Lazaro Vega

"...this group sounds like no other on the music scene or in Ornette's career." Kalaparush Maurice McIntyre used this sax, two basses, drums format on record: "Humility In Light of Creator."

Hank Williams "Weary Blues" was the pick from "Careless Love," as well as her "Hesitation Blues" from Larry Golding's record on Palmetto. The similarity to Billie is creepy. When I listen to "Everybody's Talking" it leads to more postmodern cheese in a jazz sauce, Randy Johnston's version of The Carpenter's "Close To You" or that new Gilman Trio boogie and bop version of Stevie Wonder's "I Wish." What else? Patricia Barber's "Summer Samba." Shirley Horn's version of "The Look of Love" ends it, the final word on jazzmopolitan kitsch. Shirley delves deeper into the drama of that song by playing with the time...she says to the set, experiment over, drag this pop all the way back to jazz.

Ah, we have excerpts from "City of Glass" but not the whole enchilada. Will also spin a 1966 Maynard Ferguson and His Orchestra radio broadcast from the Blue Room of the Tropicana Hotel, Las Vegas, including "Take the A Train" and "Got the Spirit." "Live Jazz From Club 15," 1966 CBS Radio Series (disc includes The Stan Getz Quartet and The Gene Krupa Orchstra featuring Anita O'Day on Honeysuckle Rose amongst others, both 1966). 2006 Request Records.

When you see someone going out with their boots on, the way Maynard did, and the way Elvin Jones did, it's inspirational. Does anyone have a copy of Bob Graettinger's "A Trumpet" written for Maynard and recorded by Stan Kenton? That's alluded me. Blue Lake will honor Maynard tonight. We'll begin the program with "Frame for the Blues."

"Everybody's Talkin'". Was that sung by Glenn Campbell? Ghost, where is Louis Armstrong's version of that?

That's what Bags said.

Interesting points, Allen. Partch. As to the defensiveness of jazz to the classical establishment, there's an ingrained prejudice from the general classical audience against jazz, that classical music may be proven "scientifically" to be superior (starting with A 440) and that the classical composer's understanding of the emotions evoked by various harmonic tones shows a more purposeful intellectual control of the musical content than jazz. Something like that. I've heard people say such things before and it's more of an undercurrent. Gunther Schuller wrote "Early Jazz" to be read by those folks.

Yeah, I bit.

"Ellington ranked with George Gershwin, Cole Porter, Irving Berlin and their contemporaries." He ranked above them as a composer. The "contemporaries" would be Copeland, Bernstein and Ives, perhaps, and there he's ranking with.

Ghost! glad you got the message. Skid! My man! Tim just called to say how much he enjoyed tonight. That was about as tight a Blue Lake group we've had all summer, and the hang at Kresge Lodge was mo'betta because of the adult musicians who were looking for something to do. Of course I'm working so didn't participate fully.....hahahaha. That was some good music, though. Thanks for listening guys.

Late notice, but this is a tight, swinging band playing some nice charts for sextet. About 60 people are cooling, waiting ror the band. Jeff Uban, trumpet Tyler Kuebler, tenor saxophone Matt Westgate, trombone Phillip Burkhead, piano Gordon Lewis, bass Tim Froncek, drums www.bluelake.org Hope you can join us. Live radio!

Duke Jordan discography page: http://www.jazzdisco.org/jordan/cat/a/

Roy Haynes on brushes stood in for the tap dancer on "I'm Late, I'm Late," and the result of him taking those breaks makes for a great Roy Haynes showcase.

Just to re-iterate without being an egotistical bastard, the nearly 1/2 hour long suite from this new Konitz recording will air tonight from about 9:30 p.m. et and stream live over www.bluelake.org . If you have the time it's a chance to check out this new music. We just opened the promo on Friday.

Cool. Just pulled out the Claude Thornhill recordings this week -- man there was a lot more than just "influence" going from that band to the Miles Nonet -- a lot of the same people played in both, especially Mulligan and Konitz. Thornhill's band didn't have the modern language down in all the solo roles, but the ensemble stuff was new music. Who played trumpet on the Chicago Jazz Festival version of Lee's nonet? Was it Harrell and John Eckert? Red Rodney made that band for the "Live at Lauren" Soul Note recording, which has a long version of Lenny's "April." The Steeplechase recording "Yes, Yes, Nonet" is the one, though, for a balance between the writing/arranging and good solos. According to the press release yes this is the New Nonet that will appear at the Chicago Jazz Festival.

Two new releases from Omni Tone. From the press release for New Nonet, "In their on-going collaboration, (nearly 100 ) tunes and melodic lines that Konitz created, jotted down and faxed to Talmor over a period of time...have taken on new lives as inspired realizatons by Talmor for the Lee Kontiz New Nonet." Continuing, "New Nonet kicks off with the 25 minute "ChromaticLee Suite," culled from eight diferent blues lines penned by Konitz. " Personnel: Lee Kontiz, alto saxophone; Ohad Talmor, tenor saxophone/musical director; Russ Johnson, trumpet; Jacob Garchik, trombone; Oscar Noriega or Denis Lee, bass clarinet; Dimos Goudaroulis, cello; Ben Monder, guitar; Bob Bowen, bass; Matt Wilson, drums. Blue Lake Public Radio will broadcast "ChromaticLee Suite" Sunday evening from 9:30 p.m. to 10 p.m. et, followed by Night Lights featuring Frank Hewitt. www.bluelake.org I have to bug. For information on Lee Konitz, Ohad Talmor with the Spring String Quartet from Austria. on the record "Inventions," www.omnitone.com.

That's an interesting idea, Allen, vis a vis Jordan and John Lewis. Read that Jordan is related to Teddy Wilson in terms of touch. And he was a prolific composer. Will spin an hour of music featuring Duke Jordan this Sunday evening from 7 to 8 p.m. et. His solo version of "Summertime," as well as Jordan's recordings with Bird ("Bird of Paradise, "Embraceable You"), a Bird tribute band including Jackie McLean and Johnny Griffin ("Yardbird Suite"), then Tina Brooks ("Up Tight's Creek"), and Kenny Burrell ("Scotch Blues"). Two pieces with Stan Getz, Jordan and Jimmy Rainey, "Stella" and "Thanks For the Memory." The Brown/Roach, Dizzy Gillespie Orchestra and Karrin Allyson/Nancy King versions of "Jordu" are in there, too. www.bluelake.org Have been listening to his brief but gem like solos with Gene Ammons (Jordan is on "Blues Up and Down" but there's no room to breath on that riot). And the aforementioned Art Farmer disc has a companion recording of just the trio where Philly Joe Jones and Jordan are incredible. An unaccompanied Philly Joe knocks out the theme to "Ladybird" on brushes, and there's a 9 minute "Night In Tunisia" if memory serves.

Will be featuring Jack DeJohnette recordings tonight on Blue Lake Public Radio from 10 p.m. to 3 a.m. www.bluelake.org You're welcome to join the 6 to 10 on-line listeners we have every night!

Chuck, Whenever it's ready you're more than welcome. LV

We have some of the live performance with Fred Anderson recorded, yes, and if that is programmed it would be after midnight during the "Out On Blue Lake" segment. Jazz From Blue Lake runs from 10 p.m. to 3 a.m. est.

Looking to celebrate Roscoe Mitchell's music tonight on Jazz From Blue Lake from 10 p.m. to 3 a.m., with a special hour starting at midnight, "Out On Blue Lake." www.bluelake.org. His birthday is tomorrow. Time flies. http://www.allaboutjazz.com/iviews/rmitchell.htm

This one is on the shelves at Blue Lake: http://tinyurl.com/fblzc Played the solo version of "Too Late Now" last night on the program by request for New York and Ohio.

I've talked to Marshall Allen about it when he played live on Blue Lake with Henry Grimes -- all music. He said that was what they ate, drank, slept and lived. Music all the time. Which is one reason why the Arkestra could spontaneously create form as they did in "The Magic City," on in the continuous concerts they put on.

Of course musical basics are important, but the generation who challenged what those basics are, both in classical music and jazz, made inroads into new methods and practices which are far more valid musically, and more akin to the shattering truths of early jazz, then they're given credit for.

Or maybe the band was busy enough touring and recording that Ra didn't want to change his schedule around Gilmore.