Lazaro Vega

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....

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."