lkaven

Those Minton's recordings, I believe, were recorded by WKCR as a live-on-disk program. The recordings were made at Minton's, and a runner would relay disks the couple of blocks to the WKCR studios at the end of each disk, where they'd get broadcast. There's more than one of the series, and one of them does have Charlie Christian on it. Wish someone could have been there to record every night. Luke

Zaid Nasser is seriously overlooked in my view. I'm going to try to remedy that. Luke

Thanks. I'm looking forward to my copy. This was one of the sessions where the late David Baker (the recording engineer) was brought in to consult. Baker taught me a lot about old school recording, and a few van Gelder tricks, as best we know them. In the end, there's a certain amount of alchemy; one experiments until one can get something nice with whatever one happens to be given. In my sessions, the musicians are always in a natural performance situation. There's no isolation. It often works best when the musicians are close together, believe it or not. Instruments are close-miked, with the object being a naturalistic rendering, but not a purist rendering (2-mic stereo). I pan the instruments to correspond to real space to preserve ambience and timing cues. [i dislike ultra-wide panning, and timing cue anomalies induce nausea.] I mix live to stereo in the studio and put it down dry, with no EQ or f/x. In William's session, we had William, Dwayne, and Mark in tight the way they'd be on the bandstand. You can hear the snare rattle. Dwayne set up a speaker for the bass back behind the drummer. At first, I hesitated to use it, but then decided to try to work creatively with it. Baker miked the guitar using his trick, with a Coles 4038 ribbon out front of the amp (which by the way, had some abberations which we managed to turn to advantage), null plane facing the drum kit (a ribbon mike is used because it has a near-perfect null on the sides, and it smooths out high frequency harshness from the amp), and a Sennheiser MD421 in the back of the cabinet with phase reversed. Then we took the two guitar mikes and panned them to L and Center respectively, to give the guitar a spread. We used a Neumann M149 on the bass very close to the drums, but with the highs rolled off, in order to reduce the high-frequency "directional cues" from nearby cymbal taps. One side effect of this is to emphasize the "feeling" of the drum hits around the room. In the final mastering step, a little sculpting is done on the overall mix, then a convolution reverb is applied using an impulse response sample from a warm wood room. The reverb was tuned fairly extensively to resonate with the frequency of the bass notes and add sustain. Lastly, roughly 3 dB of fast compression is applied to bring out the instruments. Right now, I'm extremely happy with the sonics on the new Sacha Perry release coming up in a couple of months. I've been experimenting with a technique for miking the bass that I saw in a photo taken at van Gelder's. He puts an RCA 77 down near the floor angled up about 45 degrees towards the bridge. It took me a while to figure out why in the world he did it that way, and eventually I realized. You have to understand that this is miking an instrument that sits directly next to the drums...think Elvin Jones or Art Blakey, and you know what I mean. How the hell did he get the kind of separation on the bass? I realized that, besides rolling off the highs, which we can hear he did, he also made brilliant use of the naturally near-perfect nulls of the 77, a ribbon mike with a figure-of-eight pickup. The drums are almost invisible to the side of the ribbon mike. But why at 45 degrees and why there exactly? Turns out it minimizes reflections from the floor and ceiling as well by about 50%. And it covers the bass beautifully. I think I did more justice to Ari Roland's arco sound this way. Luke

Hi Nate, I think we pretty much agree on the William Ash record. I think while it isn't ground-breaking, the level of playing is way out in front. William picked up his stuff from playing with C Sharpe (a year long engagement in C's band when he was 16, fifteen years ago) and Frank Hewitt (in Frank's Sat nite quintet), and what he does is actually pretty deep. He just makes it sound easy, and for him playing the guitar is somehow effortless at any speed. [Hewitt liked to call tunes "seriously up", often over 400mm, and that never seemed to be a problem for anyone in Hewitt's quintet.] Burno is to my mind one of the very finest bassists, and I find what he does on that record to be distinguished. Apparently that disk is somewhat infectious, because it made the charts even though nobody was encouraging radio stations to play it. I like to listen to it here and there because it's both smart and buoyant...a good rainy day record for some reason. William's disk would have been released straight away after it was recorded. However, Smalls Records suspended business for 18 months prior to launch, to negotiate the exit of a co-founder, and to reform the company under my ownership. Unfortunately, this introduced a big delay. What I like about the Dobson disk are the arrangements and band, the fact that she's for real, and the fact that I didn't overproduce it (all straight-through takes, no vocal retakes, no multitrack, no isolation). I'm amazed at how good Byars is in this role. Yet I confess I have a personal preference for his highly modernist works, and especially for his writing and playing with Across 7 Street, most of which you haven't been able to listen to yet, and which in my view is pretty deep. You will hear Dobson later in a small group setting, where she shows that she can swing a band. [The octet is more high-powered than it sounds even, and singing with it is a different thing than one might expect, and unlike most vocal albums done today.] She's been studying with an Indian master, learning ragas, etc., and developing an ability at microtonal inflection. I am interested in presenting her next in a slightly more adventurous setting, somewhat away from the traditional Ella-Sarah vein, and I think some of you might be interested in checking out that when it comes. BTW, so far, nothing distinguishes you from the biggest Across 7 Street fan. It has a funny way of growing on one. My only regret is that we stuck too closely to the two-choruses-each form in an attempt to keep the time down. But I also wanted to have a number of their compositions. On a live date, they will spin up something longer and more progressive. I see some label them as hard bop, and yet they're much more akin to bop than to hard bop. The compositions are too complex and harmonically challenging for hard bop. And YET, many of the compositions and conventions that they use aren't really even identifiably bop either, but come more out of later period. Tunes like Apollo 7 and One for D.T. (sheet music available on my website in Finale format) remind me more of 20th c. classical music in some ways. One for D.T. is very darkly funny in its bold use of bitonal harmonies and faux melodrama. Apollo 7 is haunting, dark, unlike anything else. The melodies and harmonies are the toughest of anything I see written in NY these days, and there is hardly another jazz player who can improvise over those tunes. And nobody else can play it with that kind of facility, which they developed over fifteen years together, and ten years of weekly appearances at Smalls. Who can deny John Mosca's talent? The "Sacha Perry chords"? The out-there arco bass-solos, and the smart-as-hell and imaginitive lines of Byars? Just considering Mosca, it is hard to think of a better trombone player who can make sense like that playing over the weirdest chords at top speed. He's one of the only players I know anywhere who is as deep as Hewitt. Byars is close in there, with a command of chromatics that is almost never heard of. [Like the others, he was an early bloomer, got awarded his MusM at age 19 from Manhattan School.] I labor this partly because I know how Frank came to become the late Frank Hewitt qua "underrecogized master" that he is now believed to be. The syndrome is insidious enough for me to actively encourage people to suspend judgment. Also, coming up are two related disks. First is the Sacha Perry trio disk (Eretik), which I recorded just recently, and which comprises ten of his original compositions. This is brilliant playing, and the compositions are stunningly beautiful. He's widely respected. But I know a couple of people will be tripped up by the use of the bop lexicon as the language of choice. Elmo Hope and Frank Hewitt were his biggest influences, along with, of course, Bud and Monk. And yet, when one digs into it, one will realize that he isn't a copycat, he's progeny; he really has something to say that's his, and this language suits it. His solos, like the quadruple entendre title, have more layers than most will suppose at first. And I don't know anyone else out now who is a master of this kind of harmony. Ari Roland flatly plays some of the best I've ever heard him play ever. [And I took a cue from some of you out there and developed another mic technique to cover him, one that doesn't overemphasize bow-string noise, and which presents him more the way I experience him.] The second record coming out is the Frank Hewitt Quintet live at Smalls from August 21, 1999. This incarnation of the Hewitt quintet features Byars on tenor and altoist Mike Mullins out front, Roland on bass, and the late Jimmy Lovelace on drums. Besides being a killing Hewitt date, this is partly a tribute to Lovelace, and a fitting one. It also demonstrates how much people like Byars and Mullins got from spending years on the bandstand with Hewitt. You can really see this with a tune like Oblivion, which I think is very difficult for most people to really make a lot of sense on it on a long extended solo. Luke

I did three sessions with Gilly on behalf of the Kulok family, the benefactors of the project. Sam Kulok would have the detailed session notes in hand at the moment. Let me see if I can get them from him. Thanks as always, Mike, for undertaking the discography of a deserving artist who might otherwise remain in obscurity. Luke

Hi Jim, I wish Frank were here to read the nice things you and others here have had to say about his music. Those who have read my remarks, especially in the liner notes to Not Afraid To Live, know that I am angry. The jazz establishment destroyed him OF ALL PEOPLE. That's a sickness, and it should speak loud and clear. The arrival of you and other sophisticated listeners suggests that the sickness isn't necessarily fatal. Jim, it is probably true that you hear things that many others don't. One of the difficulties in getting Frank's music across is that many people underestimate his ability at first, and tend to write him off too quickly. And here's the spiral: the judgment of many people is clouded by the fact that he wasn't famous, and tacitly, they will believe that if he wasn't famous, then he probably wasn't all that...end of story. And this is a truly malignant thing among record collectors, who often mistake the history of jazz with the history of recordings. The alternate view we were afforded at Smalls was illuminating. Hearing Frank a few hundred times, all questions were asked and answered over time to our satisfaction. This is the real evidence. That is why it is funny reading the occasional snide reviewer (Brian Priestly, are you reading this?) who purports to tell us anything about Frank. These are the reviewers who were remiss in their field to not avail themselves of the evidence when it was there to be heard. We should turn the lens back on such people once in a while. There is more Hewitt material. At the moment, I'm restoring my first recordings of him done in closed session at Smalls in October 1996 with Ari Roland and Jimmy Lovelace. [Had to extract them from an aging DAT.] Some of my favorites of all his recordings are in this bunch. This was an interesting period, and it is interesting to hear what he does with tunes that have somewhat unusual changes, like Lazy Bird, Conception, Monk's Mood. Next out will either be that or a live record. Thanks for your support, Luke

The benefit concert at St. Peters on 9/19 was attended by about 250 people, most of whom were the top cats who knew Jimmy. The music, and the degree of warmth and compassion for Jimmy was unsurpassed. And he was beautiful. The most memorable parts for me were Barry Harris solo and with choir, Lou Donaldson with Dr Lonnie Smith, and Harold Mabern with George Coleman. Anyone who wonders what the music was all about only needed to hear that to know. If only we all could have a farewell like that. Frank Hewitt, who died of the same disease as Jimmy, had a much colder departure; information traveled slowly, and he was slipping away by the time he knew he had it. Jimmy had throngs of friends who visited him in his last weeks. So take heart. The NY Times called me today -- Ratliff asked them to run an obituary, so I spent the afternoon digging up material for them. The obit should run in the news section either Sat, Sun, or Mon. Best, Luke

And before bedtime too!

Sadly, Jimmy died last Thursday night. The lights coincidentally went out at Fat Cat at the same time. Eerie. Here's a final word to all from Chris Byars: === Dear Friends and Family, Gone is the master of the calm fire of jazz bop drumming, Jimmy Lovelace. To my understanding, he passed away last Thursday night at Beth Israel Hospital in Manhattan after a six-month battle with pancreatic cancer. He was a true original, the likes of which will never be seen again in our lifetimes... Preceded only recently by pianist Frank Hewitt, he too has made the journey referred to in our band's title "Across 7 Street"; having played the jam sessions many a Saturday night at the University of the Streets, he will be remembered on Thursday afternoon at the funeral home across the street... === On behalf of Jimmy's widow, Okaru, we'd like to thank all of those who contributed to Jimmy in the final weeks. With best wishes, Luke

I'd like to thank one donor who sent in a $100 money order. Very generous. Jimmy was unable to make out the name from the money order, so unfortunately, that person will have to remain unknown for the time being. If s/he happens to read this, thanks so much. Luke

I'm bumping this up because time is of the essence. It's a good deal: give Jimmy what you'd give to iTunes for the same number of tracks. But do it soon please, very. Luke

Please help Jimmy Lovelace! Drummer Jimmy Lovelace, perhaps more than anyone else, exemplifies the spirit of Smalls. His warm smile and gentle demeanor lit up many a night, and his playing there supplied the soundtrack for many of our lives. Jimmy's hip accompaniment is unparalelled in the eyes of many horn players, and he was always--always--the crowds' favorite, just as he is the favorite of scores of jazz musicians who turned up to perform at his recent benefit at St. Peter's church.. We are filled with sadness with the news of his life-threatening illness, yet filled with hope at the prospects for his recovery. But Jimmy is awash in medical bills, and unable to afford his next round of treatment without our assistance. We have an idea. Smalls Records would like to offer our listeners five tracks featuring Jimmy Lovelace recorded during his tenure with Smalls favorites, the Across 7 Street quintet. You may download the tracks, listed below, at your discretion, with the understanding that you will make a donation directly to Jimmy Lovelace to assist with his medical treatments. We suggest a donation of one dollar per track as a minimum, but please donate whatever you can afford. Please send checks or money orders payable to "James Ross Lovelace" to: James Ross Lovelace P.O. Box 897 New York, New York 10009 [Please write "Smalls Records" on the back of your envelope, so we can determine whether our efforts might be helpful in future cases.] Across 7 Street featuring Jimmy Lovelace / The Eternal Pyramid Available for download at http://www.smallsrecords.com/helplovelace.htm 1 Number 72 (Chris Byars) 2 At Long Last, Love (Ari Roland) 3 Sundial (Chris Byars) 4 Bank Shot (Chris Byars) 5 Apollo 7 (Chris Byars) Personnel: Chris Byars (tenor sax), Ari Roland (bass), Sacha Perry (piano), John Mosca (trombone), and Jimmy Lovelace (drums) Recorded in 2001 at The Studio, NYC For seven years of its nine year run at Smalls, Sunday night featured artists Across 7 Street held court with Jimmy Lovelace, sometimes known as The Ancient One, on the throne--the drummer's throne that is. It never failed that Jimmy would infect an audience with his charm, and the end of every Jimmy Lovelace solo was always greeted by cheers from the crowd. Musicians who work with Jimmy cite his hip accompaniment as the reason they love working with him. Here we offer up an "electronic 10-inch record" of this quintessential New York group that highlights Jimmy's playing. Byars' "Number 72" bristles with hip accents and fills, enough to give music students a master class. Roland's "At Long Last Love" (formerly known humorously as "I'll Destroy the World") shows more of Jimmy's impeccable straight-ahead playing. Listen on "Sundial" at Jimmy's transition between Mosca's trombone solo and Sacha Perry's piano solo, which gives exactly the right momentum and kick, and sounds a bit like a steam locomotive. We couldn't resist including Byars' brilliant composition "Apollo 7" to hear Jimmy behind this dark and mysterious walking ballad. This tune seems to point toward completely new directions for bop, and one never tires of unraveling its mysteries. [You can hear more of Across 7 Street on Made in New York on Smalls Records.] The title, The Eternal Pyramid, is of course a play on The Eternal Triangle, but it emphasizes the five points of the pyramid reflected in the quintet, and it also alludes to Jimmy's love for ancient Egypt. The members of Across 7 Street and I hope you will enjoy this music very much. Please give generously, and in Jimmy's own words "The-ankh you very much!" Luke Kaven September 28, 2004 Smalls Records web site: http://www.smallsrecords.com Across 7 Street / Made in New York: http://www.smallsrecords.com/a7s-miny.htm

Wow, the Ithaca Journal gets around further than I thought! For you cats who like Frank Hewitt, I've decided to go ahead and put out the second volume of his recordings. I got faced with a dilemma putting out Frank's recordings. On the first one, I couldn't gauge the response ahead of time (after all, who was listening while he was alive?), so I was unsure of how much to bring out at first. Honestly, there's more material from the first and second studio dates from 2001. At the same time, the May 2002 studio date with Louis Hayes is also something special, and is also more than one disk. There really aren't a lot of obvious out-takes in any of the Hewitt sessions, and there were only a handful of takes ever that Frank said he wouldn't want released. Things may go non-Euclidian at some point, but at least there will be more Frank Hewitt. Luke

Rodney was displeased with the offer he got from Gitanes (a Verve subsidiary/product tie-in) at the time (I think 1998 or so), and decided to venture out into the hip-hop world as a producer. In retrospect, it wasn't a bad offer, and he might look at it differently now. I like his playing. He also dug Hewitt and C Sharpe all along the way, and he definitely understands the true dark-edged sensibility of bop, and that make his contemporary moves sound real. A lot of recent-period pseudo-bebop often sounds too happy-go-lucky to me, and I think it only works for me as a kind of dark-edged music. You got me thinking that it's time to persuade him to re-enter the jazz arena. Another pianist I'd like to add to your list of NY cats off the beaten path is Harry Whitaker. I know he's got a record out on FS/NT, but I haven't heard it. He's got roots everywhere, including being MD for Roberta Flack, and working with Roy Ayers, etc. But he also knows his bop and beyond, and to my ears, when he gets down to it, he puts every young cat out there to shame both for ideas and for sheer energy. Luke

Thanks Adrian for the help, after working a full day no less. I can use this. I'm gratified to see that level of appreciation over there. The high level of literacy in the reviewers didn't surprise me. I'll correct a couple of slight errors in attribution here. Rogers is correct in citing Monk's influence. Though he's 'in kind' citing Mingus and Andrew Hill, those would not be quite correct as influences here. One thing I like about Across 7 Street is that the members of the band have been deeply embedded in the NY scene since their early teenage years, and their influences have been multifarious--the sort of thing you can only get in a place like NYC. At 12, Ari Roland was sneaking out of his parents' house after midnight to go to Barry Harris' sessions at the Jazz Cultural Theater, and to the University of the Streets (the 7th St address in the name Across 7 Street, opposite the Peter Jarema Funeral Home on the other side), where he met up with Frank Hewitt. Both Roland and Hewitt played with C Sharpe on a regular basis until C's untimely passing. C Sharpe was very influential on people on the NY scene, something that one could never learn from the flawed "liner note" version of jazz history, because C was hardly ever recorded (and often wouldn't allow it). Other influences around NYC included Junior Cook, Vernel Fournier, Charles Davis, Tommy Turrentine. All members of Across 7 Street, as well as Frank Hewitt, are very big fans of Elmo Hope, and they keep an Elmo Hope book in addition to their originals. I never knew any younger cats who had this kind of grasp of harmony. By the way, for musicians out there, I've posted sheet music from Smalls in Finale format on my website for download. One needs to get the Finale viewer plugin from a link there, but from there one can print out. I'm looking to expand the book in the future, because I think its a good contribution to the printed literature. Luke

He regulary provides CD reviews and occasional articles. His recommendations are never less that solid IMO Adrian, Thank you so much for supplying the text of the Ari Hoenig review. I really have not been able to lay my hands on this issue yet. I'm never worried about Ari getting good reviews. His amazing drum talent is readily apparent. I do worry about Frank Hewitt getting justly good reviews, because I think his melody and harmony are not obvious to most people, and in fact, even experienced ears underestimate him at times. The reviewer at JR (name unknown to me as yet) did a responsible job I thought. So did Erik Ianelli. Ratliff did the right thing. A couple of others wrote monuments to themselves. Honestly, I didn't think any reviewer stood a chance with Frank Hewitt's record. Doing exegesis on one of Frank's solos is as daunting as reading a great work in philosophy. You can't assimilate it in short order. Frank was so well known by so many people for so many years that it is an embarassment to the press that reviewers are struggling to catch up, sometimes tripping over themselves, and sometimes coming through magnificently. In the case of Frank, though, I am on a mission. Anyone who reads my liner notes should know that I posed a conundrum, and in doing so, I laid a gauntlet for any reviewer. The conundrum is "why was Frank not recognized during his lifetime?" And the gauntlet laid therein is for the reviewer to *not do* the things that caused Frank to be denied due recognition. The funny thing here is that this gives me the means to turn the lens back on the press, revealing something of the roots of present-day musical complacency. The challenge for me is to do this constructively through dialectic, and to reserve my anger as best as possible. But think of this. We at Smalls and those in the extended community knew Frank day after day for many years, listening, studying, discussing. There are so many of us who know and understand Frank's music so well, that there is no reviewer who can tell us credibly what Frank was or wasn't. This time, the reviewer has only us as an authority, for we've asked and answered all the relevant questions over years while the reviewer was conspicuously absent. Who's reviewing whom here? I have similar worries about Across 7 Street, who also appear to be too advanced for a lot of people. Yet, actually, I've been surprised at how good the response has been. Ira Gitler tells us he voted for them in the Rising Star category in the DB Critic's Poll upcoming. But I'm really curious to see what the Jazz Review writer said about them this month! Adrian, do you think you might be able to fire up your scanner and OCR software one more time as a favor? Luke

Dear Adrian, Thank you for taking the time to scan the text of the review. I'm so glad to see reviews where the reviewer actually takes some care. I wish I could find a copy of this magazine and the other two reviews, but I don't know who has it in the US. I expected the British reviewer to grasp the significance of Frank Hewitt. Only two journalists that I know ever interviewed Frank: Alyn Shipton and Elke Tschaikner from ORF. In America, while he did have audiences week after week at Smalls, he never even got reviewed. The obsession reviewers have today with the New Eclecticism in its simplistic forms (and not its more sophisticated forms, actual or potential) astounds me. Young, photogenic, and crossover is all the big labels want. I get angry about the neglect of Frank during most of his career, and I've been trying to get the story out as a cautionary tale. For any who might be interested, I talk about this and related issues at length on May 6 on the BBC World Service where I was fortunate enough to be a guest on The Music Biz with Mark Coles. The story of the conflicts with Impulse Records in the production of the "Jazz Underground: Live at Smalls" disk is an interesting tale. Those who have this disk may note that Frank Hewitt appears on exactly two choruses in the middle of a sextet manufactured for the date. Whereas, two young crossover musicians being groomed for contracts dominate six tracks our of nine on the CD. This damned Frank's career with faint praise. The A&R guy (you will figure out who he is) didn't put in the time to listen to Frank, if he could have heard it in the first place. Agh. I'm very thankful to the BBC for believing in the story. Luke

Was there a review on Jazzreview.com? I'd be very grateful if you could post a link to that, since I haven't seen it yet. Luke

I'm following up as earlier promised with a link to Gil Coggins obituary by Todd S. Jenkins on the JJA site. Also, here is a link to the text of the announcement from the memorial service at AllAboutJazz.com. Luke

The reasons that Frank Hewitt was passed over for recognition at key times is worthy of a book. It would certainly say a lot about the traditional practices of the major labels, and even quite a few indies. By all rights word should have gone around before. I thought Ben Ratliff was rather humble in admitting his own oversight in the recent NY Times review. I think Hoenig is touring in France with Pilc later this year, in the early fall. May Gilly rest in peace. I was fortunate enough to record him three times in the last two years, filming one session. Gilly wanted to make a record, and Gilly's close friends, the Kulok family, saw to it that he got what he wanted. Something was privately pressed, which Gilly titled "Better Late than Never". I think now we'll think in terms of making a fitting memorial album out of these sessions. I'll work in accordance with the family's wishes, whatever those turn out to be. I think the plan is to put it out on Smalls, but I'll know better in a few weeks. Luke

Hi all, I'm Luke Kaven who runs Smalls Records. After a long time and some hardship, the label has finally released its first few titles with more to come later this year. I'm interested to meet up with Smalls fans among members of this group, to let them know about our CDs and to ask for their support. The scene stays alive through the label, and through the recording projects, we create more opportunities for the Smalls artists to perform, whether at Fat Cat, or at a future reincarnation of Smalls, or anywhere else in the world. The economics of the jazz business are very difficult today, and we rely on both the club (Fat Cat is our home turf) and the record label to keep the scene alive. Also note the posthumous release by the late Frank Hewitt, which is very near to our hearts. Hope you'll drop into the thread and say hi. I'm enclosing the press release below for completeness' sake. With warmest wishes, Luke Introducing Smalls Records The racist cabaret laws enacted in 1926 in New York City banned brass and percussion instruments in all but a few city-licensed clubs. Used to control the mixing of races, the laws stifled jazz relentlessly in New York for nearly sixty years. When they were at once overturned in 1988 on the grounds of freedom of speech, there followed a minor renaissance of jazz in New York and a blossoming of new jazz clubs. Smalls was perhaps the most notable among them. A labor of love for quixotic impresario Mitch Borden, Smalls was unusually hospitable to listeners and musicians alike, both young and old. The price was low, the atmosphere was relaxed, and the music ran until dawn every night of the week. Over time, Smalls became one of the hubs of the jazz world and played host to a thriving jazz scene of its own. A generation of jazz musicians in New York developed on the Smalls scene, giving it a lasting place in the history of the music. With the closing of Smalls comes the rise of Smalls' sister club, Fat Cat (75 Christopher Street, NYC), and the hopes for a bright future there. The Smalls/Fat Cat scene is also continued now through the new label, Smalls Records, created out of a moral imperative by one Luke Kaven, a philosopher turned jazz-presenter-with-a-message. Luke noted the egregious neglect and indifference of the major jazz labels, particularly in the case of master pianist Frank Hewitt, and argued that the artists from the Smalls scene would benefit most from being represented collectively by an insider to the scene, and that this would help to ensure the survival of this vital scene. The artists, in turn, elected to permit Luke to carry out his vision. Smalls Records documents significant musical developments in jazz, with particular emphasis on the Smalls/Fat Cat scene as an important historical nexus in the development of the music. We emphasize historical and thematic continuity, and we pay particular attention to older and lesser-known artists of unusually high achievement. Please join us in celebrating the launch of Smalls Records and the release of our first four titles, available now through www.smallsrecords.com, through CD Baby, and in stores beginning this month. These are: SRCD-0001 -- Frank Hewitt / We Loved You Frank Hewitt was the master jazz musician in our midst, a veteran bebop pianist of over fifty years on the NY scene. He was the featured artist at Smalls, performing once or twice weekly for nine years. Only a few pianists after Bud Powell and Elmo Hope ever achieved this level of mastery in our view. This album was originally to be provocatively titled "Get it? Got it. Good!" but after Frank's untimely passing in September 2002, we decided to begin issuing an anthology of his recorded work. SRCD-0002 -- Across 7 Street / Made in New York The weekly feature on Sunday nights at Smalls, Across 7 Street, was a treat for serious jazz listeners. The smart, dark-edged music, with its sinuous melodies and brilliant harmonies, is the fruit of a long-term collaboration involving a group of New York jazz prodigies who have been steadies on the New York scene since their early teenage years. The group features Smalls' regularly-featured artists Chris Byars, Ari Roland, Sacha Perry, John Mosca, and Danny Rosenfeld. After many years together playing weekly at Smalls, the group has accumulated an impressive book of original compositions, and developed a kind of facility with them that one rarely finds. This features the first volume of original compositions from this unusual group. SRCD-0003 -- Ned Goold / The Flows Ned's approach to music is based on original inventions of his that also work in the context of standard rules of harmony. After many years working out this approach, he's developed the facility to create an other-worldly swing strongly rooted in a tradition that goes back to Bird and Bix. To make this record, Ned recorded forty-seven shows while on national tour, and distilled some twenty-five hours of tape down to one disk. The result is the best representation of Ned's talents on record to date. Even his alter-ego, nefarious critic Arch Mendle, is pleased with this one. Bassist Ben Wolfe, Ned's long-time collaborator is on this one too, along with veteran drummer Ron Steen. A collector's item! SRCD-0004 -- Ari Hoenig / The Painter For Ari, the drums aren't just rhythmic instruments, they're melodic instruments, and he takes this concept further than anyone else. As a drummer who can carry a melody pitch perfect on the drums, as well as one who can paint with complex rhythmic textures, Ari is naturally suited to lead his own group. Here we present Ari's recorded debut as leader of his own group, featuring his most conversant collaborator of long-standing, the dynamic Jean-Michel Pilc. The group is characterized by fluid time, sweeping dynamics, and wide emotional range. Look for an additional five distinctive titles to arrive in late spring! === For all direct inquiries, contact Luke Kaven (luke at smallsrecords dott com). For US dealer enquiries, contact Paul Schulman at Synergy Distribution at (888) 387-6249. For UK dealer enquiries, contact Graham Tanner at Jazz Matters (info@jazzmatters.com).

I'm the one who wrote the capsule obituary that Chuck posted. It came from rec.audio.pro, and it is true. Gilly's brother and daughter are about to provide me with an official obituary, which I'll put out as soon as I get it. I did produce three sessions with Gilly in 2001, 2002 in conjunction with his close friends, the Kuloks. One session was solo, the other two were trio. One of these trio sessions with Louis Hayes we also captured on video. For the sake of expendiency, a record was pressed privately out of some of those sides called "Better Late Than Never". I will see if some of these are available. I think these sides will end up on my label, which is where it originally started. A dose of sad irony in it, really. He really knew what "pretty" was. Luke