Adam

In Salon: http://www.salon.com/ent/music/feature/200...3/07/29/carter/ Farewell to a jazz cosmopolitan Benny Carter wasn't dark or depressed and didn't die of a smack overdose. Instead, the saxophonist, composer and bandleader had the longest and most varied career in jazz history. - - - - - - - - - - - - By Jay Weiser July 29, 2003 | "It's better to be a legend than a myth." So said Benny Carter, the Apollonian of jazz, who died on July 12 at age 95. Carter had a 75-year career as an instrumentalist, arranger, composer and big band leader. Almost unbelievably, he began recording in 1928 and didn't stop until 1996. Raised in New York's San Juan Hill neighborhood, near what is now Lincoln Center, he was a founding father of the swing era, and remained in the jazz elite for the rest of his life. Nobody in the history of jazz ever did as many things as well. His music and life had a balance among lyricism, serenity and drive. Carter was a peerless technician with a fluid sound. Along with Duke Ellington's sideman Johnny Hodges, he created the template for the jazz alto saxophone in the 1930s. Unlike Hodges, he also turned himself into a major jazz trumpeter, recorded on five other instruments, sang the occasional vocal and wrote more than 200 tunes -- and sometimes the lyrics for them. Carter was mostly self-taught. As a young player, he bought stock band arrangements and laid them on the floor to figure out how scores were put together. By 1930, according to jazz historian Gunther Schuller, he was the man that other jazz arrangers were following. With the rest of the swing generation, he helped change the clunky Western sense of musical time into something lighter and more surprising, and did it with a sophistication matched only by that other master of broken rhythms, Fred Astaire. His arranging style, displayed on "Symphony in Riffs" (1933), laid down the big-band template of contending reed and brass sections. The saxophone section charts were based on his solo alto style, featuring long, sinuous lines played in harmony. Unlike Ellington's early arrangements, which focused on color at the expense of rhythmic movement, Carter's swung. And he anticipated later harmonic trends, like bebop's famous flatted fifth chord interval. Carter's influence may have limited his success as a big band leader, since variations on his work were everywhere. But that iconic swing sound meant that his composing and arranging talents were in demand, from the BBC dance orchestra, during a mid-'30s European sojourn, to the American big bands when he returned before World War II. Hollywood called, beginning with his arrangements for the all-black musical "Stormy Weather" in 1943, and Carter became one of the first African-Americans to integrate the Hollywood studios. There's a glimpse of him in "An American in Paris" (1951), performing an alto solo on "Someone to Watch Over Me" during the cafe scene where Gene Kelly and Leslie Caron first meet. In addition to arranging for 33 movies and 20 TV series, Carter wrote huge numbers of vocal arrangements for top singers. In big-band settings, Ella Fitzgerald was often imprisoned by the soporific pop sound of her "Songbook" albums; in "30 by Ella" (1968), Carter's shifting medley arrangements freed her to improvise. Sarah Vaughan, whose two Carter albums are available as "Sarah Vaughan: The Benny Carter Sessions" (1962-63), once took a blindfold test to identify a recording. She couldn't identify the singer, but instantly recognized that it was a Benny Carter arrangement. To keep up with the latest trends for Hollywood, Carter needed a capacity to change. Many star swing-era bandleaders, such as clarinetist Benny Goodman and vibraphonist Lionel Hampton (and even Louis Armstrong in his trumpet work), remained wedded to the styles that had made them famous -- they played for the nostalgia market. While the big stars sounded dated after bebop arrived in the mid-1940s, major swing soloists with less pop success, like Carter, tenor saxophonist Coleman Hawkins and trumpeter Roy Eldridge, adjusted. To remain relevant to jazz audiences, they incorporated bebop's offbeat rhythms and more dissonant harmonies into their swing base, producing a hybrid that let them work with younger players, and that remains fresh 50 years later. Even in his last years, Carter remained open to new sounds. He liked avant-garde trumpeter Dave Douglas, and once telephoned the innovative post-swing singer Lea DeLaria out of the blue to compliment her on a radio performance. In a music that often venerates tragedy, angst and pretension -- think Charlie Parker, Miles Davis and Wynton Marsalis, respectively -- Carter's sunny spirit stood out. The bubbling "Pick Yourself Up" on the album "Cosmopolite" (1952) transforms his knotty rhythms into a clarion call celebrating resilience. Carter's ballad work was reflective, as on his composition "Blue Star" on "Further Definitions" (1961), where the tension between the solos and the lush saxophone choir communicates loss and yearning. But he rarely plumbed the depths of despair. Carter's restraint led to the cliché that his playing was suave. This had a measure of truth -- he did albums titled "The Urbane Sessions" (1952-55) and "A Gentleman and His Music" (1985). In his personal life, he was erudite, overcoming, through force of will, an eighth-grade education. Carter developed an eye for African and African-American art, with a special fondness for Romare Bearden, though he characteristically denied any special expertise. Frighteningly sharp until the end, in his last months he was working through David McCullough's biography of John Adams. Carter's aplomb was unfailing. When a longtime fan talked of enjoying music by "you boys" back in the 1930s, rather than acting offended, Carter deflected the comment by asking, "And how much older am I than you?" (The answer turned out to be several years.) As gracious and warm as Carter was, he was also driven. He needed to be, to deal with life on the road during segregation, spearhead the integration of the black and white musicians' unions in 1950s Los Angeles and succeed in the studios. An arranger had to be fast and service-oriented -- if you turned down one assignment, the client might not give you another. A tenor saxophonist and arranger from a later generation, Benny Golson, said that when he quit the studios to return to jazz, it felt like manumission. Given the press of Carter's arranging work from the late 1940s through the 1960s, he limited his public appearances to occasional Jazz at the Philharmonic concerts, but continued to lead some albums as an instrumentalist and composer. In later years, when he visited New York as a performer, he was always scrambling to complete arrangements for the next concert or recording session. His move back to performing was partly Hollywood-driven. Studio work began to dry up in the 1970s, as rock displaced jazz and singers like Fitzgerald lost their mass-market record sales. Successful enough to have a house in the hills above Los Angeles, Carter could have gone into comfortable semi-retirement. But while jazz often ignores performers in mid-career, it promotes players over 70 as "legends." For the first time, Carter had hit a P.R. sweet spot, and he made the most of it. In the early 1970s, Princeton professor Morroe Berger organized a series of workshops and concerts for Carter at the university. By mid-decade they had morphed into a touring schedule that would take him around the world. In 1976, as he approached the magic age of 70, Carter did his first album as a leader in 10 years. Playing what he liked, and acclaimed by the jazz public for it, he went on to lead 26 more big band and small group albums before retiring in 1997 at age 90. Few jazz musicians were as prolific in those years. In the late 1940s, it looked like bebop revolutionary Charlie Parker had passed him as the leading alto man, but Carter's resurgence made him more current than Parker, who had died young and recorded few LPs with modern sound quality. Ironically, the one Parker album that has remained central to the repertory, judging from radio airplay on WBGO, the New York metropolitan area's leading jazz station, is "The Charlie Parker Jam Session" (1952), a head-to-head-to-head between Parker, Carter and Johnny Hodges that displays their distinct styles at a peak. Carter's playing retains its youthful buoyancy on "Central City Sketches" (1987), which marked his first American big-band album in 20 years, updating arrangements of older compositions and including the shimmering new six-movement title suite. He thickened his tone and simplified his rhythmic filigrees, which may have been concessions to both the newer hard bop sound and his distaste for long hours of daily practice. (Like Boston Celtics great John Havlicek, Carter had the gift of getting into playing shape quickly.) After he turned 80, he used fewer fireball tempos and more sustained notes, which he shaded dynamically and tonally to convey emotion and build rhythmic tension. Carter avoided the modern tendency to play chord changes like a sewing machine -- the melody still shone through. The Grammy-winning "Elegy in Blue" (1994) vibrantly reworked the signature tunes of departed jazz greats, but it depressed Carter, by reminding him of all the contemporaries he had outlived. In the final years of his career, his tone became drier and his phrases shortened, but he remained adventurous. His last CD, "Another Time, Another Place" (1996), features an up-tempo, nearly unaccompanied alto duet with Phil Woods on "Speak Low" that would have made many younger players implode. At age 89, he flew to Thailand to play a command performance for King Bhumibol (an amateur jazz saxophonist). Carter lived for whatever he was doing next. His Los Angeles house had a wall full of awards that spilled out onto nearby tables, including the Kennedy Center Honors and the National Medal of Arts, but he resolutely refused to dwell on the past. I talked with him regularly in his last years, and everything I learned about his era I learned from books. (These included the excellent Carter biography by Morroe Berger, Ed Berger and James Patrick, who somehow got him to reminisce.) Once, at a Lincoln Center tribute concert, Wynton Marsalis dredged up a 1930s Carter composition that its author couldn't remember. "At my age you start forgetting things," Carter said. "It's the things I want to forget and can't that are the problem." Carter is an immortal in jazz, and by living to 95 in good health he even came close to that in the real world. But while mortality catches up with all of us, Carter's wit, elegance and propulsion live on, burnishing the American spirit.

Rhino is still there, except they moved a little south on Westwood. I was there yesterday. It's between Santa Monica Blvd. and Olympic. If you go there, then go south on Westwood to Pico and go West. A little bit past the 405 is the Record Trader. Jane Bunnett is good at the Jazz Bakery. Also don't forget Rocco's http://www.roccoinla.com/ Grand Performances is having some good shows for free downtown http://www.grandperformances.org/ For some new music check out line space line http://www.linespaceline.org And free shows at the Santa Monica Pier on Thursdays, so that's a good day to go to the beach and all the fun stuff on the pier: http://www.twilightdance.org/ And really you should get Mexican food, Thai food, and Vietnamese food while you are here. Can't do better at any of them elsewhere. Lots of Thai places in Hollywood. Vietnamese in Orange COunty, with some miscellaneous pho in downtown. Cheap. Mexican - try El Cholo for the full experience and the green corn tamales and margaritas; Guelagetza on 8th street near Normandie for moles, La Serenata de Garibaldi in East La or Santa Monica for everything.

Cadence's center section catalogue is organized by label one month, by last name of artist the next month, and back to label the next month. And so on. Granted I don't know when anyone looks up things by label, but I just figured someone has a reason.

good idea shrugs... I've done the leg work (or in this case, finger work) of compiling a list of all of the currently available Mosaic sets --- someone could be responsible for the list and keeping the set counts up-to-date based on information posted by fellow board members. So for example - thread 1 would have the list: Artist, Title, Available Sets, **highest know set number provided by board members** and thread 2, would be for members saying they just bought the Horace Parlan set numbered 2017 when someone else bought the Parlan set, they could QUOTE the previous post of 2017 and say their set was numbered 2024 We would need a couple of things to make this work: 1) someone willing to scan the thread 2 posts and update the master list in thread 1 2) some assistance from the BM to allow HTML formatting so that the list in thread 1 was legible (I tried to post the list in simple text format with poor results) I don't know if thread #2 is relevant because Mosaic doesn't send them out in order.

What Dan Gould said was good. Also, read through your questions, and make sure none can be answered by a simple "yes" or "no." And LISTEN to their answers. Don't be afraid to ask follow-up questions based on their answers that are not on your question list. People will tell half a story and go off on a tangent, and forget to finish the story. Give a gentle reminder to bring them back. Also, be sure to tell her exactly what it is for, send her a reminder a week before it airs, and SEND HER A COPY. You'd be amazed how frequently I'll arrange an interview for a show, and the subject will say "I did an interview for [CNN, PBS, A&E, etc) and I never got a copy." It's only polite.

Well, I wrote and asked what happened. The box sent 16 May never arrived. They sent out another on 9 July which just arrived! Hoever, the Pepper Galxy set is missing discs 5-8, and there are no booklets or discographical information of any sort with either set of discs. Actually, neither set even has a larger box. Each just has its set of 4 discs jewel cases - 4 for the Monk, and 3 for the Pepper (and one missing). This almost hasn't been worth it for me.

Alternatively, it might be like the Mingus box where all three CDs (to the best of my knowledge) were available singly, although the Alt Takes disc may have come out after a bit, and with a limited life.

LA Times: http://www.latimes.com/news/printedition/c...1,4271664.story OBITUARIES Benny Carter, 95; Legendary Saxophonist Also Was Composer-Arranger, Bandleader By Jon Thurber, Times Staff Writer Benny Carter, whose versatility as a first-rate saxophonist, composer-arranger and bandleader made him a leading figure in jazz for more than eight decades, has died. He was 95. Carter died Saturday morning in his sleep at Cedars-Sinai Medical Center in Los Angeles following a brief illness. Carter was hospitalized in late June with bronchitis and other ailments, said publicist Virginia Wicks. Although he never attained the broad public recognition of contemporaries such as Louis Armstrong, Duke Ellington and Benny Goodman, he was among the most influential players and leaders in the history of the music. Indeed, among jazz professionals and knowledgeable fans, nobody had a better reputation. "I stand in awe of the proficiency his vast experience has given him," Ellington said years ago in a tribute to Carter. "He has tremendous scope, instrumentally, musically." "He was a great man and a great human being," said Quincy Jones, the multifaceted entertainment industry figure, who was also a leading jazz composer and bandleader. "He gave lots of young guys help and encouragement, including myself." "He left the room [saturday] with the same dignity he lived with," Jones told The Times on Sunday. Critics voiced similar words of praise. "He ranks among the leading individualists in jazz, not only as an alto saxophonist, but as an arranger of exceptional skill," jazz critic Nat Hentoff said Sunday. "Nobody could arrange for a reed section like Carter. "He had the clearest alto saxophone sound that I can ever recall," Hentoff said. "It was crystalline and thrilling. He was always reaching for something new and never fell back on familiar licks." While Carter's musical talent peaked in jazz, he did not limit himself to that form. He was highly successful as a composer, orchestrator and arranger of all types of music for motion pictures and television. Although first and foremost a musician, and a man not given to crusading, Carter was one of the first blacks to succeed in the musical side of the film industry. His view was that race should have nothing to do with a person's acceptance. Once, according to an anecdote related by a biographer, a woman asked Carter: "Is your piano player white or black?" Carter replied: "I don't know — I never asked him." In 1945, Carter fought and won a legal battle against the then-common restrictive covenants that prohibited blacks from owning homes in some areas of Los Angeles. He also played a strong role in the early 1950s in uniting the separate black and white American Federation of Musicians' locals in Los Angeles. And while the consolidation of the two unions didn't fully open all the doors for blacks to do studio work, it did eliminate the exclusionary excuse that "you don't belong to the union." Sophisticated Player Although considered by fellow musicians as one of the most sophisticated and knowledgeable of players, Carter had little formal musical education and was largely self-taught. He could hardly have had a better teacher. He arranged for virtually every major big band of the 1930s and '40s, including at various times Ellington, Goodman, Fletcher Henderson, McKinney's Cotton Pickers, Charlie Barnet, Glenn Miller, Artie Shaw and Count Basie. Ironically, his own big bands — considered among the most swinging, solidly musical outfits of their time — never achieved the success of some of the lesser orchestras for which he arranged. Carter had a modest, understated view of his bands' relative lack of fame. "No band I ever had achieved a sound the general public could immediately identify," he once said. "Goodman had one, and so did Glenn Miller." Nevertheless, Carter's arrangements helped establish "the big-band sound," especially in his use of reed instruments. In later years, after the big bands went into decline, Carter did special arrangements for such vocalists as Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Billy Eckstine, Ray Charles, Mel Torme and Lou Rawls. A number of his compositions, such as "When Lights Are Low," "Blues in My Heart" and "Malibu," became jazz standards. A novelty tune that he co-wrote, "Cow Cow Boogie," became a huge hit for singer Ella Mae Morse and bandleader Freddie Slack in 1942, and the number's success is credited by pop historians with helping establish the then-infant Capitol Records as a major power in the recording industry. Carter wrote the bossa nova hit "Only Trust Your Heart," made famous by saxophonist Stan Getz and singer Astrud Gilberto. Many attributed this hit to the great Brazilian songwriter Antonio Carlos Jobim, which Carter took as a compliment. Carter's primary instrument was the alto sax, but he also was an outstanding trumpeter and performed skillfully on clarinet, trombone and piano. When necessary he could fill in as a vocalist. "He was as good as he wanted to be on anything he attempted," trumpeter Clark Terry told The Times on Sunday. "He was the king, we all respected him that much," Terry said. "Musicians called him from time to time just to recharge their batteries. He was a beautiful person." Carter was born Bennett Lester Carter, in the Bronx, N.Y. A cousin, Cuban Bennett, was a skilled trumpet player, and became one of young Carter's heroes. Carter bought a cornet from a pawnshop, hoping to emulate his cousin, but soon traded the difficult brass instrument for a C-melody saxophone. Although his mother encouraged him in his playing, she did not want him to become a professional musician. "After all," he said decades later, "jazz was a dirty word to many black people, who saw it played in an unwholesome atmosphere She would have been most pleased if I could have combined music with a respectable career, say, as a clergyman." Carter was a teenager when his family moved to Harlem and he began learning the jazzman's trade from great players such as Bubber Miley of the Ellington band. His first professional job probably was at Harlem Connor's Inn in 1923, where on the recommendation of Miley, Carter earned $1.25 a night as a substitute for another C-melody sax man. Carter played all over Harlem and Manhattan and worked with virtually all the leading jazzmen of the time. It was Willie the Lion Smith who persuaded Carter to give up the C-melody sax and take up the alto sax, an instrument on which he became one of the masters in jazz. Carter played with Earl Hines, Chick Webb, Horace Henderson and Fletcher Henderson, among other jazz legends. By the mid-'20s he was a well-established and much-sought-after sideman, playing in famous clubs like Small's Paradise. Impeccable Reputation His reputation already was impeccable. Johnny Hodges, himself a jazz giant and an alto sax player not known for his modesty, once told a colleague: "When you got time, you go to Small's Paradise and hear the greatest alto saxophone player in the world." He was talking about Carter. Carter began arranging in the late '20s, a few years after he began recording. He became an arranger of some note, working with Fletcher Henderson's orchestra, and many jazz historians say his work revitalized the band. "Carter was now the arranger everyone followed," music scholar Gunther Schuller said of Carter's time with Henderson. By 1933, he formed his first big band and won considerable critical acclaim, but was not financially successful. Carter's band included such players as Teddy Wilson on piano, Chu Berry on tenor and J.C. Higginbotham on trombone. Carter disbanded in 1934 to join an orchestra as featured soloist in Paris. He became a huge success in Europe and virtually a cult figure in Denmark. With the help of a young critic named Leonard Feather, who years later became the jazz critic for The Times, Carter was hired as a $300-a-week arranger for the BBC dance band in London, where he also led a British band on several recording sessions. In 1937 he organized the world's first international and interracial jazz orchestra for a summer residency in the Netherlands. Carter returned to the U.S. in 1938 to resume his career as a recording artist, arranger and composer. He formed a new band that played a long residency at the Savoy Ballroom in Harlem and toured the country. While on the West Coast with that band in 1943, he was asked to do arrangements for "Stormy Weather," an early all-black musical. He gave up the orchestra in 1946 to concentrate on film and television work. Over the years Carter played on more than 100 movie soundtracks and orchestrated and arranged music for scores of films, among them "The Gene Krupa Story," "The Five Pennies," "Thousands Cheer," "A Man Called Adam," "Buck and the Preacher," parts of "The Guns of Navarone" and the jazz sequences for "Flower Drum Song." He also composed background music for dozens of television shows. Carter took his last big band on the road in 1946, but continued to play as a featured soloist in jazz concerts and on recordings into the late 1990s. Ed Berger, associate director of the Institute of Jazz Studies at Rutgers University and co-author of the definitive biography of the musician, "Benny Carter: A Life in American Music," told The Times on Sunday that Carter's career was phenomenal in terms of longevity. "He is the only artist to have made an acoustic recording through an old-fashioned horn before electrical records and then lived to see his own Web site," Berger said. And in his 80s, when many musicians see a decline in their work, Carter was extremely active and vital. "He recorded 15 albums in all types of settings, duo to combined jazz band and chamber orchestra," said Berger, who also produced many of Carter's recordings and was his road manager. "He wrote and performed six extended works. His most recent was commissioned by the Library of Congress in 1996. Called 'Peaceful Warrior,' the work was dedicated to Rev. Martin Luther King Jr." That same year he completed another major commission called "Echoes of San Juan Hill," about the area of New York City where he was raised and where Lincoln Center now stands. Carter was 89 when he introduced this work and was the featured soloist with the Lincoln Center Jazz Orchestra under Wynton Marsalis. Throughout his life, the soft-spoken Carter was an elegant man with eclectic tastes and a definite style. Berger recalled Sunday that Carter was a voracious reader who was passionate about language and had a brilliant understanding of English usage. He also collected art and became an excellent cook. Beginning in the 1970s, he conducted seminars and workshops at Harvard, Princeton and a number of other colleges around the country. Carter received a variety of awards. In 1987, he was given a lifetime achievement award from the National Academy of Recording Arts and Sciences, which in many careers marks the culmination of an artist's efforts. However, Carter was nominated for seven more Grammy Awards in the 1990s, and won two. In 1996, he received the Kennedy Center Honors for an extraordinary lifetime of contributions to American culture through the performing arts. Jazz critic Don Heckman, who reviewed what were Carter's last public appearances as a player at Catalina Bar & Grill in March 1998, when Carter was 90, wrote later that he was "amazed at the quality of his playing." "There was, first of all, his sheer ability to execute the mechanical aspects of playing the alto saxophone, which require a complex combination of lip, teeth and mouth control, synchronized with precise finger movements, driven by a constant flow of breath Carter still delivered the same cooly expressive tone and subtle sense of swing that have always been distinctive elements of his playing." After that final appearance at Catalina, when friends asked when he would play again, he told them: "I'm retired!" Carter is survived by his wife of 24 years, Hilma; a daughter from an earlier marriage, Joyce Mills; one grandchild and one great-grandchild. Funeral services will be private, although public memorial services may be planned. In lieu of flowers, the family has asked that any memorial donations be sent to the Morroe Berger-Benny Carter Jazz Research Fund at the Institute of Jazz Studies, Dana Library, Rutgers University, Newark, N.J. 07102.

My recollection is that the Pepper Artists House albums are also in his big Galaxy box set. Can anyone confirm?

It does seem appropriate then that I drank some absinthe before attending the show.

Sounds logical. I wasn't following it as closely as you, so I withdraw my theory.

There's no organization like that in LA. We do need to help Rocco's try it, but he doesn't have money to fly anyone. I think we should persuade Riuth at the Bakery to have a "frontiers of jazz" week, with a few different acts, and create West Coast tours. I think the second yell was pretty much the same as teh first, and from teh same person. I think the number of fingers that KV held up was the number of bars until the next change. Who would solo next was indicated either by whom he pointed at, or was shown in the score, as there was a score for every piece. Set list: First set: Outside Ticket Knock Yourself Out Gullina (for Lars Gullin) Italiamentz (sp?) Telethon Second set: ? - sounded like Shadow - but laughter covered Oslo Fugue Breaking Point Six of One Encore: Wherever Junebugs Go

Hey vibes, Same two sets as me, but still no sign of mine...

Mnytime described very well. Rocco's moved from around the corner into this space a few months ago. It's all a theatre complex, and so the spaces are used for plays at 7 or 8 pm, whcih is why Rocco's shows don't start until 10 or 11. I have all the titles (except for one whcih got buried under some laughter) But the notebook is at home. Will bring tomorrow. The audience member's line to Tim Daisy was "You own me Tim, you fuckin' OWN me!" Now imagine that during a solo.

There are some amusing movies at the Egyptian Theatre. http://www.americancinematheque.com/mastercalendar.htm And some Bunuel films at LACMA - you can see one after the Golia show. www.lacma.org And look at the music listings here: http://www.laweekly.com/

I was there as well. Sorry I don't check this on weekends; I would have liked to say hi to all of you. I was in the front row, first seat to the left off the middle aisle. Wearing cargo pants and T-shirt, and occasionally jotting things in a little notebook. So I was a couple of seats to your left, Hack, and the next section over from you Mnytime. And I guess we all were in the front row. How's that for dedication? I thought it was a great show. I have no recollection of him in town 2 years ago with Jeb Bishop. At the Knit, huh?

What's the best place to buy the OJC SACD's?

Oh, will get most over time, but will start with Hwy 61, which somehow I've never gotten around to aquiring on vinyl or CD.

I don't even have any photos; just wanted to see some of Satchmo, but then that seemed too limiting, so post away.

I'm in LA. Not sure what else is going on that weekend. Lots of fireworks shows. Pick up an LA Weekly upon your arrival. I'll let you know if anything else of interest appears. I may try to see Golia. That show at LACMA is free by the way. And will probably be crowded, as all of their Friday jazz cocktail hours are. Lots of post-work talking. But the holiday migt alter that.

They've now charged me for the Pepper and Monk boxes, and sent an email over 3 weeks ago saying they've shipped, but no sign of them yet.

Not in your dates, but on June 29 at Rocco's, believe it or not, the Ken Vandermark 5! http://www.roccoinla.com/rocco/index.html I woudl check that link next week to see who Rocco's lines up for teh following weekend.

He also seems to be playing again at the Jazz Bakery on June 10 with a completely different line-up. http://www.jazzbakery.org/Calendar.html 6/10 8 & 9:30 PM $20 HENRY GRIMES JOHN WOOD GREG DAHL ERIC STECK

I think David got it. It might not be in print, but the Harvard library should have a copy, at the very least.

Great. I just spent about $20 to get the Soul Jazz issue. Sigh.