marcello

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.

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!