marcello

I heard much of that last week. What a abomination! Wynton should be ashamed.

Dave Kikoski a seriously bad MF! One of the very best in NYC for a long time.

Thanks for that story John. Welcome Back!

Fwiw, Sjøgren lists that as from July, 1970, station WTTW "Just Jazz" program... and with slightly different timings. #1 listed as "Long Tall Dexter (theme)". Issued on "Charlie Mingus/Dexter Gordon/Charlie Parker" (J for Jazz JFJ 802). The timings are mine from my transfer from audio tape to cdr. Long Tall Dexter is heard under the radio announcer introductions. The date is what is on the tape that I received from the collector in the 70's. I also have a Don Byas from the same show and time.

Chuck - Did you see at this time in Chicago? (From my tape collection) Dexter Gordon Just Jazz TV Chicago, ILL. 1971 1. Band Introductions 1:19 2. Love For Sale 9:04 3. Sticky Wicket 5:49 4. The Shadow Of Your Smile 6:20 5. Rhythm A Ning 5:23 6. Station Outro 0:58 Dexter Gordon - Tenor John Young - Piano Rufus Reid - Bass Wilbur Campbell - Drums

Trio da Paz has a very,very successful week at Dizzy's in NYC this Summer that broke attendance records. They were augmented by Joe Locke on vibes, Maucha Adnet on vocals and Harry Allen on tenor. Here's a link: Trio da Paz review at Dizzy's

Not familiar with Cool Summer or tade. Can you 'splain? Cool Summer: Dexter Gordon & McCoy Tyner (2002) From a online review: When Dexter Gordon takes the stage, he deflects the audience's applause to his horn, but there's a bit of false modesty there, I'd guess. The disc gets right to it, and he sounds great. His performance is intercut with backstage interview footage of him; he doesn't have anything especially revealing to say, and the clips only impede the sense of flow, as they're spliced into the first song in his set. You never really get the feeling of what it's like to be on stage, or even in the audience, but man, Gordon can blow that horn. Unfortunately, we get only a truncated little set, running less than half an hour, of three songs—they are: Cheesecake Skylark Backstage at the Village Skylark is probably the best of these, a plaintive sax rendition of a torch song standard. I remember seeing this when it was broadcast on TV (the series was called Harvest Jazz, from 1982 ) and was not very impressed. The other portion has McCoy Tyner with Bobby Hutcherson, that I have not seen.

I found these on the web. Don't know the year:

Dannie Richmond Quintet closes on May 3 (Sunday) at the Village Vanguard (followed on Tuesday by the Elvin Jones group) I have a tape of that Dannie Richmond band that I made during that very week when I saw them. The band included Bob Berg on tenor and Oliver Beener on trumpet.

I agree. I have this one on CDR: Ingrid Jensen & Project O Montreal, Canada 10/19/03 1. Now and Then 2:27 2. Silver Twilight 16:43 3. The Night Has a Thousand eyes 20:46 4. Constant Craving 16:35 Ingrid Jensen - Trumpet Seamus Blake Tenor Gary Versace - B3 Organ & Piano Jon Wikan - Drums Guests; Geoffrey Keezer - piano Cristine Jensen - Alto & Soprano Masion de la Culture Frontenac, Montreal, Canada

The Scottish National Jazz Orchestra - MILES AHEAD featuring INGRID JENSEN All Music Arranged By Gil Evans Conducted By Tommy Smith This is one that I don't have yet. I'll have to correct that soon. You can get it here for $10.40 directly from Spartacus Records: Miles Ahead - Ingrid Jensen w/SNJO Uncle Skid - Tea and Watercolors is a wonderful song by Keezer that is also on his new cd Wildcrafted, but I'm going to get At Sea soon. These are my kind of people/players. Creative, soulful and dedicated.

Ingrid is very, very well thought of by NYC musicians and and fans alike. Unfortunatly, she does not play as a leader much in NYC but her appearance at the Kitano this Fall was a great sucess. She is not only a fine, trumpeter but a gifted composer also. She also spends a good amount of time as a gust educator amd cilician around the world besides her work with the MSJO. Ingrid Jensen

It's hard to pick ,but Soulstation1's birthday takes the (birthday) cake so far for me. How about 10/08/54?

Jim: There is no hipper solo than the one Dexter plays on Cheese Cake. Allen: for a more, let's say, less laid back/"drugged" Dexter, I reccomend his playing on The Jumpin' Blues and The Panther. Then there are these burning sets with Jackie McLean: There is nobody nodding out on these!

Why not just say it's with strings and let people judge for themselves? I like this record a lot - it's unique in the Dexter catalog, and the string writing is quite interesting. I agree Jack, I love this one also; lots of feeling here from Dexter. While I'm here I remember a nice set that I saw at the Vanguard (the Summer after his return, when all of the hoopla died down) with Benny Bailey on trumpet. In the audience that night I also remember, Rahsaan Roland Kirk (sitting alone) and the actor Peter Boyle ( sitting with a stunner ). Somewhere I have photos taken with a 2000 speed recording film. Bailey was great, by the way.

The version of Groovin High, from that concert, is a favorite of mine.

I think not but........that's the Christmas Spirit!

The Saturday Night cd on the Live at the Blue Note series is a high water mark for the trio.

You got to admit that his talent of taking one fact and twisting it into another reality to suit his purposes, would make him a perfect canidate for politics. Here are a couple of classic examples noted by Amiri Baraka: In the field of Jazz commentary, we have Stanley Crouch, Albert Murray, who have taken up many of the reactionary, even white-chauvinist, ideas of the racist U.S. superstructure and its critical establishment. A few years ago, at a Midwestern seminar headed by Dave Baker, Crouch, in a discussion on intellectual contributions to The Music, and in response to this writer's statement that it should obvious that it has been Black people who have contributed the fundamental and essential intellectual innovations to the music, spontaneously ejaculated, that "Black people have not contributed …" Breaking the statement off in mid ugly, apparently shocking even himself, at the ignorance of his intended comment. Especially, I would imagine, in the face of several scowling "Bloods", most, prominent musicians, including Muhal Abrams, who commented immediately on the tail of my repeated requests for Stanley to finish his thought! Crouch also wrote more recently in the New York Times, that Black musicians didn't like George Gershwin because he was a better composer than all of them (except Duke). It should be clear to most folks with any clarity that both statements are false and reek of the national (racial) foolishness that characterizes white supremacy. And this from a "Negro" (as Crouch, with objective accuracy, prefers to be called)!

I think you'd be surpised. I was when a transferred Jimmy Heath - Picture of Heath, which is not available on cd, and the songs came up right away.

Why is it that when there is a bass player who really dosen't have a talent for soloing, they are the most outrageous, stage stealing, time stealing member of the band with all those weird/lame cliches? It can really be brutal! It's one of the problems when a leader picks up a local rythmn section for a night or two and he has little control over them. I'd rather see a band with a real leader anyday; I don't care who it is, but I guess these day you have to pick and choose. I bet Golson could put together a band that would be paid well enough to tour.

The Audio Hijack program that was recomended to me (us) by our friend Rostasi, will do it. Audio Hijack

The Strand label, by our friend Michael Fitzgerald. I have the Slide Hampton: Horn of Plenty. Another http://www.bsnpubs.com/strand/strand.htm]Link

I think it's two photographs. The sky and the background being one. The foreground and the buildings being another. Look at the sun position(s). The sky and background look to be taken from a longer distance away. Al of it looks like it was used with a polarizing filter.

I just read this one. I liked it but it is a very personal, egocentric book. It talks about himself in the 3rd person and about his somewhat bad alter-ego. That can be a little much. It covers mostly his life in Europe as a journalist with memories of NYC in the 40's & 50's.