Lazaro Vega

Indeed. Looking forward, too. Lacy came to Chicago so often in the 1980's and 90's...the Steve Lacy/Roscoe Mitchell duet concerts at Links Hall..Friday night was Lacy's music, Saturday (which I saw) was Roscoe's music. Roscoe employed his "cards" concept, writing out snippets of music on cards that the musician moves between. Only he did it by putting the musical information in a grid he drew on a big colored sheet and laid it across the floor. The musicians were then supposed to step into different squares and improvise or play straight the music written in them, and switch to another square when they felt like it. There were cards on the walls, too, if I remember, and the place was packed with defrosting humans. Roscoe went to town, but Lacy didn't really engage in this method. He didn't move around a lot on the squares, from what I remember, though he played. Focused on his sound. In any case, it felt "inevitable" that Lacy'd play across Michigan on his way west. And he did; played in Grand Rapids twice, and Ann Arbor many times more. It helped that the tour manager's family was from Grand Rapids. Steve Lacy was easy to work with. In transit he slept. He swung through in 1988 following the release of the Novus Recording "Momentum." After his sextet played The Ark in Ann Arbor a fleet of two cars and a van were dispatched to bring Steve Lacy to Grand Rapids. Pianist Bobby Few and drummer Oliver Johnson where in my car. (Few would play live on Blue Lake Public Radio in 2002 with Avram Feffer). During the trip from Ann Arbor I made the mistake of suggesting we stop at a Meijer. Violations of the open container law entered my vehicle. Lacy's bottom lip was a mess. He took it easy that time, as well he should have. The band played "Gay Paree Bop" at the climax of the concert, which included "The Bath" and "The Door," the title of the next Novus album. Irene Aebi was on the band with voice, violin and, perhaps, cello; Steve Potts, alto and soprano; Bobby Few, piano; J.J. Avenel, bass; and drummer Oliver Johnson was in full attack, fomenting a rebellion of the rhythm section that led to him leaving the band; eventually replaced by John Betsch. Looking at this discography, the most likely time the second concert happened was near the end of May, 1993. They recorded "Vespers" at the end of the tour, after many dates across Canada. The second concert was held at Aquinas College with just the quintet, no Aebi, and Betsch on drums. Again, we picked up the band from Ypsilanti where I think they played The Frog Island Music Festival. Lacy compared Grand Rapids and Ann Arbor by noting Arwolf, a jazz radio producer at WEMU FM, asked him if the Steve Lacy Quintet instrumentation was based on Jimmie Noone's Apex Club Orchestra's instrumentation (the band with clarinet and alto in the front line, Earl Hines at the piano). It was. He noted I didn't ask a comparable question, or draw the comparison (though after he mentioned it -- there's no other famous band in jazz with that instrumentation). The Aquinas Concert was great. By then we had "The Lacy Rider" down. Nice spread, plenty to drink, and the band stayed at the hall long past the end of the show. They'd been there for hours. Had rehearsal, then the two set concert, then just hung out. I'd gone to a printer and blown up giant black and white images of Cecil Taylor, Monk and Ellington to hang on the walls behind the band. Musically, the most powerful moment was "Esteem," a composition Lacy wrote for Johnny Hodges (remember on "Soprano Sax" Lacy recorded "Day Dream)." Lacy made a duo version of "Esteem" with Gil Evans in 1988. From the beginning of 1993 until he appeared in G.R. right before the "Vespers" session , Lacy recorded "Esteem" twice (once during a club date). It was just on his mind and very "worked up" at that point. They just nailed it. -Revenue- : Steve Lacy Quartet : Steve Lacy (sop) Steve Potts (as,sop) Jean-Jacques Avenel (b) John Betsch (d) Milan, February 23, 24 & 25, 1993 The rent Soul Note (It)121234-2 Revenue - This is it - The uh uh uh - Esteem - I do not believe - Gospel -Let's call this...esteem- : Steve Lacy (sop) Mal Waldron (p) Concert, "Playhouse Theatre", Oxford, May 16, 1993 Introduction (by Lol Coxhill) Slam (E)SLAMCD501 Let's call this... - Monk's dream - In a sentimental mood - Snake out - Blues for Aida - Johnny come lately - What it is - Evidence - Epistrophy - Esteem - -Vespers- : Steve Lacy Octet : Tom Varner (fhr) Steve Lacy (sop) Steve Potts (sop,as) Ricky Ford (ts) Bobby Few (p) Jean-Jacques Avenel (b) John Betsch (d) Irène Aebi (voice) New York, July 5, 6, 7 a 9, 1993 Multidimensional (to Miles Davis) Soul Note (It)121260-2 Unconsummated...If we come close (to Corrado Costa) - Grass (to John Carter) - Wait for tomorrow (to Keith Haring) - Across (to Charles Mingus) - I do not believe (to Stan Getz) - Vespers (to Arshile Gorky) - Note : The poems in the above CD are from Blaga Dimitrova and used with the permission of the Wesleyan University Press. On the way out of town a promo with music bed came on the radio for the week ahead on "Jazz From Blue Lake," and it included mention of programs featuring Milt Hinton and Scott Hamilton. Lacy looked at me like I was a complete and total traitor. His concept of taking the music to people, of being on the offensive musically and not waiting around to play what people find comfortable, was everything. Being around him was a profound learning experience.

Does anyone know this one? -Let's call this...esteem- :Slam (E)SLAMCD501 Steve Lacy (sop) Mal Waldron (p) Concert, "Playhouse Theatre", Oxford, May 16, 1993 Introduction (by Lol Coxhill) Let's call this... - Monk's dream - In a sentimental mood - Snake out - Blues for Aida - Johnny come lately - What it is - Evidence - Epistrophy - Esteem -

Just responding to what Allen is talking about, calling concert keys and the key the instrument is pitched in, and seeing as how Fathead plays alto, tenor and flute, he's all up in that. Froncek was telling me a story of working with Fathead in Ann Arbor, and Newman got tangled up in explaining the different keys he needed to play in that night, eventually just waving at his wrack of horns and laughing about it. They got straight. It was just a funny moment.

Steve Lacy is featured tonight on Jazz From Blue Lake, 10 p.m. to 3 a.m.

There's transposing, and then there's Fathead Newman. How does he keep it straight?

They sustain the collective with over lapping layers of creativity throughout "On the Mountain." Big Red Peaches was written for an Odwalla juice commercial, and recorded with an r&b sound on Mitchell's Note Factory ECM record "Nine to Get Ready." Love hearing Jarman sing the lyric to Odwalla, even though his voice is what it is.

Will do. The Herbie Nichols Project adds the previously unrecorded Nichols compostions to the legacy, and "enlarges" Nichols original trio compositions by adding horn parts. (Nichols did previously record with horns, as a sideman, so they weren't playing his music. See: Rex Stewart, Joe Thomas). Those transcriptions Chuck mentions are a good example of Nichols music played with the fluidity of bop, the punch of a big band, and the textures of a chamber group by the ICP Orchestra. House Party Starting. Writers were intrigued by Nichols attention to detail in the rhythm of his music. As Kimbrough points out in the Night Lights interview the West Indian and African influences, bebop hyper drive, Teddy Wilson touch and dignity, the piano translated to ensemble music of Jelly Roll. Maybe the attention to detail in Morton's music led Nichols to even "score" parts for the drummer. Not sure if he does that here, but the original Nichols 'Shuffle Montgomery' then the Herbie Nichols Project doing the same tune, featuring their drummer, Matt Wilson. (And that introduction to the program was disaster on the air just now -- toomuchfunatcamp! and need to add the classical influence....)

I am now! (edit to add, Whoops, maybe not: don't have it here, just "Locomotive").

Many thanks. Interesting that when Marian McPartland recorded it in a collection of Mary Lou Williams' music, she credited Herbie. http://tinyurl.com/nnkg3

Inspired by this program, which aired June 25th on Blue Lake, tonight Jazz From Blue Lake will feature the Herbie Nichols Project, the music of Herbie Nichols and various other musicians associated with Herbie Nichols' music, Roswell Rudd, Ben Allison etc. (At midnight we take it out on Blue Lake with an unrelated hour that will feature recent music by trumpeter Herb Robertson). 10 p.m. to 3 a.m. e.t. www.bluelake.org . What was the name of the Mary Lou Williams tune she copped from Herbie?

Recall seeing clips of the Brubeck Quartet playing at the Mansion, in black and white, and during "Take Five," as the camera pans across the warm valleys, Desmond quotes that old nursery rhyme, "playmate, come out and play with me, slide down my apple tree...rain barrel....cellar door....and we'll be playmates for ever more." I about died. With his horn rims on. Good luck Paul!

Glad to share the memories. The Columbia Monk tribute concerts have been re-issued in America, on Koch records, I believe as two double cds. One listen and you'll hear that Lacy was really "on." He seems the most inspired soloist on almost every set, something the audience responds to as well. Have to dig the duo selections from that concert again. The things I remember about the Monk big band reunion concert -- I was in the second row behind the photo pit -- were how swinging it was, the stellar solos, and how well the band played the arrangements. Don't know how much rehearsal they had, but they nailed those. I believe they were playing the Hall Overton arrangements. Is that right? Some of the sax soli sections were crazy and they just ate them up.

Mal's advise as relates to presenting music? I've forgotten his exact words, Chuck, so please serve as backup memory if you're able to recall what I told you. He was forthright about taking it straight ahead and keeping music uncompromised by commercial distractions. As it boiled down he was confident in his path through music and counciled no compromise in the presentation of jazz. So did Lacy. I'd been walking from the Grant Park underground. Mal appeared on the street in front of the old Blackstone Hotel, on the Michigan avenue side. A couple in front of me on the sidewalk walked up to him as he was lighting a "Moore." "Excuse me? Can you tell me where Marshal Fields is?" Waldron struck a match, pulled the un-lit cigarette out of his mouth, smiled and said, "No, I just flew in from Germany a couple of minutes ago" then lit up. The couple turned to me and asked, "Do you know where Marshall Fields is?" I said, "No, but aren't you Mal Waldron?" He was suprised. So was the couple. They had no idea but were intrigued. I looked at them and said, "Do you know who Billie Holiday was?" They did. "He played with her." Mal laughed, but didn't laugh it off. He said what he learned from accompanying Billie, but mostly remembered being overwhelmed in front of a jazz audience on a scale he hadn't imagined as a young man. "That's right, you were on t.v. with her. 'Nervous.'?" "I WAS." After the cigarette and more questions he was like, If we're going to do this, let's sit down and have some coffee. We wedged under a black rubber topped table at the greasy spoon in the Blackstone for breakfast and coffee. After explaining in the previous week I'd done a retrospective radio feature on him for this appearance he went into details and he hipped me to what more could have been a part of the radio program and why. We talked for about 40 minutes. It was helpful, he said, because he was still recovering from an amnisic (sp) episode in his life, right? Didn't he go through a crisis like that? Of course, it was far more helpful to me than he'll ever know. At that time his quartet recording with Joe Henderson, David Friesen, and Billy Higgins, "One Entrance, Many Exits," was freshest in my mind, as well as the duo record with Steve Lacy on Hat Hut called "Herbe De L'oubli." "Hurray for Herbie" on that recording is 17 minutes long. Some of the long, feeling out improvisations revealing ideas that would be refined over the long course of their collaboration. I asked him, "What does 'Herbe De L'oubli' mean?" He had his finger tips pressed together with his elbows on the table, making this pyramid with his face behind it. He moved out from behind his hands and said with a broad grin, "The green grass of forgetfulness." He brought up the Mingus and Max Roach period recordings which I'd missed, talked about Booker Little as someone to pay closer attention to. "The Quest" was required listening by Nessa, and Waldron appreciated that. There was no "All Music Guide" to give you the narrative then. Just books, records, concerts and most of all knowing Chuck. That was Chuck's gig: putting together a Monk re-union big band that included Monk. After Monk's death the project was carried through with Mal. Killer band. Steve Lacy, Phil Woods, Charlie Rouse in the sax section. Supposed to have been Pepper Adams, but he was ill, too, so Howard Johnson. Ben Riley on drums? Who was in that band, Chuck? Do you still have the set list? After the show the crowd pressed back to the Blackstone. Waldron, in his dark suit, was standing at the top of the marble stairs just beaming when he saw us. He held his hands open at about pocket level, just grinned, and said, "What did you think?" Then he was mobbed. Lacy and Waldron. That was Lacy's thing: duets with piano. He recorded with Gil Evans, Micheal Smith and Ulrich Gumpert in that format, but it was his assoication with Mal that developed beyond just another project. They were a working band, a special one, but on-going.

Ha! Chuck!!!! Yogi Berra on jazz: Interviewer: Yogi, can you explain jazz? Yogi: I can't, but I will.... 90% of all jazz is half improvisation. The other half is the part people play while others are playing something they never played with anyone who played that part. So if you play the wrong part, its right. If you play the right part, it might be right if you play it wrong enough. But if you play it too right, it's wrong. Interviewer: I don't understand. Yogi: Anyone who understands jazz knows that you can't understand it. It's too complicated. That's what's so simple about it. Interviewer: Do you understand it? Yogi: No. That's why I can explain it. If I understood it, I wouldn't know anything about it. Interviewer: Are there any great jazz players alive today? Yogi: No. All the great jazz players alive today are dead. Except for the ones that are still alive. But so many of them are dead, that the ones that are still alive are dying to be like the ones that are dead. Interviewer: What is syncopation? Yogi: That's when the note that you should hear now happens either before or after you hear it. In jazz, you don't hear notes when they happen because that would be some other type of music. Other types of music can be jazz, but only if they're the same as something different from those other kinds. Interviewer: Now I really don't understand. Yogi: I haven't taught you enough for you to not understand jazz that well.

Right, but what I'm saying is that bebop wasn't all full of light -- there's some considerable emotional darkness, which is part of it's attraction, in Bud's best music. There are recordings where Bud went Goth, even. And, moreover, the idea that musical parts are revolving around each other in their individual orbits and together create a whole isn't "only" European as there are moments in King Oliver's Creole Jazz Band where this sort of collective improvisation, especially during "jammed" sections, is typical of jazz.

The difference in shades of emotion and musical color between Teddy Wilson and Bud Powell, for instance, are striking. Bud's "Over the Rainbow" isn't a sunny thing.

Featuring Ned tonight on Jazz From Blue Lake and recalled Luke's insights into his "system." After reading through the thread thought these comments, made over at Branford Marsalis's long gone forum, might shed some light on Mr. Goold's views: Ned Goold wrote: Every art form is based on certain universal elements common to all art and local ones exclusive to it. In Jazz and American popular song of what is generally considered its golden era, the essential ingredient is one of lightness. This is the essence of this music and any attempt to steer it into heavier areas, while perhaps gaining a temporary lyrical power, diminishes its efficacy and hastens its descent into the abyss of insignifigance. Jazz has neither the rythmic complexity of traditional African music nor the harmonic depth of any era of European art music. What it does have derives from a combination of the two plus the all-encompassing blues harmony which pervades everything to some degree. What the blues does is basically turn the root tonic chord into a dominant 7th chord. This feeling of unresolvedness and perpetual forwartd motion (due in no small part to the complex triplet based swing beat) gives American music its unique value. The dominant chord is the essence of funk. When Bird had his famous breakthrough about soloing over the upper tones of the dominant chord it was not new. Pop tunes (whose lyrics were fittingly light) had used those intervals as strong melody notes since the teens, Bird and Dizzy came up with a system for soloing over these complex progressions (with help from Bix and Pres). As heavy as this all is, it never lost is fundamental lightness; Dizzy talks about how Bebop is based on the cycle of dominants. One of Monk's greatest achievements is his reharmonisation of Tea for Two over a cycle. The introduction of "modal" harmony into Jazz is emblamatic of the dissolution of the prime elements which alone make it great. Ornette Coleman tried to further the Bebop revolution, but introduced elements of "spirituality" by emphasising the major sound to the detriment of the dominant; another step backwards. Coltrane's use of an endless minor chord (without even a V to modify it) and group dynamics and climaxes, while perfect for his extremely powerful music, is another huge step away from the essence of Jazz which is like European polyphony where all the parts work together while being independent. The influence of these developments (along with other factors outside of this thesis) has sent Jazz tumbling into the veritable pit of Hell wherein it now resides. (Complete with a plethora of minor imps and demons whose existence is based on the furthering of lies and the perpetuation of this evil and worthless state of affairs). And by the way, I'm playing at Small's every Saturday night (while it lasts) at 7.30 PM, so c'mon down, I'm a beautiful guy once you get to know me.

That was a marathon -- 7 p.m. to 3 a.m. with "Out on Blue Lake" at midnight (new Art Ensemble cd was featured) and mostly recordings featuring Bobby Hutcherson in the 2 a.m. hour. Thanks to Randy for calling to say, "Hey, that sounds like Don Moye on drums" during the Art Ensemble feature. Tonight the "Jazz Retrospective" hights recordings with saxophonist Ned Goold.

The Jazz Datebook July 20, 2006 The Datebook: Thursday, July 20th and Friday, July 21st from 5:30 p.m. Organissimo opens for Sinatra sound alike Steve Lippia in the Grand Rapids Symphony Chase Picnic Pops at Canonsburg Ski Area. Information from (616) 454-9451 or www.grsymphony.org. Monday, July 24th at 6 p.m. Dr. John Hair’s New Connections Quartet performs in this summer’s free Jazz at the Zoo concert series, rain or shine at John Ball Park Zoo, Grand Rapids. July 31st The John Shea Trio concludes this annual summer festivity in Grand Rapids. For more information contact The West Michigan Jazz Society, (616) 458 – 0125 or www.wmichjazz.org or www.johnballzoosociety.org Monday, July 24th from 7:30 to 10 p.m. The Grand Rapids Jazz Orchestra performs at Kopper Top Guest House, 638 Stocking N.W., Grand Rapids. The band appears there on the 4th Monday of each month. Tuesday, July 25th from 7:00 to 8:30 p.m. the Roger McNaughton Trio plays at Central Park, Grand Haven, in a Tuesday night music series including jazz Groove Merchant on August 8th. Presented by the Grand Haven Area Arts Council, (616) 842 – 2285 or www.ghaac.org . Thursday, July 27th at 7 p.m. drummer Tim Froncek leads the Blue Lake Faculty Jazz Combo in a tribute to Miles Davis at the Edith I. Blodgett Recital Hall, Blue Lake Fine Arts Camp in northern Muskegon County. Part of Blue Lake’s 40th Anniversary Season which also includes the Blue Lake Staff and Faculty Jazz Bands performing Saturday, July 29th at 7:30 p.m. at William S. Stewart Memorial Music Shell. Tickets are $10 at the door. For information please call (231) 894 – 1966. Tuesday, July 25th through Sunday, June 31st: the World Class Jazz Summer Tour 2006 features tenor saxophonist Jerry Weldon’s New York All Stars with Coleman Mellatt on guitar and Akiko Suruga, organ. Weldon tours the world as featured soloist in Harry Connick Jr.'s big band (http://www.jerryweldon.com/); August 1st through August 7th, jazz guitarist Ed Cherry's Band featuring vocalist Laird Jackson. Best known as Dizzy Gillespie's guitarist from 1973 to 1993, Ed Cherry's current band includes bassist Sean Conly and drummer Diego Voglino (http://www.justin-time.com/authors/edcherry/ ). All concerts start at 7 p.m., are free, and take place in the following locations: Tuesday, Manistee First Street Beach, Douglas Park, Manistee (rain site, Manistee High School at 12th and Maple); Wednesday, Gull Landing, 438 S. Hancock Street, Pentwater, (231) 869-4215; Thursday, The Rotary Pavilion, Cadillac (rain site, Cadillac Community Schools Auditorium); Friday, Rambadt Park, Reed City; Saturday, Wenger Pavilion, Baldwin; Sunday, Gull Landing, 438 S. Hancock Street, Pentwater, (231) 869-4215.....(For a full summer schedule see below). Thursdays from 7 to 11 p.m. Restaurant Toulouse, 246 Culver Street, Saugatuck, features live jazz. (269) 857 – 1561. Tuesday, July 25th and August 8th at 7 p.m. The Truth in Jazz Orchestra plays at the West Side Inn, Beidler St., Muskegon. The sixteen piece big band led by bassist/bass trombonist Dave Collee features a swinging book and regular guests such as drummer Tim Froncek and trumpeter Dan Jacobs (see: http://www.danjacobsmusic.com/home.html ) . The Truth in Jazz Orchestra also plays Grand Haven’s Waterfront Stadium Wednesday, August 2nd at 7 p.m. as part of Coast Guard Festival http://www.grandhaven.com/uscgfest/. Thursday, July 27 at 8 p.m. Organissimo plays at ‘Til Midnight in Holland. Friday, July 28th at 6 p.m. Jr. Valentine plays on the deck. Thursdays: August 3rd, Jim Cooper Quartet; August 10th Organissimo; August 17th, Blue Coast Quartet; August 24th, Mary Rademacher; August 31st , Michael Doyle and Evidence. ‘Til Midnight presents live jazz outside on the deck Fridays from 6 p.m. ‘Till Midnight, 171 East 24th Street, Holland. For more information, (616) 392 – 6883 or www.tillmidnight.biz . Friday, July 28th at 6:30 p.m. Mary Rademacher sings at the Grand Rapids Arts Museum at the corner of Lyon and Division in Grand Rapids. $3. See www.gramonline.org Saturday, July 29th from 1 - 9:00 PM the 14th annual Sutton’s Bay Jazzfest is headlined the Bob James Quintet (www.bobjames.com) at Suttons Bay Marina Park, overlooking Suttons Bay and Grand Traverse Bay. Award-winning Leelanau Peninsula Wineries and Restaurants offer exquisite selections of food and beverage under the Big Tent. JazzFest benefits music scholarships and non-profit community projects. The Suttons Bay JazzFest will also include performances by the Interlochen Arts Camp High School Jazz Band, the Betty Joplin Quartet, the Epsilon Jass Band, and the Harry Goldson Quintet featuring Jim Cooper and Tad Weed. Tickets and Seating will be Limited for this Very Special Occasion. Advance tickets through the Traverse City Visitor Center, or by phone from (231) 271-4444. $25 in advance - - - $35 at the gate. www.harrygoldson.com Saturday, July 29 from 7:00 to 10 p.m. Pianist John Shea leads his trio with Rob Hartman, bass, and Chicago's Gregg Sergo, drums, at the Pigeon Lake Lodge, 7175 N. Lakeshore Dr. West Olive. Phone: (616) 399-6161. Saturday, July 29th at 10 p.m. Bridge 61, a Chicago based cooperative featuring Ken Vandermark, performs avant-garde music at Kraftbrau Brewery, 402 E. Kalamazoo Avenue, Kalamazoo. www.kraftbraubrewery.com or (269) 384 – 0288. Bridge 61 is Tim Daisy, drums and percussion; Nathan McBride, basses; Jason Stein, bass clarinet; Ken Vandermark, reeds. www.kenvarndermark.com or www.atavistic.com. Saturday, July 29th from 7 to 10 p.m. pianist John Shea with Rob Hartman, bass, and Greg Sergo, drums, play Pigeon Lake Lodge, 7175 N. Lakeshore Drive, West Olive, MI. (616) 399-6161. Sundays July 30th and August 6th, pianist John Shea appears at Restaurant Toulouse, 246 Culver Street, Saugatuck. (269) 857 – 1561. Wednesday, August 2nd at 7 p.m. The Mid-Town Horns with vocalist Mary Rademacher appear in The Wenger Pavilion, Baldwin. Free. August 9th, Eric Lindsey’s First Baptist Youth Choir; August 16th, The Grand Rapids Jazz Orchestra led by Bob Nixon and featuring drummer Tim Froncek. Thursday, August 3rd at 7:30 p.m. The Flat River Big Band appears at Tower Riverside Park Gazebo in Greenville. Free. Part of a regular Thursday night concert series presented by Greenville Rotary. August 3rd and 4th, pianist John Shea appears from 5:30 to 7:30 p.m. as part of the Grand Rapids Symphony Chase Picnic Pops Concert series at Cannonsberg Ski Area. After 7:30 p.m. both nights the Grand Rapids Symphony will play the music of Led Zepplin. www.grsymphony.org. Fridays and Saturdays from 9 p.m. to 1 a.m. live local jazz at The Grand Seafood and Oyster Bar, 24 Washington St., Grand Haven. Live local jazz or blues guitarists on Wednesday evenings from 8 to 11 p.m. (616) 844- 5055. August 8th from 7 to 9 p.m. Organissimo appears in the Rogue River Blues Series, presented by The City of Rockford, 7 South Monroe Street, Rockford, MI. (616) 866-1537. www.rockford.mi.us. Wednesday, August 9th, from 7 to 9:30 p.m. the Beltline Big Band plays The Kopper Top Guest House, 638 Stocking N.W., Grand Rapids. (616) 459-2001 The Beltline Big Band plays there the second Monday of each month. www.beltlinebigband.com Thursday, August 17th from 7:00 p.m. to 8:30 p.m. drummer Fred Knapp www.fredknappmusic.com plays jazz at Mill Point Park, Spring Lake. Music every Thursday at Mill Point Park presented by the Grand Haven Area Arts Council, (616) 842 – 2285 or www.ghaac.org . Thursday, August 17th from 9:30 p.m. to closing, Organissimo at Bell’s Eccentric Café, 355 E. Kalamazoo Ave., Kalamazoo. (269) 382-2338. www.bellsbeer.com Sunday, August 20th from 3:00 to 7:00 p.m. Dave Greer’s Classic Jazz Stompers perform traditional jazz for the West Shore Jazz Society at The Oakridge Country Club, 513 West Pontaluna Road, Muskegon. $20 for members; $25 for non-members. Then on September 10th The Red Rose Jazz Band appears. For a full schedule call (231) 759 – 0071. Tuesday, August 22nd, 7:30 p.m. John Proulx’s debut CD release concert is presented by The Aquinas College Music Department at Kretschmer Recital Hall, Aquinas College Art and Music Center, 1607 Robinson Road S.E., Grand Rapids. Paul Keller and Pete Siers will accompany the young pianist and vocalist. On his debut recording, “Moon and Sand,” Grand Rapids native Proulx (pronounced “prue”) is accompanied by Chuck Berghofer, bass, and Joe LaBarbera, drums. For information see Max Jazz Records of Saint Louis (www.maxjazz.com) . Tickets are $10 adults; $5 students/seniors and available at the door. For more information see, www.johnproulx.com. Wednesdays, 7:00 to 10:00 p.m., Rick Reuther sings at Notos Italian Restaurant, 6600 28th St. SE., Grand Rapids. Rick Reuther with drummer Cherie Lynn and pianist Tom Hagen. See http://www.notosoldworld.com/ or www.rickreuthersings.com Sunday, July 30, from 7:00 to 10:00 p.m. The John Shea Trio appears at Restaurant Toulouse, 248 Culver St., Saugatuck. Phone: 269-857-1561 August 31st through September 3rd the 28th Annual Chicago Jazz Festival, Grant Park, Chicago. www.chicagojazzfestival.org. September 1st through 6th the 27th Annual Detroit International Jazz Festival, Hart Plaza, Detroit. www.detroitjazzfest.com. Also, the Grand Haven Area Arts Council is auditioning jazz musicians to form a GHAAC Community Jazz Band, all ages, all traditional jazz instruments. Please contact (616) 842 – 2285 for more information. More on the World Class Jazz Tours: The World Class Jazz Summer Tour series will continue all summer at the same locations mentioned above with: August 8th through August 14th, The Mark Kahny Band with singer Mary Rademacher dishing standards and show tunes, with Dan Gioccabossi, saxophones and flute; Tim Johnson, drums and vocals (http://www.maryrad.com/ ); August 15th through August 21st, The Juggernaut Jug Band from Louisville, Kentucky, playing jazz, blues, ragtime, swing and original music on guitar, harmonica, bass, percussion, accordion, trumpet, scrub boards, washtubs, and kazoos (http://www.gggreg.com/Juggernaut.pdf); Saturday, August 26th the General Assembly Big Band at the Wenger Pavilion, Baldwin ; Sunday, August 27th the West Michigan Jazz Masters at The Gull Landing, 438 S. Hancock, Pentwater; Saturday, September 2nd Don Ingles’ Michigan Nighthawks at the Wenger Pavilion, Baldwin. For more information on the World Class Jazz Tour this summer the phone numbers are (231) 642-1388 or (616)437-0101; E-mail: timsculy@netonecom.net, and the web site www.worldclassjazz.org . Notes: American expatriate jazz drummer Ronnie Gardner developed a rhythm inspired physical therapy program for stroke victims which he’s brought from Sweden to medical centers in Grand Rapids. Starting July 5 and continuing until early August, Gardiner will teach his program Monday, Wednesday and Friday at the Origami Brain Injury Rehabilitation Center, 3181 Sandhill Road, Mason, MI (517 336-6060), sponsored by Michigan State University and Peckham Industries. Ronnie will be working with survivors of Traumatic Brain Injury and the entire rehab team (not just physical therapy) will be participating in the efforts. See www.origamirehab.org . Gardiner’s Sweden-based two trombone front-line band, Sliding Hammers, is playing the Rochester Jazz Festival in New York June 15th and 16th. He’s been on a range of jazz recordings and performed regularly in Europe since 1962. For instance Gardiner played drums in the house rhythm section for the inaugural Swedish Jazz Festival. The quintet included Johnny Griffin, Clark Terry, Tommy Flanagan and Red Mitchell. When he first arriving in Europe Gardiner settled in Copenhagen, playing with Gerry Mulligan, Dexter Gordon, and Zoot Sims at the Jazzhus Montmartre. Gardiner called Stockholm home for decades, though during the 1960’s and early 70’s he was in the Grand Canarias Los Palmas at a jazz club called The Half Note. As a member of the house rhythm section there he worked alongside Tony Scott and Brew Moore to name two. A standards and swing tenor, Hacke Bjorksten, includes Gardiner’s pulse and drive on the 2004 release “Three Generations” (Dragon Records, Sweden). Looking back you’ll see him alongside a teenage Neils-Henning Orsted Pederson on the historic 1960’s era recording, “My Name Is Albert Ayler.” Congratulations to Ronnie and his love Marsha Gregory, of Grand Rapids, who will be married in Sweden on October 14. If you’re in Stockholm after September 30th there’s a club named after Ronnie Gardiner called “Ronnie’s Room” where he produces concerts for Saturday nights. Gardiner wants you to know he presents a scholarship to a young Swedish drummer each year. Blue Lake hopes to broadcast this marvelous musician in performance from our studios this summer. For more information on Ronnie Gardner please see: www.rgrm.com

Steak Knives

Please join Blue Lake Public Radio this Wednesday evening at 7 p.m. for "Live From Blue Lake" featuring the Blue Lake Faculty Jazz Ensemble, followed shortly after 8 p.m. by excerpts from James Carter's live concert at Blue Lake July 16, 2003, Terry Gibbs with the Blue Lake Monster directed by George West, many other highlights of previous Blue Lake jazz festivals. At 10 p.m. "Jazz From Blue Lake" will feature Bobby Hutcherson. Sunday evening at 7 p.m. we'll hear and hour of music and excerpts of an interview with Bob James who performs in Sutton's Bay, Michigan, on the Leelanau Penninsula above Traverse City July 29th. Then at 8 p.m. this Sunday Blue Lake will re-broadcast the entire 1999 concert recording by Malachi Thompson's Freebop Band featuring Amiri Baraka live at The Wealthy Theater. Jazz everynight from Blue Lake. www.bluelake.org

That "Seven Steps to Heaven" on the new record does it for me.

Knowing Malachi Thompson was an education. I'll never forget the first time I heard his "Africa Brass." It was at The Southend Music Works in Chicago, and the band played a 40 minute version of "Old Man River." After that I had to bring him to Michigan. His concerts through the 1990's in Grand Rapids alone were an exciting part of musical education for the area. His Freebop Band played Dr. J's Jazz Coffeehouse with Billy Harper, Steve Berry, Kirk Brown, Harrison Bankhead and Dana Hall. Incredible program -- there weren't too many bands playing "Resolution" or "Naima" (on trumpet) back then, or now for that matter. As part of that trip Malachi and Billy Harper went to Grand Valley State University and talked to Bob Schectman's music appreciation class (held in an auditorium). Malachi was about as non-judgemental a guy you'll find in jazz as related to education. One young man said he was trying to get his drumming together to do his own rock band and wondered how to do it, musically speaking. Malachi was like, "Oh yeah, who's you're favorite drummer?" "Neil Pert of Rush." Malachi, "That's cool, but there's already one of him, so why not be yourself?" The kid lit up on that. Thompson came back in 1999 and played a big concert at The Wealthy Theater in Grand Rapids with poet Amiri Baraka, pianist Kirk Brown, bassist Harrison Bankhead and drummer Avreeayl Ra. Blue Lake Public Radio recorded that concert. That was shortly after Lester Bowie's passing and Malachi played a tune, "Nubian Call," for him, then, during the applause, pointed up and said, "That one's for you, Lester: say hello to Gabriel, heh heh heh, and all the other angels up there!" There was an afternoon discussion, too, with Baraka and Thompson attended by 30 or 40 people which was dynamite. After Baraka's insight into the power of images and the electronic media's ability to change people's minds with them it wasn't at all crazy that Baraka shouted "Fuck D.W. Griffith!" during the concert that night. Otherwise, he didn't swear, so we can use the tape. Went out afterwards with the two of them, had some cognac, and Malachi and I were all over Baraka about the nature of jazz, about the institutionalization of the Afro-American arts (which Amiri's all for) vs. a living music, which is the way Thompson heard and lived jazz. It was a good discussion. As Baraka was walking down the hall of the hotel to catch the elevator, coat slung over his shoulder, he turned and said, "Call me if you get some money." Another trip to G.R. featured the Freebop Band with Gary Bartz, Steve Barry, Kirk Brown, Harrison Bankhead, and drummer Leon Joyce, who was just gaining fame for his work with Ramsey Lewis. Riding around with Gary Bartz in the aftermath of 9-11 was eye opening, and his "John Coltrane on alto" playing fit perfectly with Thompson's approach with the Freebop Band. Again, Malachi went to Grand Valley where he worked with their top big band. He heard them play, praised them for their execution, reading, spirit, but then suggested they make some shit up in the chart, personalize it. Suggested to the saxophones that during the trombone solo they play something to compliment him, and during this or that part they make up parts to the arrangement to personalize it. "You know other bands that play these college festivals are going to have this same chart, so you need to make it your own." They did, and it blew their minds -- probably the first time they encountered what it felt like to play in a real jazz band. They worked up some pretty cool stuff. Malachi opened 'em all up to their own creativity. Will remember those car rides, those concerts, the meals together but most of all the music. Rest in peace music messenger. Blue Lake Public Radio will replay the 1999 Grand Rapids concert featuring Malachi Thompson's Freebop Band with Amiri Baraka this Sunday evening at 8 p.m. (Press Release) July 17th, 2006 "Jazz is the music of freedom." - Malachi Thompson "In my reality, time moves in one direction, ever forward. I've got to live and create in the present in order to shape the future. I hope I can maintain the imagination and the chops to keep pushing the boundaries of jazz trumpet." - Malachi from Delmark's "Timeline" liners. Biography Delmark recording artist Malachi Thompson was a composer, band leader, trumpet soloist, artist, teacher and arts activist. Born in Princeton, Kentucky on August 21, 1949, Thompson's jazz roots are on Chicago's South Side. In 1968, he joined the influential Association for the Advancement of Creative Musicians (AACM) playing the music of Henry Threadgill and Richard Muhal Abrams. He also became a member of Dr. M.L. King's Operation Breadbasket Orchestra, the musical arm of SCLC in 1968, working for civil rights for African Americans. In 1974, after completing work for a degree in Music Composition, Thompson was encouraged to move to NYC by jazz legend Art Blakey. While in NYC, Thompson performed with many of the greatest names in jazz: Joe Henderson, Sam Wooding, Jackie McLean, Frank Foster, Leon Thomas, Sam Rivers, Lester Bowie, and Archie Shepp to name a few. In 1978, he formed the highly acclaimed Freebop Band. After 10 years in NYC, he moved to Washington DC and later Vienna, Austria performing and composing for various bands. In 1989, Thompson was diagnosed with cancer and returned to his native Chicago. After his recovery, he became an outspoken advocate for jazz and arts education. He is also a published writer and jazz historian. He often performs or serves as an artist in residence in Chicago's public schools. He conducts master classes, jazz workshops and lectures on all things jazz at colleges and universities nationwide. In 1991, Mr. Thompson founded the Sutherland Community Arts Initiative (SCAI), a not for profit 501 ©3 arts and arts education presenting organization on Chicago's South Side. As a member of S C A I, Mr. Thompson helped found and establish the Hyde Park /Kenwood J A A Z Festival, The Visiting Jazz Artists Program and "Creativity" magazine. In 1994 Thompson helped develop the cultural component of the award winning proposal to HUD that brought 8 million dollars in federal Empowerment Zone (EZ) funds to cultural institutions in Chicago's EZ communities. In 1997, Thompson's Freebop Band recorded "47th Street" for Delmark Records featuring original music from the play The Sutherland, written by playwright Charles Smith and based partly on Mr. Thompson's life and struggles to overcome cancer. The Sutherland had a successful 6-week run at Victory Gardens Theater in the fall of 1997 and won the Illinois Arts Council's New Play Award. Thompson's original music from The Sutherland won the prestigious Jeff award (the equivalent of a Tony in NYC). "47th Street" was selected as jazz record of the year by the "Chicago Sun-Times" and made it to the top ten of the CMJ national jazz charts. Thompson's recordings consistently track high on jazz radio charts indicating substantial national airplay. Thompson's 8th CD for Delmark Records, "Rising Daystar" (featuring Gary Bartz) was released October 1999 was charted at #4 on "Jazziz" radio charts. Over the past 25 years, Thompson's Freebop Band has featured jazz masters like Carter Jefferson, Billy Harper, Joe Ford, Albert Dailey, George Adams and David Murray. Recently, Thompson scored the sound track for the PBS documentary "Remembering 47th Street," which won an Emmy for Best Documentary in 2001. In 2003, Thompson received a commission from Chamber Music America to compose new works to commemorate the band's 25th Anniversary. In 1991, Thompson created Africa Brass, a thirteen piece brass ensemble as a larger vehicle for his original compositions. Africa Brass was inspired by the traditional brass bands that became popular around the turn of the century in New Orleans. However Africa Brass is no re-creation, but a logical extension of the brass band tradition that combines big band jazz with Afro-Cuban music forms. Africa Brass has three highly acclaimed CDs on Delmark, including "Lift Every Voice" and "Buddy Bolden's Rag" featuring special guest soloist Lester Bowie. In 2002 Africa Brass received a grant from the Aaron Copland Fund to record Thompson's "Black Metropolis Suite" and "Blues For A Saint Called Louis." These new works were released in November 2003 on the Delmark Records CD, "Blue Jazz," featuring Gary Bartz and Billy Harper. The CD peaked at #2 on CMJ's Jazz Chart and received worldwide critical acclaim. In 1995 Thompson was selected as an Arts Midwest Jazz Master. Thompson was also selected as a "Chicagoan of the Year" in 1996 by the "Chicago Tribune" for his efforts to bring jazz back to the South Side of Chicago. In 1997 Thompson was honored by the Chicago Endowment for the Arts for his arts activism. Mr. Thompson's trumpet playing has been recognized in "DownBeat" magazine's annual International Critic's Poll. Mr. Thompson is featured on 29 recordings of which thirteen he is the featured artist. Thompson has performed in over 15 countries around the world and in 22 states across the U.S. In June 1998 Thompson's Freebop Band performed at the St. Louis International Jazz Festival in Senegal, West Africa sponsored by the United States Information Agency. Thompson composed two new compositions for the performance. Thompson is known in international jazz circles for his exciting, innovative music and as a leading exponent of Chicago jazz. For more information about Malachi Thompson reference these publications: All Music Guide to Jazz; The Biographical Encyclopedia of Jazz by L. Feather and I. Gitler; The Blackwell Guide to Recorded Jazz (2nd Edition); Music Hound: The Essential Album Guide; The Penguin Guide to Jazz (4th Edition); Gramophone Jazz: Good CD Guide and The Jazz Scene by Royal Stokes. Search the internet under Malachi Thompson or Freebop or www.delmark.com Discography on Delmark 1) TIMELINE (1972-1988) 2000 DE 421 2) SPIRIT (1984-1987) 1990 DE 442 3) THE JAZ LIFE 1991 DE 453 4) LIFT EVERY VOICE 1992 DE 463 * 5) NEW STANDARDS 1993 DE 473 6) BUDDY BOLDEN’S RAG 1995 DE 481 * 7) 47th STREET 1997 DE 497 8) FREEBOP NOW! 1998 DE 506 9) RISING DAYSTAR 1999 DE 518 10) TALKING HORNS 2001 DE 532 11) BLUE JAZZ 2003 DE 548 * 12) future Delmark release! * with Africa Brass Also featured on many more recordings, including Lester Bowie’s Brass Fantasy Kalaparusha Maurice McIntyre Archie Shepp Gil Scott-Heron Quincy Jones QUOTES MALACHI THOMPSON "...among the next wave of jazz innovation." - Robert Palmer, New York Times "...one of the ageless innovators of jazz...(Thompson has) a gift for conceiving arrangements and solos of stunning technical and emotional range." - Reuben Jackson, Washington Post "...universally recognized as one of Chicago's most innovative, insightful and colorful musicians." - Arts Midwest "...by choosing to advance jazz, both structurally and compositionally, rather than dwelling within the safe confines of bebop, Thompson has pushed jazz forward into the new millennium." - Fred Jung, L.A. Jazz Scene "... (Thompson) demonstrates commitment to the proper historical development of jazz myth." - John MacCalkies, New City "...trumpeter Malachi Thompson long ago established himself as one of the more innovative composer-bandleaders in jazz." - Howard Reich, Chicago Tribune "...a trumpet player who's racked up acclaim for his always innovative technique." - Mike Breen, Cincinnati City Beat "...Thompson's trumpet styling recall a master whose approach has not been truly appreciated." - Willard Jenkins Jazz Times THE FREEBOP BAND "...Thompson leads his small band through some innovative turns on standards and originals." - Rapport Magazine "...Thompson's Freebop Band from Chicago begins about 10 steps ahead of most jazz ensembles." -Lazaro Vega, Grand Rapids Press "...as intellectually probing and viscerally exciting as anything in jazz today." - Howard Reich, Chicago Tribune "...the group attempts to shatter, or more accurately, stretch the mainstream." - Robert Goldblum, Richmond Times Dispatch "...This is hard bop like it ought to be but is seldom heard." - Village Voice AFRICA BRASS "...Outstanding originals range from New Orleans-style...to hard driving free-ism." - Billboard Critic's Choice "...a book full of infectious and occasionally intoxicating arrangements." - Neil Tesser, Playboy "...power and ingenuity." - Bob Blumenthal, Boston Globe "...There is the spirit of adventurousness that recalls the innovation of the Bebop era." - Stereo Review "...I dare say this group collectively will stand the test of time." - Lofton Emenari, Hyde Park Citizen -- Kevin Johnson Director of Promotion Delmark Records 4121 North Rockwell Chicago, Illinois 60618 www.delmark.com (773) 539-5001

Arno played that sanctified "Sweet Potato Pie" like it was the last days of earth and he was the lone preacher trying to save everyone's soul before the reckoning; and "Brother Ray" with tenor is a blues blast. There are few people left who can play "Yesterdays" with that kind of sound and swing, selling the melody for what it is and gently, with subtlety, improvising on it. Jim's new organ is happening. Caught Randy doing his Mose Allison. The crowd sure at that up. Grat audience. Good to meet everyone and finally make the hang in Pentwater. Think I picked up a few new listeners last night, people who casually mentioned, "Boy I wish I could find music like this on the radio."

looking forward to that. Haven't heard this band live yet....