Lazaro Vega

Here we go: http://www.cduniverse.com/search/xx/music/...hestra+1956.htm

I thought Arno said, "Woody Herman, 1956" but I'm wrong. And it may be a Danish label. Should have written it down as I wasn't able to dig it up at Barnes and Noble (which is where Arno bought his). Little help, please.

Ah, it was good to hear from Arno tonight, calling in from the road with his young executive on the line first saying, "Excuse me, is this Lazaro Vega?Mr. Vega would you please hold for one of your number one fans?" Arno sounded great. He heard Blue Lake featuring Paul Gonsalves and mentioned they were buddies. "I first met him while he was playing with Count Basie in 1948." Arno Marsh. A Dutch label has issued some Woody Herman from Arno's second stint with the band.....maybe Randy, er, the young exec could hip us to the details of that one? Thanks for calling guys! It made the night.

Looking forward to picking up Royal Flush.

Playing music by Ron Horton tonight on Jazz From Blue Lake -- he generously sent me his Fresh Sounds releases, both featuring F.K. on the G.P. -- and weaving "Play" into the mix, as well as Herbie Nichols and Andrew Hill's music. Santanhar is outside my geographic experience, but this music named for what happened there is beautifully particulate, light shining in beams with dust motes passing through still air.

From the New York Times: New Coleman CD The jazz saxophonist and composer Ornette Coleman, will release "Sound Grammar," his first new album in more than a decade, on Sept. 12 on his own label, also called Sound Grammar. Recorded live in Germany late last year, it will have eight Coleman compositions, including two remakes. The album features his new band, with his son Denardo Coleman on drums, and Tony Falanga and Greg Cohen on acoustic basses. BEN SISARIO

Had fun programming some Arno with Woody Herman's Third Herd tonight, as well as Arno at The Lighthouse, and live on Blue Lake with Organissimo last summer. How was the pentatonic Pentwater tonight? (oops, Nessa beat me to it!)

BRIDGE 61 @ Kraftbrau Brewery (Kalamazoo, MI)/July 29, 2006 BLACK JACK PRODUCTIONS presents BRIDGE 61 (Atavistic/Chicago, IL) http://www.kenvandermark.com http://www.atavistic.com/ Band Members Tim Daisy: drums, percussion Nathan McBride: acoustic & electric basses Jason Stein: bass clarinet Ken Vandermark: reeds BRIDGE 61 is a new improvised music cooperative formed in Chicago during December, 2004, by Tim Daisy (drums), Nate McBride (acoustic and electric bass), Jason Stein (bass clarinet), and Ken Vandermark (reeds). All four members contribute to the ensemble by submitting compositions, considering arrangements, and working through material equally. The band is focused on utilizing its existing histories as a source for new potential in musical exploration (Daisy has worked with Vandermark in the VANDERMARK 5, SOUND IN ACTION TRIO, CRISIS ENSEMBLE, and with both Vandermark and McBride as a sub for Paal Nilssen-Love during the first North American Tour by FME. In addition to that trio, McBride has worked with Vandermark in SPACEWAYS INC. and TRIPLEPLAY). They are also attempting to develop the widest possible range of rhythmic and melodic approaches to contemporary improvisation and composition. The combination of instruments at their disposal- clarinets, percussion, acoustic and electric bass, saxophones- allows the ensemble to utilize a startling range of sound and tactics with the material, easily moving from the character of an austere chamber ensemble to that of radical electric noise or to a kinetic energy hymn in any given set during a performance. Most important, however, is that the band makes the connection between these varied aesthetics and gives them formal sense. Starting with an intense performance schedule in the winter of 2004-2005, European and North American tours organized for later in the year, and plans to also record a first album in 2005, BRIDGE 61 seeks to be a major entry point into the investigation of contemporary music during our time. Saturday, July 29, 2006 KRAFTBRAU BREWERY 402 E Kalamazoo Ave Kalamazoo, MI (269) 384-0288 http://www.kraftbraubrewery.com http://www.myspace.com/kraftbrau http://www.myspace.com/kraftbraubrewery 9PM Doors 10PM Show 18 & Over $6.00 http://www.myspace.com/blackjack_productions

Hey guys, How did the Muskegon Summer Celebration go?

Heard Svend in 1985 at Tivoli, and interviewed him, too. The band included Kenny Drew, NHOP and Ed Thigpen. Everything was consice and too the point, with solos kept short and beautifully balanced, especially Kenny Drew's. And of course it was swinging. Been a long time since The Swe-Danes.

No way! Where's that from?

alocispepraluger102 2 to 1 regular pepsi cola spelled backwards, you're the one on 'roids keepin' up with the 3 a.m. hang every night. When we went up on the net I was hoping some mountain folk, or west coasters, even Japanese would be catching these late hours at a time when they weren't at half mast. Never expected to make the scene in Ohio, but here we are, swinging 'till the girls come home. To be honest, David, I haven't found the sound I want for Sunday night's jazz, yet. Unlike our regular Monday through Friday programming, which can go out, can go deep and long into a single artist, and can get loud, Sunday night's show, I've been directed, is to be mellower with less talk. Just accessible music. Because "Jazz Profiles" is doing "Women in Jazz" part 2 this week, the Sunday program which follows it will take up that thread and bring new music by Maria Scheider, Ingrid Jensen, Regina Carter, Virgina Mayhew, Hiromi, Carla Bley, Jane Ira Bloom and a few others. So far the listener comments have been good, though, regarding our new Sunday night line-up and I'm glad Night Lights is the night cap. Thanks for the plugs. We'll be featuring a Grand Rapids concert by Rova from November 15, 2002, this Wednesday at midnight.

kh -- from the Washington Post: http://www.washingtonpost.com/wp-dyn/conte...6060900349.html . Less than 10 percent of his audience made the switch so far. Quote: But radio executives are having a tough time figuring out where Stern's national audience of about 12 million daily listeners has gone since the self-appointed King of All Media switched to the profanity-friendly playing field of satellite radio. No doubt, Stern has been a powerful boon to Sirius, which had been lagging far behind Washington-based XM Satellite Radio in the race for subscribers. Since Stern's arrival, his $600 million deal has looked like a winner for Sirius, which has added more subscribers this year than XM has -- narrowing the gap between the companies to 6.5 million listeners for XM and 4 million for Sirius. But even if surveys are correct in attributing more than one-fourth of those new Sirius subscribers to Stern's presence, one in every six Stern listeners, at best, has decided to cough up $13 a month to listen to radio. Where did the rest go? In the nightmares of radio executives -- who, like TV, newspaper and magazine bosses, have watched as the splintering of the media landscape diminishes their once-dominant places in Americans' daily lives -- those Stern listeners might vanish into millions of individual choices to program their own morning music on their iPods or spend their time on the Internet. But in Washington, as in much of the nation, the ratings numbers don't support that conclusion. The number of Washingtonians listening to the radio in the morning dropped hardly at all in the first few months after Stern's departure, according to Arbitron ratings.

$700 for 1977 Roscoe with his leg across a metal table, heal pressed off the foreground right at you, arms folded across jeans jacket, stocking hat atop Mona Lisa face in front of a masonry wall? $700 to be taunted by "Nonaah" (No-nay-ah), which pushes the audience to deal with reiteration as unapologetically as possible, an aggravating summation of tension and release based on expectations and his refusal of them. What happens after that resolves is the music. "Nonaah" arrives by albums end in an alto saxophone quartet featuring Mitchell, Jarman, Wallace McMillan and Henry Threadgill. What an adventure this album is. Mitchell's varied organizing methods are captured in a series of different instrumental combinations. Safe to say the thrust of the album keys off of the 22 minute solo saxophone improvisation on side one, yet there are more solos, and they are tough. "Improvisation 1" is as hard core as Braxton's "For Alto." This might be all mush, a mish mash of misremembering Terri Martin's notes, but I hope not. If you have a minute please straighten this out Ness. For years it's been an amazing adventure to check in with Chuck while he's revisiting such a project. Here's hoping he can share some of his thoughts on the music and memories about the time that are reawakened by "Off Five Dark Six" or the timely "Tahquamenon" with the recently reassembled trio of Mitchell, George Lewis, and Muhal -- the whole of "Nonaah."

Right, Brubeck's major compositions have been purposeful, whether they be the Catholic Mass or the Chief Seattle speech set to music. He dosn't trifle with trends. The "old iron hands" comment is from listeners, just people. His tendancy to thunder out block chords at the climax of his solo is the reference point. Personally I love the man and his music. I heard him imitate Basie during a Grand Rapids Symphony Pops Concert and it was uncanny. Brubeck has a long performance history in Michigan, notably last Spring, just a couple of months ago, at The University of Michigan where they brought in two or three choirs, a symphony, and his quartet to stage a wide ranging retrospective of his career then honored him with a life time achievement award. The University Musical Society.

Thank you Dr. Jive, that's the one I read.... Had a chance to hear Herbie's quartet a few years back with Craig Handy, tenor; Dave Holland, bass; and I think the drummer's name was Gene Jackson, he'd worked in Dave Holland's band previously, and the concert was great. He played "Half Nelson," amongst "Cantalope Island" and his other hits. But I see the point of Howard's observation, and appreciate he said he was in the minority of the concert goers.

Isn't "Footprints" Wayne's tune? Howard Mandel wrote a different article all together about this concert...will have to find it to post here....

Brubeck's imitation of Basie is about the closest you'll come to the original these days, which is strange because he plays spare, light and swinging when doing it, and has earned the unflattering nick-name "old iron hands" when he doesn't.

If Andrew isn't sitting on one chord in the title piece of the new album I don't know what is. He seems to have constructed the entire tune around his piano staying in one harmonic place while he varies the speed and dynamic of the "ostinato." Tolliver takes that furthest along in his improvisation, developed it more comfortably and imaginatively into something. Tardy (italics) plays on it, but isn't as melodically effective as Tolliver. But the "tune" isn't melodic in the traditional sense, and it doesn't set up easily for "blowing." Hill isn't "banging" to my ears, there's more variation to what he's doing then that...I'm not hearing much harmonic movement going on there, and if there's more than this writer implies, it still isn't central to the tune's construction. It would be good for a musician to chime in on that as there's no transcription level opinion here. Hill stays in place while the band swirls around him in a round, picking at whatever meat they find on the musical bone......

They included a good chunk of Cole's appearance from this film in the recent documentary "The World of Nat Cole" or some such title. The dance numbers for the women were insane -- these Alvin Ailey type, super drama, "arty" moves that played to Hollywood and film far more than the blues. I guess Eartha Kit was giving her earthy kit to Nat during the film, and that she fell for him all the way. She implied as much in an interview from that documentary. Handy was to the blues what the early church was to vocal music: a standardizer, putting it in a form that allowed it to be expressed by a group. Otherwise the blues were a free for all in the sense that the emotions of the performer dictated the form. Group music wouldn't really deal with that until Ornette.

Wilbur Ware's son, Bernard, called the radio station and said he was listening. His friend, trombonist Dr. John Hair, hipped him to the program. Wilbur Ware, apparently, lived in Grand Rapids at one time, playing at the Crispus Atticks (sp) in 1939 with show drummer Benny Carew's band, which also included Wardell Gray. So Bernard grew up there. He now lives in Las Vegas but was home for a time. Thankfully Nessa brought over that Johnny Griffin Sextet session for that incredible version of "Woody N You" which we played shortly after Bernard Ware called.

Don't miss Ornette.

There was a big do in Windsor on June 11th for Marcus's birthday. Is he 70? How's he soudning? Love that cat.

How did it go guys?

So you are still into disappointing young women? Oh, unfortunately today's birthday party for Lu is cancelled on account of her stomach flu, so, yeah, pretty much.