cannonball-addict

I get calls every week from people asking me to put on the Meters. Basically whenever I put on Deep Blue Bruise by the Deep Blue Organ Trio, I get called (Chris Foreman, Bobby Broom, Greg Rockingham). These cats are smokin!!!! Jimbo, I still have no CDs from you!!!! You promised and I promised airplay and reportage!!!

me! I was hungry!

John Coltrane A Love Supreme Reg Price $12.99 on sale $7.99 Jamie Cullum Twentysomething Reg Price $18.99 on sale $13.99 David Sanborn Closer Reg Price $18.99 on sale $11.99 Alice Coltrane Translinear Light Reg Price $18.99 on sale $14.99 Mindi Abair Come as You Are Reg Price $18.99 on sale $14.99 Al Jarreau Accentuate The Positive Reg Price $18.99 on sale $14.99 Linda Ronstadt Hummin’ to Myself Reg Price $18.99 on sale $14.99 Various Artists Forever, For Always, For Luther Reg Price $18.99 on sale $14.99 Diana Krall Live at The MontrealL Jazz Festival [DVD] Reg Price $14.99 on sale $9.99 Jamie Cullum Live At Blenheim Palace [DVD] Reg Price $14.99 on sale $10.99 The Complete Diana Krall Catalog Diana Krall The Girl In The Other Room Reg Price $18.99 on sale $14.99 Live In Paris Reg Price $18.99 on sale $9.99 The Look Of Love Reg Price $18.99 on sale $9.99 When I Look In Your Eyes Reg Price $18.99 on sale $9.99 All For You Reg Price $18.99 on sale $9.99 Love Scenes Reg Price $18.99 on sale $9.99

I'm wondering why so many of the Kenton recordings from the 50s on Capitol Records sound so terrible sound-quality-wise? The bands were undeniably good. Rosolino, Konitz, Russo, Perkins, Holman, Balthazar, etc. In contrast to Basie and Ellington and even Herman recordings from the same period, the Kentons just don't stand out in recording quality. Were they recorded in stereo? And if so, why does it always seem like everything was sent to center channel. Surely engineers for such a major record label couldn't have been that bad? It always seems like the Kenton band was recording in a big open auditorium and the brass always tends to dominate. You can almost never distinctively hear the saxophone section or the piano for that matter. Could it have anything to do with the "third-stream" experimental instrumentation he was known to use (i.e. Cuban Fire Suite)? Did they just mic the whole band with one or two omni-directionals at the 110 degree angle? Plus a few soloist mics? If any of the engineers or audiophiles out there could give an explanation to me, I'd really appreciate it. also if there are remasters I'm unaware of, where they captured the essence of each section with close miking or some other techniques, i'd like to know of them.

Jazzbooks.com

Student Radio DJ saxophone teacher

Christiern, do you know how he got this job? I know he was a student at Columbia and that probably put him in with the right people. And that's probably why the NYTimes always is eager to take stories from Schaap. Let's not excuse the low-rate work of Jon Pareles - the critical jack of all trades. That guy doesn't get jazz worth s^&*. cb-a

The album reaches the stores next week, but Mr. Sewell has been playing live with the trio (Mr. Moran, the bassist Tarus Mateen and the drummer Nasheet Waits) for long enough that he has absorbed its springiness, its raw, abrupt shifts in tempo and mood and volume. What the F^&* was he thinking as he wrote this paragraph???? How does the introductory clause relate to the rest of the nonsense in this paragraph? Looks to me like sloppy copy.

Wow. Maybe we should invite Stanley Crouch into the fold..... B-)

They don't have anywhere near the data infrastructure and information systems managment that UPS and FedEx have (says my engineering grad student roommate). In fact, this recent push by DHL to become more visible in the shipping market is surprising given the relative hegemony of these two and the Postal Service.

Hey older folks and jazz cogniscenti! I love this tune as I'm sure you do too. Did it immediately become popular with the release of the movie? I had the feelling that Raksin had written this tune prior to the 1940s. The film of the the same name with Gene Tierney, Dana Andrews, and Clifton Webb came out 1944. And furthermore, who brought that classical sounding theme into the jazz realm first? Was it Bird? Who gave it words? I don't recall ever hearing any singing in the soundtrack to the film.... What a beautiful melody! I love how it weaves in and out of the movie at different times with variations and reharmonizations. It is interesting that the theme music only plays where Tierney herself is in the frame or when the camera is on the stunning portrait of her over the mantelpiece (which Detective Lt. Mark McPherson initially falls in love with as he investigates the murder). Any info on this song or Raksin or just discussion on the film would be marvelous....

I didn't say that jazz is for blacks only. All I said is it is a musical form born out of their struggle. Ain't nobody gonna tell me that no white boy thought up bebop. Or organ jazz. Sure there were white jazz guys along the way. But I'd like to know that the black people who still enjoy jazz today are getting a chance to know about this web forum and take part!

Not that it matters that much but jazz (especially the greazy kind that b-3er and organissimo play) was originally black music and from the "show us your picture" thread a while back, it seemed to me that we are all white males and females and many of us talk about jazz with all this authority and whatnot. But we only the fortunate inheritors and preservers of this great music. Are there any African-Americans who post here? It would nice if some sort of black opinion was voiced here. At least it would make sense....

A brand new project Jordi Pujol put together is called "The Sound of New York Jazz Underground featuring The Fresh Sound Jazz Orchestra." The three big band configurations on this two-CD set are made up of players who have recorded releases on FSNT in the past 10 years since the founding of the label. What Pujol did was ask 8 composer arrangers who had done work previously with the label, to write one original composition and one arrangement. The arrangements vary from Giant Steps (a la hip-hop to the reworking of an Argentine pianist/poet's song. Many of the composer arrangers are foreigners who I assume live and work in NY. I got the CD in the mail as a radio promotion along with a DVD featurette. The DVD was very amateurly done but it explained what the project was about and featured interviews with the composers/arrangers and included shots of the band recording/rehearsing/fooling around. Some of the notables on the recording are Jeff Ballard, Claudia Acuna, Diego Urcola, Jason Lindner, Chris Cheek, Avi Lebovich, Jimmy Greene, Ben Monder, Marcus Strickland, Miguel Zenon, Bill McHenry and a host of other younger NY players. A lot of the playing is beautiful. Since I got it for free I have no idea whether it comes bundled together as 2 CD and accompanying DVD nor do I have an idea of the price. But here are a few links that might help: Review on AAJ the DVD 2 CD set

I thought this topic might be teeming by now.....

http://www.organissimo.org/forum/index.php...topic=16424&hl= Vote now!!!

This is intended to be an open discussion NOT about who your favorite jazz writers/journalists/authors are, but RATHER who you believe are the most influential jazz writers out there today (for better or for worse)? It can be the local newspaper guy or it can be an internationally recognized jazz scholar.... Sure there are obvious choices and honestly it really depends where you live and how much you know about the publications that are out there (both hard copy and web). I am especially curious to know from our European, South American, and other non-US members, who they look to or more appropriately whose voices are reaching them overseas and making an impact on what the general public thinks or knows about jazz?

ATTN: Funny Rat posters and others who may be interested..... It's about time for another of my controversial polls. Please read the poll question carefully and share your opinions. It's OK to not like free jazz! But it's also OK to volunteer other indie labels whom you think are worthy of a mention! Obviously I am biased towards the ones I see all the time and who service the station I work at (which has a considerable amount of free jazz and other experimental improvised music). cb-a (aka Matt)

PM sent!

I read the comments. I'm a bit surprised at the number of participants who are essentially purists. Blues on top of blues and grease on top of grease on BFT after BFT. But I guess, to each his own.... Thanks however to danasgoodstuff for including me late in the game. Here are my thoughts: Tracks 1-3. Yeah I feel it. But so what? We all know these tunes. But I would never have guessed that was who it is on Track 2. So thanks for that eye-opener. Track 4 (the klezmer-sounding alto feature growling all over the place) caught my attention. Has this been identified? I could do without the trite nature of showtunes and lush orchestral arrangements. I sort of liked tracks 6 & 7 for their intensity and passion though they present standard Latin chord changes. Too bad this musician has deteriorated over the years. The shouting combined with the tone of the tenor told me immediately who it was before reading the comments - "Hey, Hey, Heyyyyyyy!!!" track 8 - yucky version of monk's mood IMHO; much prefer monk's version. i like some of him but more of his totally out/wacky stuff. track 9 - beautiful tenor sound. but we are on a greazyness overload here. mix it up man! track 10 - huh? track 11 - craziness! I dug the spoken word rhymin'. Yeah dana! track 12 - more grease. next? track 13 - more grease, more grease!! how much can you possibly take? its weird, even though I know who it is, it sounds to a degree like some of the stuff that jason moran is doing today with simplicity. he strips it down more than this when he does "planet rock" on modernistic. tracks 14 & 15 - i appreciate the tip of the hat to cannonball but I prefer to hear julian do his own music or vincent herring or antonio hart imitating him. and these blues are so formulaic. I get tired of the blues if I'm listening. I always wanna break out my horn and play em for myself. track 16 - this touched me. thanks dana (and Big Al for the other stuff earlier). track 17 - ok? i like solo guitar but jeez....how bout some of that stuff he did with Ella on Pablo? those are the shizzit! track 18 - Yeah. Groove baby! I like this happy grease. this is one of those songs I remember learning as a kid from audio cassette tapes of Americana and now I have no idea the name of it. But I can hum the melody along with it. I guess it holds special meaning for me. And the drummer contributes so much to the whole shuffle effect track 19 - I have four call letters and frequency associated with this music: WAMU 88.5 FM (DC represent!) track 20 - I bet that sax player killed himself or at least wanted to. can you imagine having to play that stupid little intro and obligato night after night! old geezer stuff..... my parents would swoon over this track 21 - yeah dana! if you're into this why not give us a little taste earlier? afraid you might alienate your contemporaries? people, get ready for my BFT if you dislike this. this is what I call improvisation!

http://www.jerrysrecords.com/012605.html their offerings in store are way better than this. people can tell me what you're looking for. it may be here in pittsburgh. I will charge a dollar or two for my trouble. otherwise happy to help. matt

Binney is a very creative intruiging musician. He co-led an electric jazz group called Lost Tribe in the early 90s along with Ben Perowsky, Adam Rogers, David Gilmore, and Fima Ephron. His recent release "South" was on the ACT label which is in the process of building a reputation with a small catalog of exclusively name musicians as sidemen. ACT recently did one album grouping up Greg Osby, Jimmy Haslip, Adam Rogers and Teri Lynne Carrington. I think the label is called ACT. It looked to be German. But I dunno Binney is a major downtown NY cat to check out!

Hello Friends, Just letting you know that I've now officially got a slot from 10AM - Noon Eastern Standard Time on Thursdays, broadcasting the best in straight-ahead, latin jazz, blues, and international music (oh and some quirky avant-garde stuff too if the 'holy ghost' moves me). Since many of you are not in the Pittsburgh region, if you care to listen, you may do so by visiting http://www.wrct.org and clicking on the link towards the top of the page that says "High". It should work if you are on a higher-than-dialup-speed internet provider I would be honored to have you all as listeners. So tune in for The Jazz Clinic with me, your host, Dr. Jazz, Ph.D. Matt

Thanks Larry and Sal. These have been very helpful. Keep comin'!

all those names have either been said or are definately not overlooked. People: look at the goddamn topic before posting ok? and look at others' responses for god sakes to see if you're contributing something new to the conversation!