Lazaro Vega

Question: Chapter 2, foot note 3 relating to a made up jazz narrative and inaccurate "journalistic transcription" as relates to "The Charlie Parker 'Chili House' anecdote? Sighting Woideck, 'Charlie Parker,' pages 16-17. Not having that book what is wrong in the original story of Bird and Biddy Fleet (that's the Chili House anecdote?). Listening to Konitz "Lover Man" with Kenton.

Well Bill, I know we're up against "Desperate Housewives" but I forgive you, Red, you would be welcome among the tens of people listening to Jazz From Blue Lake on line.

No, not archived. Our schedule is up at the web site, but you have to catch them live. I know, I know. We don't have the man power for that. I'm full up broadcasting 31 hours of jazz per week. Tonight, the music of Thelonious Monk. So you're gigging Sunday night?

Time Out New York / Issue 624 : September 13, 2007 - September 19, 2007 Album reviews Muhal Richard Abrams Vision Towards Essence (Pi Recordings) Upon its 1965 founding, Chicago’s Association for the Advancement of Creative Musicians hit the ground running. If the genius quotient among the avant-jazz collective’s early membership (Anthony Braxton, Roscoe Mitchell et al.) was unusually high, the AACM’s flowering still owed much to the eagerness of local labels like Delmark to release its work. The group has long since dispersed across the country, but Pi Recordings has undertaken the admirable task of reuniting these far-flung talents under one roof. In many ways, Vision Towards Essence is the crowning jewel of this campaign. Since 2001, the Brooklyn label has issued new discs by leading AACM ambassadors such as Henry Threadgill and the Art Ensemble of Chicago. This release, though, mines the very heart of the organization, offering a lengthy solo statement from its founder, Muhal Richard Abrams. The now New York–based pianist, who turns 77 on Wednesday 19, has always been better known for his mentorship than for his music, a fact that seems ever crazier as this sumptuous, frequently dazzling 1998 live set progresses. Largely forgoing thematic signposts, Abrams presents a continuous stream of ideas, but unlike his contemporary Cecil Taylor—another pianist who favors marathon solos—he rarely sounds frantic. The disc luxuriates in moods: mysterious, even creepy wisps of high notes; seemingly double-brained passages of playfully turbulent counterpoint; splashes of sassy stride. Vision Towards Essence sounds like a definitive statement, not only of Abrams’s improvisatory brilliance, but of the continued vitality of his Windy City–bred clan. — Hank Shteamer

Jazz From Blue Lake Sunday, October 14, 2007 A very special program featuring the words and music of Muhal Richard Abrams. Artist—Song Title – Album Title – Record Label 7 p.m. Eastern Time Duke Ellington, Main Stem; The Centennial Edition: RCA. Lionel Hampton, I’m In the Mood For Swing; Hot Mallets: Bluebird. Benny Carter Orchestra, Symphony in Riffs; Ridin’ In Rhythm: Swing. Art Tatum, Tea For Two; I Got Rhythm: Decca. Muhal Richard Abrams interview with Blue Lake. Muhal Richard Abrams, (Excerpt); Vision Towards Essence: PI Records 8 p.m. Muhal Richard Abrams, Tribute to Don Pullen and Julius Hemphill; One Line, Two Views: New World. Muhal Richards Abrams interview segment. Muhal Richard Abrams Orchestra, One For the Whistler; Blu Blu Blu: Black Saint. Muhal Richard Abrams interview segment. UMO Jazz Orchestra, Ritob; Plays the Music of Muhal Richard Abrams: Slam. Muhal Richard Abrams interview segment. Marty Ehrlich Dark Woods Ensemble, Charlie in the Parker; Emergency Peace: New World. Muhal Richard Abrams interview segment. Muhal Richard Abrams Orchestra, Bloodline; Rejoicing with the Light: Black Saint. Muhal Richard Abrams interview segment. Jason Moran, Time Into Space Into Time; Modernistic: Blue Note. Muhal Richard Abrams, Blues For M; AfriSong: India Navigation. 9 p.m. Muhal Richard Abrams Orchestra, Hearinga; The Hearinga Suite: Black Saint. Roscoe Mitchell, Tahquemenon; Nonaah: Nessa. Muhal Richard Abrams interview segment. Abrams/Lewis/Mitchell, Scrape; Streaming: PI Recordings. Muhal Richard Abrams interview segment. Muhal Richard Abrams Orchestra, Blu Blu Blu; Blu Blu Blu: Black Saint. Muhal Richard Abrams interview segment. Abrams/Lewis/Mitchell, Sound Hear; Streaming: PI Recordings. This program will stream live on the Internet from 7 to 10 p.m. Sunday, October 14, 2007 via www.bluelake.org/radio.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

Cool. Looking forward to watching the video that goes with.....

There's a record of Jarman's I bought right as he was coming out of his break from music, and it is a community disc, really, and full of the spirit of discovery as well as beginner's playing. Brave of him to do that -- teach, sure, but document it for what it is without apology. Has anyone heard "Equal Interest" with Jarman, Leroy Jenkins and Myra Melford? Jarman's been difficult for me to get a handle on, too, as he's a kind of trickster: a gifted melodicist, a flame thrower; a gentle spirit, a committed fighter.

And that stopped the fighting why?

S'kidin'. 7/4: righto, Musician.

I remember reading Rafi Zabor in The Wire all the time. Still hit Signal to Noise for feature interviews with Cecil Taylor, Louis Smith, and with this upcoming concert by Abrams/Mitchell/Lewis in Ann Arbor, Howard Mandel's cover story from StN was primary source material in preparing to speak to Abrams. Yes, a sharp, no nonsense editor; yet oft times editorial professionalism is what excizes the most specific musical content. Would like to read the un-handled Terry Martin in StN, as opposed to his curtailing by professional editors who don't think the audience can hang with detailed, long form criticism, or dig the detailed material he'd use to support his opinion. So much of jazz magazinedom is slickly laid out vertical, horizontal and three dimentional marketing intended for sole commercial use of the play by play chorus cast that a little student flubbery on occasion is tolerable. Pulling back to what's been learned in the trenches is often occluded by the rise of the fox hole walls. Down and down I go, round and round I go, in a spin, look at that spin I'm in....

Thanks for the link to the review. It has been ages, it seems, since Muhal issued two records in the same year. Yet for a time he was well documented and it seemed his new recordings were a regular reminder of his part in the mix. That seemed to slow down in the mid-1990's or thereabouts until now. He's been performing that entire time, and no doubt composing.

Muhal told me, "I don't do interviews." He made an exception to promote the concert, though. He's basically a "let the music speak for itself" musician. At this point in time, too, he's only allowing me to use the interview we did for radio broadcast to promote the Ann Arbor concert, not for transcription and wider dissemination. As far as a f the media point of view he's just not like that. In fact, Muhal is one of the most diplomatic musicians I've ever had the pleasure of encountering. He welcomes a multiplicity of reactions to his work and views them all, because of his strong belief in the validity of the individual, with an "I'm O.K., you're O.K." attitude. And he challenged just about everything I said, or the basis underlying the questions. Hard conversation in the moment, but now editing it into 9 individual segments (we spoke for an hour) this is just rich in his ideas. "Outside of expectations" is a way of life as well as a way of music. If you can, please tune in.

That's a distinctive interpretation. Mistakes make comprehending the larger point of the work more difficult and chip away the statue of credibility until things are mishapen beyond recognition. Larry Ochs has a considered opinion on late Trane, and when he wants to can channel the spirit of Archie Shepp in the 1960's. He's the only other artist besides Coltrane to tackle "Ascension," twice, and this second time showing were the legacy of late Trane is in this decade. "Eletrik Ascension" is a not a what if, it is a what is. Ochs is a Californian -- maybe this is why he was overlooked. That's not to say Ratliff's inclusive lists in the second half of the book aren't helpful, or the letters between Don Ellis and Charles Moore aren't worth quoting, or drawing attention to Frank Lowe's early playing experience isn't worthwhile. That was all enlightening to me. It just seems there's more to the story in the music of today as relates to Coltrane in a less imitative but no less serious or appreciative influence. I wondered how the author could say the music of the AACM is "everyday." Who's day is that? What he meant, he explained, was more towards Henry Threadgill's Hubcaphone, or Braxton's Garbage Can Machine, a sort of everyday objects amid the little instruments. The little instruments allusion often isn't enough. What were they used for in the wake of Coltrane? That they opened the forms up, gave the music the widest possible dynamic range and continued widening paths Yusef Lateef and Don Cherry saw as workable in jazz -- Afro-EurAsian eclipse in free form is a tangent, but at least it is musical one related in reaction to the same time period. Muhal Richard Abrams response to the question of whether the music of Ornette, Ayler, Coltrane, Taylor made possible some of the music developments he undertook in the early 1960's I hope makes for good radio. It is insightful as narratives held so dear are not often a significant thread in a musician's story we thought we knew. Next Sunday. With two albums out this year he's only given interviews to Signal To Noise, Downbeat, and All About Jazz New York. He agreed to the Blue Lake phone interview because it will support the Edge Fest Concert on Oct. 20th.

Recently spoke by phone with Ben Ratliff about this book and will undertake to transcribe the interview here. (After working hard on a recorded phone interview with Muhal Richard Abrams for radio broadcast only: a two hour program running Sunday, October 13th from 8 to 10 p.m.). I did challenge him on the assertion that it was Lester Young who started the "cult of the solo" with mention of Louis Armstrong. Also on the phrase from the Intro that asserts there wasn't much form in jazz after late Coltrane. He admitted, after I mentioned it, that Roscoe Mitchell's music, for instance, was full of form. Muhal and Braxton were two others I brought up to counter the idea. The idea that on-going evolutionary change is jazz is a “hippy myth” is something I disagreed with on the grounds of the pioneering New Orleans jazz musicians and how they put in the music a tendency to want to push against the given – I mean, from blue notes to the invention of the drum set to the outright creation of the music in general. Johnny Dodds didn’t roll hippy. The idealization of the Classic Quartet leads Ratliff to assert that Eric Dolphy's presence in the Vanguard sessions and the European tours somehow takes the band's focus away, that there's a diminution of band's sound because of Dolphy's different approach. He stood by that in the interview. Miles Mode, Spiritual, India…these pieces are more for Dolphy, imho. Given the second half of the book's purpose, to show Trane's on-going influence and try to explain it, it was a surprise to learn he hadn't heard the Electric Ascension record by OrkestRova, one of the most "updated" versions of Coltrane's later sound that we're likely to hear for some time, Ratliff’s reference to Iggy Pop notwithstanding. .

http://houstonist.com/2007/10/03/interview_pete_1.php October 3, 2007 Interview: Pete Gershon, editor, Signal to Noise Signal to Noise is a globally distributed quarterly magazine focusing on improvisational and experimental music. You'd be hard pressed to find a larger, more eclectic mix of album reviews and artist spotlights in any other publication. It's celebrating its 10th birthday this year. Editor Pete Gershon now calls Houston home and sat down with us to talk about his magazine and his favorite topic – music. How did Signal to Noise begin? Ten years ago, I was living in Burlington, Vermont, doing some freelance music writing for a couple of regional weekly arts rags. Luckily, the editors gave me a lot of leeway and let me write about whatever I wanted to, but I wanted to take things a step further. At that point, I was sensing that there was a continuum of improvisation which ranged from jam bands like Phish and the Grateful Dead, to modern jazz acts like Charlie Hunter, Medeski, Martin & Wood, and then all the other stuff coming out of downtown New York’s Knitting Factory scene, like John Zorn, the Lounge Lizards, that kind of thing. None of the other music mags were really focusing on the connections between these types of music. Signal to Noise has evolved a lot in ten years, and now it’s more accurate to say that we’re covering the confluence of avant-garde jazz, electro-acoustic improvisation, and left-field modern rock. A lot of the music we feature really transcends whatever genre labels you might want to apply to it. Why did you move from Burlington to Houston? I got married. I’m originally from upstate New York and went to Hampshire College, a liberal arts college in Western Massachusetts that focused more on evaluations than grades. I met my wife, who is a Houston native, when we were going to school there. We rekindled our relationship around the turn of the century, and I have been living in Houston off and on since 2001. I moved down here permanently in 2005 after we had our first baby, so we could be close to her career and family. How did the name Signal to Noise come about? The magazine was originally called Soundboard, but I had to change the name after about a year because of a conflict with another publication in another part of the country. It was hard to find a new name hat everyone liked, but eventually a friend suggested I call it Signal to Noise, which seemed to resonate with what we were doing. We’ve operated under that name since 1998. Why a print magazine in the age of the Internet? I firmly believe there are a lot of people who spend their day in front of a computer at work, and when they get home, they'll want to kick off their shoes, sprawl on the couch, and actually enjoy the tactile experience of turning some pages. I guess it's the same way some of us will always dig shopping for CDs in a brick and mortar store and putting records on the turntable as opposed to downloading MP3s. I love the Web, but it seems like something is always lost in the digital transaction. Who are some local artists/musicians that you find inspiring? Houston has always been home to great blues and jazz music. Artists like Kenny Dorham and Arnett Cobb come to mind, but of course it goes back even further than that. The tradition extends from artists like Pauline Oliveros, Mayo Thompson and the Red Krayola, the 13th Floor Elevators, to Charalambides, outsider singer-multi-instrumentalist-enigma Jandek, DJ Screw, Linus Pauling Quartet and Rusted Shut. Devendra Banhart, he of the unfortunately-named “freak-folk” movement, is going to be on the cover of our next issue, and he was born right here in Houston. But I should stress that I’m still new in town, and I’ve got a lot to learn about the local scene, past and present. I’ve just barely scratched the surface, and now that I have kids, it’s tough to get out at night and check it all out. Are there enough outlets for experimental music? Well, there are some. KPFT and especially Rice University’s KTRU play artists that you will rarely hear anywhere else. I especially like Dave Dove’s show on KTRU. Dave also heads up Nameless Sound, a non-profit organization that teaches kids, for free, to express themselves through musical improvisation. What he and the members of his Youth Ensemble do is absolutely amazing. The clubs seem to do a really good job of bringing interesting music through town, and the proximity to Austin is also helpful in this regard. Tell me about the writers. They’re spread all throughout the U.S. – many of them in New York, Chicago, the west coast – even in Europe; in fact, I’m met very few of them face to face. They range from some of the most accomplished veteran writers in the field to talented upstarts that have never had their work published before. I really don’t go searching for writers; most of them contact me, because they love the magazine and they love the music. How do you differentiate yourself from other music magazines? We are probably the only magazine in the US that offers this particular mix of musical styles. The music we are dealing with is so on the fringe that I don’t think anyone else is crazy enough to want to cover it. For years, it was kind of a money pit, but we’re finally gaining some traction. I think it’s pretty obvious that it’s a pretty non-commercial venue, and consequently people can really trust our writers’ opinions about the music they’re writing about. Will there ever be a Signal to Noise festival? Funny that you mention that. We’ve had some preliminary discussions about a Signal to Noise showcase at SXSW next March. It’s all still in the works, though, but the idea is to host a night of Houston-based talent. We used to hold concerts at our office up in Burlington. It was a dusty old warehouse, and musicians would play for tips, but for a lot of them it was a fun stop-over between Boston and Montreal. I don’t know if we ever drew more than 30 people, but some of these concerts wound up being issued on CD. If you could be a Houston landmark, what would it be? I would say the River Oaks Theater, except that I wouldn’t want to be bulldozed by a heartless realty company. So instead I’ll be content to be the Cy Twombly Gallery at the Menil Collection. You can find Signal to Noise at most local music retail stores.

http://www.bookforum.com/inprint/014_03/859

http://www.npr.org/templates/story/story.p...ft=1&f=1021

September 23, 2007 Op-Ed Contributor The Day Louis Armstrong Made Noise By DAVID MARGOLICK FIFTY years ago this week, all eyes were on Little Rock, Ark., where nine black students were trying, for the first time, to desegregate a major Southern high school. With fewer than 150 blacks, the town of Grand Forks, N.D., hardly figured to be a key front in that battle — until, that is, Larry Lubenow talked to Louis Armstrong. On the night of Sept. 17, 1957, two weeks after the Little Rock Nine were first barred from Central High School, the jazz trumpeter happened to be on tour with his All Stars band in Grand Forks. Larry Lubenow, meanwhile, was a 21-year-old journalism student and jazz fan at the University of North Dakota, moonlighting for $1.75 an hour at The Grand Forks Herald. Shortly before Mr. Armstrong’s concert, Mr. Lubenow’s editor sent him to the Dakota Hotel, where Mr. Armstrong was staying, to see if he could land an interview. Perhaps sensing trouble — Mr. Lubenow was, he now says, a “rabble-rouser and liberal” — his boss laid out the ground rules: “No politics,” he ordered. That hardly seemed necessary, for Mr. Armstrong rarely ventured into such things anyway. “I don’t get involved in politics,” he once said. “I just blow my horn.” But Mr. Lubenow was thinking about other things, race relations among them. The bell captain, with whom he was friendly, had told him that Mr. Armstrong was quietly making history in Grand Forks, as he had done innumerable times and ways before, by becoming the first black man ever to stay at what was then the best hotel in town. Mr. Lubenow knew, too, that Grand Forks had its own link to Little Rock: it was the hometown of Judge Ronald Davies, who’d just ordered that the desegregation plan in Little Rock proceed after Gov. Orval Faubus of Arkansas and a band of local segregationists tried to block it. As Mr. Armstrong prepared to play that night — oddly enough, at Grand Forks’s own Central High School — members of the Arkansas National Guard ringed the school in Little Rock, ordered to keep the black students out. President Dwight D. Eisenhower’s meeting with Governor Faubus three days earlier in Newport, R.I., had ended inconclusively. Central High School was open, but the black children stayed home. Mr. Lubenow was first told he couldn’t talk to Mr. Armstrong until after the concert. That wouldn’t do. With the connivance of the bell captain, he snuck into Mr. Armstrong’s suite with a room service lobster dinner. And Mr. Armstrong, wearing a Hawaiian shirt and shorts, agreed to talk. Mr. Lubenow stuck initially to his editor’s script, asking Mr. Armstrong to name his favorite musician. (Bing Crosby, it turned out.) But soon he brought up Little Rock, and he could not believe what he heard. “It’s getting almost so bad a colored man hasn’t got any country,” a furious Mr. Armstrong told him. President Eisenhower, he charged, was “two faced,” and had “no guts.” For Governor Faubus, he used a double-barreled hyphenated expletive, utterly unfit for print. The two settled on something safer: “uneducated plow boy.” The euphemism, Mr. Lubenow says, was far more his than Mr. Armstrong’s. Mr. Armstrong bitterly recounted some of his experiences touring in the Jim Crow South. He then sang the opening bar of “The Star-Spangled Banner,” inserting obscenities into the lyrics and prompting Velma Middleton, the vocalist who toured with Mr. Armstrong and who had joined them in the room, to hush him up. Mr. Armstrong had been contemplating a good-will tour to the Soviet Union for the State Department. “They ain’t so cold but what we couldn’t bruise them with happy music,” he had said. Now, though, he confessed to having second thoughts. “The way they are treating my people in the South, the government can go to hell,” he said, offering further choice words about the secretary of state, John Foster Dulles. “The people over there ask me what’s wrong with my country. What am I supposed to say?” Mr. Lubenow, who came from a small North Dakota farming community, was shocked by what he heard, but he also knew he had a story; he skipped the concert and went back to the paper to write it up. It was too late to get it in his own paper; nor would the Associated Press editor in Minneapolis, dubious that Mr. Armstrong could have said such things, put it on the national wire, at least until Mr. Lubenow could prove he hadn’t made it all up. So the next morning Mr. Lubenow returned to the Dakota Hotel and, as Mr. Armstrong shaved, had the Herald photographer take their picture together. Then Mr. Lubenow showed Mr. Armstrong what he’d written. “Don’t take nothing out of that story,” Mr. Armstrong declared. “That’s just what I said, and still say.” He then wrote “solid” on the bottom of the yellow copy paper, and signed his name. The article ran all over the country. Douglas Edwards and John Cameron Swayze broadcast it on the evening news. The Russians, an anonymous government spokesman warned, would relish everything Mr. Armstrong had said. A radio station in Hattiesburg, Miss., threw out all of Mr. Armstrong’s records. Sammy Davis Jr. criticized Mr. Armstrong for not speaking out earlier. But Jackie Robinson, Sugar Ray Robinson, Lena Horne, Eartha Kitt and Marian Anderson quickly backed him up. Mostly, there was surprise, especially among blacks. Secretary Dulles might just as well have stood up at the United Nations and led a chorus of the Russian national anthem, declared Jet magazine, which once called Mr. Armstrong an “Uncle Tom.” Mr. Armstrong had long tried to convince people throughout the world that “the Negro’s lot in America is a happy one,” it observed, but in one bold stroke he’d pulled nearly 15 million American blacks to his bosom. Any white confused by the Rev. Dr. Martin Luther King Jr.’s polite talk need only listen to Mr. Armstrong, The Amsterdam News declared. Mr. Armstrong’s words had the “explosive effect of an H-bomb,” said The Chicago Defender. “He may not have been grammatical, but he was eloquent.” His road manager quickly put out that Mr. Armstrong had been tricked, and regretted his statements, but Mr. Armstrong would have none of that. “I said what somebody should have said a long time ago,” he said the following day in Montevideo, Minn., where he gave his next concert. He closed that show with “The Star-Spangled Banner” — this time, minus the obscenities. Mr. Armstrong was to pay a price for his outspokenness. There were calls for boycotts of his concerts. The Ford Motor Company threatened to pull out of a Bing Crosby special on which Mr. Armstrong was to appear. Van Cliburn’s manager refused to let him perform a duet with Mr. Armstrong on Steve Allen’s talk show. But it didn’t really matter. On Sept. 24, President Eisenhower sent 1,200 paratroopers from the 101st Airborne into Little Rock, and the next day soldiers escorted the nine students into Central High School. Mr. Armstrong exulted. “If you decide to walk into the schools with the little colored kids, take me along, Daddy,” he wired the president. “God bless you.” As for Mr. Lubenow, who now works in public relations in Cedar Park, Tex., he got $3.50 for writing the story and, perhaps, for changing history. But his editor was miffed — he’d gotten into politics, after all. Within a week, he left the paper. David Margolick, a contributing editor at Vanity Fair, is the author of “Beyond Glory: Joe Louis vs. Max Schmeling and a World on the Brink.’’

Helias is recovered from a recent tussel with prostate cancer. "An episode in your life," the doctor told him. He could certainly use your support.

September 20, 2007 Music Review | Sonny Rollins A Reunion of Giants, 50 Years On By FRED KAPLAN Sonny Rollins’s concert at Carnegie Hall on Tuesday night was billed as the 50th anniversary of his first performance there. More significant, it was the first time since 1958 — nearly a 50th anniversary — that he’s played with Roy Haynes. The greatest living tenor saxophone player, teamed again with arguably the greatest living drummer — now that’s historic. The concert’s first half, when the two were joined by the young bassist Christian McBride, lived up to the fanfare, in unexpected ways. The high points of Mr. Rollins’s concerts are usually the extended solos: sinuous improvisations, going on for dozens of choruses, no two alike, in which he explores every chord, theme or counterpoint a song seems to offer, then taps some uncharted crevice and digs or soars on to blow more. This set wasn’t like that. Perhaps because he was playing with peers (a rarity in recent decades), he held back, simmered where he usually boiled, and played as one of three equals. The unlikely highlight was “Some Enchanted Evening,” which Mr. Rollins opened by reciting the melody with his lush and husky tone, while Mr. Haynes flapped brushes in triple time, and Mr. McBride plucked whole notes that anchored the chords without confining his band mates. When they got to the part where most musicians take solos, Mr. Rollins instead tossed out a fragment of the melody, then Mr. Haynes filled in the rest, and on the interplay went, bar after bar, the two sometimes overlapping, sometimes not. It felt like an ambling, elegant conversation between old friends, which in fact it was. It set off a goose-bump sensation, a shared intimacy one rarely encounters in a jazz concert. And the full house gave it the night’s lustiest applause. For the set’s closer, “Mack the Knife,” Mr. Rollins drew on a gruffer tone, full of fleet triplets and arpeggios, but Mr. McBride took the star turn with a solo that possessed a horn’s articulate fluency and a master’s insouciant assurance, despite the age gap that might have marked him as an apprentice. (He’s 35, while Mr. Rollins is 77 and Mr. Haynes is — unbelievably — 82.) After intermission Mr. Rollins brought out his regular sextet, which includes electric guitar, electric bass, trombone, drums and congas (but, alas, no Mr. Haynes or Mr. McBride). This is a band whose function is to support the leader, and it performs that task adequately. But Carnegie Hall’s acoustics, often troublesome with amplified music, muddied the works, and Mr. Rollins’s notes were often buried in the mix. The engineers turned up the volume when Clifton Anderson’s trombone started out too low, but didn’t extend the courtesy to the headliner. Mr. Rollins never broke through the stratosphere. Still, he played with customary verve, especially during the two calypsos, when he strutted to the front of the stage, thrusting his horn to the rhythm while ripping through the scales, finally uncorking a stream of thunderous low notes like a foghorn guiding the way. He does this at the end of nearly all his concerts, and it never fails to delight. http://www.nytimes.com/2007/09/20/arts/mus....html?ref=music

(Blurb) A n g e l i c A F o n d a z i o n e T e a t r o C o m u n a l e d i B o l o g n a F o n d a z i o n e T e a t r o C o m u n a l e d i M o d e n a F o n d a z i o n e I T e a t r i d i R e g g i o E m i l i a - R E C F e s t i v a l d ' A u t u n n o R e g i o n e E m i l i a R o m a g n a - A s s e s s o r a t o a l l a C u l t u r a c o n i l p a t r o c i n i o d i C o m u n e d i B o l o g n a - B o l o g n a C i t t à d e l l a M u s i c a U N E S C O c o n i l s o s t e g n o d i F o n d a z i o n e C a s s a d i R i s p a r m i o i n B o l o g n a a t c - T r a s p o r t i P u b b l i c i B o l o g n a c o n l a p a r t e c i p a z i o n e d i C i n e t e c a d i B o l o g n a R a i R a d i o 3 p r e s e n t a n o C o n c e r t i C o n t e m p o r a n e i q u a r t o a n n o : C e c i l T a y l o r m o v i m e n t o c o s t r u z i o n e c o n C e c i l T a y l o r A n t h o n y B r a x t o n W i l l i a m P a r k e r T o n y O x l e y B o l o g n a , M o d e n a , R e g g i o E m i l i a 10> 13 o t t o b r e 2 0 0 7 I accept the responsibility of having made them (choices). I'm talking about the small part I'm playing in the evolution of music, the gift that has been given to me, to have seen spiritualized the mysteries of the music at an early age. This made my actions predestined. One has to become aware of the force, both realistic and spiritual. It's about hard work, which is about living to the full extent of one's capabilities. Cecil Taylor @ B o l o g n a mercoledì 10 ottobre - ore 17 - Foyer Rossini del Teatro Comunale di Bologna > Incontro con Cecil Taylor partecipano Franco Fayenz, Marcello Lorrai, Francesco Martinelli, Franco Minganti, Giorgio Rimondi presiede e presenta Giordano Montecchi mercoledì 10 ottobre - ore 22.30 - Cinema Lumière > Imagine the Sound (Stati Uniti 1981; estratto) di Ron Mann > "Les grandes répétitions": Cecil Taylor a Paris (Francia 1966; 44’) > PRIMA ITALIANA di Luc Ferrari e Gérard Patris con Cecil Taylor, Jimmy Lyons, Alan Silva, Andrew Cyrille, Luc Ferrari, ... @ M o d e n a giovedì 11 ottobre - ore 21 - Teatro Comunale di Modena > Cecil Taylor + Tony Oxley (Stati Uniti, Inghilterra) Cecil Taylor pianoforte Tony Oxley batteria, percussioni @ B o l o g n a venerdì 12 ottobre - ore 21 - Teatro Comunale di Bologna > Cecil Taylor + Anthony Braxton (Stati Uniti) PRIMA ASSOLUTA Cecil Taylor pianoforte Anthony Braxton sax alto, soprano, sopranino, clarinetto contrabbasso @ R e g g i o E m i l i a sabato 13 ottobre - ore 21 - Teatro Valli > Cecil Taylor Historical Quartet (Stati Uniti, Inghilterra) PRIMA > ITALIANA Cecil Taylor pianoforte Anthony Braxton sax contralto, soprano, sopranino, clarinetto contrabbasso William Parker contrabbasso Tony Oxley batteria, percussioni Luoghi: Teatro Comunale di Bologna Largo Respighi 1, Bologna Cinema Lumière Via Azzo Gardino 65, Bologna Teatro Comunale di Modena Corso Canalgrande 85, Modena Teatro Valli Piazza Martiri del 7 luglio 7, Reggio Emilia Informazioni: A n g e l i c a t 051.240310 info@aaa-angelica.com www.aaa-angelica.com Teatro Comunale di Bologna t 199.107070 boxoffice@comunalebologna.it www.comunalebologna.it Teatro Comunale di Modena t 059.2033010 2032993 info@teatrocomunalemodena.it www.teatrocomunalemodena.it R E C Festival d'Autunno Reggio Emilia t 0522.458811 458854 info@recfestival.it www.recfestival.it ______________________________________________

Vinyl Side of Midnight 2007 This is the playlist for this week’s Vinyl Side of Midnight, which can be heard on 89.7fm WLNZ in the Greater Lansing area, or you can tune in internationally on the web on www.wlnz.org - hosted by Mike Stratton, Sunday nights, 9- midnight, Eastern Standard Time. For more information, visit www.mikestratton.com 9/16/07 Joe Zawinul Composer, band leader, keyboard player and a pioneer of ‘fusion’, Joe Zawinul was a major contributor to the landscape of jazz from the late 1960’s. He passed away this week. Zawinul wrote some popular jazz tunes, including “Birdland” for Weather Report and “Mercy, Mercy, Mercy” for Cannonball Adderly. His participation in the bands of Adderly and Miles Davis boosted the popularity and significantly altered the sounds, adding Fender Rhodes piano and his own compositions. He made a string of ground breaking albums w/co-leader Wayne Shorter for the band Weather Report. After the band broke up in the mid 80s, Zawinul continued to tour and record with his band, Zawinul Syndicate. Weather Report’s second album, “I Sing The Body Electric”, was one of the first jazz records I bought. I was going on the recommendation of a Rolling Stone record review, and bringing it home and placing it on the turntable, I couldn’t make heads or tails of it. “Unknown Soldier”, the first track, was actually frightening to me, and I wasn’t used to having that reaction to music. I grew to love the music of Weather Report, and followed the career and careers of the sidemen of Miles Davis as a way of discovering jazz. Think what you will of fusion music, it introduced a lot of rock fans to jazz. Tune in Sunday night and see what you think. Set List Birdland – Weather Report “Heavy Weather” Brownstreet – Zawinul & Big Band Mercy, Mercy, Mercy – Cannonball Adderly “Live At The Club” Boogie Woogie Waltz – Weather Report “Sweetnighter” A Remark You Made – Weather Report “Heavy Weather” Black Market – Weather Report Great Expectations – Miles Davis “Big Fun” Directions – Weather Report “Forecast: Tomorrow” Unknown Soldier – Weather Report “I Sing The Body Electric” Orange Lady – Weather Report “Weather Report” Gemini/Double Image – Miles Davis “Live/Evil” Dr. Honoris Causa – Cannonball Adderly “The Black Messiah” Cannonball – Weather Report “Black Market” Badia – Weather Report “Tale Spinnin’” Pharoah’s Dance – Miles Davis “Bitches Brew” In A Silent Way – Miles Davis Jungle Book – Weather Report “Mysterious Traveler”

The set list in Detroit went deep. "My Cherie Amour." About the only thing he didn't sing was "Uptight."

Very similiar set list to last night's concert. His voice is in great shape. Hearing him "at home" was incredible as family and friends showed up in droves to hear him.

Anyone get into the Chicago concert? Looking forward to hearing him tonight in Detroit. LV