Hardbopjazz

looks like him but I’m not 100% sure

I plan on going to Thursday's sets. Michael Weiss posted this photo on Facebook.

Happy Birthday.

RIP, Bill.

I remember him well. RIP, Dan.

Happy Birthday.

Happy Birthday.

Saturday night I went and saw Joanne Brackeen live at Mezzrow. She was supposed to be playing with bassist Richie Goods. For whatever reason he wasn't there last night. Richie Goods did play with Joanne the night before. In his place was Lonnie Plaxico. It seemed to have been a last minute substitution.The first set was 25 minutes late in starting to call an available bass player. With that in mind, do the musicians just rely on playing standards that you're sure each will know? Joanne paused before each tune and then call out a standard and Ronnie would node and off then went. Edited 34 minutes ago by Hardbopjazz

Happy Birthday.

RIP, Matt.

Happy Birthday.

Thanks.

Despite her rough demeanor towards musicians and those in the audience, she did run one of the greatest jazz clubs in the world. RIP Lorraine. https://www.nytimes.com/video/obituaries/1194834005243/last-word-lorraine-gordon-obituary.html?src=vidm By Tim Weiner June 9, 2018 Lorraine Gordon, who took over the Village Vanguard, New York’s oldest and most venerated jazz nightclub, in 1989 and remained its no-nonsense proprietor for the rest of her life, died on Saturday in Manhattan. She was 95. The cause was complications of a stroke, said Jed Eisenman, the longtime manager of the club. “Wherever I happened to be,” Ms. Gordon said in a 2007 interview with The New York Times, “music was always with me.” Ms. Gordon was married for 40 years to the Vanguard’s founder and owner, Max Gordon. But she had been a jazz fan long before she met him. She fell in love with jazz as a teenager in the 1930s, listening to it on WNYC radio. The music pierced her soul, she said, “like a spike in my heart.” It was the start of a lifelong romance. “I was lucky,” she said. “I was attracted to something wonderful which appealed to me.” She made her first trip to the Vanguard in 1940, when she was 17 years old and a member of the Hot Club of Newark, a society of jazz enthusiasts. Not long thereafter, she met her first husband, a fellow music lover: Alfred Lion, the founder of Blue Note Records, a leading jazz label, where she would work selling the music during and after World War II. Nine years after that first visit to the Vanguard, having divorced Mr. Lion but still in love with jazz, she married Mr. Gordon. More than seven decades later, long after Mr. Gordon’s death in 1989, she was still running the club — booking performers, counting the receipts, taking no guff and keeping the flame. “When I have to make a decision,” she joked, “I ask, ‘What would Max do?’ Then I do the opposite.” The Vanguard remained essentially unchanged throughout the decades after Mr. Gordon opened it at 178 Seventh Avenue South in Greenwich Village in 1935: a wedge of a room, one flight down from the sidewalk, seating 123 people. The club has always had immaculate acoustics; more than 100 records recorded live at the Vanguard by musicians like John Coltrane, Bill Evans, Sonny Rollins and Wynton Marsalis attest to that. A good table put a customer practically face to face with a great musician. There were very few bad tables. More on the home page of the Vanguard. https://villagevanguard.com/

Happy Birthday.

RIP, Anthony. Too bad you didn't get the proper help for your depression.

The trifecta.

Has this been discussed here? This is great!!! https://www.theguardian.com/music/2018/jun/08/lost-1963-john-coltrane-album-discovered 'A new room in the Great Pyramid': lost 1963 John Coltrane album discovered An album of previously unheard original compositions by the legendary jazz saxophonist has been discovered, 55 years after its recording Ben Beaumont-Thomas @ben_bt Fri 8 Jun 2018 00.00 EDT Last modified on Fri 8 Jun 2018 02.38 EDT Share on Facebook Share on Twitter Share via Email Shares 4,494 4494 Comments 211 A new treasure trove … John Coltrane’s Both Directions at Once: the Lost Album is released on 29 June. Photograph: Chuck Stewart Photography, LLC A lost album of originals by John Coltrane, the American saxophonist who took jazz to new heights of freedom and expression, has been unearthed. The album, being released on 29 June as Both Directions at Once: the Lost Album, was recorded in a session on 6 March 1963, at the Van Gelder studios in New Jersey. Joining Coltrane in the quartet that also recorded classic albums such as A Love Supreme, Coltrane, and Ballads, are Jimmy Garrison on double bass, Elvin Jones on drums, and McCoy Tyner on piano. The master tape left in the studio was lost, and it’s likely it was destroyed in the early 70s when the label, Impulse!, was trying to reduce storage fees. But Coltrane gave his own reference tape of the recording to his wife Naima, despite their then disintegrating relationship – the pair divorced in 1966, and the tape has stayed in her family’s possession ever since. Sonny Rollins, a peer of Coltrane’s and also regarded as one of the greatest jazz saxophonists of all time, described the discovery as “like finding a new room in the Great Pyramid”. Among the seven tracks are two completely unheard original compositions, called Untitled Original 11383 and Untitled Original 11386, both of which are played on soprano saxophone. Another composition, One Up, One Down, has been heard only in a live bootleg from the Birdland jazz club, and never before in this studio version. The sessions capture Coltrane at a crucial juncture in his music. It was still two years before Ascension, where he opened up his quartet into an experimental, spiritually minded big band, but he was already heading towards its “free jazz” sound. Impressions (1963), recorded across the previous two years, features some unmoored and raw soloing quite different from the previous bebop era. Nevertheless, he was still in love with melody: Ballads, recorded during the same period and also released in 1963, features some of his most accessible material. The 11386 recording similarly sees the quartet play in a traditional style, revisiting a melodic chorus theme between solos, and the album also features Coltrane’s first, never before heard version of Nat King Cole’s Nature Boy – unlike the freer 1965 version, the Both Directions at Once version is a straight three-minute take without solos. Ben Ratliff, former New York Times jazz writer and author of Coltrane: the Story of a Sound, told the Guardian: “This is Coltrane’s quartet starting to move into the last stages of their stable and authoritative phase, when they were often playing the same handful of songs. There’s no concept or grand design here. But he’s trying some new tunes, and playing a strange blues, and fine-tuning Impressions – and that’s a lot.” Both Directions at Once was recorded at an intensely fertile time for Coltrane and his quartet – as well as Ballads and Impressions, he also released a collaboration with Duke Ellington in 1963. The lost session was recorded during a two-week run of shows at Birdland – Coltrane played the club straight after the session – and the following day, 7 March, he recorded the album John Coltrane and Johnny Hartman with the jazz singer (its tracklisting changed on the way to the studio, after the pair heard Nat King Cole singing Lush Life on the radio and decided to include their own version). Saxophonist Wayne Shorter, interviewed for the album’s liner notes, says the title Both Directions at Once came from a compositional tip Coltrane gave to him: “about starting a sentence in the middle, and then going to the beginning and the end of it at the same time.” The Guardian’s jazz critic John Fordham finds another meaning: “Coltrane was looking back at bebop – the virtuosity and melodic resources of which he had stretched to breaking point – and the song-based lyricism of jazz he had recently explored with Duke Ellington, and was about to with Johnny Hartman. But he was also looking forward to imagining the more intense, mantra-like, spiritually-driven music that produced A Love Supreme in 1964.” British jazz and improv saxophonist Evan Parker meanwhile told the Guardian: “This release is most welcome – the ‘classic quartet’ was where Coltrane did his best work.” He picked out Coltrane’s interplay with drummer Elvin Jones as being “the core of the music ... which reached astonishing levels of intuitive understanding.” Ratliff adds that “most of all, Both Directions at Once is a study in how seriously strong the band was, and how powerful his intent, or his concentration, had become.” Since you’re here … … we have a small favour to ask. More people are reading the Guardian than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help. The Guardian’s independent, investigative journalism takes a lot of time, money and hard work to produce. But we do it because we believe our perspective matters – because it might well be your perspective, too.

Happy birthday.

Happy birthday.

RIP, Clarence.

RIP, Reggie.