marcello

Skag+Skank=Skagy

As Jim Sangry would say.....just one man's opinion! But yes, I'm aware of those Balliett sentiments, but there is a lot of hard bop that's a bore, Sonny's tone can be ( especially in the late 50's ) at least called rough, and even though I can understand ( and Allen Lowe agrees with Balliett here) what he means about Max, it's a different kind of swing to my ears. PS I like John's writing. He get his point accross well.

Just, at the very least, disrespectful and in bad taste, which was one of the problems of attitude during the 60's, of the lesser talented Free players. I know the times were different, and Black Nationalism feelings were high and all of that but, this kind of attitude hurt their cause. One of my favorite writters, Whitney Balliett, was abel to straddle the gulf between the two camps and write those wonderful articles, of not only the music of say, Ruby Braff, but also of the whole AACM tribe. “A critic is a bundle of biases held loosely together by a sense of taste.” Whitney Balliett Taste, being the operative word here.

Joel Dorn, of course!

I have this one on vinyl: Ted Curson- Jubilant Power - on Inner City

Has there ever been a good one? Bird was such a depressing disaster. Lady Sings the Blues was a crime. I can't wait until Mary J. Blige makes the Nina Simone movie. Should be a classic.

Granville Roker - Mickey Roker

Peter Losin's site might have the information, but for some reason, it's been down.

Not a great book by any means but there is one thing you have to hand him: the live sound of that band was fantastic and Murphy lays claim, in the book, to getting the band's equipment together. The night I saw them Reggie Lucas took some long, far out solos with a fearsom expression on his face. Looked like he was on acid. Miles directed everything that night. The duets with him and Al Foster was something to see (and hear)!

Yes, Artpark, Lewiston, New York. This concert is actualy mentioned in the book " Miles to Go ", by his road manager Chris Murphy, as a exceptional gig. It sure was. I remember at the very end, when Miles was walking off the stage, that he grabed Cosley from behind ) Cosley sat and in a chair stage left) in a kind of yoke hold and smiled a bright smile for the first time all night.

It couldn't have come from my plane because we changed in Atlanta. And trust me Hardbopjazz ( Tom?), I'm from Rochester and nobody walks in the parks in the middle of January! But then again, your friend seems more than a little strange.

I didn't see this thread until tonight. On that day, I was flying from Miami, heading north, when I looked out the window to the east and saw a strange plume of smoke that was spiraling up and down in several directions. My plane was very, very close to it. It was only after we got to the airport in Atlanta, during a stop over, and I saw everyone looking at the TVs, that I realized what that smoke was. I would say that my plane passed by it no more that 10-15 minutes after the explosion; closer to 10, I assume, because the smoke had not dispersed much at all and was still falling/moving; very intact and condensed.

Right On ( or is it Right Off?), Allen!

HANK MOBLEY, 55, JAZZ MUSICIAN Services are scheduled Friday evening for Hank Mobley, 55, once one of the leading figures in jazz. The tenor saxophone player, who worked with such jazz greats as Thelonius Monk, Art Blakey, Miles Davis and Horace Silver, died last Friday at Misericordia Hospital of pneumonia. He lived in Southwest Philadelphia. Mr. Mobley, who also is credited with 140 compositions, is survived by his parents, Otis and Lillian Rogers. Friends may call from 6 to 8 p.m. Friday at the Johnson Funeral Published on June 4, 1986, Page E12, Philadelphia Inquirer, The (PA)

I remember seeing a New Yorker cartoon from the 60's that had a man sitting on a bed talking to his lover on the phone: " I was listening to Miles playing My Funny Valentine and I thought of you".

I gotta say Jim I heard a Oscar Peterson at the Blue Note cd with Durham playing, and his hi hat was very grating. I thought of your past posts about him and I said to myself " the man is right!"

I completely agree with the above. The music could use a little more of the right attitude on stage. At least look like you mean to be there! Miles has attitude to spare. Once I read a interview with Philly Joe who was asked something like, "Whose group was the better working band at the time: Brown / Roach or Miles' Quintet?" Philly said: "Ours was; we were stronger because we had Miles." I took what he ment by that was that they had the whole package, that band.

Hey, I was just kidding Allen! I havn't heard you but a actually love Al and Julius; I know that they are favorites of your also. Just a innocent joke ( I thought). Otherwise, I think the thread is useless, at least.

Al Haig Julius Hemphill Allen Lowe

I assume you are a subscriber to JazzWeek? Tony Gasparre and Ed Trefzger should be able to help you spead the word and you could place a ad ( maybe they would post a article about your show ). If you talk to them (wonderful people!), they could at least point you to the right stations that would be open.

Saxophonist, (soprano , alto ,tenor) clarinetist and flautist; prominant in the 70's and 80's in the NYC studios along with Steve Gadd, the Breckers, Ronnie Cuber, etc. Virtruoso player who I saw play in Steve Gadd's band once in the early 80's that also had Eddie Gomez in it. He's more than a studio player thought; there is a nice recording with him as leader with Holland and DeJohnette out there. I believe he now lives in California, playing and teaching.

Not so wild.....

WGMC - Greece (Rochester) New York. 24/7 jazz station Derrick Lewis is the Program Director: derrick@jazz901.org 750 Maiden Lane Rochester, NY 14650 WGMC

I think you're right Allen. There is a big difference because most computers have the ability to quickly make copies that are of a high quality (or exact copy) of the original, with less hassel as in the past. At any rate ( in reply to ...impossible ) again, I suggest that you call up your favorite label owner and ask them what they think about the matter. One thing that they will tell you is the state of retail sales is dismal, and that internet and downloading, have not taken up the slack, much less added anything much to their operating accounts. One of the things that helps keep them solvent (or scratching a living) , especially for the smallest labels, are direct online orders. This from personal expierence dealing with the owners of Sharp Nine, Sirocco, MaxJazz, Plametto, Omnitone, Origin, and many others. All small labels struggle to make ends meet.

You must be a exception, my friend, because the jazz reccording business is in the worst shape ever and others do not go out and buy everything after they hear a artist. They just don't buy at all and are satisfied with what was given to them. The numbers don't lie. Maybe you should talk to some label owners, but I wouldn't do it face to face.