ghost of miles

I assume this means recordings of John Coltrane with Red Garland, and vice versa? I hope? Yep. It's up in the archives (ran 9/23 for Trane's b-day), but looks like the webmaster forgot to create a RAM file for it. I e-mailed him, & hopefully the audio will be available by late Tuesday a.m.

Aloc, feel free to send ideas my way--two of the shows in December will be the result of suggestions from White Lightning and from a listener in Manchester, England. I have a list of 200+ possible programs of my own but am always on the lookout for others. Glad you liked the Disney (so much material left over from that one that I may do a sequel at some point); I'll be interested to know what folks think of the upcoming 9/30 "When Betty Met the Duke."

A beautiful card--and a beautiful family! Best wishes back to you, WL, from the Land That Begat J.J.

Any word on this? I recently got the Granz Jam Sessions box through BMG & noticed mention of the forthcoming book in the credits (under a different title--LET FREEDOM SWING). Look forward to reading it, whenever it comes out.

Disc 4 of the Dizzy Mosaic. I think--although I haven't listened to a great deal of Dizzy's post-1960s recordings--that this is my favorite period for DG's trumpet playing, and find myself turning to these sides more than the big band material (which I also enjoy a great deal).

Wow--really? Ticket prices too high, poor choice of venues, declining interest in Ornette, or some other factor? (I wouldn't think that it would be declining interest.)

http://ec1.images-amazon.com/images/P/B000000YGA.01._AA240_SCLZZZZZZZ_.jpg This week on Night Lights it’s “Red Trane”, in celebration of tenor saxophonist John Coltrane’s 80th birthday. Coltrane and pianist Red Garland, who had both worked in Eddie Cleanhead Vinson's late-1940s sextet, began playing together again in 1955 as part of Miles Davis’ quintet. Davis sought Garland out for his relaxed, block-chord style and his ability to impart an Ahmad Jamal-like sound; Coltrane, nearly 30 years old, was at a troubled juncture in his personal and professional life, still dogged by a drug addiction that would force Davis to eventually fire him. In 1957 Coltrane turned his life around, kicking drugs and joining the Thelonious Monk quartet. He also began to record prolifically as a leader for Prestige, the same label for which Red Garland recorded. The two men made many records together throughout 1957 and 1958, resulting in a popular and accessible collaborative jazz legacy that’s just one of several achievements from this early and significant turning point in John Coltrane’s career. We’ll hear recordings from the albums Soultrane, Traneing In, High Pressure, and All Mornin’ Long. http://mclub.te.net.ua/images/alb/cover690_15599.jpg “Red Trane” airs Saturday, September 23 at 11:05 p.m. EST on WFIU, 9 p.m. Central Time on WNIN, and at 10 p.m. Sunday evening (EST) on Michigan's Blue Lake Public Radio. Next week: "When Betty Met the Duke"

This program is finally archived. Apologies, as our webmaster was having a lot of trouble with the file.

Happy b-day and long live ES!

Mine are headed to the local trading block, and I'm holding out for revisiting these sessions till the new set comes out. Wasn't there a scheduled Volume 3 in that series that never came out? I ended up getting most of the later sessions anyway through the Chronological Classics.

Hey, they can't help it--that's just the city they play in! I understand Red Sox Nation's hatred of the Yanks, but Bernie Williams, Mariano, Jeter, Posada--you have to admit that these are classy players. Granted, they're the last of the glorious late-1990s era, but for me they've gone a LONG way in redeeming the aura of the team. That article did make a good point about Brosius--I swear, that guy, just like that whole team, could go 0-22 and then come up with the Big Hit. It was amazing.

Thanks, tm--should've called them myself. Well, it's not like I don't have anything else to listen to! (Just got the Peggy Lee SINGLES box from a BMG sale--and, oh, a few other things... )

This passage: Again, I have NO sympathy for this viewpoint. I liked the part about Jackson taking him out for a talk. A-Rod's been hitting better lately, and I'm pulling for him--he's on the team. The Yankee clubhouse is the epitome of class.

Any word on whether this will be an early, mid, or late-November release? Got my fingers crossed for early...

Scars and barnacles, mateys, I feel like walkin' a plank meself if that Twardzik book don't come out soon. Arrrrr!!

I wish Jeanne Lee could've gotten one when she was still alive.

I watched a bit of this with Joe Bourne, our weekday jazz jock, in the newsroom. Does C-Span archive things like this?

Still hoping to eventually see Pennebaker's DON'T LOOK BACK sequel, EAT THE DOCUMENT (Dylan on tour in '66). I know that Scorsese got some of his footage for the recent Dylan documentary from what Pennebaker shot... but that film seems to be all but buried, for some reason. A big thumbs up for THE WORLD AT WAR as well. Be forewarned--Ken Burns is about to coffeetable WWII next year with his own series, though it concentrates primarily on the American homefront, from what I've heard.

That is a hell of a collection--right up there with THE COBRA RECORDS STORY and the three-CD Vanguard when I think of my favorite Chicago blues compilations. (AND THIS IS MAXWELL STREET in the running as well.) If it's still in print, those who like Chi-town blues are highly advised to run down a copy.

Steve does a great job--he & Lazaro are my two favorite Internet jazz destinations.

Must've had a taste of vintage Coca-Cola!

Oh yeah! Hey, that might be the second part of my feature! (Can I give an on-air tip o' the hat to "Big Al from Organissimo?")

Re: Webb Pierce, I still intend to pick up that Bear Family box one of these days--still in print, I believe. All I have right now is a single-disc promo I nabbed while I worked at a Chain That Shall Go Nameless. My buddy Greg turned me onto him--Clem, I know you do a ton of listening, but if you're ever bored in NYC on Monday night between 7 & 9 EST (unlikely, I'm sure, but just in case), you might want to check out his show on our community radio station here in B-town: Rhythm Ranch (a lot of the links aren't live yet--he's adding content whenever he gets a chance). He's got an incredible amount of knowledge & music and presents his shows very well... not too much gab, just enough interesting info, and a LOT of obscure folks who've fallen through the cracks of our current musical history. Direct listen live link here. (Though if you happen to tune in tonight, you'll hear a bunch of fund-drive pitches, no doubt... they just kicked off their autumn one. Cool station, though... it's where Greg & I got our start, doing a vintage music show called--thank you, Tina Brooks--"Back to the Tracks.") Based on what I've read here, I won't be rushing out to buy the new Dylan. Wasn't expecting too much from it anyway... he seems to be in a real retrospective phase, which, given his age (65?) seems natural; anyway, at this point I'm more interested in something like CHRONICLES than I am in new recordings by him.

Popped this in the car radio last night while I was out, because I want to play a track from it for Afterglow... and I may just end up featuring the whole album. I remember REALLY liking this when it was reissued, and it sounded even better three years later. Wanted to up this thread, in case the CD's nearing its expiration date (though the whole Verve "available till" thing... how true has that been? I imagine that even after these reach that date that many continue to float around online).

Clem, I was actually rather nervous when Henry was found. I remember a sense of exhiliration when I read the Signal to Noise interview--HG had long been an obsession of mine, ever since a musician buddy had given me a mix tape that he titled "Henry Grimes, Where Are You?" years & years ago. (I told HG about this, and he thought it was pretty funny.) At the same time, it was clear, from reading that interview, that Henry had found a fragile peace in his existence, and I worried that being thrust back into the modern improv world as a "living legend" might disrupt or destroy whatever equilibrium he had managed to achieve. When he was here at the station last year, though, it really seemed like he was very happy to be playing again... I remember reading the online posts from somebody (Marshall, maybe?) about HG playing that bass that William Parker gave him nonstop in his LA apartment. I know there are varying degrees of opinion about how well Henry plays these days compared to his 1960s level, but to me it's amazing that he put aside the bass for more than 30 years and then could come back the way he has. Did you hear the 100-hour marathon in 2003 on Columbia's station? I heard the interview with him then, and he seemed much more "present," or what have you, when he was here last year. As for the past, yeah, I think he's let a lot of that go, but I think he had to. (A jazz researcher I otherwise respect was fulminating that Henry couldn't remember why a logo was on an instrument from a mid-1960s Impulse session... give me a f*&in' break! I can't account for every day or every moment from five years ago...can't imagine what it's like for someone who's gone through what Henry's gone through.) I did ask Henry at one point during the interview whether or not he ever missed the solitary existence he'd led in L.A... again related to my earlier concern. He dismissed that right away & said there'd been too much "rigamarole," too much tedium in that existence. I think you're right to check any tendency there might be to canonize/valorize Henry, and I've probably had that tendency myself. But I still think it's an incredible comeback story, and that he seems happy--for whatever reason--to be playing music again. (Seems to be working better than Bunk Johnson's erratic, up-and-down comeback.) Hoping I get a chance to see him again.