ghost of miles

For any south-central Indiana posters interested in #15, I think Jason may still have a copy or two at Landlocked Records on S. Washington in Bloomington. He has other back issues as well and sells them at list price--I just picked up ones w/articles on Les McCann and Yusef Lateef.

More...

... you mean the duets with Buddy Bolden?

All I can say at this point re: its eventual appearance (and there are others here who probably know better than me) is that there's room for cautious optimism!

Up for a second week. Doing this show is a labor of love. Like many people here, I have a great passion for jazz, books, and movies, and I'm very lucky to have a chance to translate that enthusiasm into a weekly program. In the past, radio programs were simply in the air and gone after being broadcast (somewhat reminiscent of Eric Dolphy's famous remark concerning music); now listeners can come to a program on their own time and terms. As of Labor Day there will be 100 original programs in the Night Lights archives covering artists & themes such as Miles Davis with Sam Rivers, Gigi Gryce, the early music of Cecil Taylor, Jackie McLean, Sonny Rollins live in London, lost legends such as Freddie Webster and Frank Hewitt, jazz in TV shows and movies like Peter Gunn, The Subterraneans, The Connection, and I Want to Live, the "Turn Out the Stars" memorial programs of jazz elegies, programs devoted to the Decca Jazz Studio series, and shows focusing on lesser-known singers such as Lorez Alexandria, Jackie Paris, and Johnny Holiday, as well as ones covering both the Philips and RCA eras of Nina Simone. There are shows about artists such as Teddy Charles and Henry Grimes, and programs that look at jazz's intersection with certain social & political themes and issues ("Resolution: Jazz From Rehab" and "Jazz Goes to the Cold War"). Jazz is increasingly an endangered species on the radio. It's becoming harder and harder to hear it on the airwaves, and more of us find ourselves listening on the Internet these days. (Lazaro Vega at Blue Lake Public Radio and Steve Schwartz at WGBH are two of my favorites.) If you live in an area where you can hear Night Lights on the radio (south-central and southwestern Indiana or the Blue Lake area in Michigan's Lower Penisula) then please support those stations... but if you enjoy being able to listen to these programs from anywhere else in America, Canada, Israel, Japan, England, France, or whatever country and continent you happen to be in, and are looking forward to more of them... then please consider supporting the Night Lights archives. I'm really hoping to branch out a bit in the coming year by doing more interviews with jazz writers and musicians through what are known as ISDN interviews--which give an audio quality that makes it sound as if the interviewee is in the same room with you, even if he or she is actually sitting in Los Angeles and you're in New York. (ISDN is used on NPR's Fresh Air all the time.) The money we raise through the archives will help us to do such things, and to make sure that we have the server space to accommodate more and more Night Lights programs. I'm grateful, as always, for the feedback, suggestions, and assistance that I've received, especially through this board (most recent instance is Stereojack's help with an upcoming John Gilmore program--many thanks!). Hoping that we can reach this $500 goal by Labor Day with your support. And now back to our regularly scheduled programming.

Holy crap! Guy The true mark of the beast!

Claude or Peter Pullman would probably be the best source to talk to re: this Paudras story. If such recordings ever existed, I'm sure they're lost. Powell's daughter, Celia, is still alive (teaching somewhere in the South, I think) and might know what happened to her grandfather's possessions after he died. Re: Paudras, the proverbial grain of salt is always recommended.

Guess he showed after all.

Did he show up for the show?

Chuck, I went on an Algren kick a couple of months ago (guess my avatar gives that away, sort of) and read that Algren's creative-writing class at Iowa was a bit of a disappointment... that all he did was talk about Capote's In Cold Blood over and over (this while it was coming out in the New Yorker, before it got published in book form). True story? Algren's Nonconformity is a hell of a read and maybe more relevant today than ever.

Sorry--should've posted a link to the Hewitt program, as we archived the Baker/Russell for this past week. Coming up this week: "It Came From Texas."

Glad you liked it! I'm still grateful to Jim Sangrey for bringing Hewitt to my attention through his Hewitt thread here at Organissimo. There'll be more Hewitt coming out from Smalls Records in the future.

Thanks for mentioning this, Bol--I didn't realize Haynes had a new one out.

You're not. Once upon a time, though (at least at the Borders where I was a music dpt. manager, and I'm pretty sure it was like this at other stores), we were allowed to do one-stop special orders about once a week, and we frequently stocked up on coming-to-town titles. However, my understanding is that that ability to special-order through one-stops was curtailed and/or eliminated several years ago.

Damn! I've been wanting to do a FOCUS/MICKEY ONE Night Lights for quite awhile... now I'd feel like I was simply lifting from the BBC. (Didn't realize that the MICKEY ONE cd was OOP; I picked it up a few years ago.) I'll try to tune in for this.

Kalo, I just got that book a couple weeks ago--ordered it after my wife & I saw a segment related to Houdini on a PBS program. Looks to be a good read.

Glad you're finding it compelling, Paul. I really do hope Haslett doesn't abandon fiction completely for the law. I'm still making my way through AMONG THE DEAD CITIES, a philosophical inquiry into the Allied bombing of population centers during WWII. Just checked out a Peter Lorre biography, THE LOST ONE, and am hoping to spend some time with it this weekend.

In the summer of 1959 a 27-year-old David Baker and several bandmates from Indianapolis attended the Lenox School of Music in Lenox, Massachusetts. There they met George Russell, a jazz composer and theorist in his mid-30s who had first gained renown in the late 1940s for his compositions "Cubana-Be, Cubana-Bop" and "A Bird in Igor's Yard," and who had published a book about his progressive jazz ideas and theories called The Lydian Chromatic Concept of Tonal Organization. Russell had recorded several highly noteworthy albums in the 1950s, including Jazz Workshop and New York, New York, and was looking to form his own small group. Baker and his colleagues were young, energetic, and ready to embrace new musical modes of thinking, despite their roots in bebop. In the next year and a half, after intensive rehearsals with Russell in Indianapolis, the George Russell Sextet--comprising Russell, bassist Chuck Israels, and the nucleus of David Baker's Indianapolis group--Baker on trombone, David Young on tenor sax, Al Kiger on trumpet, and Joe Hunt on drums--played a well-received three-week gig at New York's Five Spot club, toured the Midwest, and recorded three albums. The results--At the Five Spot, Stratusphunk, and the rarely-heard Kansas City--can be heard on this edition of Night Lights, which will be broadcast Saturday, August 12 at 11:05 p.m. EST on WFIU; because it has been aired before, you can hear it now by clicking on When Russell Met Baker. (Note to southern & central Indiana listeners; the Smithsonian Jazz Masterworks Orchestra, under the direction of David Baker, will be performing at the Musical Arts Center in Bloomington this Saturday evening at 8. More information here.

Thanks for the info, ghost. I've been curious about the Mr. Moto films for years, not least because the title character is played by a young Peter Lorre. Provided the name for a great surf-instrumental, too. My wife & I have watched the first two films over the past couple of nights & enjoyed them very much. Don't expect great plots, but there's some good dialogue for Moto, and the films look wonderful (the cinematography in THANK YOU, MR. MOTO is indeed impressive, and I can see how it influenced CITIZEN KANE). Also, Peter Lorre is fantastic in the title role... I went to the IU library this afternoon and checked out the 2005 Lorre bio, THE LOST ONE, and look forward to reading it. I have to think that these movies influenced the Indiana Jones series... and that they may have also influenced, in a weird way, Peter Sellers' Inspector Closeau (accent, use of disguises, etc.).

Just noticed 9-10 guests all registering simultaneously when I looked at the "Last Click" field.

Get the Fats Savoy material, though it's been spread over several CDs. Nice Fats site here.

Support links fixed!

Don't have much of Jordan as a leader--just the aforementioned FLIGHT, plus the soundtrack to LES LIAISONS DANGEREUSES and that title on Vogue that's split between him and Bud Powell. He was a player, though, who always jumped out at me whenever I was listening to something that included him on piano, one of those musicians who makes you go, "Oh, that's _______!" Man, the generation that came of age in the 1940s is nearly all gone.

Much thanks to the board member who PM'd me. I think we had a thread about this album at one time.