Lazaro Vega

"Eddie Johnson told Chuck Nessa that he subbed for Ben Webster in the Duke Ellington Orchestra on more than one occasion--once he was called to Detroit to do so. Presumably this was during Ben Webster's second stay with the Duke, in 1948-1949." Enjoying the Eddie Johnson web site. "Splanky" is thee cut from "Indian Summer." Would love to find out more about this Love archive: "According to Art Zimmerman, a Chicago physician, Dr. Jerome Love, recorded many nightclub performances and concerts by jazz musicians in Chicago between 1952 and 1959. Love made binaural recordings, using a dummy head with microphones mounted on each side. Each reel of tape contained up to 30 minutes of music. The Love archives contain 6 reels from this performance (up to 3 hours of music). Personnel and date as per the Love archives; the leader's name is misspelled "Tate" and the drummer's name comes out "Walden." And the location is not given. From what is known about other recordings in the Love archives, some of the titles will be incomplete."

Zutty with Joe Sullivan and Pee Wee Russell is marvelous, and the Fats Waller record "Moppin' and Boppin'" with Benny Carter on trumpet has some great Zutty. Yes, the Capitol session was Noone's last and we played that out of the big Mosaic box, as well as the reunion with Bigard (they were part of Jelly Roll’s trio out put). I guess there aren't any commercial records with Noone from the early years, though of everything I read they did work together often. Thanks for the word up on the Fat Cat recordings.

"I have yet to hear a convincing Ella interpretation of a truly sad or angry song full of despair." "Bewitched, Bothered and Bewildered"

This article can be found on the web at http://www.thenation.com/doc/20070514/yaffe -------------------------------------------------------------------------------- The Art of the Improviser by DAVID YAFFE [from the May 14, 2007 issue] On or about November 17, 1959, human character changed--according to jazz mythology, anyway. That week, the Ornette Coleman Quartet debuted at Manhattan's Five Spot, a club owned by the culturally fortuitous (and exploitative) Termini brothers, a watering hole for Abstract Expressionist painters and New York School poets. The Five Spot was on the Bowery, poised at an intersection of Skid Row and gentrified bohemia, old ghettos and an in utero East Village counterculture. For a few dollars and a cheap drink, you could stand at the bar and see jazz history in the making, a glimpse into the future that would become part of a fetishized past. The Five Spot wasn't just any dive but a key to the hipster zeitgeist; just two years earlier, in 1957, when the club featured a six-month residency for Thelonious Monk and John Coltrane, Norman Mailer was perched at a table taking notes for his essay "The White Negro." What were these patrons--from the anonymous scenesters to the cultural icons--hearing, and how were they hearing it? Leonard Bernstein, who had recently performed with Louis Armstrong, allegedly exclaimed, "This is the greatest thing that ever happened to jazz!" Bernstein sat in, Lionel Hampton sang Coleman's praises, John Lewis maintained that Coleman was the first true extension of Parker, and Sonny Rollins sat at the end of the bar and moped, in the midst of his Williamsburg Bridge sabbatical. Coltrane came regularly, and he and Coleman would walk out into the night talking music. LeRoi Jones (nearly a decade away from changing his name to Amiri Baraka) would soon hail Coleman's music as the most uncompromising of black aesthetics, a sonic premonition, a soundtrack to the racial upheaval to come. But while Coleman spread the gospel from Baraka to Bernstein, other pace runners were not so impressed--Miles Davis, for example. Davis had worked so hard to be a man of the moment, but the perch felt precarious when someone else, for the jazz intelligentsia, was defining The Shape of Jazz to Come, as the title of Coleman's 1959 album brashly asserted. Staying on one chord was his thing, Davis must have been thinking as he stood at the bar, glaring. But this motherfucker wasn't even playing modes. Coleman sounded like an Abstract Expressionist Louis Jordan, with juke-joint honking and seemingly random splatter. Davis grumpily agreed to sit in and then told a reporter he was sure Coleman was "all screwed up inside." (Coleman would later retort that Davis was a black man who lived like a white man.) Another prominent detractor was Charles Mingus, standing at the bar, arms crossed, making Coleman's bassist, Charlie Haden, tremble. Mingus and Coleman would eventually become friends--Coleman visited Mingus at his deathbed--but Mingus never stopped dissing him. Coleman, he said after the Five Spot gig, was "playing wrong right." Near the end of his life, Mingus harrumphed, "His mama told him he was a genius just because he put the 'm' block next to the 'a' block." It is remarkable to imagine that there were days when aesthetics were a matter of life and death, when a shift in rhythm or harmony would summon the kind of apocalyptic language usually reserved for war or revolution, a time when the classical music of the moment--from the Darmstadt school of Pierre Boulez and Karlheinz Stockhausen to the New York school of John Cage and Morton Feldman--struggled to define music's future. Change of the Century, proclaimed Coleman's second Atlantic title. This Is Our Music, thundered the third. These were the days when jazz albums were cultural manifestoes, and when the order, as Bob Dylan put it a few years later, was rapidly fadin'. Nearly half a century later, Coleman's musical revolution has become official enough for the Pulitzer Prize in Music and a Lifetime Achievement Grammy--his first. (The year 2007 may well be remembered as a year of belated awards, when Martin Scorsese and Coleman finally got their due.) Human character did not change. In fact, the revolution wasn't even televised. Coleman was on camera (along with Natalie Cole, who won a Grammy in 1991 for her necrophiliac duet with her great father) to present the Best New Artist Award to Carrie Underwood, a reminder that in the post-Five Spot era, Paula, Randy and Simon are on hand to inaugurate the next cultural moment. But Coleman's lifetime achievement award was presented at a smaller, B-list ceremony at the Wilshire Ebell Theatre, where they also gave out the technical awards and other industry marginalia. It is a shame that the entire speech can't be quoted here, because it's probably the most remarkable Grammy speech ever made. Here, though, are some highlights: One of the things I am experiencing is very important and that is: You don't have to die to kill and you don't have to kill to die. And above all, nothing exists that is not in the form of life because life is eternal with or without people so we are grateful for life to be here at this very moment.  For myself, I'd rather be human than to be dead. And I would also die to be human. So you can't die, you can't die to be neither one, regardless of what you say or think so that's why I believe that music itself is eternal in relationship to sound, meaning, intelligence...all the things that have to have something to do with being alive because you were born and because someone else made it possible for you to be here, which we call our parents etc. etc.  For me, the most eternal thing is that I would like to live until I learn what it is and what it isn't...that is, how do we kill death since it kills everything? You would think that there would be nothing to add to this, that the rest is silence, but Coleman eventually concludes thus: It is really, really eternal, this that we are constantly being created as human beings to know that exists and it's really, really unbelievable to know that nothing that's alive can die unless it's been killed. So what we should try to realize is to remove that part of what it is so that whatever we are, life is all there is and I thank you very much. Coleman is, in other words, unkillable. In his Lester Young-meets-gangsta porkpie and impeccably tailored pinstriped suit, the Grammy winner was unjustly slighted by fashion roundups of the ceremony. But he's still larger than death. Like Baby Huey, he keeps coming back. Indeed, Coleman is one of the last immortals. He can still cause ripples in the jazz world, even if that world and its ripples have gotten much smaller. Ornette listeners would wait patiently for him to release a serious jazz album with a serious and worthy rhythm section. Once in a while (the first half of In All Languages in 1987, the two Sound Museum CDs in 1996), he would. Then only live performances, rumors, man-about-town spottings of him at Harlem fried chicken dives and Upper East Side museums and long spells of silence. Pretty soon, people were waiting for him to release something--anything. This was one of the last surviving jazz musicians who changed the way we hear music. Would he get one more chance to preserve it on disc? Last year, after nearly a decade without officially released recordings (with incendiary performances along the way), Coleman released Sound Grammar, a 2005 live recording from Germany, on his own label of the same name. If the title evokes a lesson, The Shape of Jazz to Come, his 1959 album released a few months before the Five Spot gig, announced a prophecy. Could the new title be a shine on those who want to lay down the jazz laws he so legendarily subverted? Is the shape of jazz to come now so well defined that, as the old surviving mavericks roar into their 70s, few even care? When Coleman appeared at the Five Spot, he had already recorded a couple of albums for Contemporary, the second of which, Tomorrow Is the Question!, also blared a jazz future few could hear, delivered on a tiny indie label that paid him next to nothing. Coleman had arrived from LA by way of his hometown, Fort Worth, Texas, a veteran of the rhythm and blues and minstrel circuit who'd been beaten up for playing atonal choruses for crowds that shouted for "Stardust." He had been dissed by beboppers (including Dexter Gordon and Max Roach), who thought him incapable of invoking Charlie Parker (a charge refuted by one listen to "Bird Food" or, really, anything he ever did), in and out of the Jehovah's Witnesses, sporting long hair and a beard in a crew-cut era. He was so ragged and weird, it was a testament to his genius (and more than a little luck) that he found the right people to figure him out. After his tenor saxophone was smashed by hostile listeners, he switched to alto, and the sound he created was, for those willing to listen, the instrument's major step after Parker's revolution in the 1940s; John Lewis was onto something. (In the mid-1960s, Coleman also began playing trumpet and violin without any formal training. His trumpet playing has demonstrated a learning curve over the years but still makes one nostalgic for Don Cherry. His violin playing, on the other hand, remains, shall we say, an acquired taste.) This funky elevator operator got a prized fellowship at 29 to study with the Third Stream guru Gunther Schuller at the Lenox School of Jazz in summer 1959, a contract with Atlantic Records and that Five Spot residency, leading him on an eccentric and improbable path to immortality. Schuller wanted to teach Coleman music theory, but when he finally made a breakthrough, Coleman vomited. There would be no more lessons. In 1959 people were waiting for someone to play outside meter and chords while still providing blues and bop signposts. That year Kline and de Kooning were dribbling; Robert Lowell was confessing; Allen Ginsberg wrote "Lysergic Acid"; John Cassavetes's Mingus-scored, jump-cutting Shadows swept through art-house movie theaters; and curiosity seekers were lining up on that chilly Bowery street to check out the man with the plastic saxophone. Miles Davis's Kind of Blue had come out a couple of months earlier, just a few months after John Coltrane's Giant Steps, each disdaining chord changes in favor of solemn inquiries into chords and modes. Davis's "So What" coolly navigated between a couple of minor Mixolydian modes; Coltrane's "Giant Steps" circled the circle of fifths. Surrounded by a West Coast posse of young, like-minded musicians in short trench coats--including bassist Charlie Haden (who had grown up playing hillbilly music in a family band), Don Cherry (just shy of 23, blowing on a pocket trumpet) and drummer Billy Higgins (who kept time all to himself while sharing his leader's eccentric sense of it)--Coleman showed up at the Five Spot and blew the other band on the bill (Art Farmer and Benny Golson's Jazztet) off the headlines, a gig withered into a footnote. Who wasn't in the band was just as important as who was: namely, a pianist. Gerry Mulligan and Chet Baker's pianoless quartet had already popularized "cool" jazz a few years earlier; Sonny Rollins had already cut out the piano and filled in the missing chords on tenor on the trio dates Freedom Suite, Way Out West and A Night at the Village Vanguard. But the absence of piano in Coleman's quartet called attention to what else was missing--chords, rhythms, structures. Coleman's alto was white plastic, like the one Charlie Parker would pick up in haste after leaving his brass one in hock. The plastic was not only preferable for its harsher sound--one with less vibrato than Parker's--but for what was read and perhaps misread, as its aesthetic of artifice: Ce n'est pas un saxophone! Of all the ink spilled on Coleman's impact, perhaps the most memorable came from Thomas Pynchon's 1963 debut novel, V., in which the character McClintic Sphere (with a last name nodding to Thelonious Monk's middle name) sets the jazz world on end at a club called the V-Note, making everyone rethink space and time with a motto of equilibrium: "Keep cool, but care." Sphere's alto is ivory, not plastic, but his impact is similarly divisive and shape-shifting: He blew a hand-carved ivory alto saxophone with a 4½ reed and the sound was like nothing any of them had heard before. The usual divisions prevailed: collegians did not dig, and left after an average of one and a half sets. Personnel from other groups, either with a night off or taking a long break from somewhere crosstown or uptown, listened hard, trying to dig. "I am still thinking," they would say if you asked. Unlike Dylan's 1965 electric performance at Newport (a Rite of Spring for another genre and another orthodoxy), Coleman's Five Spot gig, in one of the great blunders of music industry history, was never recorded. We have to rely on hearsay and conjecture--and Pynchon!--to get an idea of what everyone was arguing about. Fortunately, Coleman clocked in hours of studio time in the two-year flurry that followed, resulting in a body of work for Atlantic collected on the six-CD box set Beauty Is a Rare Thing, a title evoking the mélange of lyricism and clangor he was summoning with empathetic musicians. By the time of its 1993 release, it was an expensive canonical artifact, meant for the mantle like a Pléiades edition of Proust. The liner notes were hyperbolic, but by then the people who were going to be convinced already were. Perhaps the most telling measure of Coleman's impact was his influence on his detractors, notably Miles Davis, whose great mid-'60s quintet featured the Ornette-inspired virtuosity of pianist Herbie Hancock and drummer Tony Williams. Mingus, who'd developed a novel approach to collective improvisation in his jazz workshops, would also come around, recording his own version of free jazz with Duke Ellington and Max Roach on the 1962 trio session Money Jungle, and sublimely collaborating with multireedist Eric Dolphy, who teamed up with Coleman on the 1960 landmark Free Jazz. (Free Jazz's original cover was famously adorned with a reproduction of Jackson Pollock's 1954 drip painting White Light.) Sonny Rollins and John Coltrane both plucked members of Ornette's Atlantic ensemble of those anni mirabili for memorable recordings; Coltrane's The Avant-Garde is a classic, and every note on every track of Rollins's On the Outside (also known as Our Man in Jazz) is a revelation. It's astonishing to hear how the era's most powerful improvisers took Coleman's audacious conceptions and ran with them with a broader vocabulary than he was ever technically capable of developing himself. Yet just as Pollock's work still provokes sneers from abstraction's adversaries (my kid could do that!), so Coleman's innovations still draw resentment from older luminaries. I saw the great swing-era alto player Benny Carter at 90 squeak a wrong note in a club date, only to announce, "That was my Ornette Coleman impression." Was Coleman an idiot or an idiot savant? Gunther Schuller and Martin Williams thought that there was a structure to his music; you just had to learn to hear it. But were they imposing order on a chaos that defied definition? Coleman's playing didn't really change no matter what he played. He was already fully formed. The theorists were just gilding a fascinating but inscrutable lily. By the time Coleman came up with a theory, "harmolodics," to explain what it all meant--something about harmony and rhythm being the same (and to justify his bloated, though intermittently brilliant 1972 symphony Skies of America)--it already seemed redundant. Coleman's best work was behind him, and he had disappeared from the scene a decade earlier, having vowed never to play clubs again, only to perform and record for extravagant fees, which he didn't receive often enough despite memorable recorded dates in Stockholm, lofts and infrequent studio appearances. He took sabbaticals from the American scene for long stretches, but like Nina Simone and Jerry Lewis, he was greeted in Paris with amour fou. Ornette has been appearing and disappearing steadily now for the past forty-four years, setting up shop in his Prince Street loft for a spell in the '70s (performing for friends and neighbors and letting the tape roll), only to be evicted; jetting off to record with the Master Musicians of Joujouka and a New York Times music critic, Robert Palmer, on clarinet; hanging out with William Burroughs and Brion Gysin in Morocco; forming the fusion band Prime Time (where the harmolodics act was more droning, repetitive and often dull); performing with body-piercing artists, with Lou Reed, on the Naked Lunch soundtrack and with Kurt Masur and the New York Philharmonic. He had such a monastic devotion to his art, he once asked a doctor to castrate him (he was talked into getting circumcised instead). He let his son Denardo play drums with him from the age of 10--the result can be heard on the 1966 album The Empty Foxhole--causing listeners to yearn for the days when his drummers included masters like Higgins, Ed Blackwell and, briefly, the titanic Elvin Jones. Since the 1997 release of Colors, a duet with the German pianist Joachim Kühn, Coleman watchers have had to subsist on live performances, reviews, anecdotes and hope. Coleman would reunite with Haden, Cherry and Higgins once in a while before Cherry's death in 1995 and Higgins's in 2001, and his final appearance with Higgins, at an outdoor concert in lower Manhattan's Battery Park in 2000, was vintage Coleman. He spent most of that set playing uninspired ragas with a confused-looking tabla player. Finally, he brought out Haden and Higgins, played some blistering harmolodics (or call them what you will), summoning the shock of the new one more time. Then the park was shut down by Rudy Giuliani, the last call of last calls and an infuriating curfew. Coleman may have called an album and a composition Free Jazz, but the term was in many ways a misnomer. Far from ignoring chords and meter, Coleman's music forces listeners to rethink how they hear them. The notion of complete freedom from formal constraint is even less convincing when applied to Coleman standards like "Peace" and "Lonely Woman." (Free Jazz, with its double quartet and layered cacophony, is sloppier but still weirdly ordered.) Coleman and his early collaborators were not merely playing whatever aleatory utterances happened to suit them. Those tunes have melodies (or "heads") and solos to go around, but the musicians were restless, wanting to inject spontaneity and maybe a little shock into what had become a postbop routine. "Lonely Woman" is a standard with chord changes and a melody line, but playing it in strict 4/4 time (as Branford Marsalis has, in an intriguing, intensely brooding interpretation on Random Abstract) won't really get to what Ornette was driving at; pianist Geri Allen's "Lonely Woman," like the Modern Jazz Quartet cover of 1962, made the melody clear without diluting its unsettled glory (eventually inspiring Coleman to break his forty-year recording ban on pianists to hire her for his band). Coleman once remarked that he wished he could have an entire ensemble play like an off-tempo Robert Johnson, all scattered emotions and wailing without having to keep time, as if there were nothing more outside than being the King of the Delta Blues. It was not for nothing that Coleman called a classic (currently out-of-print) Prime Time album Of Human Feelings. Feeling, not theory, has always come first for Coleman, harmolodic explanations notwithstanding. There's a hypnotic pulse to the 1959 "Lonely Woman" that defies explanation. You hear Higgins's high-wire cymbal rides with Charlie Haden strumming against the beat, a disconnected melody to match discombobulated emotions. Coleman said he was inspired to write the song watching a woman fight with a man, but the loneliness is also pure Coleman, a sound that has inspired shock, misunderstanding, even violence, while persuading listeners--sometimes delicately, sometimes forcefully--to hear the world the way he hears it. "He plays all the notes Bird missed," says one of the McClintic Sphere onlookers in Pynchon's V., and nearly half a century later, those notes sound like an indelible vocabulary. What you also hear in Coleman's work--which is more debatable in the free jazz of, say, pianist Cecil Taylor--is swing and the blues, and this has helped his work of this period make its way into the Jazz at Lincoln Center canon, stretching the boundaries of what, for lack of a better term, is called swing. According to this version of jazz history, the Coleman Atlantics represent its ultimate culmination, a blues as deep, in its own way, as Robert Johnson's, and a particular kind of flexibility that is the rhythmic bedrock of Louis Armstrong, Duke Ellington, Charlie Parker--the canon. What was called avant-garde now sounds more like a culmination of a tradition. And whether he played funk, rock, symphonies, ragas or as a Grateful Dead sideman, he sounded like the same Ornette Coleman who drew from this well and came up as himself. You can hear that tradition--and Coleman's ingenious flight from it--on the Sound Grammar version of "Turnaround," which Coleman first recorded on Tomorrow Is the Question! in February 1959, months before the turmoil on the Bowery. The blues, which would become one of Coleman's most covered and requested compositions, is one of the less adventurous tracks on the album, not least because it is one of only three numbers with the comparatively mainstream bassist Red Mitchell. (The other tracks had the more enabling and endorsing Modern Jazz Quartet bass player Percy Heath.) Despite the odd fact that it is an eleven--as opposed to twelve--bar blues, Coleman's punch line comes, as the title suggests, on the turnaround, when a repeated blues phrase is given a response in a few different keys, veering outside just for a few bars before coming back to where the blues began, suggesting a shape of what was to come. On Sound Grammar's "Turnaround," Coleman's blues lines are given a polyphonic response, with Greg Cohen plucking with enough open space to let Coleman breathe and Tony Falanga bowing a lyrical counterpart. (By featuring two bassists, Sound Grammar finally makes good on an experiment Coleman started on Free Jazz, when he played with Charlie Haden and Scott LaFaro.) Denardo meets his father's phrase with a thud, and Coleman, not usually known to quote, throws in Stephen Foster's "Beautiful Dreamer" and, maybe unconsciously, the start of Vernon Duke's "I Can't Get Started." It was more of a Sonny Rollins moment in improvisatory allusion, but in a world Coleman made. What would have been a concession in 1959 is a valediction in 2005. On June 16, 2006, on what happened to be the 102nd anniversary of Bloomsday, Ornette Coleman played Carnegie Hall in the most anticipated performance of the JVC Jazz Festival. On a day that was the setting for James Joyce's Ulysses--a novel that had begun as avant-garde and ended up on the top of the Modern Library list--paying respects to a revolution turned inevitability seemed appropriate. Coleman added a third bassist, Al McDowell on electric, to the ensemble that played on Sound Grammar, muddying the polyphony and the hall's acoustics. But even if McDowell hadn't plugged in, this was not to be a night on par with those triumphs of a few years earlier. Bernstein had crashed the Five Spot back in 1959, but now the musical chairs were reversed. Coleman had been more accustomed to playing concert halls for some time, and the music he played was about as avant-garde as Mozart or King Oliver. A 76-year-old virtuoso played some crowd-pleasing versions of "Lonely Woman" and "Turnaround," pained, heartfelt and defiant, on an alto that somehow sounded as clear as a bell. Even if his tone was more refined, it seemed no less wounded. Outside the hall, it was a new century, one that he would not change. A few months later, 1,085 pages of a new Thomas Pynchon novel would thud into selected mailboxes, opening with a cryptic Thelonious Monk epigraph: "It's always night, or we wouldn't need light." All these years later, a couple of elusive tricksters from the old twentieth century still had some mysteries to illuminate.

Thanks Chuck. Did you ever have this one? Also looking for Zutty with Jimmy Noone on record. My Bruyninckx is at work....

Tonight's Jazz From Blue Lake features Zutty, and came across this one but don't know it, who plays on it or what quality of jazz is on it. Sometimes Zutty was put in an historic context even though he was "more" than a trad drummer, that is he adapted to the high hat, wire brushes, etc.

Thanks Allen. I've run into a musician, Micheal Sweeny, who said Al Haig was at Michigan State in the 1970's -- probably just to play? Don't think he ever lived in Michigan....

Bessie Couldn't Help It

Jazz From Blue Lake Monday, May 14, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time The Port of Harlem Seven—Summertime—The Port of Harlem Jazzmen—Blue Note Bechet-Spanier Big Four—Sweet Lorraine/China Boy—1940—Swaggie Sidney Bechet—Blues In Thirds/Save It Pretty Mama—Master Takes 1932-43—Blue Bird Jimmy Dorsey Orchestra—I Got Rhythm/I Cried For You/Contrasts—Contrasts—Decca Kenny Davern/Ken Peplowski—If Dreams Come True—Dialogues—Arbors Alvin Batiste—Bumps—Honors Series—Marsalis Music 11 p.m. Sidney Bechet and Bunk Johnson—Days Beyond Recall—Hot Jazz—Blue Note Sidney Bechet’s Blue Note Jazzmen—High Society/Blue Horizon—Hot Jazz—Blue Note Harry Connick Jr.—Petite Fleur—Chanson Du Vieux Carre—Marsalis Music John Coltrane—Blues To Bechet—Heavyweight Champion—Rhino Kurt Elling—Tight—Nightmoves—Concord Maynard Ferguson—Darn That Dream—The One and Only—Maynard Ferguson Trust Anat Cohen—Lonnie’s Lament—Poetica—Anzic Rachel Z—Ain’t No Sunshine When She’s Gone—Dept. of Good and Evil—Savoy Fay Victor—Earth—Cartwheels Across the Cosmos—Artist Share 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 Sunday Night Sunday, May 13, 2007 Artist—Song Title – Album Title – Record Label 7 p.m. Eastern Time Jay McShann—Things Ain’t What They Used To Be—Man From Muskogee—Sackville Eddie Cleanhead Vinson—Somebody Sure Has Got To Go/Old Kidney Stew Is Fine—Kidney Stew—Delmark The Bop Session—Blue N Boogie—The Bop Session—Gazell Carnegie Hall Jazz Band—In the Mood—Music Director Jon Faddis—Blue Note Joel Frahm—My Ideal—We Used to Dance—Anzic Jane Monheit—If You Went Away—Surrender—Concord The Bad Plus—Everybody Wants to Rule the World—Prog—Heads Up Bireli Lagrene—We Are the Champions/We Will Rock You/It Was A Very Good Year—To Bi or not to Bi—Dreyfus Alan Bergman—The Windmills of Your Mind—Lyrically--Verve 8 p.m. Rosario Guilani—Invisible—Anything Else—Dreyfus Ronnie Ben-Hur—One Second Please—Keepin’ It Open—MTM Pamela Hines—East of the Sun—Drop 2 Terrell Stafford Quintet—Old Folks—Taking Chances—Max Jazz Anat Fort—Rehaired—A Long Story—ECM Paul Motian—Party Line—Time and Time Again—ECM Enrico Rava—Serpent—The Words and the Days—ECM Fred Hersch Trio—Rhythm Spirit—Night and the Music—Palmetto 9 p.m. Misha Tsinganov—Anthony—Always Going West—Powerlight Jerome Sabbagh—Middle Earth—Pogo—Sunnyside Jimmy Ponder—Wild Is the Wind—Somebody’s Child—High Note Nino Josele—The Peacocks/I Do It For Your Love—Paz—Norte Seattle Women’s Jazz Orchestra—Self Portrait—Meeting of the Waters—OA2 Bob Montgomery/Al Hermann Quintet—United/Ladybird—On the Brink-Summit 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

Glad to hear it, Ohio! Jazz a la Carte Saturday, May 12, 2007 Artist—Song Title – Album Title – Record Label 7 a.m. Eastern Time Kurt Elling—I Like the Sunrise—Nightmoves—Concord Michel Camilo—Solar (Explorations)—Spirit of the Moment—Telarc Miles Davis—Solar – The Chronicle—Prestige Jeff Darrohn—Henry—T’Bird ‘ 60 – Jazzed Media Jack Cortner New York Big Band – Softly, As In a Morning Sunrise—Fast Track—Jazzed Media Jazz Datebook Nino Joselle—Never Let Me Go—Paz—Norte Abby Lincoln—Should’ve Been—Abby Sings Abby—Verve Larry Willis—Nardis—Blue Fable—High Note Bob Montgomery/Al Hermann Quintet—Collard Greens and Black Eyed Peas—On the Brink-Summit 8 a.m. Alvin Batiste—Skylark—Honors Series—Marsalis Music Bill Charlap—Godchild/The Lady Is A Tramp—Live at the Village Vanguard—Blue Note Miles Davis—Boplicity—Birth of the Cool—Capital Jazz Datebook Hank Jones/Joe Lovano—Budo—Kids—Blue Note Jennifer Hall—Walkin’ Shoes—Meets…--Sea Breeze Jack Sheldon—Lady Bird—Listen Up—Butterfly Bob Florence—Claire De Lune—Eternal Licks and Grooves—Mama John Coltrane—I’m Old Fashioned—Blue Trane—Blue Note 9 a.m. Jelly Roll Morton—Grandpa’s Spells—Birth of the Hot—Blue Bird King Oliver—Snag It/Sugar Foot Stomp—Sugar Foot Stomp—Decca Jimmy Noone—Apex Blues/My Monday Date—Apex Blues—Decca Louis Armstrong—Dinah/Tiger Rag—Vol. 8—Legacy Jazz Datebook Charles Mingus—My Jelly Roll Soul—Complete Atlantic—Rhino Glenn Miller Spectacular—American Patrol/In the Mood/Rhapsody In Blue—All Time Greatest Hits—MPI Count Basie—Doggin’ Around—Complete—Decca Count Basie—Taxie War Dance—America’s #1 Band--Legacy 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, May 11, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Duke Ellington/John Coltrane—Take the Coltrane—Duke Ellington/John Coltrane—Impulse John Coltrane—Moment’s Notice—Blue Trane—Blue Note John Coltrane—Naima—Heavyweight Champion—Rhino Jazz Datebook Ray Kamalay—Come On Back—Meet Me Where They Play the Blues—Perfect Number Kurt Elling—Tight—Nightmoves—Concord Bill Charlap Trio—Godchild—Live at the Village Vanguard—Blue Note Wess Anderson—John Lewis—Live From Blue Lake, 12-14-06 Whitaker/Allen—Summer (the Sweet Goodbye)—Get Ready—Mack Avenue 11 p.m. Miles Davis—Round Midnight—Round About Midnight—Columbia Thelonious Monk—Ruby, My Dear—With John Coltrane—OJC Thelonious Monk—Bye-Ya—Quartet with John Coltrane at Carnegie Hall—Blue Note Miles Davis—So What—Kind of Blue—Columbia Jazz Datebook Nino Josele—I Do It For Your Love—Paz—Norte John Taylor Trio—Up Too Late—Angel of Presence—Cam Jazz Mark Murphy—My Foolish Heart—Love Is What Stays—Verve 12 a.m. Out On Blue Lake Miles Davis—Milestone—Milestones—Columbia John Coltrane—My Favorite Things—Heavyweight Champion—Rhino John Coltrane—Impressions—Live at the Village Vanguard—Impulse SF Jazz Collective—Naima—SF 2—Nonesuch Joshua Redman—India—Back East—Nonesuch Jazz Datebook 1 a.m. Matt Ray—Central Park North—Lost In New York—CAP Avishai Cohen—Bass Suite #1—As Is….—High Note Anat Cohen—Cry Me A River—Noir—Anzic John Coltrane—Like Sonny—Heavyweight Champion—Rhino Miles Davis—On Green Dolphin Street—Stockholm 1960—Dragon Hancock/Brecker/Hargrove—Transition—Directions in Music—Verve 2 a.m. Joe Zawinul/WDR Big Band—In A Silent Way—Brown Street—Heads Up The Bad Plus—Everybody Wants to Rule the World—Prog—Heads Up Billy Bang Quintet feat. Frank Lowe—Nothing But Love—Above and Beyond: An Evening in Grand Rapids—Justin Time Abby Lincoln—Blue Monk—Abby Sings Abby Kendra Shank—Down Here Below—A Spirit Free—Challenge James Falzone—A Cord of Three Strands….Broken—And the Thing Signified—Allos Roscoe Mitchell Transatlantic Art Ensemble—Part 5—Composition/Improvisations No.s 1, 2 and 3—ECM John Coltrane—Out of This World—Coltrane—Impulse

"By the late 1920s, trumpeter Louis Armstrong had taken the collectively improvised polyphony of early New Orleans jazz and turned it into a soloist’s art. Soon after, swing-era musicians expanded the music’s harmonic palette while introducing ever more sophisticated techniques of arrangement and orchestration." The second part of that sentance was also happening in the 1920's, well before the Swing Era (which is usually sighted as starting with Goodman's Palamor Ballroom concert). Then this: "the last great expansion in the basic vocabulary of the music took place over thirty years ago, when a generation of performers wedded the free-ranging approaches of Coleman, Taylor, and others..." Would that be John Colrane, perhaps? Yikes!

Media Files, my good Doktor -- as in HARD DRIVE (Johnny Griffin with Art Blakey hard). Review: http://www.dustedmagazine.com/reviews/3530

Cut n paste or click on the following link to petition your congressional representative to lower the proposed high cost of streaming royalties that will make it difficult for many smaller radio stations and other web streamers to continue with their streaming in the future. http://www.kcrw.com/music/music-royalty-rates

Jazz From Blue Lake Wednesday, May 9, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time King Oliver and his Orchestra—The Trumpeter’s Prayer—1929-1930—RCA King Oliver’s Dixie Syncopaters—Snag It/Sugar Foot Stomp—Sugar Foot Stomp—Decca King Oliver’s Creole Jazz Band—Canal St. Blues/Chimes Blues/Dippermouth Blues—1923—Gennett Jazz Datebook Harry Connick Jr. – Bourbon Street Parade—Chanson du Vieux Carre—Marsalis Music Bob French—Royal Garden Blues—Honors Series—Marsalis Music Jon-Erik Kellso—Way Way Back—Blue Roof Blues—Arbors 11 p.m. Jelly Roll Morton/King Oliver—Dippermouth Blues—The Pianist & Composer V. 1—Smithsonian King Oliver and his Orchestra—West End Blues/I’ve Got That Thing/Call of the Freaks—1929-30—RCA King Oliver’s Dixie Syncopaters—Deep Henderson/Jackass Blues/Wa Wa Wa—Sugar Foot Stomp—Decca Jazz Datebook Jazz O’Maniacs—Gully Low Blues—Sunset Café Stomp—Delmark Dewey Jackson—Bucket’s Got A Hole In It—Live at the Barrel, 1952—Delmark George Lewis—Swanee River—Hello Central…--Delmark Art Hodes—Chimes Blues—Tribute to the Greats—Delmark 12 a.m. Out On Blue Lake Lester Bowie—Hello Dolly/St. Louis Blues (Chicago Style)—American Gumbo—32 Jazz Roscoe Mitchell’s Trans Atlantic Art Ensemble – Part 3—Composition/Improvisation 1, 2 & 3—ECM Waddada Leo Smith/Adam Rudolph—Song of Humanity—Compassion—Meta/Kabell Waddada Leo Smith/Anthony Braxton—Goshawk—Saturn, Conjoined The Grand Canyon In A Sweet Embrace—Pi Records Fred Anderson/Hamid Drake—Saktvshiva—From the River to the Ocean—Thrill Jockey Jazz Datebook 1 a.m. The Bad Plus—Everybody Wants to Rule the World—Prog—Heads Up Typhanie Monique/Neal Alger—Never Can Say Goodbye—In This Room—Tymoni Dr. Lonnie Smith—Trouble Man—Jungle Soul—Palmetto Carl Allen & Rodney Whitaker—Inner City Blues—Get Ready—Mack Avenue The Puppini Sisters—I Will Survive—Betcha Bottom Dollar—Verve Frank Vignola—The Man I Love—Plays Gershwin—Mel Bay Kenny Davern/Ken Peplowski—Nobody Else But Me—Dialogues—Arbors Bucky and John Pizzarelli—Avalon—Generations—Arbors King Oliver and his Orchestra—St. James Infirmary—1929-30—RCA King Oliver’s Creole Jazz Band—Just Gone/Mandy Lee Blues/I’m Going To Wear You Off My Mind—1923—Gennett 2 a.m. Stephane Grapelli/Martial Solal—God Bless The Child—Happy Reunion—Sunnyside Bennie Wallace—Honeysuckle Rose—Disorder at the Border—Justin Time Joshua Redman—East of the Sun—Back East—Nonesuch Charles Mingus—Pithecanthropus Erectus—In Paris—Sunnyside Ornette Coleman—Once Only—Sound Grammar—Sound Grammar Kurt Elling—Leaving Again/In the Wee Small Hours—Nightmoves—Concord 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, May 8, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Keith Jarrett—My Song—Carnegie Hall Concert—ECM Keith Jarrett—Bop-Be—At the Blue Note—ECM Keith Jarrett—Innocence—Personal Mountains-ECM Kurt Elling—Leavin Again/In the Wee Small Hours—Nightmoves—Concord John Coltrane—It’s Easy to Remember—Ballads—Impulse Seattle Women’s Jazz Orchestra—Self Portrait—Meeting of the Waters—OA2 Roni Ben-Hur—Think of One—Kepin’ It Open—Motema Joshua Breakstone—Indian Song—Back East 11 p.m. Keith Jarrett—The Wind—Paris Concert—ECM Keith Jarrett—Someday My Prince Will Come—Up For It—ECM Keith Jarrett—Birth—Foundations—Rhino Metheny/Meldau Quartet—A Night Away—Metheny/Meldau Quartet—Nonesuch EST—Tuesday Wonderland—Tuesday Wonderland—Emarcy Tord Gustavsen Trio—Twins—The Ground—ECM The Stryker/Slagel Band—Drear Mr. Hicks—Latest Outlook--Zoho 12 a.m. Nino Josele—Never Let Me Go—Paz—Norte Lee Konitz/Ohad Talmor—FreeBeMe—String Project: Inventions—OmniTone Fred Anderson/Hamid Drake—Planet E—From the River to the Ocean—Thrill Jockey Keith Jarrett—Hearts In Space—Always Let Me Go—ECM 1 a.m. East Coast Standard Time—Impressions—Impressions—Altru Music Terrell Stafford—Paper Trail—Taking Chances—Max Jazz Lauren Hooker—Goodbye Porkpie Hat—Right Where I Belong—Musical Legends Charles Mingus—Blue Bird—In Paris—Sunnyside Kahil El’Zabar’s Infinity Orchestra—Return of the Lost Tribe—Transmigration—Delmark 2 a.m. Keith Jarrett—Oleo—Live at the Blue Note—ECM Keith Jarrett—Conception—Whisper Not—ECM Keith Jarrett—Time On My Hands—Carnegie Hall Concert—ECM Brad Shepik—Temoin—Places You Go—Songlines John Abercrombie—Round Trip—The Third Quartet—ECM Bob Montgomery/Al Hermann Quintet—Speak Easy—Summit Wayne Escofferey—Looking Ahead—Veneration—Savant Booker Little—Booker’s Blues—And Friend—Bethlehem 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

"Legendary Pioneer of Jazz" NEW ORLEANS (5/8/2007 - The New Orleans Agenda) - Alvin Batiste's body will lie in state for public viewing at the historic Gallier Hall, 545 Saint Charles Avenue, New Orleans, Louisiana 70113 on Friday, May 11, 2007 from 12:00 noon to 7:00 pm, followed by a musical tribute where several New Orleans musicians will perform in memory of the man they called "Bat." Funeral service will be held at Gallier Hall, on Saturday, May 12, 2007 with public visitation from 9:00 am - 10:30 am. Final service begins at 11:00 am, to be followed by a musical procession immediately after the services. Arrangements by Duplain W. Rhodes Funeral Home, 1728 North Claiborne Avenue, New Orleans, Louisiana 70116 (Phone: 504- 943-3422). --------------------------------------------------------------------------------

Jazz a la Carte Saturday, May 5, 2007 Artist—Song Title – Album Title – Record Label 7 a.m. Eastern Time Kurt Elling—I Like the Sunrise—Nightmoves—Concord Bucky Pizzarelli—Down For Double—5 For Freddie—Arbors Count Basie—Blues for Charlie Christian—Mostly Blues…--Pablo Charlie Christian—Breakfast Feud/Gone With What Draft—Genius of the Electric Guitar—Columbia Jazz Datebook Alvin Batiste—Skylark—Honors Series—Marsalis Music Jon Erik Kellso—Way Way Back—A Love Letter to New Orleans—Arbors Duke Ellington—Mood to be Wooed/Black and Tan Fantasy—Centennial—RCA 8 a.m. Glenn Miller Spectacular—Sunrise Serenade—All the Greatest Hits—MPI Bireli Lagrene—Djangology—And the WDR Big Band—Dreyfus Frank Vignola—Nice Work If You Can Get It—Plays Gershwin—Mel Bay Kenny Davern/Ken Peplowski—If Dreams Come True—Dialogues—Arbors Jazz Dateook Miles Davis Quintet—Dear Old Stockholm—Milestones—Columbia Thelonious Monk—Misterioso—Genius of Modern Music—Blue Note Steve Grossman/Harold Land—Vierd Blues—I’m Confessin’—Dreyfus Dizzy Gillespie—Two Bass Hit—Complete—RCA Modern Jazz Quartet—La Ronde Suite—Django—Prestige 9 a.m. Mingus Big Band—Wham Bam—Live in Tokoyo—Sunnyside Art Blakey’s Jazz Messengers—Along Came Betty—Moanin’—Blue Note Bob Montgomery/Al Hermann Quintet—Killer Joe—On the Brink—Summit Jazz Datebook Frank Tiberi—Four Brothers—4 Brothers 7—Jazzed Media Allen Eager—The Goof and I—In the Land of Oo-bla-dee—Uptown Woody Herman & His Orchestra—Keen and Peachy—Blowin Up A Storm—Columbia Benny Wallace & His Orchestra—Bean and the Boys—Plays Music of Coleman Hawkins—Justin Time Coleman Hawkins—Rifftide—Hollywood Stampede—Capital Coleman Hawkins—Get Happy—Bean Bags—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 From Blue Lake Thursday, May 3, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time J.J. Johnson’s Boppers—Blue Mode/Afternoon In Paris—In the Beginning—Prestige Milt Jackson—What’s New/Bag’s Groove—Wizard of the Vibes—Blue Note Charlie Parker—Parker’s Mood—Complete—Savoy Jazz Datebook Charles Tolliver Big Band—Round Midnight—With Love—Mosaic Larry Willis—Blue Fable—Blue Fable—High Note Joe Lovano/Hank Jones – Budo—Kids—Blue Note Music of Thad Jones—Little Pixie—One More—IPO Bob Mintzer—Listen Here—In the Moment—Art Of Life 11 p.m. Dizzy Gillespie—Toccata for Trumpet—Diz N Bird at Carnegie Hall –Blue Note John Lewis—Three Little Feelings—Birth of Third Stream—Columbia Modern Jazz Quartet w.t. N.Y. Chamber Symphony – Three Windows—Three Windows—East West Jazz Datebook Bennie Wallace—Honeysuckle Rose—Disorder at the Border—Justin Time Steve Grossman/Harold Land—Vierd Blues – I’m Confessin’—Dreyfus Enrico Rava—Tutu—The Words and the Days—ECM 12 a.m. John Lewis – I Remember Clifford – The World Of Jazz—Atlantic Modern Jazz Quartet—Confirmation/Round Midnight—Last Concert—Atlantic Wynton Marsalis—Find Me—Plantation to the Penitentiary—Blue Note Joshua Redman—India—Back East—Nonesuch Matt Ray—Central Park West—Lost In New York—CAP Billy Bang Quintet feat. Frank Lowe—At Play In the Fields of the Lord—Above and Beyond: En Evening In Grand Rapids—Justin Time 1 a.m. Modern Jazz Quartet – The Cylinder—European Concert—Koch Modern Jazz Quartet—Django—Django—Prestige John Lewis—Concorde—The Garden of Delight/Delaunay’s Dilemma—Emarcy Gil Evans—Concorde—The Individualism of Gil Evans—Verve Bob Montgomery/Al Hermann Quintet—Killer Joe—On the Brink—Summit Brad Shepik—The South—Places You Go—Songlines Susanne Abbuehl—Black is the Color/Where Flamingos Fly—Compass—ECM Fred Hersch/Michael Moore—Cazona—Jazz at the Concertgebouw—RNW 2 a.m. John Lewis—Afternoon In Paris—Evolution—Atlantic Modern Jazz Quartet—The Hornpipe—Echoes—Pablo John Lewis/Sacha Distel—All The Things You Are—Afternoon In Paris—Koch John Lewis—Two Degrees East, Three Degrees West—Evolution—Atlantic Duke Ellington—The Flaming Sword—Centennial—RCA Modern Jazz Quartet—For Ellington—For Ellington—East West Miles Davis—Budo/Rouge—Complete Birth of the Cool—Capital Miles Davis—When Lights Are Low/Tune Up—The Chronicle—Prestige Dizzy Gillespie—Two Bass Hit—Complete—RCA MJQ—La Ronde—European Concert—Koch MJQ—Woody N You—Together Again--Pablo 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, May 2, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Groove Holmes—Misty—Hammond Heroes—Prestige Groove Holmes—Body and Soul—Get Up and Get It--Prestige Groove Holmes—Night Train—On Basie’s Bandstand--Prestige Jazz Datebook Joshua Redman—I’m An Old Cowhand—Back East—Nonesuch The Bob Montgomery/Al Hermann Quintet—Ladybird—On the Edge-Summit Charlie Parker—Ornithology/Yardbird Suite—Complete—Savoy Frank Foster’s Loud Minority—Joy Spring—Well Water--Piadrum 11 p.m. Groove Holmes—Blues All Day Long—Blues All Day Long—Muse Groove Holmes—Work Song—Spicy—Prestige Groove Holmes—Polkadots and Moonbeams—Hot Tat—Muse Jazz Datebook Wess Anderson—Monk’s Starlight—Live From Blue Lake 2007 Alvin Batiste – Skylark—Honors Series—Marsalis Music Horace Silver—Que Pasa—Song For My Father—Blue Note 12 a.m. Out On Blue Lake Roscoe Mitchell – Ornette – Sound—Delmark Roscoe Mitchell’s Transatlantic Art Ensemble – Composition/Improvisation Nos. 1, 2 and 3 –ECM Billy Bang Quintet – Dark Silhouette – Above and Beyond: An Evening In Grand Rapids—Justin Time 2 a.m. Brad Shepik—Temoin—Places You Go—Songlines John Coltrane—Moment’s Notice—The Ultimate Blue Train—Blue Note Turtle Island Quartet – Round Midnight—A Love Supreme—Telarc Groove Holmes—Castle Rock—That Healin’ Feelin’ – Prestige Groove Holmes – Groove’s Blue Groove – Get Up and Get It—Prestige Groove Holmes—Nica’s Dream—On Basie’s Bandstand—Prestige Modern Jazz Quartet—La Ronde Suite—Django—Prestige 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, May 1, 2007 Artist—Song Title – Album Title – Record Label 10 p.m. Eastern Time Shirley Horn – You’re Nearer – Here’s To Life—Verve Shirley Horn – The Look of Love – The Main Ingredient—Verve Shirley Horn – It Had To Be You – You Won’t Forget Me—Verve Miles Davis – Well, You Needn’t – Legendary Quintet—Prestige Buck Hill—Prancin’—Relax—Severn The Puppini Sisters—Jeepers Creepers/I Will Survive—Betcha Bottom Dollar—Verve Bireli Lagrene—We Are the Champions/We Will Rock You/It Was A Very Good Year – To Bi or Not To Bi – Dreyfus The Bad Plus – Tam Sawyer – Prog—Heads Up The Glenn Miller Spectacular – Sunrise Serenade/Serenade In Blue – All Time Greatest Hits—MPI Media 11 p.m. Shirley Horn – I’m Old Fashioned—Lazy Afternoon—Steeplechase Shirley Horn – Come Fly With Me – Close Enough For Love—Verve Shirley Horn – If I Had You – All Night Long – Steeplechase Shirley Horn – New York’s My Home/Why Did I Choose You—Lazy Afternoon—Steeplechase Stan Bock – I’ll Remember April—Your Check’s In the Mail—Origin Tommy Newsome—Billie’s Bounce—Friendly Fire—Arbors Carl Allan/Rodney Whitaker—Inner City Blues –Get Ready—Mack Avenue Sachal Vasandani—A Flower Is A Lovesome Thing—Eyes Wide Open—Mack Avenue Thelonious Monk—Round Midnight—Thelonious Himself—OJC 12 a.m. Steve Turre—Thandiwa—Keep Searchin’ – High Note Jackie McLean—Hipnosis—Hipnosis—Blue Note Grachan Moncur—Sonny’s Back!—Exploration—Capri Shirley Horn—Old Country/It’s Easy to Remember – I Love You, Paris—Verve Shirley Horn—My Man’s Gone Now—I Remember Miles—Verve Anat Cohen—No Moon At All—Noir—Anzic 1 a.m. Brad Shepik—Temoin—Places You Go—Songlines John Abercrombie Quartet—Round Trip—The Third Quartet Andrew Hill—Duplicity—Andrew!—Blue Note Scott Colley—Smoke Stack—Architect of the Silent Moment—Sunnyside Nels Cline—Dedication—New Monastery—Cryptogramophone Ornette Coleman—Call to Duty—Sound Grammar—Sound Grammar Allen Lowe—Sound Track Theme from Jews In Hell/I Cam From Nowhere—Jews In Hell—Spaceout Keefe Jackson’s Fast Citizens—Ready Everyday—Ready Everyday—Delmark 2 a.m. Bunky Green—Another Place—Another Place—Label Bleu Bob Montgomery/Al Hermann Quintet—United—On the Brink Mark Sherman—Punjab—Family First—City Hall Steve Grossman/Harold Land—Circus—I’m Confessin’—Dreyfus Shirley Horn—Hit the Road Jack/Georgia—Light Out Of Darkness—Verve Jack Sheldon—Star Eyes—Listen Up—Butterfly Art Pepper—You’d Be So Nice To Come Home To—The Hollywood All Star Sessions--Galaxy 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

Braxton in Jazz Times: http://adlermusic.com/C119771372/E19633070...dia/Braxton.pdf

New Orleans morns the loss of veteran clarinetist Alvin Batiste who passed away in his sleep early Sunday morning, May 6, 2007. Batiste was scheduled to perform at the New Orleans Jazz & Heritage Festival later today. New Orleans morns the loss of veteran clarinetist Alvin Batiste NEW ORLEANS -- New Orleans morns the loss of veteran clarinetist Alvin Batiste who passed away in his sleep early Sunday morning, May 6, 2007. Batiste was scheduled to perform at the New Orleans Jazz & Heritage Festival later today. His most current CD; Marsalis Music Honors Alvin Batiste is with Bradford Marsilas and other notable Jazz musicians. It also includes a reading by wife, Mrs. Edith Chatters Batiste. Several well known musicians studied under Alvin Batiste while at Southern University. They include Randy Jackson (American Idol), his brother Herman, Brandford Marsalis, Donald Harrison, Henry Butler, Kent Jordan, Micheal Ward, Herlin Riley, Charlie Singleton (Cameo), Woodie Douglas (Spirit) and others. His Columbia album billed him as a "Legendary Pioneer of Jazz." Alvin Batiste is an avant-garde player who does not fit easily into any classification. Under-recorded throughout his career, Batiste was a childhood friend of Ed Blackwell and he spent time in Los Angeles in 1956 playing with Ornette Coleman. However, Batiste chose the life of an educator in Louisiana where he taught music at Southern University in Baton Rouge where her created the Batiste Jazz Institute and currently at the New Orleans Center for Creative Arts (NOCCA) where served as lead teacher in jazz instrumental music. Batiste recorded with the AFO ("all for one") quintet in New Orleans, performed with Cannonball Adderley, and toured with Ray Charles in 1958, but was an obscure legend until he made three albums with Clarinet Summit in the 1980s (a quartet also including John Carter, David Murray, and Jimmy Hamilton). Batiste recorded an album, Bayou Magic, in 1988 as a leader for India Navigation and made the 1993 Columbia album Late. Songs, Words and Messages, Connections appeared in 1999, followed by Marsalis Music Honors Alvin Batiste in 2007. Batiste also performs on the Marlon Jordan featuring Stephanie Jordan 2005 CD which was a production of the Jordan-Chatters-Batiste family. Arrangements will be announced onced complete. The New Orleans Agenda newsletter is the leading local alternative for information on New Orleans and the Gulf Coast Region. A provider of turnkey Web-Based Internet Marketing Services, we specialize in servicing faith-based entities, community groups, professional organizations, and arts & cultural interest events. Our newsletter have been read by our customers more than 1 million times. Sincerely, Vincent Sylvain The New Orleans Agenda