ghost of miles

This looks fantastic... can't wait!

We re-aired Swing It Loud: Duke Ellington's Early Black-Pride Music this past week in honor of MLK Day, and it remains archived for online listening.

Another recent new Night Lights show, this one devoted to the life and music of Elmo Hope, now up for online listening: Hope Lives: A Portrait Of Elmo Hope Our own Larry Kart is quoted early on, from a 1970 DownBeat review that he wrote of a reissued Hope LP.

Only if they're cupcakeoroonies! Anyways, I think Slim Gaillard was more of a bagel guy: Dunkin' Bagel

Crazy, Jackson, crazy! Night Lights starts off 2016 with Minnie, McVouty, Filthy McNasty, Freddie the Freeloader, Lady MacGowan, and other assorted jazz characters: Hipsters, Flipsters, And On-The-Scenesters Posting soon: "Hope Lives: A Portrait of Elmo Hope."

A quick and cursory list that I posted on the Night Lights site... would be curious to see other's lists and choices as well: Best Historical Releases 2015: The Year The Seventies Broke

Here's the JPL post (from a list regular): "I've had a report from Toronto musician Glen Hall that he was informed by Paul Bley's wife Carol Goss that Paul passed away on Jan 3rd while listening to Memoirs - his recording with Charlie Haden and Paul Motian. Very sad ... N" Per another listserv member's suggestion, I'm going to email Tina Pelikan at ECM to see if she's received any official confirmation. EDIT: just checked Glen Hall's Facebook page. He posted last night that Bley passed away and that "the post that this is a hoax is, unfortunately, a hoax itself." I've listened to a fair amount of Bley's earlier recordings and just picked up the Black Saint/Soul Note box not too long ago... Judging from the old Paul Bley rec thread here on the board, there's a lot from his later decades that I need to check out. Glad that he was around long enough to leave us such an extensive recorded legacy.

An unconfirmed report on the Jazz Programmer Listserv that he passed away yesterday.

The story and some of the music of Chicago's 1970s/80s Bee Hive label, with special guest and Mosaic set annotator Aaron Cohen, now up for online listening: Boppin' On Bee Hive

I wonder if the answer is to be found in the issues addressed here. Particularly in this passage: >> The other issue which has recently arisen across the industry was the realization that the expiration of many of the Webcasters Settlement Act agreements had significance beyond just the change in the rates. While most broadcasters were encouraged by the CRB rates that significantly decreased their per performance liability, on Wednesday, the NAB released a statement noting that the performance complement waivers that the NAB had negotiated in 2009 with the record labels, allowing broadcasters to simulcast their programming without worrying about the webcasting performance complement requirements set out in the Copyright Act for services covered by the statutory license (the license available to noninteractive webcasters at the rates set by the CRB), expire at the end of the this year. We wrote about those waivers when they were initially negotiated here. These waivers were negotiated with the major record labels and the association that represents the major independent labels at the same time as the Webcaster Settlement Act agreement reached between the NAB and SoundExchange back in 2009. The performance complement puts limits on a webcaster, requiring that the webcaster meet certain limits on what it can play – principally to discourage copying of the digital music played by webcasters. The performance complement requires that webcasters not play more than two songs from the same CD in a row, not play more than 3 songs by the same artist in any hour, and not playing more than 4 songs from the same artist in a 3-hour period. Under these waiver agreements, commercial broadcasters can ignore the performance complement if done in the context of a simulcast of a routine over-the-air broadcast. So common radio broadcast programming practices like playing “6 album sides at six”, or a Beatles Brunch, would be permissible in a simulcast. But, with these waivers expiring this week, the NAB announced that it is attempting to negotiate extensions that will carry through during the next royalty period. (Emphasis mine--GoM) Why weren’t these waivers included in the CRB decision? Probably because the CRB does not have the right to waive the statutory obligations of the Copyright Act that set out the performance complement – only the copyright owners themselves (usually the labels) can do so. So these waivers must be negotiated directly with the copyright holders.<< With the expiration of the waivers, WKCR's artist marathons and shows like "Bird Flight" become technically impermissible under these agreements. I'm just speculating; would be nice for WKCR's listeners if the station at least made some sort of allusion to whatever the issue is that led them to suspend webcasting.

The Herbie Nichols and Art Pepper Mosaics (picked up used last weekend).

Right, but they are all listed on mutliple instruments for this album--for instance, Cooper is listed as playing flute, clarinet, alto flute, oboe, and tenor sax.... Higgins is listed as performing on flute, piccolo, alto flute, clarinet, and alto sax,... etc.

Broadbent on piano, Bob Magnusson on bass, Jim Plank on drums, Fanzone on flugelhorn, and then playing on various instruments, Dan Higgins, Ray Reed, Dick Mitchell, Bob Cooper, Ray Pizzi, Bill Perkins, and Jack Nimitz.

I was playing the title track off Sue Raney's Dreamsville on my afternoon show today and neglected to backannounce the flugelhorn soloist. A few minutes later a listener emailed me inquiring as to the soloist's identity, so I checked the liners and replied. Just got a followup from the listener regarding further biographical information about said soloist--I used to have baseball cards of this guy when I was a kid!

Thank you much, all... it's been a really wonderful day and is ending in peaceful, lovely fashion. I feel like a very fortunate human being.

Ralph Berton's piece "Conversations On A Bridge" in a July 1961 issue of Metronome, and he referred to Sonny as "Buster Jones." I Xeroxed it while I was working on the recent Night Lights program about Sonny's return-from-the-bridge period, and there's a brief excerpt included in the web-post.. I'll try to scan the whole article and post it at some point: Crossing The Bridge: The Return of Sonny Rollins

We've re-aired The Billy Strayhorn Songbook this week in honor of his centennial (which is today); it remains archived for online listening.

All best and greatly looking forward to meeting you in Manchester next summer!

Fans of the early-1970s edition of the group--have you checked out this 2-CD release yet? Agora Columbus 1972

Benny Goodman in the USSR, Ellington in the studio with John Coltrane and Charles Mingus/Max Roach, Sonny Rollins back on the scene, Ornette Coleman at Town Hall, bossa-nova on the rise, the avant-garde still simmering--a new "year in jazz" Night Lights show up for online listening, accompanied by a historical timeline for the year: 1962: Cool In Crisis

The alternate take of "Lady Be Good" and two other alternates from the same session will be on the Lester Young set that Mosaic's releasing next year. And Loren Schoenberg just posted this in on the Facebook "Lester Young Appreciation Society" page:

Are you talking about the Charly Sun Blues box, or has it been succeeded by some new anthology?

On a recent Night Lights show Boston jazz historian Richard Vacca revisits George Wein's 1950s nightclub with me. Broadcast performances from Charlie Parker, Lee Wiley, Erroll Garner, Ella Fitzgerald, Chet Baker, Dave Brubeck, and more, including a Storyville reading list and basic discography: Jazz From Storyville

The McCoy Tyner Mosaic Select.

A recent Night Lights show featuring saxophonist and composer Jimmy Heath's early-1960s Riverside recordings is now up for online listening: Portrait Of Jimmy Heath: The Riverside Years