ghost of miles

I ordered it from a third-party seller on Amazon. It's been on my wish-list ever since it was announced, so thanks for the reminder.

Suggested 2018 batting order by a poster at Pinstripe Alley: GardnerJudgeStantonBirdSanchezDidiHicksHeadleyTorres/Torreyes If all four stay healthy, I think Judge, Stanton, Sanchez and even Bird could each hit 40+ home runs next year. Heck, Stanton and Judge hit 111 combined last year. I do think Boston's top three starting pitchers outmatch NY's. I'll be interested to see how Jordan Montgomery does next year, and whether or not Chance Adams gets a shot at MLB roster time. Resigning CC would be a one-year stopgap for a fifth-starter solution. Also interested to see how the Angels fare with Otani, both as a pitcher and a hitter, and if they can start building a contending team around Mike Trout.

Outside of picking up a lot of his salary (but still managing to stay under the luxury tax limit), we got Stanton for a song. This also opens up second base for Torres. Surprising development, but I'm excited about it... Stanton and Judge in the same lineup?! (Not to mention Gary Sanchez.) We didn't give up any of our top prospects? Whoa! I wonder if this makes Boston more likely to sign J.D. Martinez (though they're possibly pursuing Eric Hosmer as well?).

LK: OTOH, I don't doubt Sam Stephenson's ability to detect a posing hipster at twenty paces. DBJ: Nice snarky remark bordering on a personal/character attack, and completely off the mark at that. LK: All I know of Stephenson is what he wrote in those articles about Sonny Clark and the "Jazz Loft" book -- all of which seemed flawed to me in ways I found disturbing. If all you know of me is what I've written, and you find it disturbingly wrongheaded, I would expect you or anyone else to come at me in an implicitly personal manner because I was the person responsible. DBJ: Well, you're indirectly calling him a "posing hipster" in the above, which around any kind of scholarly or jazz-lover parts strikes me as a rather over-the-top personal characterization, given the connotations of inauthenticity and glib, faux-intellectual airs that label carries. I suppose the logic flows from that--it seems fair to say that's how you assess Stephenson's writing, and therefore such writing must emanate from that kind of person. I obviously strongly disagree with the assessment and still don't get approaches like the off-base zeroing-in on Stephenson's coffeeshop experience of Clark's music... it seems like an opinion has been formed about the writer and examples are being sought, sometimes erroneously, to reinforce it. But I think it's also fundamentally unfair to translate one's opinion of a writer's or artist's work into an evaluation of that writer or artist as a person. To reverse the equation, just because Miles Davis played a good deal of beautiful, moving music doesn't mean he was a beautiful human being.

"But those bars [in which jazz musicians played "in the so-called golden age" of jazz] were hellholes, and the musicians, especially the African-American musicians, were jerked around. The clientele for these dingy joints were posing hipsters or disappointed men who hated their bosses and took advantage of their secretaries, like the characters in a Richard Yates novel." "...posing hipsters or disappointed men who hated their bosses and took advantage of their secretaries, like the characters in a Richard Yates novel." -- well, that's it then; case closed. Pretty much the context of the times, wasn’t it? You lived it, I didn’t, so I should defer to you, but writers like Yates, Cheever and Updike lived it too and presented an atmosphere in their then-contemporary stories that doesn’t sound at all afar from what Stephenson’s describing here. LK: No -- not pretty much the make up of the audience at, say, the Five Spot, which would pretty much overlap the sort of people who paid visits to Smith's loft. And I can't imagine the characters from those authors' stories showing up at either place. DBJ: From what I know of mid-20th-century jazz nightclubs in NYC--and I don't know nearly as much as I'd like to--the Five Spot was frequented mainly by writers (Mailer, Baldwin, Dan Wakefield--I have talked with Wakefield about his time there), painters like Larry Rivers, jazz artists, and a fair # of 1950s "original" hipsters, but it doesn't sound typical of clubs of the time--more like an insider kind of place. Even Birdland, judging from media accounts I read while researching the Night Lights show about it, seemed to cater just as much to a non-jazz society crowd as it did to hardcore jazz fans. Photographs and film footage I've seen of clubs from that era often yield images of clubgoers who would look at home in the Yates/Updike world (granted, yes, those authors' literary characters were more likely to be found at suburban cocktail parties). Maybe The Apartment is a better reference point for that era and the Manhattanites who frequented jazz clubs for reasons other than a genuine love of jazz, but I think Stephenson's point is simply that "the golden age of jazz" wasn't so golden for a lot of musicians, economically or otherwise, though it did produce a lot of great music. Smith's loft was a place where those who hung out tended to feel more at home than they did in the jazz club world; certainly that was the case for Ronnie Free, for example. (Free ended up living there for about three years and according to Sam is on more than 100 hours of the 400 hours of music recorded there.) The "overly-broad brushstroke" doesn't seem that way to me in the service of what Stephenson's writing about, part of which is why the loft became such a haven in the first place. One other clarification re Smith's taping that captures Clark's OD: Smith was recording practically ALL of the time. I know you're not saying he was deliberately, coldly taping the incident, but I wanted to make that clear for anybody else reading this. The incident happens in the background... iirc Smith's talking to somebody else about an unrelated matter, and Lin Halliday and his girlfriend are heard as well trying to help Clark come out of it. Stephenson told me in our interview that Smith's tapes indicate Clark was "squatting in the loft" throughout the summer of 1961, pretty much living in the stairwell. Smith was indiscriminately taping life in the loft and that's one of the events subsequenty captured. One of the reasons the Jazz Loft Project book took so long for Stephenson to finish was the sheer, mountainous amount of material that had to be sorted through, which is why he employed a fulltime assistant for seven years to help him.

The article was published in 2011. "For the past decade" is referring to that perspective. Stephenson first heard Clark about two years before that, in the 1999 coffeeshop incident. That's also around the same time he started really delving into Smith's archives, which ultimately took about ten years to lead to the book The Jazz Loft Project.

Yes, but 2009-2012 he was 74-29 with a 3.22 ERA. Unfortunately that's often the case with the way the system's structured these days, as Grant Brisbee observed in his column the other day--younger star players get screwed financially (relatively speaking) and end up signing long-term contracts in their late 20s that give the signing team prime value for the first few years and declining value in the latter years of the deal. I understand your point, and I think the Yankees have gotten rightfully more wary of such contracts (giving A-Rod a 10-year contract when he was 32, for example, was absolutely insane, but I don't think that was Cashman's doing), which is one reason why they let Cano walk (though they nullified it, didn't they, by signing Jacobi Ellsbury?). Anyway, I guess we just have different takes on whether or not the CC signing was worth it. Mark Teixera's a similar case, where he gave the Yankees four pretty good years from 2009-12--putting aside his not-insignificant fielding skills, he averaged 34 HR/106 RBI/.263 BA during that period. His latter four years were injury-prone and his production dropped significantly, with the exception of 2015, when he came close to his average numbers for 2009-12. All in all, I don't think that was a bad signing for NY either. Both players, however, were 28 when they signed with NY. Ellsbury, otoh, was 30 when he came to NY and has produced disappointing numbers (to put it mildly) in his subsequent four seasons in pinstripes: 10 HR/50 RBI/.264 BA/26 SB per season (throwing that stat in since it's one of his assets). I don't know if signing him was Hal's idea or Cashman's, but yeah, that one hasn't worked out well, and I don't see how they can move him without eating most of his salary.

Interesting look back at 2017--also glad to see Sasha Berliner's blog post get mentioned: For Women In Jazz, A Year Of Reckoning And Recognition"

I remember your previous comments, Larry, and I’ll start with a full-disclosure admission that I may not be completely dispassionate here, given that in the past year I’ve not only become good friends with Stephenson; he’s now my neighbor. (His wife is at IU on a two-year fellowship, and they moved into the long-vacant house that borders my side-yard, so I can actually see his desk lamp from my desk when I look out my window.) So while this extended attack on Stephenson upsets me, I’ll do my best to respond to it in an objective manner. Maybe he’s changed his spots, or I’m just dead wrong about the guy, but based on his New Yorker and Paris Review pieces from several years back about Sonny Clark and also on his IMO messed-up “Jazz Loft Project,” I have my doubts about Sam Stephenson. Here are some comments I’ve made about his work here. 1) Rather creepy, almost vampire-like-in-tone article [the New Yorker piece or the Paris Review piece on Sonny Clark, I don’t recall which]. I would hope that Stephenson passes on the material on Clark that he has gathered to someone with a different, less neo-hipster-rides-again sensibility. Also IMO, "The Jazz Loft Project" book fell between two stools. One was the desire to capture the jittery, relatively random texture of the life photographer W. Eugene Smith was leading at the time; and this the book did accomplish -- by more or less imitating that texture. But if one were interested in the actual musicians who played at Smith's loft and the actual music they played there -- lots of luck. IIRC, little or no knowledgeable sorting out of the material from that perspective was done.' Recreating the texture of the loft struck me as THE overreaching purpose of the book--it was a book about a place where jazz, among other things was made. IIRC there is a fair amount of talk about the musicians and the music in there, but certainly much more material available on the website that Stephenson and others put together: The Jazz Loft Project Hardly the work of a "neo-hipster." 2) The creepy tone I refer to stems from several things. First, the focus [in those pieces] on whether the body that was buried as Sonny Clark's actually was his. Either it was or it wasn't, and if it wasn't it may well be a sign of social-racial indifference or worse on the part of the relevant authorities, but this is a primary piece of info about Sonny Clark? I’d say it’s a pretty sad commentary on the fate/status of brilliant musicians like Clark in that era, yes. Second, the fact that Stephenson says he may write a biography of Clark. I know -- not creepy in itself, but given the junky-life associations he understandably leans on, I sense, as I said in my previous post, a neo-hipster orientation in Stephenson, which IIRC was also present in "The Jazz Loft Project," and I almost always find that creepy, though YMMV. I'm thinking he'll give us, if he gets around to it, something along the lines of James Gavin's Chet Baker bio, "Deep In A Dream." Not sure what gives with the obsessive, NKVD-like drive to identify “neo-hipsters”. Also, I don’t know how on earth anybody would write about Chet Baker, or many other musicians of this era, without drugs being a part of the narrative. The life of heroin addicts IS creepy and disturbing, and this particular jazz generation was devastated by it. I know you’re driving at something different here, accusing Stephenson of taking some sort of voyeuristic, sensationalistic interest, which I don’t get at all, and didn’t get from Gavin’s book, either. I actually wish somebody would write MORE extensively about the impact of drugs on the 1940s/50s/60s jazz generation, given how strong that impact was. Not because I think it’s “darkly romantic,” but because ignoring or sidelining it is false history. Finally, there's something about Stephenson's account here that doesn't quite track; and if so, that gives me a queasy feeling. He says that he heard Clark's music for the first time by chance in a Raleigh, N.C., coffee shop in 1999, but he also says that at this time he had been working on what seems to be what eventually would become "The Jazz Loft Project." Then, some unspecified but apparently short time later, Stephenson discovers that the Sonny Clark whose music he had heard and been moved by in that North Carolina coffee shop not only was a habitue of Smith's jazz loft but also was at the center of one of the more bizarre episodes that Smith captured on tape -- almost dying from an overdose in the company of Lin Halliday. 3) OK -- If and when Stephenson comes out with a Sonnny Clark biography, we shall see, according to our own tastes, of course. But until shown otherwise, I'll stick by intuition that Stephenson is a somewhat exploitive neo-hipster type. For one thing, can you imagine a not particularly jazz-oriented freelance writer setting out to write, with any hope of getting it published by a major firm like his current publisher Farrar Straus Giroux, a book on Sonny Clark unless it were focused on Clark as an exemplary hardbop junkie? It's the "romance" that's thought to sell, especially the dark, tragic romance (as in the Clark-Halliday episode that W. Eugene Smith captured on tape). That someone also was a brilliant musician is just icing on the cake. 4) Maybe I'm pushing this too hard, but that seems to leave us with two options: 1) Stephenson not only had never heard Clark's music until he just happened to encounter it in that N.C. coffee shop in 1999, but he also at that point had never heard of him at all; or 2) he was already aware of Clark's name from his work on the Smith material but hadn't yet bothered to check out his music. Option 1) is not impossible -- it doesn't violate the physical laws of the universe -- but unless I've misunderstood what Stephenson says, it seems like a whopping big coincidence to me that he would be entranced by Sonny Clark's music out of the blue and then discover that Clark not only was a habitue of the place he'd been researching but also was at the center of one of the more sadly dramatic events that took place there and that W. Eugene Smith would capture on tape. Option 2) seems a tad more likely and also seems to me to fit the rather loose way the music and the musicians are treated in "The Jazz Loft Project" IMO, but I don't like that sort of looseness; it feels exploitive to me. And if option 2) is the case, what does that do to the N.C. coffee bar story? Again, I don’t get this rather jazz-NKVD approach. Stephenson talks in the program about how he started writing about Smith (he’s spent 20 years researching and working on these two books—pretty arduous effort for an alleged “neo-hipster”) in 1997. The Smith archives are huge. We’re talking more than 4000 hours of recordings, many thousands of photographs, hundreds and hundres of people who passed through this space… this was a massive undertaking. Stephenson had to hire a fulltime assistant for seven years to help him sort through all of the material. There’s nothing “suspicious” about Stephenson’s not having heard Clark until 1999 and then discovering that he was also one of the artists who spent time in the loft… the book wasn’t even published until 2009. 5) OK -- I've read through "The Jazz Loft Project" again, and one of the first things I noticed was this (p. 5): "From [W. Eugene Smith's] photos and tapes and from interviews with participants, we can document 589 people ... who passed through the dank stairwell of this building in the 1950s and 1960s.... From all walks of life all over the map, only a dozen or so of those people went to college." This struck me as an extremely odd assertion, but how to check it myself, as author Sam Stephenson surely must have done, otherwise why would he say such a thing? I wasn't going to write down every name in the book as I went along -- that way lies madness (though some might think I'm halfway there already) -- but then at the back of the book I saw there was a list of those 589 people, many of whom I had heard of. So with the aid of Google and the like, I began to check and discovered that (conservatively) -- because many of these people I didn't know of, and there was a limit to my patience -- at least 61 one of those 589 people had gone to college. I'll print their names below, but first, why would someone take the trouble to say "only a dozen or so" when they either hadn't checked or had checked in such a half-assed way that their answer was so wide of the mark? Makes me wonder. Those sometime habitues of the Smith's jazz loft who did go to college: Toshiko Akiyoshi Mose Allison David Amram David Baker Warren Bernhardt Donald Byrd Teddy Charles Harold Danko Dennis Russell Davies Miles Davis Richard Davis Bob Dorough Don Ellis Bill Evans Don Friedman Lee Friedlander Dave Frishberg Jimmy Giuffre John Glasel Eddie Gomez Gigi Gryce Jim Hall Don Heckman Nat Hentoff Joe Hunt Chuck Israels David Izenson Lincoln Kirstein Nathan Kline Joel Krosnick Yusef Lateef Barbara Lea Mark Levine Mark Longo John Lewis Alex Leiberman Teo Macero Norman Mailer Ron McClure Mike Nock Bob Northern Hank O'Neal Hall Overton Ray Parker Paul Plummer Steve Reich Perry Robinson Robert Rossen Roswell Rudd George Russell Lalo Schifrin Gunther Schuller Peter Serkin Dick Sudhalter Steve Swallow Billy Taylor Francis Thorne Mal Waldron Martin Williams Phil Woods Denny Zeitlin P.S. Not every name on the list is a jazz musician, obviously. Some are just people who went by the place. I don’t have the book at my office so can’t check the context of the assertion, but I’ll grant that it definitely seems off. If the book were riddled with such assertions or observations, that would be problematic. I don’t recall it being that way. If somebody were to compile a list of numerous such instances, it might invalidate the overall work to some degree, though even then I’d still argue that Stephenson and those who assisted him did invaluable work in reconstructing this world. It was a rare chance—mostly because of Smith’s manic penchant for documentation—to mine a deep set of materials that allow us to reimagine a time and place—a rather dilapidated loft in mid-20th-century America—that now seems culturally significant. 6) More odd, dubious moments from Sam Stephenson's "The Jazz Loft Project": p. xii: "Among the tunes played is 'I Got Rhythm,' composed in 1930 by George Gershwin." How helpful. p, xvi: "Among the tunes played is is the 1926 composition by Ray Henderson 'Bye, Bye Blackbird'"... See above (such instances are present throughout; won't mention them again). The book was written for a non-jazz-specialist audience, not the Organissimo board or Mike Fitzgerald’s jazz-research listserv (though I’m sure Stephenson wanted that audience to enjoy it as well), so I don’t understand why identifying the names of the tunes and their composer/date origin is problematic. Also, this hardly seems to jibe with the earlier critique that the book ignores the musical aspects of the loft. p. 3: "Ornette Coleman went there to play the beat-up, idosyncratic Steinway B piano...." "beat-up," yes, but how so "idiosyncratic"? P. 167-8: "Late September 1961 "Suddenly someone on the sidewalk ... whistles a distinctive, piercing call from his lips. "Smith: 'Frank [Amoss], there's a chuck-will's-widow out there. "There is the whistle call again. It's a near perfect mimic of the chuck-will's-widow, a nocturnal bird ... that inhabits the swamps of the South in the summer. [Reasonable speculation follows that Smith knew this call from his youth in Wichita, Ks.].... "Frank Amoss: 'That was Walter Davis Jr. and Frank Hewitt trying to get in here [i.e. one of them was the whistler]. "Davis and Hewitt were both African-American pianists....Davis was born in Richmond, Virginia, and Hewitt in New York. Davis probably whistled the bird call, given his Southern childhood, but Hewitt could have visited Southern relatives as kid, too. [OK, SO FAR — BUT NOW GET THIS, WHICH FLOWS DIRECTLY FROM THE ABOVE.] Ironically, on September 29 Robert Shelton published in the New York Times the first-ever notice of a young new artist named Bob Dylan, who performed at Gerde's Folk City that same week. Shelton wrote: 'He is consciously trying to recapture the rude beauty of a southern field hand musing in melody on his porch.' Surely, Minnesota native Dylan wouldn't have known firsthand the call of a chuck-will's-widow." "Ironically...?" "Surely…”? Another little gem from "The Jazz Loft Project," p. 231: "But those bars [in which jazz musicians played "in the so-called golden age" of jazz] were hellholes, and the musicians, especially the African-American musicians, were jerked around. The clientele for these dingy joints were posing hipsters or disappointed men who hated their bosses and took advantage of their secretaries, like the characters in a Richard Yates novel." "...posing hipsters or disappointed men who hated their bosses and took advantage of their secretaries, like the characters in a Richard Yates novel." -- well, that's it then; case closed. Pretty much the context of the times, wasn’t it? You lived it, I didn’t, so I should defer to you, but writers like Yates, Cheever and Updike lived it too and presented an atmosphere in their then-contemporary stories that doesn’t sound at all afar from what Stephenson’s describing here. OTOH, I don't doubt Sam Stephenson's ability to detect a posing hipster at twenty paces. Nice snarky remark bordering on a personal/character attack, and completely off the mark at that. OTOH Sam and I did go down to our local record store last week on Black Friday to wait in line an hour and a half before they opened, in order to buy the two copies they’d ordered of the Sonny Clark 1960 Time Sessions LP reissue… pretty damned neo-hipsterish, eh? Nothing to do with love of Clark’s music, of course… we just wanted to be the 50-year-old “cool kids.” Ben Ratliff cites Stephenson twice in his new liner notes for that Clark LP, fwiw, but maybe he's just another gullible "neo-hipster."

The music that David X. Young recorded came out around 2000 in this collection: David X. Young's Jazz Loft Some of the music that Smith recorded can be heard on the Jazz Loft Project website: Chaos Manor I had an email exchange with Michael Cuscuna last year about the loft tapes, but he thinks the audio quality and the loose jam-session content might not make for a viable Mosaic set. I don't think there are currently plans by anybody else to commercially release the music either. Yes, and he chose a more indirect biographical approach that may not please all readers. (He tlalks a little bit about it near the end of the Night Lights program.) Anybody with an interest in Smith would still enjoy it, I think.

I've read intimations to that effect, yes--that there was growing tension between Girardi and Cashman in that regard. Evidently there was also a feeling that Girardi wasn't connecting well enough with the younger players or as geared towards analytics as the front office wanted him to be... which is ironic, since Yankee fans regularly groaned about "the binder" when they felt Girardi was making decisions based too much on pure statistics without allowing for particular in-game circumstances. Cashman has made some excellent trades over the years, and some of the high-profile signings that didn't pan out were at the best of either Steinbrenner paterfamilias or his sons. (Although I'd say that Tex and CC generally worked out, overall.) But he really does own what this team does now. Hopefully Boone works out... could definitely happen. I just wish he had at least a season of minor-league coaching or some equivalent under his belt first. (I was also hoping the Yankees would give their triple-A manager Al Pedrique an interview. Why that didn't happen, I have no idea.)

On a recent Night Lights show historian Sam Stephenson joined me to talk about photographer W. Eugene Smith and the so-called "jazz loft," the building at 28th St and Sixth Avenue in New York City that served as a home, haunt, and jam-session space for jazz musicians and other artists in the 1950s and 60s: Music In All Things: W. Eugene Smith And The Jazz Loft The show includes music recorded at the loft by both Smith and painter David X. Young, as well as Thelonious Monk and Hall Overton discussing Monk's upcoming Town Hall concert, excerpts from notable radio programs that Smith listened to and taped, and more. Stephenson is the author of a new book about Smith, Gene Smith's Sink: A Wide-Angle View, as well as a previous book about the loft, The Jazz Loft Project.

No doubt about it! Look out if the Dodgers land him. From a NY perspective, I guess this makes a cut-rate CC resigning more likely, but I also hope that Chance Adams gets a shot at MLB time this coming season.

Shohei Otani has narrowed his list of possible teams to seven: The Angels, Cubs, Dodgers, Giants, Mariners, Padres, and Rangers. Word is he prefers a West Coast team (better proximity to Japan), which is borne out for the most part by that list, Cubs and Rangers as notable exceptions. Shohei Otani narrows down his list to seven teams Bummer for us Yankee fans! I thought we had a pretty good shot at signing him. Maybe Grant Brisbee's Mariners speculation will be proven right. He's a steal, whoever lands him, hardly any fiscal risk whatsoever if he doesn't pan out.

Yes, and still hoping to score a copy of Complete Recordings volume 1 some day.

Hey Dan, I'm actually pretty bummed about this myself, hoping to be proven wrong. I would have much, much preferred Meulens, who was said to be the other strong contender for the job. I could care less about the 2003 ALCS home run when it comes to hiring a manager, and though I know that's not the reason Cashman and company chose him, he must have given one hell of an interview to be chosen over Meulens. I wasn't in favor of canning Girardi in the first place, though. Again, hoping to be proven wrong, but if I were among those who despise the Yankees, I wouldn't be displeased with this news. I have to wonder if Cashman wasn't simply looking for a friendly, "good communicator" who will basically do what the upper office tells him to do vis-a-vis lineups and such. If that's the case, then Meulens might have said, "I'm not your guy" (not wanting to surrender traditional managerial autonomy) and Boone might have said, "I'm your guy!" As far as clubhouse communications goes, Meulens speaks five languages, including Spanish and Japanese, so there's a good basic start right there! From what I've seen so far today in a couple of online Yankee communities, a fair amount of dissent and divide about this decision. A Yankee blogger who shares my and many other NY fans' misgivings

Sounds like a great lineup! I'll check in on the stream either tonight or tomorrow from Bloomington.

Grant Brisbee predicts that Shohei Otani will sign with the Seattle Mariners. It's just speculation, but interesting speculation (and Brisbee's always fun to read). He's also got an amusing but apt column up about Otani, the way the system works against younger players, and Scott Boras

It's a really solid date--David's only one as a leader, with another Indiana guy, Virgil Jones, present on trumpet. Mostly David's compositions IIRC. I'll probably go ahead and buy the Japanese reissue just in case Wewantsounds doesn't get to it (and then buy again if they do--happy to support reissuing the Mainstream catalogue and this title in particular!). Unfortunately the indianapublicmedia.org server has been down most of the morning, so you may not be able to access the Night Lights link right now, but hopefully the website will be back in the next hour or so.

It's quite good--the music on the original LP, I mean. Is it being reissued in Japan? I had some correspondence recently with Matt from Wewantsounds about this very title, and he hopes to eventually reissue it as part of their Mainstream series. EDIT: I found the link and see that it is being reissued in the Japanese series, which I think marks its first appearance on CD anywhere. If it's music rather than audio quality to which your query refers, you can check out a couple of the tracks on this Night Lights show (audio source was a CD-R dubbed from an LP); David Young's Quiet Strength

Glad you liked it! Some of the music from part 2 now seems to be available on this Fresh Sounds compilation.

Adios, Garrison Keillor

Gigi Gryce, Part 2: Rat Race Blues up in honor of the anniversary of his birth today.

Up in honor of Gryce's birthday today. I'll post part 2 later on as well. Gigi Gryce, Part 1: Social Call

Re-aired last week as well, partly in honor of Muhal Richard Abrams (the show includes a couple of his very early recordings and compositions with the MJT + 3) and still up for online listening: Returning The Call: More From The Unsung Hardbop Heroes Of Chicago