Mark Stryker

Long profile of Anthony Davis in San Francisco Classical Voice published February 6, 2021. "Composer Anthony Davis imagines his freedom" https://www.sfcv.org/article/composer-anthony-davis-imagines-his-freedom

Gang -- I'm hoping many of you can join us virtually for the Jazz From Detroit: Virtual Music Marathon on February 27. A little over two years ago I received a Knight Foundation grant to partner with the Detroit Symphony Orchestra on a series of play-and-talk performances that I would host and which would feature multiple generations of Detroit musicians. We had originally planned on a May 2020 festival with performances on consecutive nights, but the pandemic of course forced us to postpone until November, when the surge in the virus forced us to again pivot. But the solution we've come up with is fantastic. The press release is below. I'm really proud of the artistic quality of the line-up we've put together -- Charles McPherson, Robert Hurst, Regina Carter, Marcus Elliot, Michael Malis -- and the film and audio production is really state-of-the-art. (We've been filming over the last few months.) —Jazz from Detroit: Virtual Music Marathon— DSO Digital Concert hosted by Mark Stryker celebrates Detroit’s landmark jazz legacy, Saturday, February 27 Feb 03, 2021 - Online festival experience features performances by and interviews with star-studded lineup including Charles McPherson with Randy Porter; Robert Hurst’s Black Current Jam; Balance: Marcus Elliot and Michael Malis; and Regina Carter and Xavier Davis duo - CUBE | Digital event on DSO Digital Concerts streamed exclusively on dso.org from 2–7 p.m. Detroit, (February 3, 2020) – This February, the Detroit Symphony Orchestra (DSO) continues its CUBE | Digital series on DSO Digital Concerts with a celebration of Detroit’s landmark jazz legacy. Jazz from Detroit: Virtual Music Marathon will be streamed exclusively on dso.org on Saturday, February 27 from 2–7 p.m. Hosted by award-winning author of Jazz from Detroit Mark Stryker, this five-hour event will feature performances by Charles McPherson (alto saxophone) with Randy Porter (piano); Robert Hurst (bass) and Black Current Jam; Marcus Elliot (saxophones) and Michael Malis (piano) performing as Balance; and Regina Carter (violin) and Xavier Davis (piano). The marathon event will also feature artist interviews conducted by Stryker. A complete schedule with exact set times will be published online the week of the event. “The musicians in the marathon reflect the full sweep of Detroit’s extraordinary jazz legacy,” said Stryker. “Alto saxophonist Charles McPherson is one of the heroes to emerge from the city's legendary bebop explosion of the 1950s, and he remains at the top of his game in 2021. Violinist Regina Carter and bassist Robert Hurst came to international stardom in the 1980s and ‘90s. Saxophonist Marcus Elliot and pianist Michael Malis are among the leading lights of Detroit’s scene today. Taken together, these special performers illustrate the past, present, and future of one of the greatest jazz cities in America.” Chris Harrington, Senior Director of Jazz and @ The Max for the DSO, said, “We're thrilled to partner with Mark Stryker on this one-of-a-kind virtual music marathon that celebrates Detroit's rich jazz legacy. Thanks to the generous support of the John S. and James L. Knight Foundation and Fred A. and Barbara M. Erb Foundation, we were able to capture these performances with our 4k ultra-high-definition cameras in Orchestra Hall—the venerable and acoustically perfect concert hall in Detroit where jazz has been presented for nearly half of its 100-year history. The DSO has the distinction of being one of few major American orchestras that regularly presents jazz on its mainstage and hosts a robust jazz education program that has nurtured the careers of some of the top musicians on the scene today, including Marcus Elliot and Michael Malis.” DSO subscribers and select donors receive access to all DSO Digital Concerts. Single tickets for Jazz from Detroit: Virtual Music Marathon are available for $9. The marathon will be available to watch live and then on-demand for two weeks. To purchase single tickets, please click here. All DSO Digital Concerts can be viewed exclusively on dso.org via computer, mobile device, or smart TV. Click here to view a full list of upcoming digital events. CUBE | Digital is supported by Peter D. and Julie F. Cummings, Ford Motor Company Fund, Community Foundation for Southeast Michigan, and the John S. and James L. Knight Foundation, with additional support from Quicken Loans and the Boston Consulting Group. For a limited time, pick up a copy of Jazz from Detroit by Mark Stryker as part of a special edition DSO Gift Box, which also includes DSO-branded items and Detroit-made food products. For more information, visit dso.org/shop. __________ JAZZ FROM DETROIT: VIRTUAL MUSIC MARATHON CUBE | Digital Saturday, February 27 from 2–7 p.m. Join us online for a marathon festival experience that celebrates Detroit's landmark jazz legacy hosted by Mark Stryker, award-winning arts reporter and author of Jazz from Detroit. The event will feature performances by and interviews with Regina Carter, Marcus Elliot & Michael Malis duo, Black Current Jam, and Charles McPherson.

Here is the original AARP profile by John Colapinto that sensitively details the course of the disease and its impact of Tony's life -- what he can do and what he can't, what he remembers and what he doesn't. Highly recommend folks read these, not only for a window into Tony' life specifically but also more generally the realities of Alzheimer's. .https://www.aarp.org/entertainment/celebrities/info-2021/tony-bennett-alzheimers.html

Interesting, though I probably don’t have to point out that I am the sort of high-interest, knowledgeable consumer who is absolutely willing to pay a premium for reissues that I don’t have to fucking EQ myself. In a sane universe, that would be the company’s responsibility.

Thanks for the insight, folks. Starting to search around and found the worst eBay value ever -- a version of this set is available for $75, except no box, no book and -- wait for it -- disc four is described as "broken and unplayable."

I have the two Columbia 2-CD sets from the early 90s title “The Duke’s Men Vol 1 and 2.” Nicely annotated but not crazy about the early digital transfers (CEDAR). So, what are the quality options on CD or vintage LPs for this material? I have the RCA small group stuff 1940-46 on French black and white LPs — off-the-charts great musically and sonically, but I’m looking for the the stuff on the Columbia family of labels in better sound.

I'm not a "45 guy" so it struck me as odd in context -- I came upon it after flipping through maybe 100 or more 45s all with a big center whole. So I noticed it right away. I have to get it digitized. I have a friend who can help. Don't hold your breath, but I'll put it on my to-do list. A lot of folks want to hear this -- including guitarist Anthony Wilson, who I'm sure you know is Gerald's son.

Kamala Harris was a board member of SF Jazz at one point. I think that her interest in the music has come mostly through her husband, but I could be wrong.

Yeah - thanks!

Hmm. I can see it in my post. Let me try again here:

Rara Avis I was flipping through the jazz 45s at Street Corner Music yesterday in Oak Park, Mich. (just north of Detroit), and came across this remarkable find. The first thing that caught my eye was that it doesn't require the standard 45 rpm adapter. Then I saw that that the artist was Detroiter Gerald Wilson. Then I saw that the tracks are rehearsals/studio chatter. Fantastic to hear Gerald in his prime at 45 years old in 1964 working with the cats on the music. David Brent Johnson reminded me of a discographical note included in the Gerald Wilson set on Mosaic for the January 8, 1964 session: “A promotional 45 single for radio (Pacific Jazz 100) was issued with edited versions of “Caprichios” and “Eric” with some studio chatter and section rehearsals. The master tape of the rehearsal sequences no longer exist.” I know that this copy came out of the collection of a former disc jockey. I assume the label put it out as promotional item that DJs could play on the air as a special feature -- akin to the practice of labels issuing promos of radio-specific artist interviews and related tracks. In any case, what a cool treasure. One other quirk -- one side is 45 rpm, the other is 33-1/3. Oh, yeah, I paid exactly $1.

Are we even sure it's a BN related box? Despite the thread title, Brad's initial post says he got no info from Scott other than "Joe Henderson." Granted, it's hard to think of a label oriented package other than BN that Mosaic could do as it would apply to Joe, but still, I'd like to find out what exactly they're planning before having a cow. Having said that, a straight up Joe as a leader on BN in the 60s (or even with the 80s included) would be a drag considering how available all of that music has been. Then having a cow is a reasonable response -- unless they hire me to do the liner notes, in which case such a box would be the greatest idea ever. .

Thanks all ...

This is extremely helpful, thanks. A quick follow up — is in fact the Queen material all or mostly broadcast recordings. Some appeared to be studio as I checked against discographies and YouTube, but it’s confusing when you get into the weeds. In terms of sound, I’m mostly interested in avoiding inferior digital transfers (CDs) or fake stereo or otherwise truly awful pressing (LPs). Normal bootleg sound for broadcast material is not a problem and I’m cool with just decent studio sound if it’s getting me material I don’t have.

OK, I've come to realize just how much pre-war Basie material there is that appears to have fallen through the cracks of what I have. This has led to some ruminating and some questions about how to fill in the gaps without too much duplication and questions about sound quality on various options.. Here's what I have: Decca: The complete Deccas on the 3-CD set on GRP -- not great sound, though not the worst considering the early '90s noise reduction. Columbia and related labels: The 4-CD box "America's #1 Band," plus the two-LP set "Super Chief," the Mosaic Lester Young/Basie box and the complete run of the "Lester Young Story" 2 LP sets on Columba that include Basie material. 1. First, can anyone vouch for the sound of the LPs on the Italian label called Queen? I saw a small handful of them today for not much money and a couple at least would fill in some holes c. 1940-42. 2. Any recommendations for getting the Deccas in better sound on CD or LP? 3. Any recommendations on the best way to fill out the Columbia material? Is the best approach is to pick up the Chronological Classics when I can find them (which I suppose would also fix my Decca issue) or is there another approach on CD or LP that I'm not aware of that might get me everything I have and want in better sound? ,"

Closing the circle on the set substitute rhythm changes that I always hear someone play with the Vanguard Jazz Orchestra on "The Little Pixie." Major 7th chords descending by minor thirds in the first half of the A section starting on the tonic, Chromatically ascending ii-Vs in the bridge starting with III7. So in the usual rhythm changes key of B-flat First four bars of the A section: B-flat major 7 / G major 7 / E major 7 / C-sharp major 7. Bridge: A minor7 / D7 / B-flat minor 7 /E-flat 7 /B minor 7 / E7 / C minor 7/ F7. Doing research for my book, I learned that they first appear on record on "Cotton Tail" on a 1956 recording, "Kenny Clarke meets the Detroit Jazzmen," where Pepper Adams plays them starting after the bass solo. I've cued it in the clip below. (Kenny Burrell has a crack at them too after Pepper.) That kind of symmetrical movement in minor 3rds was some advanced shit for 1956, uncommon in jazz before Coltrane. The question is: Who came up with these changes? I had assumed it was Pepper, since he plays them on the record (and it was typically baritone saxophonist and Pepper-acolyte Gary Smulyan who played them with the Vanguard band.) However, Adams biographer Gary Carner told me that Detroit bassist Ken Kellett once told him that they originated with Yusef Lateef. Adams apparently told Kellett that he had gotten the changes from Lateef. Still, I’m a bit skeptical that the whole story isn’t a little more serpentine. I don't know of any recorded example of Lateef playing "Rhythm" changes with these chords. That's not an automatic disqualifier, but it would be odd if Lateef never used them himself. On the other hand, Lateef was studying at Wayne State in the middle '50s and could have been familiar with minor-third root movement from modern classical composers. I wonder what exactly Yusef told Pepper. Did he in fact present this chord progression as a literal substitute for "Rhythm" changes or did he merely indicate he was exploring major 7th chords moving by minor 3rds in some other context and then Pepper himself made the leap to apply them to songs like "Cottontail" that are based on "I Got Rhythm”?

https://www.npr.org/2021/01/12/953964352/equal-at-last-women-in-jazz-by-the-numbers

Howard Johnson for Miller Lite.

When the revolution comes, we'll all drive Volvos.

It's Wright and not Farrow -- the caption is incorrect in Before Motown. Coda: I also used this photo in Jazz From Detroit,

https://www.freep.com/story/entertainment/music/brian-mccollum/2021/01/07/blue-bird-inn-detroit-music-jazz/4011158001/?fbclid=IwAR3LnQGemxzbuL1IpNtbKotqcJMLGi0E04sKMWPjdMHSrOI_IpnHaL3FaAo

Baseball is the greatest game. R,I,P Tommy Lasorda. "He can't get the fuckin' left handers out for Christ O'Fuckin' Mighty."

Long NYT Magazine profile of Tyshawn Sorey by Adam Shatz. I intentionally posted this here n the Artists forum rather than Jazz in Print or Classical because to have slotted it into one of the categories seemed a betrayal of Sorey's aesthetics. and the theme of the piece. https://www.nytimes.com/2021/01/07/magazine/tyshawn-sorey.html

God, I can’t wait for this year to be over. R.I.P. to a fine musician and by all accounts a lovely person.