ghost of miles

If Jim were willing to do that, yes, I think it would be possible. Chris: e-mail address is johnsond@indiana.edu Still hope we find a way to simply keep this place going!

I think there is indeed more than $$ involved--a couple of fair-minded moderators would not hurt this place at all. As for the money angle, might be good to keep a running tab at the top of the page as to how close the board is to $1800 (or whatever the annual amount is that's needed), so that people could "up" their subscription/pledge if they wanted to--or if those sitting on the fence would be more inclined to contribute. I speak from several years of public-radio fundraising experience...

Would 150 posters here pay a $12/year subscription rate? I think they would...hell, I just spent nearly 12 bucks on lunch.

How about Greg Maltz? Although I hear he's rather ticklish...

I'm looking into it--but I hope, for a lot of reasons, that this place stays around in its current manifestation, even if that takes some more financial heavy-lifting on the part of us board members.

Apparently...and not a joke, judging from Jim's comment in that thread. A very sad event if it indeed comes to pass, and I think we should do whatever it takes--more contributions, more self-policing in the realm of calling out posters for abusive language/name-calling, etc. (haven't noticed as much of this lately, but I haven't been following as many threads as I used to). This place is invaluable as a jazz discussion forum, and I know I'd miss it like HELL... I've thrown in $$ to help out before and am willing to do so again--or even to help moderate, if need be.

At least that's what that feller at the Night Lights site says: Goodman Mosaic set for late spring

"Early Ellis: Don Ellis at the Dawn of the 1960s" is archived for online listening. And for a blast from the past, there's Don Ellis and The French Connection

Many thanks to Bill B for starting the thread, and thanks to the positive comments about Night Lights (BillF, great to see you aboard here! We're lucky to have you). I got my start at WFHB around the end of the 1990s, originally co-hosting a vintage-American-music show called Back to the Tracks (yep, title courtesy of Mr. Brooks) that focused on pop, jazz, blues, r & b, and country from the 1930s through the 1970s. Ended up hosting a jazz show (since jazz was my first and foremost love) on Wednesday nights; WFHB still does jazz Tues, Wed and Thursday evenings from 7 to 9, though my slot was originally 6 to 9. Did that show through 2004, but started subbing for Joe Bourne in 2002, which led to my current gig at WFIU, doing Night Lights and Afterglow. I feel pretty lucky--there's a good audience for jazz here in the WFIU listening area, in large part because of the IU School of Music and David Baker's presence. We do close to 20 hours of jazz programming a week, and both I and Joe have complete creative freedom. To the north, up in Indianapolis, there's WICR, which has a decent rep around these parts for giving Organissimo some airplay. The student announcers are obviously still honing their on-air chops, but the music's generally pretty good. Despite the not-so-great state that Bill B correctly diagnoses among many pub-radio/jazz stations today, the Internet has opened up everybody's listening options in ways inconceivable just a few years ago. For some reason, I still think some (many?) in jazz radio are slow to get this...that all the world's a stage now, and that jazz, with a marginal but passionate audience, has a great opportunity at hand. We seem to be discovering interesting programs and shows all the time, on this board and elsewhere... the dilemma's more often too many listening choices. Because of the Internet and this board I've discovered Lazaro, Bill B, and Steve Schwartz...and WKCR, which I knew of but couldn't hear before, is now available to me as well. We no longer need to operate only in our little corners of the world (though I think it's very, very important to pay a lot of attention to local/regional jazz in one's daily/nightly programming, which we do wholeheartedly on Joe's weekday afternoon show). For me, the problem now is too many show ideas, too little time...I'd actually like to launch a third weekly program very different from what I'm doing right now, but it's probably destined to stay on the drawing board.

Thanks for the info, Jim--yeah, I've actually got both of those Joe Hendersons and forgot they were part of the series. Sorry that I missed the Getz and Weston--especially the Weston. Re: McFarland, what about his mid-1960s Verve/Impulse catalogue? Enough good material there for a Mosaic Select, perhaps?

Promo for Season 5

Lately I've been revisiting the exceptional Lee Konitz-Warne Marsh LIVE AT THE HALF NOTE, the two-CD set of previously unissued performances that Verve put out in 1994. The CD labels it as part of the Verve "Discoveries" series, comprising heretofore-unreleased recordings...were there more after the Konitz-Marsh?

Increasingly a fan of Chris Potter, longtime fan of Taborn, though I haven't heard this latest disc (but it's on the way). I'd say, though--not particularly in defense of anybody's viewpoint here (as usual, lots of great discussion) that music or any art ought to be able to stand on its own in terms of vitality, compelling interest, etc., and that the references/allusions should be another layer of attraction. Even art that's made up almost entirely of references and allusions (and there are plenty of modern-day examples) ought to cohere into something original and hopefully "good." Knowing the background on the Detroit techno scene (indeed it's been a happening thing... some folks came down and did a presentation not too long ago here at our black-music archives department) might potentially enhance Larry's appreciation for what Taborn's trying to do on that particular CD, but given Larry's astute, oft-proven listening abilities and (IMO) open-mindedness, shouldn't he be able nevertheless to detect the intensity (quiet or loud) that aesthetic success generates, or perhaps the lack of it?

Trumpeter Don Ellis is best-known today for the big bands he led during the late 1960s and early 1970s and their use of odd time signatures, but he made his first impact on the jazz world at the beginning of the 1960s, leading several progressive small-group dates that drew both praise and criticism from the jazz media. Ellis made himself available for the fray, joining roundtable discussions and firing off a three-page riposte in response to a bad review from Downbeat. “I try to approach everything a different way each time, he said in 1961. “Right now, I feel the days of head arrangements are finished as far as producing anything new in jazz. As composers, we have to find new solutions to all the old problems.” Despite his image as a quasi-firebrand avant-gardist and proponent for the Third Stream, Ellis was both immersed in and respectful towards the music of the past, as jazz educator and former Ellis bandmate David Baker notes in this program; one of his trumpet heroes was Henry Red Allen. His early recordings as a leader offer a mix of straightahead modern jazz and experiments with atonalism, microtones, and unusual application of tempo. We’ll hear music from Essence, New Ideas, How Time Passes, and Out of Nowhere, along with a track from the George Russell Sextet featuring Ellis and David Baker (who offers several remembrances of Ellis throughout the program). Early Ellis: Don Ellis at the Dawn of the 1960s airs Saturday, Dec. 1 at 9 p.m. Central Time on WNIN-Evansville and at 11 p.m. EST on WFIU-Bloomington. It will also air Sunday evening at 10 EST on Michigan's Blue Lake Public Radio, and will be made available for online listening in the Night Lights archives. Next week: "Donald Byrd: the Hardbop Years."

Snoop at the hardware store

A friend of mine has acquired V. 1, but there's no booklet with it. Didn't all three sets come with individual booklets?

Amazon has Season 1 for $21.99 right now--just ordered it. Season 2 is $27 and likely to end up on my late-breaking Christmas list.

I actually saw this jump. Anybody else have this toy as a kid?

J.A.W. did not accept several adverse discussions. He is unfortunately out of here. That's very unfortunate. I hope he eventually comes back.

Music alters wine's taste, vintner insists

Exciting news, but what happened to J.A.W.? Did I miss something?

Why re-signing A-Rod made economic sense for NY

Good to see you back, TK. I was wondering about you a week or two back, because we re-aired the Dick and Kiz Harp Night Lights show...good to know you've returned to these environs.

Man, if ever an artist deserved an hour of NIGHT LIGHTS, it's Cecil Payne! Yeah, I know--he's on "The Connection" show (that version of the score--non-Freddie-Redd--that he did with Kenny Drew for Charlie Parker Records), but he really does serve a fullblown program. We work pretty far ahead, but maybe I can put something together over the weekend and post it online as a kind of supplemental program. I'm sure there'll be quite a few jazz radio tributes in the next several days.

Caught that post earlier this a.m., Clem--I figured Brooklyn would be calling for Mr. Payne. Very nice tribute. I'll have to track down/check out that Strata East album. Bummed about this, even if he did live a long life and all that--going to spin the records with Weston this p.m.