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Everything posted by cannonball-addict

  1. I'm in a big band that recently read a Dave Pell arrangement of "When the Saints Go Marching In." It's an ok arrangement but the leader of the band wants me to find what album its on. He calls it "Saints" on the chart. Any help would be appreciated in locating an original recording. BTW, is Dave Pell British?
  2. I think that already happened. No kidding. Except for the Cannonball stuff and some Coltrane. Most of it seems to be standard fare that we should all already have in our collections whether they be as mp3s or LPs or CDs.
  3. Next week it's Monty Alexander w/ Clark Terry in Pittsburgh.
  4. I am assuming this thread got buried. Still wondering if any folks made it.
  5. Following is an excert by David Adler from Jazztimes' website. He wrote two pieces on the new venues. I am familiar with his writing as I'm sure many of you are as well. And of course I wouldn't be surprised if Mr. Fitzgerald has harsh words for me for citing another writer, as he seems to have an axe to grind with any and everybody I mention B-) : Dizzy’s will often hold a late-night “hang set,” the first of which featured pianist John Hicks and bassist Curtis Lundy. There’s talk of this becoming the new after-gig spot, in the manner of the sorely missed Bradley’s. Again, we shall see. New York could always use more community-building spaces, and if Dizzy’s Club Coca-Cola can rise above the cold corporate feel of its name, more power to it. We shall see....I can just imagine security at Rose Hall letting a bunch of working jazz musicians and students into their castle...
  6. According to various online sources, Charlie Haden, after a week of pedantic lollygagging at the Vanguard with his "Land of the Sun" band, he convened a 2004 Election Year edition of the LMO. Did anybody hear anything about this. I read somewhere that the new band featured Carla Bley, Michael Rodriguez, Chris Potter, Seamus Blake, and others. You all know I am a big Potter fan/dogmatist, so I would have died to see this show given the good company he was in. From what I understand it was on this Monday night? Is this the first time in recent memory that the Vanguard Band has been displaced on a Monday night or maybe did they integrate the two bands in an Ornettish free-for-all? cb-a
  7. No love for Mintzer? No one writes charts like that...... And his trombone section is to die for. Heck anything with Dave Taylor bringing up the low end is to die for.
  8. I didn't include the ghost bands or the Lincoln Center band because I don't consider them modern playing much new music. I know I have an East Coast (specifically NY) bias in these choices, but part of my goal here is to have you all introduce me to some other notable big bands out there that are making waves in the jazz community. I have probably left out some obvious choices but please express your opinions. If you would like, you can do an appraisal of all these groups if you know stuff about them! Have fun with this!
  9. Simplicity of ideas? His harmonic ideas are quite complex my friend. The fact that he often uses the same ones (which give him a signature sound that guys like Steve Wilson and Myron Walden have picked up on), is not really the same as simple ideas. No alto players out there - IMO - have his originality. He has the ability of a "technician" on his horns but he plays so raw and uncensored emotionally (who cares if Happy People and Simply Said sound a little smooth). A lot of musicians will feel that at one point and exploit/utilize it even if they're truly straight-ahead guys. It's like, KG says to himself, "Hey chords, watch me do this....oh &$#%, yeah you like that didn't you." No saxophone player will badmouth KG's abilities. His relative reclusiveness and frequent invisibility in the press are a problem that today keeps him in the background while people get obsessed with new guys like Zenon and today's twentysomethings who haven't really paid their dues.
  10. I heard Shaw live with the Mingus BB last year, he was very good indeed! I don't really care for Udden. He's good but he's too Paul Desmond-ish sometimes for my taste. Plus - he uses (or was using) a metal piece on alto - and that doesn't float my boat. Shaw on the other hand is a monster in his early stages of development.
  11. South is really an awesome album. It's got so many other top NY cats too. Along those lines - Dave Binney was a founding member in an electrified group called Lost Tribe (in the early 90s they put out two CDs) with Rogers and his fellow guitarist David Gilmore, Fima Ephron on bass and Ben Perowsky on drums - all guys who were and sort of still are in the downtown scene (although as we all know, things have changed quite a bit since then). c-b-a
  12. If what I heard is correct (about her/him), is there any way to corroborate this info? Perhaps a Before & After photo. Or at least other folks who've heard that she used to be a he?!?! p.s. what are the "origins" of Chick Corea? I understand his dad, Armando, was a trumpet-playing bandleader. I've always wondered if Chick Corea is his real name or if he changed it to be a recording artist? Anyone know his mom's ethnicity? I do know he is a scientologist....
  13. I was gonna see him with Vandermark and Gustavsen in the Sonore Trio here in Pittsburgh. It's NMCOT but I wanted to try it out. The cover was 25. I wasn't about to pay that much for a show that I knew I would leave saying to myself, "Why did I just do that." If it had been cheaper, I would have gone just for the novelty of it.
  14. Wouldn't that be awesome if mainstream jazz labels and the indies too started issuing new jazz records on vinyl. I would SO buy that stuff!
  15. I think that the original version of Killer Joe is too often relegated to a lower place on the jazz pecking order just because its too simple. You gotta love the hipness of that vamp. And the bridge ain't too shabby either. I love the Toots Thielemans version from East Coast, West Coast as well as the original. I also like this new one from Terminal 1.
  16. I agree I mean, there's so much great other stuff out there to discover and cherish, that to entirely ignore Wynton or any other prominent musician for that matter, is not really a big deal. However, the fact that he is the one the media goes to as the point person for jazz, is troubling, to say the least. But what can you do? And by the way, if you've been paying any attention, in practice he is really loosening up with the programming at JALC. I mean, revering the music of Cecil Taylor with concerts is not exactly ignoring it. I wasn't there so I don't know how tame they required Cecil be but ain't nobody who can tame a guy like Cecil really. Also must people like us haven't taken the opportunity to look at the ranks of the programming staff at JALC. The leadership of JALC, where I once interviewed for an unpaid internship, has among its ranks, "educated voices of reason" to counter Wynton's "neoclassicist" viewpoints. For instance - Phil Schaap ("prominent" jazz historian and radio personality) IS on staff there as is that dude who used to run the Keystone Korner in SF - that place hosted its share of "out" acts over the years as I understand it. We all know these guys are not jazz purists. And I think it's fair to say that if one looks closely as what JALC is doing for jazz, its no longer limited to a cult of personality for Duke and Pops like it was in the 90s. They are changing with time - in my opinion for the better. There are guys "on staff" like Stanley but it is my belief that currently and in the long run JALC will present a more fair account of jazz history to the people they educate. But at the same time they will probably never accept people who record for ECM and guys who have unfortunately been placed at opposing ends of the spectrum by the jazz press - like Dave Douglas. Jeez. Look at all the time I've wasted talking about this nonsense. Now back to that Jan Garbarek CD I was gonna check out.
  17. Mike can you review what has been identified correctly so we may guess the remaining ones. I think we are well along enough in the game to do so.
  18. Aiiiiiiieeeeeeeeeeeeeeeeeeee! Care to elaborate? Shelly my guess should not make ye of infinite knowledge sad?? No. I was just refering to the concept of Manne-ish drums. Sounds like man-ish. So it sounded a little funny. No?
  19. Of course. Who could mistake Andre Persiany?
  20. Track 22 sounds like Kenton's band. The recording is definately that 50s studio quality. But for some reason I think Kenton.
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