Adam

Oh, very very interested. I need to check at home tonight which ones I already have.

He had some sort of hemorrhage or stroke and brain surgery a couple of years ago.

i fail to understand, given that the Red Sox have won the World Series twice in the past 4 yours. Did you find reasons to complain about them even when they won the Series? But, more generally, yes, all sports fans should be programmed to expect failure. After all, the vast majority of teams won't win the championship every year. Championships should be seen as a delightful surprise, and the true pleasure of sports should be found in the joy of watching or playing the games, not in winning championship. Yes, I know, un-American. But far healthier. And this kinda feels like the year that the Florida Marlins came out of nowhere to win the Championship.

I once worked on a documentary on "The Napoleon Murder Mystery" for which we interviewed Weider, and I obtained images from him. Nice guy, very fit and rather elderly - interesting and smart. R.I.P.

Who put on the event? LA Jazz Institute?

Where was the concert? I completely missed it.

But was he a good car racer?

Someday I'll get through it all. It's better than not having them. To put it in perspective: All of the albums I just mentioned cost me a total of $25. What booster packs at BEST Buy are you getting? at teh Best Buy near me, where the cards finally started appearing, a card for 100 songs is $29.95.

Wow, did he come from under the sofa?

There's a documentary that came out a couple of years ago on Evelynn Glennie, the Scottish (I think, or is she Irish....?) percussionist who is deaf. Frith did a lot of the music and there are several scenes of the two of them improvising together. I really enjoyed it. I can't remember the name of the film. And there's also "Step Across the Border" a documentary about Frith himself from 10 or so years ago. bigtiny 'Step Across the Border" is available on Winter + Winter, and it's fantastic.

Picked it up yesterday at Target. I rather like disc one so far.

Wow, what a phenomenal line up. Jim, for you, I suggest seeing Playtime on a screen some day, and carefully listen to the sound. It's one of the most brilliant uses of sound with picture ever. Not sure if you'll ever have the chance, but that's one way to try once more. I think it's worth the attempt.

Just got this: Dear Friend, The next two releases will be ready October 22nd, 2008: hatOLOGY 670 Joe Morris Bass Quartet High Definition with Taylor Ho Bynum -cornet, flugelhorn & trumpet Allan Chase – saxophones Luther Gray – drums Total Time 53:25 DDD Barcode 752156067023 Listen to the music of Joe Morris and one is immediately struck by a few things. First, there is his sense of rhythmic and melodic articulation; a sense of phrasing brimming with potent energy and focused resolve. Then there is an uncanny ability to balance freedom and groove. Finally, there is his ability to pull it all together in structures that bring out particularly inspired playing by his collaborators… With this release, Morris and crew cement their status as musicians from a generation who have fully absorbed a polyglot view of the jazz tradition. They have the commitment, experience, and the innate understanding to seamlessly pull from both inside and outside, from swing to freedom. But they also have the dedication and creativity to make it their own. It is how they pull together all these disparate threads into a unified vocabulary indelibly stamped with their own sensibilities and personalities that makes this such a riveting statement. – Michael Rosenstein Écouter la musique de Joe Morris, c’est être immédiatement frappé par un certain nombre de choses. Tout d'abord, on remarque son sens de la rythmique et de l’articulation mélodique; un sens du phrasé débordant de puissante énergie et de grande détermination. Ensuite, il y a cette étonnante capacité à trouver un équilibre entre la liberté et le groove. Et enfin, cette capacité à rassembler le tout dans des structures qui font ressortir le jeu particulièrement inspiré de ses complices… Dans cet album, Morris et son équipe cimentent leur statut de musiciens d’une génération par une approche polyglotte parfaitement assimilée de la tradition du jazz. Ils font autant preuve d’application et d’expérience que de compréhension innée; ce qui leur permet de développer un jeu homogène à la fois de l'intérieur et de l'extérieur, du swing jusqu’à la liberté. En outre, ils disposent de l’engagement et de la créativité nécessaires pour se rapproprier entièrement cette musique. Mais, c’est en fin de compte la manière dont ils rassemblent tous ces fils isparates en un vocabulaire unifié, marqué de manière indélébile du sceau de leurs propres sensibilités et personnalités, qui fait de cet album une affirmation aussi captivante. – Michael Rosenstein Hört man die Musik von Joe Morris, gibt es einiges, das einem sogleich auffällt. Zunächst ist da sein ausgeprägtes Gefühl für rhythmische und melodische Artikulation; die ungezügelte Energie und konzentrierte Entschlossenheit in seiner Phrasierung. Dann das gekonnte Ausbalancieren von Freiheit und Groove. Und schließlich seine Fähigkeit, all das in Strukturen zusammenfließen zu lassen, die seine Mitstreiter zu spielerischen Höhenflügen inspirieren … Mit dieser Veröffentlichung festigen Morris und Band ihren Status als Musiker einer Generation, die sich eine polyglotte Sicht der Jazztradition zu eigen gemacht hat. Sie spannen also mit großem Engagement, der nötigen Erfahrung und un– umstrittener Kompetenz einen stilistisch weiten Bogen von Swing bis Freiheit und gehen doch voller Leidenschaft und Kreativität einen eigenen Weg. Denn wie hier all diese unterschiedlichen Fäden zu einer gemeinsamen musikalischen Sprache verwoben werden, die von der Sensibilität und Persönlichkeit der Musiker un– auslöschlich geprägt ist, das macht diese CD zu einem solch fesselnden Statement. – Michael Rosenstein hatOLOGY 675 Taylor Ho Bynum Sextet Asphalt Flowers Forking Paths with Matt Baudet – reeds; Jessica Pavone – viola Mary Halvorson – guitar, Evan O'Reilly – guitar Tomas Fujiwara – drums Total Time 44:15 DDD Barcode 752156067528 Here’s a group of musicians who are making a commitment to the long haul. They are creating music for the third millennium that is savvy enough to draw on the forking paths of the tradition while finding room for their own individual voices. Get Bynum started on this group and he responds with his usual enthusiastic eloquence. “Whatever balance I am able to strike between tradition and individuality I really owe to the nurturing community of musicians I came up under.” This set is a tribute to that journey. – Michael Rosenstein Ces musiciens prennent un vrai engagement sur le long terme. Ils s’appliquent à créer la musique du troisième millénaire, une musique suffisamment avertie pour s'appuyer sur les multiples ramifications de la tradition tout en trouvant l’espace pour leurs propres voix. Lancez Bynum sur l’importance du groupe et il vous répondra avec son éloquence enthousiaste habituelle : « Quel que soit l'équilibre auquel je suis en mesure de parvenir entre tradition et individualité, je reste totalement redevable envers la communauté féconde de musiciens derrière laquelle j’avance. » Cet album est un hommage à ce parcours. – Michael Rosenstein Hier ist eine Gruppe von Musikern und Musikerinnen, die nicht in kurzen Zeiträumen denken. Sie machen Musik für das dritte Jahrtausend, die sich geschickt auf weit– verzweigte Traditionslinien stützt, während sie den individuellen Stimmen genügend Raum zur Entfaltung lässt. Und wenn Bynum einmal diesbezüglich loslegt, dann mit der ihm eigenen enthusiastischen Eloquenz: „Welchen Mittelweg auch immer ich zwischen Tradition und Individualität finde, ich verdanke ihn der nährenden Gemeinschaft von Musiker und Musikerinnen, bei denen ich mich voll entfalten konnte.“ Die Musik auf dieser CD zollt dieser Reise Tribut. – Michael Rosenstein In November 2008 a re-issue of a classic and a follow up release of Steve Lantner: hatOLOGY 657 Clusone 3 Soft Lights And Sweet Music with Michael Moore – reeds Ernst Reijseger – cello Han Bennink – drums hatOLOGY 663 Steve Lantner Quartet Given – Live In Münster with 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. This e-mail message together with its attachments, if any, is confidential and may contain information subject to legal privilege. The confidentiality and integrity of e-mail communication cannot be guaranteed.

That wouls be fun. Where is that? Allan, she has a lot more going on than one line from one song. And I think she's pretty great live. UCSB In February. Part of series which also includes Sonny Rollins. Wow, close enough to seek out....

I'm going to see them tomorrow in San Pedro. Need to find some pace to eat before hand.

Telluride CO Honduras La Guardia The old Hong Kong (HKG)

That wouls be fun. Where is that? Allan, she has a lot more going on than one line from one song. And I think she's pretty great live.

Seeing her in a couple of weeks in LA...

I have the same fate.

Does the Complete Sun on Bear Family include much of that? Or are the Bear sets only by artist?

I've got a couple of the Joe Bataan's (hopefully the rest will crop up). I've got a really interesting Fania remix sampler, but it doesn't seem to be on eMusic yet. Another label that looks veeerry interesting is Emusica with something called Tito Puente Complete 78s and De Panama a Nueva York by Ruben Blades. I'll probably get me some dls from them as well. Emusica seems to be Fania as well - some things get posted as one and others as the other, but who knows why.

It's not "needs" based strictly, but they do have a tendency to give awards to folks who have some larger community or education thing going on that could also use support. I think Zenon is very involved in jazz education.

And ask him what he thinks of Cecil Taylor, and whether he thinks Cecil's work is "jazz" or not. Does he have an interest in improvised music that doesn't fit his definition of jazz? and in what ways specifically? Who does he find exploring interesting avenues these days? What does he feel is important in the act of performance, and how he prepares (or not)? What methods does he use (if any) to help him access his muse (for lack of a better term) in live improvisation?

If you go this route he'll tell you that music is like a gumbo and New Orleans is the nucleus. Ask him about the universiality of jazz music and how it has expanded from just american folk music to encompass folk music from many different cultures. If he does fall upon rote answers, then press him for detailed examples, and then address questions raised by those examples. Ask him why he thinks there needs to be a defined notion of jazz, and then follow-up appropriately.

I agree. I actually think Roscoe's isn't that good.