz. Kenny Burrell, Sophisticated Lady; 75th Birthday Bash Live: Blue Note. Miles Davis Quintet, Autumn Leaves; Monterey Highlights: Monterey Jazz Fest. 1 a.m. Kenny Garrett, Now; Beyond the Wall: Nonesuch. McCoy Tyner, Sama Layuca; Quartet: McCoy Tyner Music. Dee Dee Bridgewater, Afro Blue; Red Earth: Emarcy. Kahil El Zabar’s Infinity Orchestra, Return of the Lost Tribe; Transmigration: Delmark. Jon Hemmersam/Dom Minasi, Birth; Quartet: CDM. 2 a.m. Kenny Garrett, Realization (Marching Towards the Light); Beyond the Wall: Nonesuch. Kenny Garrett, Tsunami Song; Beyond the Wall: Nonesuch. Kenny Garrett, Kiss to the Skies; Beyond the Wall: Nonesuch. Joseph Jarman, Song for Christopher; As If It Were the Seasons: Delmark. Muhal Richard Abrams Octet, Down at Peppers; View from Within: Black Saint. 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

Jazz From Blue Lake Thursday, October 11, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Bennie Green, Blow Your Horn; Blow Your Horn: Decca Art Blakey and the Jazz Messengers, A La Mode; Jazz Messengers: Impulse. Art Blakey and the Jazz Messengers, Pensativa; Free For All: Blue Note. Horace Silver Quintet, Room 608/The Preacher; Best of Silver: Blue Note Jazz Datebook www.bluelake.org/datebook.html Deep Blue Organ Trio, Deeper Blue; Deeper Blue: Origin. The Knoxville Jazz Orchestra, The Thing About George Coleman; Blues Man From Memphis: Blue Canoe. Abbey Lincoln, Blue Monk; Abbey Sings Abbey: Verve. 11 p.m. Art Blakey and the Jazz Messengers, Moanin’; Moanin’: Blue Note. Art Blakey and the Jazz Messengers, Nica’s Dream; Jazz—The Definitive Performances: Sony Music. Jazz Datebook. UMO Jazz Orchestra, Melancholia; Plays the Music of Muhal Richard Abrams: Slam. Von Freeman, I Like the Sunrise; The Improvisor: Premonition. Duke Ellington, A Hundred Dreams Ago; Piano in the Foreground: Columbia. Lee Konitz/Ohad Talmor String Project, FeeBeMe; Inventions: Omni Tone. Stacey Kent, I Wish I Could Go Traveling Again; Breakfast on the Morning Tram: Blue Note. 12 a.m. Thelonious Monk, Round Midnight/In Walked Bud; Genius of Modern Music: Blue Note. Miles Davis, Dig; The Chronicle: Prestige The Charlie Parker Quintet, This Time the Dream’s On Me/Dizzy Atmosphere; One Night In Birdland: Columbia. Bobo Moreno/The Ernie Wilkins Almost Big Band, Angel Eyes; Out of This World: Sundance Music. Jed Levy, Blue Rose; Mood Ellington; Steeplechase. Lee Konitz, Outward; New Nonet: Omni Tone. John McLean, Ready for the War; Better Angels: Origin. 1 a.m. Jazz Datebook Dee Dee Bridgewater, Afro Blue; Red Earth: Emarcy. Art Blakey and the Jazz Messengers, The Egyptian; Indestructible!: Blue Note. Lee Morgan, Tom Cat; Tom Cat: Blue Note. Queen Latifah, I Love Being Here With You/I’m Gonna Live Until I Die; Trav’lin’ Light: Verve. Herbie Hancock, Edith and the Kingpin; River: The Joni Letters: Verve. Antonio Sanchez, One For Antonio; Migration: Cam Jazz. Jackie Ryan, Let There Be Love; Night and the Music: Open Art. 2 a.m. Art Blakey and the Jazz Messengers, Round Midnight; Meet You At the Jazz Corner of the World: Blue Note. Art Blakey Quintet, Now’s the Time/Confirmation; A Night at Birdland: Blue Note. Dave Brubeck, Autumn In Our Town; Indian Summer: Telarc. Styker/Slagle Band, Self Portrait in Three Colors; Open Loose: Zoho. Horace Parlan, Fran Dance; My Little Brown Book: Stunt. Modern Jazz Quartet, DaCapo/Fine; Third Stream Music: Atlantic. 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

Jazz a la Carte Saturday, October 13, 2007 Artist—Song Title – Album Title – Record Label 7 a.m. Kurt Elling, I Like the Sunrise; Night Moves: Concord Music. Lambert/Hendricks&Ross, Moanin’; Everybody’s Boppin’: Columbia. Billy Taylor/Gerry Mulligan, Laura; Live at MCG: MCG Jazz. Jazz Datebook, www.bluelake.org/datebook.html Frank Tiberi, Four of a Kind; 4 Brothers 7: Jazzed Media. Stan Kenton, Young Blood; Stompin’ at Newport: Pablo. Stan Kenton, Lover Man; Retrospective: Capital. Billie Holiday, Mean To Me/Foolin’ Myself; Master Takes and Singles: Legacy. Lee Konitz, All of Me; Strings for Holiday: Enja. 8 a.m. Art Blakey and the Jazz Messengers, In Walked Bud; With Thelonious Monk: Atlantic. Bobo Mereno/Ernie Wilkins Almost Big Band, Milestones; Out of This World: Sundance Eric Alexander, Dave’s System; Temple of Olympic Zeus: High Note. David Hazeltine, Don’t Walk Away; Inspiration: Sharp Nine. Jazz Datebook Queen Latifa, I Love Being Here With You/I’m Gonna Live Until I Die; Trav’lin’ Light: Verve. Herbie Hancock, Edith and The Kingpin; River: The Joni Letters: Verve. Deep Blue Organ Trio, Short Story; Deeper Blue: Origin. Joe Henderson, La Mesha; Page One: Blue Note. 9 a.m. Lee Konitz (solo), Lover Come Back To Me; Grand Rapids, 1999: Blue Lake. Lee Kontiz/Jeff Halsey/Pete Siers, The Song Is You/Cool Blues; Grand Rapids, 1999: Blue Lake. Jazz Datebook Lennie Tristano Sextet, Wow; Intuition: Capital. Miles Davis Nonet, Move; Birth of the Cool: Capital. Lee Konitz/Miles Davis, Ezz-Thetic; The Chronicle: Prestige. Lee Konitz, Foolin’ Myself; Motion: Verve. Lee Konitz/Ohad Talmor String Project, Struttin’ With Some Bar-B-Que; Inventions: Omni Tone. 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

Curious, too, that Bird never spoke up to correct this account.

Thanks Dave and Larry. Faulty narratives in American life are American life. As Jim Harrison said at a reading last night when we die all that's left are the stories. Looking forward to Chapter 6 now after Hamilton's remark on page 22, "[Konitz] has no interest in persuing what he regards as Parker's 'compositional' approach of developing a vocabulary of motifs -- a difficult issue discussed in Chapter 6 -- and though he recognizes Parker as a genius, he is also in some ways ambivalent about his music."