ghost of miles

Everyone OK in Texas? 13inchesofrain

Mr. oldschool is a tireless advocate for new artists! google

And believe it or not, he had no desire to talk to Orrin Keepnews!

Very interesting, Chuck. You know, I've shied away from reading Warren Miller's novel because it came in for a lot of criticism as a white writer's distorted interpretation of Harlem... but I should check it out for myself. I'd also love to find Mal Waldron's original soundtrack for the movie, if it was ever actually released (I have the Dizzy Gillespie version that got re-issued a few years ago on CD).

Didn't some of Dexter's comps for this show up on one of his Blue Note albums? I'm thinking "Soul Sister" and "I Want More" from DEXTER CALLING... amazing, the number of musicians who went through this play. Hoping to do the show in mid-September & will post the link when I do.

Jim, I have the one that came out on Felsted w/Howard McGhee... may still be in print. Are those actually Brooks compositions, though? I'm at work & will have to check when I get home. Never heard of that Cecil Payne version... this is all very interesting, because I'm planning to do a show based around THE CONNECTION and am trying to track down as much material as I can find. Will probably get the DVD, though Jim is dead-on about its general gawd-awfulness...

I already have PIANO IN THE FOREGROUND (though I'm looking forward to the new edition) and have never heard BLUES IN ORBIT (put off buying the old one because of this re-issue), which is why I'm more interested right now in BLUES. I definitely plan to pick up the BACKGROUND CD as well, though. You can never have too much Ellington, as far as I'm concerned.

I think we'll learn a lot more about that 1950s arrest when & if Peter Pullman's Bud Powell bio comes out. Hopefully, too, we'll learn more about Monk's entire life, including his last few years, when Robin Kelley's book is published. Sometimes visionary artists end in a silence that can be interpreted as either profound or bleak (I'm thinking of William Blake--wasn't he relatively quiet for the last few years of his life?), and that probably stem from a variety of factors. Basically, I think that Monk never did anything that he didn't want to do--and when he didn't feel like playing music anymore, he stopped. Sad if depression/exhaustion of vision were the causes, but I admire his integrity.

I think we all overlooked certain language in the "terms of membership" agreement, Jim. Put it this way: by comparison, John Forgerty got a hell of a deal with Fantasy. G.d. publishing contracts!

Glad to see you here, Jack. We are not worthy, we are not worthy! Happy birthday and many more of 'em.

400 pages, according to Amazon. It's slated for publication on Sept. 9. Hoping to do a show or two based around this & possibly interview Jack Chambers for it.

Has Columbia slated any of this material for release? I thought some of it had been... seems as if there might even be box-set potential, too.

I'm picking up BLUES IN ORBIT next Monday--will get the other two soon. (I have the old PIANO IN THE FOREGROUND import CD, and it's just as good as Lon says it is...) Also not to be overlooked, coming out next week: Duke Ellington, TREASURY SHOWS V. 10 --from Worlds Records e-mail

Good news! This will put all those bootlegging pirates on E-Bay out of business...

Adam has asked me to pick the Album of the Week for Aug. 8-14. I've chosen Billie Holiday's first studio recording for Verve, re-issued on CD as SOLITUDE: Jackie McLean's DESTINATION OUT was my other choice, but looking back over the AOTWs, I see a fair amount of classic Blue Note dates, and very few vocal albums. (And hopefully my mentioning it here might inspire someone else to choose it in the future!) SOLITUDE is still in print as an individual CD, and it's also part of the Billie Holiday Verve box. In my mind it's one of Holiday's best efforts for Verve & curiously overlooked in her general output. (The 1957 sessions with Ben Webster, which I also love, seem to get much more attention.) Musicians on the spring 1952 date include Flip Phillips, Charlie Shavers, Barney Kessel, Oscar Peterson, and Alvin Stoller. I'm a fan of Holiday's work all the way up to the end (the MGM session LAST RECORDING), but on SOLITUDE her voice seems to have much of the Verve-era character while retaining more of her technique. I particularly enjoy hearing her re-visit "These Foolish Things," which she had recorded in the 1930s as well, and the title track; other highlights for me include "You Turned the Tables On Me," "Love for Sale," "If the Moon Turns Green," and "Autumn in New York." There's such a mood to this album; it almost feels like a concept record, something akin to what Sinatra would be doing on Capitol very shortly. Plus I just like the damned cover. B)

The JUMP FOR JOY special will be airing on board member Joe Moore's station KFSR this Thursday night at 8 p.m. California time and again on Sunday morning at 9 a.m. California time.

Glad you guys liked it! The program will indeed be archived--hopefully as soon as next week. I'm still trying to set aside some time to work on the web page.

Geez, on an album of Commodores, Billy Joel, and Jobim tunes, it just kinda stuck out, know what I mean? B) I've still got EXCITABLE BOY on vinyl--bought it when I was a 12-yr-old nipper in late 1978.

ALIVE is a great party record--I featured it on New Year's Eve last year (including "It's Your Thing") and it went over quite well with the audience. VISIONS intrigues me because Billy Wooten's on it. Was he on any other Green LPs? Listened to the first track of EASY after starting this thread on Saturday, and yep, it's pretty vapid. I'll listen to the rest of it next week at the end of my shift.

Is the digipack version available in the States? Can't seem to find it online.

Duncan has a new book out: Jazz in Black and White The cover of the Tristano Mosaic box comes from a picture he took at the Indiana Theater in 1959. Great guy, and still very active here in the Indiana jazz community.

I'm not expecting IDLE MOMENTS, if you know what I mean... But I love sifting through this stuff, because every once in awhile you hear something worthwhile. Probably won't be the case here, but that's one reason why 1970s jazz intrigues me... a lot of interesting things happening behind the stereotypical facades that have been erected.

Just came across this 1978 album while I was looking for another Green LP in our station's library. Evidently it's been re-issued on CD: Take a look at the set-list! Not surprising, really... although the Zevon tune did cause me to cock an eyebrow: 1. Easy 2. Just The Way You Are 3. Wave 4. Empanada 5. Nightime In The Switching Yard 6. Three Times A Lady With Hank Crawford, Jorge Dalto, Karen Joseph, and Buster Williams. Might try to give it a spin later on after I'm off the board.

"A Brief Convergence: Miles Davis & Sam Rivers" will be broadcast tonight at 11:10 p.m. (9:10 in California, 12:10 in New York), with a "special thanks to members of the Organissimo jazz internet discussion board for their thoughts & reflections on Sam Rivers' tenure with Miles Davis' band" embedded in the production credits. Setlist includes "Oleo" (7/15/64), "Stella By Starlight" (7/15/64), "Autumn Leaves" (7/12/64) and several tracks from Sam's FUSCHIA SWING SONG. You can listen live here: WFIU Next week: "Blowin' In From Chicago," a program devoted to past & present Chi-town musicians, including music from Dinah Washington's AFTER HOURS WITH MISS D, the new Von Freeman, and the Gilmore/Jordan BN collaboration.

Anybody heard Grant Green's VISIONS, on which Wooten plays?