Adam

It's that danged new math.

Mnay moons ago I suggested to TomatBlueNote that he could essentially redo "The Connection" for BN, with Redd, McLean taking songs from that, and other songs. He wrote back "interesting idea" and that he woudl mention it to Michael, but nothing ever came of it. Freddie Redd is definitely around and playing, but never is well off.

LA Times calls him 73. http://www.latimes.com/news/local/la-me-mc...1,3697606.story Jackie McLean, 73; Saxophone Great Played With Jazz Legends By Jon Thurber, Times Staff Writer April 2, 2006 Jackie McLean's introduction as a player to Birdland in New York City would become a legendary story in jazz. A protege of both pianist Bud Powell and saxophonist Charlie Parker, McLean was building a solid reputation in small bands in Harlem as an emerging force on saxophone. He was not yet 21, however, and was plenty nervous when he showed up at Birdland one night, not to listen to the great musicians that came through town — as he often had over the years — but to play. He walked into the club, found the band's leader, trumpeter Miles Davis, and introduced himself. And then McLean discovered that the rest of the group that night consisted of Art Blakey on drums, Percy Heath on bass, Horace Silver on piano and Gene Ammons on tenor saxophone. All of them would become legends of jazz. "Miles pushed me out to play the first solo," McLean recalled in an interview with the Hartford Courant some years ago. About eight bars into the solo, McLean had an overwhelming feeling, and it wasn't good. He put down his horn and dashed backstage, where he found a convenient garbage can, leaned his face into it and let go. As he pulled his head out, the owner of the club, who was looking on in amazement, threw McLean a towel and said, "Get the hell back out there!" "So I wiped my mouth," McLean said, and headed back on stage. The rest of the players "were all just standing there," he said. "It was like time stopped, like a dream sequence. Nobody was playing, just the rhythm section. I went back out and finished playing my solo." McLean said the audience gave him a wild ovation. "It was like they thought, 'Hey, here's a guy who throws up and plays.' " From that mixed beginning in 1951, McLean, who died Friday at his home in Hartford, Conn., at 73, built a career as one of the great saxophonists, composers and educators in jazz. He had been in failing health for some time, family members said, but they did not announce the cause of death. The same year that he played with Davis at Birdland, he joined the great trumpeter in the recording studio for an album called "Dig." The title came from an original composition by McLean, who was on his way to building a national reputation. Over the next two decades, McLean produced an extensive body of recordings for the Prestige, New Jazz and Blue Note labels. The Blue Note recordings, including the albums "Jackie's Bag," "A Fickle Sonance" and "Let Freedom Ring," helped define the pioneering sound of the label in the early 1960s. He also worked with most of the A-list figures in jazz during that period, including bassist Charles Mingus and Art Blakey's Jazz Messengers. McLean's sound was distinctively his own: slightly sharp with a great intensity. He was one of the few bebop-oriented players from the early '50s to explore the improvisational free jazz movement of the early '60s. A New York Times critic once said McLean "expanded the language of bebop with his own musical vocabulary. He produced a searing tone and was one of jazz's most expansive innovators." McLean told writer Zan Stewart that the most distinctive quality of his playing was his tone. "It's like an alto, but it's really a tenor coming from the inside of me," he said. "If I hadn't heard Bird [Charlie Parker], I would have switched to tenor, because I was in love with Dexter [Gordon], Ben Webster, Lester Young and the others." By the late 1960s, straight-ahead jazz was in a downward cycle and so was McLean, who for several years had been dealing with a heroin addiction that he once told Chicago Tribune critic Howard Reich "happened before I knew it." McLean kicked the drugs and devoted his energies to other pursuits. He visited prisons to counsel drug users and moved to Hartford, where in the late 1960s he developed what is now the Jackie McLean Institute of Jazz at the University of Hartford's Hartt College of Music. It was one of the first strong jazz programs in the country. Throughout the rest of his life, his main focus would be on jazz education. In the 1980s and '90s, McLean returned to a more active performing schedule that included playing with his son Rene, also a saxophonist. In addition to his wife and son, McLean is survived by daughter Melonae; another son, Vernone; five grandchildren; and several great-grandchildren. Born in New York City, McLean grew up in Harlem, where his childhood friends included such future jazz stars as saxophonist Sonny Rollins, pianist Kenny Drew and drummer Art Taylor. McLean recounted much of his life in music as one of the interview subjects in Ken Burns' 10-part PBS documentary series "Jazz," which aired in 2001. That year the musician was also recognized as an American Jazz Master by the National Endowment for the Arts.

R.I.P. Sigh. Seeing Jackie with the Dynasty band at Catalina's at some point in the mid-90s was one of my most memorable shows, an event that truly turned me on to jazz. Oh, I don't know what to say.

What is Dime?

That sounds pretty darn great. there was, alas, no arm-in-arm duo singing in Los Angeles!

You should see the supersized version.

Which might lead one to extrapolate that Lion was trying to find a BN equal to Olatunji, since Drums of Passion was so popular. But Drums of Passion was 1959, five years before the Ilori sessions, a rather long gap that works against that theory.

2 more

i can't get the size quite right. Well, i'll post a few of these small ones. the next size up seems to be too large.

here's one

OK, let's see if I can post a few...

that was splendid. thanks!

Hey, in today's naive question, what defines a "bread and butter" pickle? Why are they called that?

I ordered it too. I'm not finding it under Miles Davis. Could it already be sold out? Just ordered it. It's not yet listed under Miles Davis, but is listed under Jazz - New Arrivals. Or just go here: http://www.yourmusic.com/browse/album/Mile...=BROWSE_010_NEW Thanks. I just ordered it. Damn you all!

I ordered it too. I'm not finding it under Miles Davis. Could it already be sold out?

Pm sent about Coltrane Live in Europe & Miles 2nd Quintet boxes.

For those of you not caught up seeing all the minimalism concerts, I've seen this monster once at LACMA, and it really is something once it lumbers into motion! The Vinny Golia Large Ensemble Friday, March 31, 2006, 8:30 Saturday, April 1, 2006, 8:30 REDCAT http://redcat.org/season/0506/mus/vinny.php Tremendous music, great vibrating blocks of sound that you could stack right up against the more intense moments of Messiaen or Ives. L.A. Weekly Vinny Golia: one of 100 people who have influenced the course of jazz in our century. Jazziz Creative music on a grand scale from the celebrated composer, multi-instrumentalist and bandleader and his 40-member orchestra. Featuring some of the most daring players in Los Angeles, the ensemble plays Golia’s meticulously structured compositions laced with accompanied and unaccompanied solos and group improvisations. Special Guests Friday, March 31: Nels Cline and Jeremy Drake, guitars Saturday, April 1: Harris Eisenstadt, Randy Gloss, Andrew Grueschow, Alfred Ladzekpo, and Austin Wrinkle Vinny Golia Large Ensemble: woodwinds; Steve Adams, Vinny Golia, Alan Lechusza, Andrew Pask, Bill Plake, Cory Wright, Christine Tavolacci, piccolo, flute, alto flute; Brian Walsh, Bb, bass clarinets; Kathryn Pisaro, oboe, English horn; Sara Schoenbeck, Tara Speiser, bassoon; Daniel Rosenboom, piccolo trumpet, trumpet; trumpet, flugelhorn; John Fumo, Jeff Kaiser, Kris Tiner, trombone; Bruce Fowler, George McMullen, Mike Vlatkovich, bass trombone; Phil Teele, Jennifer Jester, euphonium; William Roper, tuba; David Johnson, mallets; Brad Dutz, percussion; Ches Smith, drums; Wayne Peet, piano, keyboards; violins; Johnny Chang, Eric km Clark, Andrea Hammond, Ronit Kirchman, James Mark, Melinda Rice, Harry Scorzo, Harris Wulfson, viola; Cat Lamb, Cassia Streb, cello; Rachel Arnold, Jessica Catron, Jonathan Golove, Aniela Perry, bass; Ken Filiano, Joe McNalley, conductors Vinny Golia, Marc Lowenstein, DVD: The Vinny Golia Large Ensemble: 20th Anniversary Concert, Nine Winds NWDVD 250 http://www.ninewinds.com/ REDCAT is located at 631 West 2nd Street, Los Angeles, CA 90012, at the corner of 2nd and Hope Streets inside the Walt Disney Concert Hall complex. Parking is available in the Walt Disney Concert Hall parking structure and at adjacent lots. Tickets can be purchased by phone at 213.237.2800, on line at http://www.redcat.org, and in person at the box office at the corner of 2nd and Hope Streets in the Walt Disney Concert Hall complex, Tuesday-Saturday, noon-6 p.m., and two hours prior to curtain.

Oh, here are the first half of Joel Dorn's liner notes, to explain things: "I love liner notes. Love to read 'em, love to write 'em. Sadly, fewer and fewer albums these days have liner notes. What you get now are a couple of pictures, maybe a lyric or two and the credits. But any album I have anything to do with is gonna have liner notes. Except this one. "If there's one thing this album doesn't need, it's any words of explanation. This music comes from the epicenter of the core of what Black American Music is all about. When you listen to Gospel Music, I guarantee that without even knowing it's doing it, your brain will write its own liner notes. That's how perful this music is. "The only thing this album needs is your ears and your heart. "Keep a Light in the Window, Joel Dorn, Fall 2005"

Please allow me, a by no means avid Rich fan, to recommend this big band side as a good starting (and perhaps finishing) point: Of all his PJ big band sides (and I've heard them all in-depth, since they were very much "in the air" when I first got into jazz as a high schooler), this one, overall, has the best charts, and most tasteful readings. Swings like a mofo on more than a few occasions, too. Good stuff, and I've even thought about rebuying it. OK, I'll try it. But a question. after years of reading critics & buying, I've become wary of anything described as "tasteful," which now seems to mean conservative & restrained. Please tell me that it's not too tasteful.

I do like the Supreme Angels - the material they did at Nashboro was very good indeed, though their mostly live album was the best of the lot. Like you, I've been listening to gospel music for decades and have about 300 albums. The field is as wide as jazz but under-explored. I have little pre-war stuff; am just getting into Document records; in the past few weeks have bought both of their Rev J C Burnett CDs and the first 4 vols of Rev J M Gates complete recordings. Prime recommendations for people who want to look a little deeper: Best of the Pilgrim Travelers - Specialty The Soul Stirrers - Shine on me - Specialty (pre-Sam Cooke material) Best of Dorothy Love Coates & the Original Gospel Harmonettes - Specialty (Bet this stuff is the first to go when Concord get fed up with maintaining the huge Fantasy catalogue.) Rev James Moore - Live in Detroit - Malaco The Georgia Mass Choir - They that wait - Savoy Rev James Cleveland & the Angelic Choir - Peace be still - Savoy And for Detroit fans, as well as Moore, there's Donald Vails' Choraleers - a good bit of material on Savoy. MG Thank you Mag Goldberg, Allen Lowe, Jim, John L for the suggestions. I do already have all three of those Specialty discs that you list above, along with : Greatest Gospel Gems (Specialty) Swan Silvertones - Love Lifted Me/My Rock (Specialty) The original Blind Boys of Alabama - Oh Lord, Stand By Me/Marching Up to Zion (Specialty) Sam Cook with the Soul Stirrers (Specialty) Mahalia Jackson - Recorded Live in Europe (Columbia); The Apollo Sessions (Pair Records Portraits) The Great Gospel Women (Shanachie) Jubilation - vol. 1 & 2 (Rhino) Marion Williams - Through Many Dangers (Shanachie) The Best of the Five Blind Boys of Mississippi - Millennnium Collection (MCA) The Blind Boys of Alabama - Spirit of the Century (Real World) Sweet Honey in the Rock - Still on the Journey (Earthbeat!) The Gospel Sound (Columbia) The Abyssinian Baptist Gospel Choir - Shakin' the Rafters (Columbia) Sanctified Jug Bands (1928-1930) - (Document) American Primitive Vol. 1 - Raw Pre-War Gospel (Revenant) So as you can see, lots of comps, along with Specialty material, and nothing from Peacock or Malaco or Savoy. I'm looking forward to these new discoveries.

I went to Amoeba tonight to look at what there might be. There were several inexpensive Peacock compilations, each with only 10 songs on each. I didn't bite those tonight. But I did buy this Hyena disc. Haven't listened to it yet. But there sure are a lot of Document discs to go through. I have several of the Soecialty discs, but lord there is a lot to learn. When you have a chance Clem, please throw us the titles of 3 or 4 discs that might be good to check out. They can each be one group, as opposed to comps.