marcello

I don't mean to be nasty but........ Javon Jackson I could do without.

Lee Morgan didn't die on stage.

Like this one? Art Farmer: The Time and the Place

Earl Bostic In the late 1950s, Bostic suffered from severe heart problems and stopped performing and recording for nearly two years. He moved to Los Angeles and resumed performing intermittently in 1959, but he never returned to the pace of the early 1950s. He also returned to recording, but this time with a more laid-back kind of soul-tinged jazz. He died after suffering a second heart attack while playing a hotel opening in Rochester.

Looking back to the original question.......No. Another example is the Jazz at the Plaza recording for fans of the Miles/Trane/Cannonball group.

Joe Dukes is BAAAAAD! Is he still with us? I'm sorry, I see he passed away. This from Pete Fallico - April 1995: "The great drummer Joe Dukes passed away recently, and I mention this because I know how much Jack thought of him. Joe's contribution to the combo was immeasurable. "Back in those days," Jack reminds us, "there wasn't such thing as a rhythm section...Here you got nothin' but drums and organ, so the drums had to be a little more independent and not depend on a bass...The drums was the sole source of rhythm. If the drummer had good rhythm, the band felt good...and Joe had the hardest job of anybody. He had to swing and swing hard. He had to play funk. He had to play the shuffle. He had to play ballads. He had to play Latin, and that's a lot of hats to wear. "

"It can also be, in the right hands and in the right circumstances, and extremely comfortable "social" music as well, and for that, it needs nothing more than to just be what it and its audience both are. I'm not at all bothered by that, and actually think that the overall health of the music is served by having that "social" sector of the music functioning as actively as possible." We better hope so, to keep this music alive. The people in this particular club, on Saturday nights especially, came dressed to the nines and ready to have a good time. The women came in furs, even if it was just a collar fur, the men wore suits and the hippest shoes. they were mostly working class people who cam in with groups of other that maybe were members of their social clubs or churches. Going to clubs, and digging this music, their classical music, was a part of the fabric of their lives. To tell you the truth, when that audience went away, it was the start of the bad days that Allen refers to. They spent their money and were happy to have some entertainment. They didn't just wag their heads and shout encouragement to the band. Yes, there was plenty of that but they also appreciated the more heady music too. I remember once when Eddie Harris played there; after he played a series of songs that were quite advanced, almost avante-guard, he announced: " Now that I've played something to feed your mind, I'll play something to feed your soul", and got their asses groovin'.

That's where we differ here; Cannonball , to me, he had a style all his own.

I've been fooling around with this also. I think this is another great way for a artist to be recognized and heard. Pandora

I heard the Cannonball band quite often in that peroid because I worked in a club that hired them often. Their energy level was really quite high. "In practice", they worked and communicated very well indeed.

Two and Four is Ned Otter's label who has been playing in NYC for over 25 years and was once a student of Big George's. All of the rest of the players are current on the NYC scene and have recorded often.

American- Digital

The 1958 Newport concert was given a nasty review in Down Beat at that time and states that Coltrane is a bad influence on Cannonball!

Uh.... we got that loud & clear and every which way from Sunday, Allen. Chuck's recomendations ( especially "Take the A Train" / Black Lion ) are retort enough. The next time Chuck.....a little sooner please, huh?

Well Paul, Chuck does have a point. I'm pretty sure if you could look back to "the good old days' and count how many releases there were in a given year and compare them to today, you would find out that there is just too much product for the amount of buyers that are available today. On the other hand, I do agree with you that the focus should be on living and breathing artists, both in polls and on the radio. I don't mean to hijack this thread but here is a interesting note from Harry Abraham from the 70's regarding programing, with the bold paragraph of particular interest in this discussion: Programming Jazz Radio from Jazz Notes 7/2 1995 by Paul Baker Copyright © 1995, Paul Baker While in college in the mid-1970s, I was a jazz music radio programmer. I took inspiration not only from the music but also from Harry Abraham's show "The Best of All Possible Worlds." Broadcast over the clear channel WHAM 1180 AM from Rochester, NY, Abraham's show signed on at midnight and ran till 5 a.m. He featured new releases and spanned all conceivable styles. I'd listen to Harry driving home from doing my show during the wee hours. Impressed by Abraham's catholic taste and imaginative programming, I wrote a fan letter, and he responded thoughtfully. Not long after, WHAM went to a country music format and Harry's show was ditched. I don't know what happened to Harry, but his letter to me included some good ideas. Even though it was written in 1976 or `77, his letter is still current: There are three things that are most important to a jazz broadcaster (all statements should be assumed to be preceded by the qualifier: "In my opinion"). In order, they are the audience, the artists, yourself. 1. The audience: Forget, for the moment, all the people who are jazz buffs, for they will listen as long as you don't offend them. Who else might be listening? What can you play to keep them tuned, get them back next time, and recommend you to their friends? In other words, Harry Abraham, doing a five-hour show on your station, would do a program structured entirely differently with some different music, because the audience would be different. WHAM is commercial radio and even though I'm outside of the norm of their broadcasting, I wouldn't be here if I offended their regular listeners. Without playing commercial music, I manage to garner 50 per cent shares with 6 to 8 stations in the market on all night. (That does not take into account people like yourself, out of the area.) Find another jazz program in the last 25 years of broadcasting with that kind of support. The closest that you will come to hearing commercial music is at the very beginning and very end of the program. These are transition periods, when that "other" audience is at its peak. The closest to avant-garde will come between 2:30 and 4:00 a.m. because "they" are minimal at those times. (I assume that you were kidding to include Miles Davis as "avant-garde" - Miles has more in common with Donny Osmond than he does with Anthony Braxton. Miles, at his best [which means prior to his current rock- n-roll stage] was in front of the mainstream, but never avant-garde.) 2. The artists. These cats don't get a lot of exposure so I feel that one of the burdens of being a jazz broadcaster is to try to give as much exposure as possible to the cats that need it the most. I can put together five hours of good music without Herbie Mann, Dave Brubeck, Chick Corea (recent guitar-rock stuff), Mahavishnu, Weather Report, George Duke, Ponty, etc. Also without repeating an artist (as leader) and still get enough variety in. I lean toward the current releases because those are the ones that most benefit the artist and are most representative of where he is at this moment. If I know Miles is coming to town and I play Kind of Blue ,someone who is unfamiliar with his present garbage is going to be pissed. Kind of Blue , is great music but it bears as much relevance to 1975 as the tooth fairy. I play it because it is good music, but aren't I better off playing Woody Shaw? Who needs the exposure more? 3. Yourself. Play something you dislike intensely and you'll lose your entire audience. If they don't believe that you like it, they can't justify listening to it, either. So it's up to you to broaden your tastes as widely as possible. There is no artist whose records I've received that haven't had some exposure on my program. But some artists require a lot more digging to come up with something decent. And sometimes, quite unexpectedly, you find your own tastes turning around. Serenity, Harry Abraham

Personnel: McCoy Tyner (piano, percussion), Azar Lawrence (soprano & tenor saxophone), Joony Booth (bass) and Alphonse Mouzon (drums). Recorded at the Montreaux Jazz Festival, Switzerland, on July 7, 1973. Includes original liner notes by McCoy Tyner and Orrin Keepnews. Digitally remastered by Kirk Felton (1990, Fantasy Studios, Berkeley, California). From the Montreaux Sounds database: July 7 1973 Congrès Montreux Total Timing : 01:08:54 * McCoy Tyner (p) * Azar Lawrence (ts, ss) * Juni Booth (b) * Al Mouzon (dr) 1. Enlightenment Suite 1 (10:05) 2. Enlightenment Suite 2 (04:18) 3. Enlightenment Suite 3 (10:36) 4. avec 1 mouv. 10' / solo basse 3' / 2 mouv. 11' (32:45) 5. rappel (11:10)

By the way, this is the line up for that night; all were recorded for Milestone/Fantasy: Montreux Jazz Festival July 7, 1973 GENE AMMONS & HAMPTON HAWES (Congrès Montreux) GARY BARTZ NTU TROOP (Congrès Montreux) DEXTER GORDON + HAMPTON HAWES TRIO (Congrès Montreux) HAMPTON HAWES TRIO (Congrès Montreux) MCCOY TYNER QUARTET (Congrès Montreux)

I remember seeing some film of this concert. I liked the record. July 7 1973 Congrès Montreux * Gary Bartz (as,ss, bs, voc, perc) * Stafford James (bs) * Hubert Eaves (p) * Howard King (dr) 1. Suite : Nommo - The Magic Song - Sifa Zote - Juju Man - Bertha BVaptist - ... (00:00) . Don't Fight That Feeling - Mama's Soul - I've Known Rivers (56:30) 2. Warrior Dance (06:30) 3. Ruru-Sasa (02:15) . Love And Peace, Love And Health (09:55)

This one's for you, Jim.

Within his genre, Lonnie Smith is a great musican. I remember many nights when he would make the women scream when he played ballads, bringing the volume down way, way low and use those whisper effects. He'd squeeze those notes out, fast, then slow, squeeze a single note out slow and slowly raise the volume, bring it down again with some whispering rapid phrases ...bring it up again and end with a big climax....Wow! He really made love to those women. I don't know about you Chuck, but to me that is Art! As far as the turban goes; there really is no reason. Just like there is no reason for the "Doctor" tag. Maybe he's a Doctor of Romance!

Never a problem with mine after two years. I use the Apple Lossless feature for hi bitrate files.

I bopught this one recently from: rare-posters.com

Thanks for the link. It's important to spead the news about where you can see and hear the music.

That's it !

This was from late July 1970. Dexter was in Chicago to play with Jug and Byas for a Joe Segal event. The Gordon/Ammons portions were recorded for Prestige. I helped with the sessions. I was not involved with the TV shows made that week and was not in the studio. Chuck, that tape from the '71 gig in Chicago, is it audio or video...........pm reply please................. As I said in a previous post I have that on audio tape, transferred to CDR, along with the Don Byas from the same series.