Adam

Montalban went to the same high school as I did - Fairfax High in Los Angeles.

Just received this: Dear Friend, 2009 opening mid of February: Luciano Berio & Edison Denissow Works For Voice And Chamber Ensemble performed by Ensemble Fur Neue Musik Zurich Hedwig Fassbender mezzo-soprano hat(now)ART 168 (new) Total Time DDD 55:15 Barcode 752156016823 Luciano Berio: ‘Time after time, I find myself returning to folk music. I want to take possession of this treasure-store, using my own resources. Even though I know it cannot come true, I have a utopian dream, namely to forge a single entity from our own music and the folk tradition.’ America, the Auvergne, Sicily, Sardinia, Armenia and Azerbaijan: their diverse geographical origins reflect the multi-cultural society that Luciano Berio and his wife and preferred interpreter, Cathy Berberian, belonged to…. ‘My transcriptions are analyses of folk songs, and at the same time convey the atmosphere, the “aroma” of this music as I understand it.’ Edison Denissow: The composer combines strict technique, echoes of Debussy and Webern, a casual chanson style, bebop, the Marseillaise (maestoso), the speaking and singing voice, colourful instrumentation, chromatic paraphrases that are squashed down as far as crotchets, and entirely new sounds to form an idiosyncratic, close-knit musical language that is every bit the equal of Vian’s in its fundamental blackness and malignance. – Thomas Gartmann Luciano Berio: « Au fil du temps, je réalise que j’effectue un retour à la musique folk. Je veux prendre possession de cette mine de trésors en utilisant mes propres ressources. Même si je sais qu'il ne peut se réaliser, j'ai un rêve utopique ; celui de forger une entité unique à partir de notre propre musique et de la tradition folk. » L’Amérique, l'Auvergne, la Sicile, la Sardaigne, l'Arménie et l'Azerbaïdjan: la diversité des origines géographiques reflètent la société multiculturelle à laquelle Luciano Berio et Cathy Berberian, son épouse et interprète préférée, ont appartenu.... « Mes transcriptions sont des analyses de chansons folk, et transmettent en même temps l'atmosphère, <l’arôme> de cette musique telle que je la comprends. » Edison Denissow: Le compositeur allie à la technique stricte, des échos de Debussy et de Webern, un style décontracté de chanson, du be-bop, la Marseillaise (maestoso), une voix parlante et chantante, une instrumentation colorée, des paraphrases chromatiques pressées dans la mesure du possible en noires et des sons entièrement nouveaux pour former un langage musical idiosyncrasique et étroit, en tous points égal à celui de Vian dans sa noirceur fondamentale et sa malignité. – Thomas Gartmann Morton Feldman For Bunita Marcus performed by Hildegard Klee hat(now)ART 174 (remastered reissue of hatART 6076) Total Time DDD 71:33 Barcode 75215601742? Feldman once wrote that... “Renoir said that the same color, applied by two different hands, would give us two different tones. In music, the same note, written by two different composers, gives us—the same note. When I write a B flat, and Berio a B flat, what you get is always B flat. The painter must create his medium as he works. That’s what gives his work that hesitancy, that insecurity so crucial to painting.” I believe, though, that Feldman underestimated the strength of his involvement in composing that B flat. Feldman’s B flat does sound different, due to his, almost painterly, touch. Depending upon the context, Feldman’s B flat can suggest anxiety, melancholy, heroism, exaltation. The experience may be relative, may even be insecure, but it is inevitably satisfying, if one commits to it as fully as Feldman did to its composition. For Bunita Marcus has an aura like that which emanates off Rothko’s greatest paintings, an aura that makes the experience, no less than the creation, more than an act of will, an act of devotion. – Art Lange Feldman a écrit ... « Renoir disait que la même couleur, appliquée par deux mains différentes, nous donnerait deux tons différents. En musique, la même note, écrite par deux compositeurs différents, nous donne - la même note. Lorsque j'écris un si bémol et que Berio écrit un si bémol, ce que vous obtenez est toujours un si bémol. Le peintre doit créer son médium au fur et à mesure de son travail. C'est ce qui donne à son oeuvre cette hésitation, cette insécurité si cruciale à la peinture.» Je crois, cependant, que Feldman a sous-estimé la force de son engagement au moment où il a composé ce si bémol. Le si bémol de Feldman est bien différent en raison de son toucher, presque pictural. Selon le contexte, le si bémol de Feldman peut suggérer l'anxiété, la mélancolie, l'héroïsme, l'exaltation. L'expérience peut être relative, peut même être incertaine, mais elle est forcément satisfaisante lorsque l’on s'engage aussi pleinement que Feldman l’a fait dans sa composition. « For Bunita Marcus » dégage une aura qui s’approche de celle émanant des plus beaux tableaux de Rothko; une aura qui marque l'expérience autant que la création… plus qu’un acte de volonté, un acte de dévotion. – Art Lange Following mid of March 2009: hatOLOGY 658 Anthony Braxton : Seven Compositions (Trio) 1989 (remastered reissue of hatART 6025) Anthony Braxton -alto, C-melody, soprano and sopranino saxophones, clarinet & flute Adelhard Roidinger –double bass Tony Oxley – drums Total Time 58:21 DDD Barcode 752156065821 The resulting music – a step into virtuoso improv within “vibrational space” – sings with a relaxed exhilaration that will make it a certain pleasure for all who listen. Here, I guess (to steal an image from William Blake), is the sound of “Joy as it flies”. – Graham Lock hatOLOGY 662 Mary Halvorson – guitar Reuben Radding –double bass Nate Wooley – trumpet Crackleknob Total Time ??? DDD Barcode 752156066224 One listen to this CD and that element of trust and synchronicity immediately comes through. This is the kind of music that can only come from musicians who know each other well. It is like dropping in on an intimate conversation. Ideas get launched and then get immediately picked up, morphed, and woven back in. There is also a striking compactness to the pieces. Free improvisation rarely displays the level of succinct structural sensibility at play here. Wooley comments, “In general, we work at making the cleanest, most elegantly simple piece of music that we can. It's not something we've ever been implicit about, but I think that is just the general attitude about improvising that we all share.” Here are three musicians who know how listen, how to work together to develop a collective arc, and how to tie it all together to create abstract, spontaneous pieces that span the length of a pop song. – Michael Rosenstein Best regards, Werner X. Uehlinger

Just was sent this from Werner, but it's a reproduction from All About Jazz. R.I.P Freddie Article Courtesy AllAboutJazz.com Meet Freddie Hubbard By Craig Jolley This article was originally published in May 2001. New Colors (Hip Bop Records), new CD I met David Weiss a couple of years ago. He's from North Texas State. He had a rehearsal band [New Jazz Composers Octet] in New York, and he had been writing out a lot of my compositions and arranging them. He said he'd like to get together and have me play some of my material with the group. At first it was only supposed to be a one-time thing, but we're going to be working together the next couple of years until I get back strong again on my horn. They appreciate my music and give it a good feeling like when I was playing with Elvin Jones. They inspired me to start back playing again. This is an opportunity to let some of the more serious kids play this music and have it arranged for them. Craig Handy and I did a record with Betty Carter (Droppin' Things, Verve 1990) years ago. I always liked his playing. Same with Joe Chambers--he had played some of these songs with me before. I brought in Kenny Garrett and Javon Jackson as guest soloists. Those are some of the musicians I really enjoy playing with. They've played in my previous bands, they know me, and they know my style. They came in and helped me out quite a bit. I'm very happy to have made this CD. New Jazz Composers Octet Tour We start in New York at the Iridium May 8-13. Then we go to Annapolis, Maryland; Arlington, Virginia; Scullers in Boston; Philadelphia; a couple more things. We're gonna make the Berlin Festival this year, but I'm not going to play the West Coast yet. We'll be playing the songs on the CD and some of my other tunes David, Duane Burno and Xavier Davis have arranged. With all the horns you can hear more color. When I originally recorded some of these tunes the music went by so fast people didn't get a chance to hear them. I have a lot of songs people have never heard that will sound good with eight pieces. Lip problems: I busted my chops. I had to go back to square one after 30-40 years of playing. I was out there trying to be Coltrane--take thirty choruses. I was working all the time, and I didn't warm up. If you don't start off getting the blood flowing later on you're chops get weaker. It wasn't from playing that commercial stuff--it was from hard-core improvising. What made my style different was a whole lot of jumps, strenuous ideas. That's what makes jazz chops different from classical chops--at any moment you may have to change your embouchure [the position of the lips when they touch the mouthpiece]. I gave it everything I had. You have to be ready for that style. It was really bad--I didn't know if I was gonna play again. I can still play, but I can't hold long tones--that's something I never had trouble with. I didn't realize there were so many muscles in the embouchure, about 120. When you're young you don't even think about it. You get a lot of bad habits--you think that's the hip way to do it, but it's tearing your chops down. Comeback “I can't play what I used to play, but that's not the point. Let Jon Faddis and those guys hit those high notes--that's their thing. Now I play better in the middle register. I have more ideas, and it's better than half-hitting it.” I thank the Creator. He enabled me to attempt to come back. I have to practice, get the feeling, get the blood flowing again. If you don't do that you don't get back. I came back too soon before (in '94) when I had trouble with my chops. I'm playing the flugelhorn now because the trumpet would be too hard. Instead of playing all that hard stuff I'm gonna to play some ballads. Playing flugel is kind of messing up my chops in itself--I eventually want to get back to playing the trumpet. I can't play what I used to play, but that's not the point. Let Jon Faddis and those guys hit those high notes--that's their thing. Now I play better in the middle register. I have more ideas, and it's better than half-hitting it. It'll take another year to come back strong again. The trumpet is not like a piano or a saxophone. If you lay off it you're back to zero. I've still got a lot of stuff I want to play. I can play it on the piano--that's where I get a lot of my ideas--like [sings fast] dah-doo-dah-didli-ah-dit...bah-booo-dle-ootie...doo-deee-doo-dooodle-eedle-doodle-at...dee-dat...deee-dle-ootie. Those kinds of runs are very difficult to execute. It's the way you accent those things. I got that from playing with Sonny Rollins and Philly Joe Jones. I want to bring some that back. Louis Armstrong He had that funny sound. I didn't dig it when I first heard it, that Dixieland. But if you listen to him for a while he had that feeling. He didn't have that execution like Dizzy Gillespie. Clifford Brown When I was starting out I tried to sound like him. His execution thing and his phrasing were out of the book--Miles thought he sounded stiff. He gave me a lot of ideas. He could do it all--that style was the way I wanted to play. I was still in Indianapolis so I never got to hear him in person. When he died I cried like a baby. He was only 25 years old, and he never got his due. I've got my reward--now I've got to give some back. Miles Davis I used to try to play like him too--those ballads. One night he heard me at Birdland. He was sitting on the side of the stage. I had my eyes closed, and I was playing some of his licks. I looked down and saw him, and I almost passed out. When I got off he said, “Why don't you play some of your own stuff?” After that I stopped copying people. Miles and Dizzy used to tell me I played too hard and too long. I should warm up before I played. Miles might take an hour before he started. It would take him that long to get his embouchure set, but it came out pure and clean. Lee Morgan Yeah, I was close to that crazy ___. He and I were the Young Turks at that time. He was a cocky little young cat, and he was great, exciting, spirited. He was the only cat that could frighten me. He got messed up. Maynard Ferguson I used to go see that guy play at Birdland. He used to play those high C's every night. Remember when Maynard had lip trouble? He went over to England to get straightened out. He's still going strong. Wynton Marsalis: I didn't know it at the time [late 70's], but he was going to school in New York. He came to my dressing room and played all of my licks back to me, some I'd forgotten. I said, “Where did you learn to play all that?” He said, “It's all your stuff.” He's the only one I've heard who could play some of the stuff on my records. I dig that lip thing he can do--(sings) yaw-yaw-ya-yaw-yaw. He's a technician, but he's stiff--I guess he can play that way if he wants to. We did a big band thing at Carnegie Hall together. Richard Davis: I love to play with Richard--he's fantastic. I think he's teaching now. He and I made a record [Out to Lunch, Blue Note, 1964] with Eric Dolphy that was kind of advanced. That free music is not the feeling right now. Current favorites I like Tom Harrell--he's a nice guy. He wakes me up--he and Roy Hargrove. You think Roy sounds like me? Maybe that's the reason I like him! I like this guy Christian McBride and Benny Green--they worked with me. I love Bobby Watson--I heard him last time I was in New York. They're keeping it going. Favorite records One of my first records, Ready for Freddie (Blue Note, 1961). I had full control over it. That and Red Clay (CTI, 1970) were my best playing straight up. When it comes to more commercial stuff, First Light (CTI, 1971). It has some nice arrangements, and I won a Grammy. I've met all kinds of people, old and young, that like that record. I played it with feeling. Melody Maker did a discography on me. Check this out--I've made 300 records. I started looking into it, and I found some money from these companies. Rap I'm entertaining ideas about doing it after I get better on my horn. Those rap cats have some crazy meters. I'll have to give it some serious thought before I do it. Jazz education: I have students come over in the evenings. They want to play some of the fast stuff I used to play--they're in a hurry. These kids coming out of school now, they have the correct embouchure, but they don't have the strength or the time. It's hard to play the trumpet with feeling. Like Chuck Mangione--he doesn't play loud or hard, but he has that feeling. He's not trying to be hip. I used to go over to everybody's house and say, “Teach me this, teach me that.” They'd show me (They'd play it on the horn.), but they didn't teach me how to execute it. They didn't take time to teach me to play it right. We used to go on the road and play with Art Blakey, Count Basie, Horace Silver in the 60's and 70's. I used to sit in with bands that were established. I learned the backgrounds, everything. It's not like that now--it's more like a vacuum. Wrap up: I'm glad you're doing this for the Internet so people can find out about me. I have a computer now. My wife's using it to write a book. I'm 63. I don't feel like it, and I don't look like it. I still have a lot in me. Since I moved to California I haven't wanted to work much. I got discouraged for a while. I still don't want to work that hard, but if I can arrange to work about six months a year that's what I'll do. I hear all these kids playing my ideas on the radio. Sometimes I have to stop and say, “Is that me?” It feels good to hear it, but people think the kids started it. Tell the young boys to look out--Freddie Hubbard's coming back! All material copyright © 2009 All About Jazz and contributing writers. All rights reserved.

Tito Puente would always say that "salsa" is something you eat, but not a music. It's a name invented by white publicists in New York. Instead, there are merengue, cha cha cha, and 10,000 more.

Congrats! Really looking forward to this. It makes perfect sense not to include much of the usual suspects, as those are already readily accessible. A reference in your book to the other essential recordings that you don't include in the 18 CDs would be much appreciated. Also, will you include any more Tommy McLennan? Chuck Nessa once referred to his brilliance, but I've never found anything in print with his music. Haven't looked too hard, I grant you, but there's never anything at Amoeba or Amazon. So it would be good to have more via you. As a general query, you be including anything not done by an artist from the USA? Best, Adam

just pulled mine out of the mail box. guess it's time to open it!

but he didn't kill the radio star; video did.

I think an issue here is the semantic one. WM has a single definition of "jazz" as we know, and it appears that he has a single definition of "Minstrelsy." In other words, he might have been able to discuss this form of entertainment that you describe above if you had not called it "minstrelsy," but found another term for it. In the same way that he might be able to discuss, oh, Cecil Taylor, as long as you don't it "jazz." Does that sound apt to you?

I think trying to be deep is a good thing.

Wow, all of these are of great interest. Had that George Lewis on the "to get" for a long time. Just went to scope it out. of course they have both George Lewis's mixed together (album-wise) but the description is all the clarinet player who died in 1968, not the trombone & electronics master still going strong.

who feels like cutting & pasting all the jazz nominees?

Just going to say the same. Smithsonian Folkways has everything that is not currently in print available as CD-R on request, with notes. Part of their deal in taking the collection was to make all of it perpetually available.

i doubt one of you guys knows anything about what im talkin about- id be hard pressed to find one of you who has ever heard of what im talking about here, id be impressed I've heard of Doris Wishman many times, but haven't gotten around to watching any of her films yet. Somebody should do a run of them here in Los Angeles.

Hi Allan, In response to the excerpt from your upcoming book: I strongly dislike straw man arguments without good evidence. I think you need to quote Art Taylor on Elvis, and Wynton on Elvis, and perhaps another. Or just go to your points without the straw man. I think the whole paragraph outlining the "Jazz world's view of Elvis" is dated in some manner. i don't know any current smart jazz critic who discards Elvis in this manner. I could be wrong. I'd love to see examples. And if the examples don't exist, then maybe a different structure is called for, as your thesis in this section is interesting. One question that is raised by Armstrong and Presley, of course, is the importance of the "career-controlling manager." I think it needs to be addressed; otherwise I have the doubt whether Armstrong & Presley really wanted these things that you ascribe to them, or are these things that their managers desired and they just went along with, particularly in regards to their studio recordings. best regards

More generally, is this the first time that they've deleted RVGs? I would take this as a good sign that there will be fewer and fewer physical reissues (at least on CD). But one would think that they will make more and more available on itunes, emusic, or other sources. I might be over-inferring though.

I'm halfway through. No magic yet. Good mind for squares. But the second trick where he had each of them multiply 8649 by a 3 digit number is pretty easy. 8+6+4+9 = 27, 2+7 = 9 Now as I recall, a number whose digits equal 9 when multiplied will always create a number whose digits add to 9. so when the folks give him 6 of the 7 digits in any order, it's just simple addition to figure out the last digit. For example, 8649 x 456 =3943944. 3+9+4+3+9+4+4= 36, 3+6 = 9 So if the person said "3, 9, 4, 4, 4, 9" that would equal 33, which =6. 9-6=3. So he woudl call out "3" as the missing digit. Am I right?

Well that's great! Congrats! Who are your fellow nominees?

up

There's no "The" in the title of the film. It's just "Quantum of Solace."

I haven't read the book, so couldn't answer your question. Looked at the post to see if you were giving an opinion on the book. Calm down.,

This thread is my favorite of these variations thus far. What on earth was the Jazz Committee for Latin American Affairs? an attempt at romantic latin jazz? an all-star one-off?

Just got this, for those of you completists: Dear Friend, The 16 releases 2008 in the sequence of the introduction: hatOLOGY 649: Paul Bley · (12 + 6) In A Row (reissue) Paul Bley –piano, Hans Koch –clarinets & saxophones, Franz Koglmann –flugelhorn. hatOLOGY 651: Russ Lossing – John Hebert · Line Up Russ Lossing –piano, John Hebert –double bass. hatOLOGY 659 Manuel Mengis Gruppe 6 · The Pond Manuel Mengis – trumpet, Achim Escher – alto saxophone, Roland von Flue –tenor saxophone & bass clarinet, Flo Stoffner – electric guitar, Marcel Stalder – electric bass, Lionel Friedli – drums. hatOLOGY 660 Michael Adkins Quartet · Rotator Michael Adkins –tenor saxophone Russ Lossing –piano, John Hebert –double bass, Paul Motian –drums. hatOLOGY 654 David Liebman-Ellery Eskelin · Renewal David Liebman & Ellery Eskelin –tenor saxophones, Tony Marino –double bass, Jim Black –drums. hatOLOGY 656 Matthew Shipp Trio · The Multiplication Table (reissue) Matthew Shipp –piano, William Parker –double bass, Susie Ibarra –drums. hatOLOGY 650 John Zorn –alto saxophone, George Lewis –trombone, Bill Frisell –guitar. News For Lulu (reissue) hatOLOGY 652 Pandelis Karayorgis –Fender Rhodes, Nate McBride –double bass, Curt Newton –drums. Betwixt hatOLOGY 602 Joe McPhee –tenor & soprano saxophones and alto clarinet, Lisle Ellis –double bass, Paul Plimley –piano. Sweet Freedom – Now What? (reissue) hatOLOGY 661 Westbrook – Rossini (reissue) Lindsay Cooper –sopranino saxophone, Peter Whyman –alto saxophone, Kate Westbrook –piccolo, tenor horn & voice, Paul Nieman –trombone, Andy Grappy –tuba, Mike Westbrook –piano & tuba, Peter Fairclough –drums. hat(now)ART 141 Christian Wolff : Early Piano Pieces performed by Steffen Schleiermacher. hat(now)ART 149 Transatlantic Swing Works For Piano by Christopher Fox, Ivo Van Emmerik, Richard Rijnvos, James Rolfe & Luca Francesconi performed by John Snijders. hatOLOGY 670 Joe Morris Bass Quartet High Definition Joe Morris –double bass, Taylor Ho Bynum –cornet, flugelhorn & trumpet, Allan Chase –saxophones, Luther Gray –drums. hatOLOGY 675 Taylor Ho Bynum Sextet Asphalt Flowers Forking Paths Taylor Ho Bynum –cornet, Matt Baudet –reeds, Jessica Pavone –viola, Mary Halvorson –guitar, Evan O'Reilly –guitar, Tomas Fujiwara –drums. hatOLOGY 657 Clusone 3 (reissue) Soft Lights And Sweet Music Michael Moore –reeds, Ernst Reijseger –cello, Han Bennink –drums. hatOLOGY 663 Steve Lantner Quartet Given – Live In Münster Allan Chase – saxophones, Joe Morris – double bass, Luther Gray – drums. Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 34th Year too! Hat Hut Records Ltd. benefits, for the series hat(now)ART, from its partnership with the Fondation Nestlé pour l'Art, Lausanne until the end of 2008.

Didn't he just play in LA a couple of weeks ago at the Greek Theatre? Yes: http://www.greektheatrela.com/calendar/pas...nfo.asp?ID=1693 Must be on the same tour. R.I.P.

I always thought that it was a marketing man who came up with Lather, Rinse, Repeat. Either it makes you buy twice as much shampoo, or the product isn't good enough to work the first time around. the marketing guy came up with "Repeat."

PM sent regarding 1945 & 1948. You can release 1947 - I already had it. thank you.