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  1. Hi Patrick - If we're playing two sets. we almost never repeat anything from the previous one . The exception, and it would be rare, might be a brand new piece that we're breaking in. When we play the Jazz Standard on Thanksgiving week, the book could easily be 30 - 40 tunes deep, with material ranging from stuff she wrote or arranged in college (My Ideal, for instance) to new pieces. Maria works very hard to put sets together in such a way that everyone gets featured in each set. Sometimes that's impossible, but that's always her goal. When there's a recent recording, sets are usually weighted more heavily with recent material, but otherwise, we could play almost anything, from any period of the band's existence. Thanks for making it out - it was so nice to meet you, and I'm glad you enjoyed the concert!
  2. "The artists in the first season were all young New York post-bebop cats: the Ben Allison Trio, Don Friedman Trio, Leo Genovese Trio, Frank Kimbrough Quintet, Noah Preminger Quartet, and Jack DeJohnette (solo piano)." Read more at http://www.stereophile.com/content/survivalists-mosaic-and-newvelle-records-page-2#yB8ZPwWKwdwO6YVT.99 Ben Allison is 50, I'm 60, Jack DeJohnette is 74, and Don Friedman was 80 when he passed away shortly before his record was released. We are all veterans who have put in many years of work - not some young whipper-snappers who just got off the bus. I don't mean to be a nit-picker or a drag, but Mr. Baird should have done his homework. That said, hats off to JC and Elan at Newvelle - I wish them well.
  3. The precise moment of that note is at 1:23 - it ends a phrase that begins a few seconds earlier. This is from the 1965 recording "Closer" on ESP, with Steve Swallow and Barry Altschul. FWIW, this recording is mastered at the wrong speed - the result is it's a half-step higher (and a little faster) than it should be. Even though the most recent release of it was just a few years ago, it's never been corrected. I actually had a conversation with Bernard Stollman about it - when I told him it was mastered at the wrong speed, he asked how I knew, and I told him that Bley himself had told me. He wondered why Paul had never mentioned it. My guess is that Paul didn't care, but I'd still love to see it corrected for future releases.
  4. Yes, Rob said it was "that G#" in Paul's improvisation on Ida Lupino that changed his life. He demonstrated how it occurred in Paul's solo.
  5. As Paul told me: If you know what's going to happen, there's no reason to go to the gig - you go to the gig to get lost. We spent a lot of time together, and he was a tremendous influence, not just for his playing, but for the scope of his career, and for the incredibly interesting and engaging person he always was - perhaps the most thought-provoking person I've ever known. We were talking about some imaginary project once, and he said (in the most positive manner) "think of all the ways we could FAIL!" And Steve, I was at the "Not Two Not One" sessions - second day. They had basically finished the session the first day, and when I arrived, Paul was eating pasta, Peacock was smoking and talking with the engineer, and Motian was running around saying "do you guys want to play, or what?" They did a few more takes, including a Peacock original that Paul pretended not to be able to read, which resulted in several false starts (they eventually bailed) and a crazy version of I Got Rhythm where no one was sure whether they were playing the form. Motian was, but I'm not sure about Paul and Gary. Most of what they played that day isn't on the CD, except Pigfoot. A great day at Avatar...........
  6. I just got an email from Paul's daughter Vanessa confirming that he passed away yesterday, at home with his family.
  7. The temperature was fine, and there were folding chairs, so it was comfortable enough. I can't speak much to the sound of the room because I heard a solo piano set, but someone who was there for most of the evening told me the room sound was not good. The room is beautiful from an architectural/historical perspective, but it's basically a high-ceiling box with nothing to absorb sound other than a few balloons, if that's indeed why they're there.
  8. I went last night to hear Connie Crothers, Crispell/Hemingway and the Sun Ra Arkestra. The piano was so dreadfully out of tune that I was embarrassed for the artists, and infuriated as a listener. After Connie's set with dancers, I promptly asked for a refund and left. Very disappointing to see an organization that disrespects the artists and their audience by thoughtless inaction on what should be a no-brainer. I won't be going back.........
  9. The original CD release was indeed mastered at the wrong speed. I think the pitch was a whole step high as a result. It was corrected, and that accounts for the rerelease being a 2 CD set. I know this because I was recording some projects for Soul Note at the time, and remember hearing about it when it first came out. They realized the mistake only after the CDs were manufactured and shipped, but didn't recall them, just waited to make corrections until it was time to manufacture more. I have the 2 CD version and it sounds great - never heard the single disk for obvious reasons. Hope this helps.....
  10. The "Thesis" session was chronicled by Martin Williams as "Giuffre Date", and appears in his book "Jazz Masters In Transition", published by Da Capo Press. This session came five months after "Fusion", and is the second CD of ECM's "1961" by the Giuffre trio w/ Paul Bley and Steve Swallow. The article is short, but gives a fairly detailed account of the session. All tunes except one(not sure which, but perhaps "Afternoon") were first takes.
  11. Here is collective personnel: Henrik Heide, Jesse Han - flutes Jennifer Christen, Sarah Lewis - oboes Ben Baron, Michael Rabinowitz, Alden Banta - bassoons Steve Wilson - sop. and alto saxes, flute, clar. Dave Pietro - alto sax, clar., fl, alt.fl. Donny McCaslin - tenor sax, clar. Scott Robinson - tenor sax, cl., bs.cl. Brian Landrus - baritone sax, bs. clar., alt. flute, piccolo Charles Pillow - flute, clar., piccolo, oboe, english horn Adam Unsworth, David Peel, John Craig Hubbard - french horns Augie Haas, Greg Gisbert, Laurie Frink - trumpets Ryan Keberle, Marshall Gilkes - trombones George Flynn - bass trombone Marcus Rojas - tuba James Chirillo or Romero Lubambo - guitar Frank Kimbrough - piano, harmonium Jay Anderson - bass Lewis Nash - drums Joe Locke - vibraphone Mike Truesdell - marimba, tympani Dave Eggar - tenor violin Dan Weiss - tablas Kate McGarry, Wendy Gilles, Luciana Souza - vocals
  12. Thanks for posting this..........I worked at the Village Corner in the '80's and Carol played there a lot, so we were friends. I learned a lot from her back then, and we shared a lot of good times in that joint, but I hadn't heard a word from her for years - she was a great lady and a helluva pianist. RIP Carol..........
  13. Hi Wayne - it's the real thing. After reading your post, I went down and purchased a copy for myself........IAI has for some time been licensed to Soul Note, which is now part of the CAM Jazz catalog. Great record!
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