marcello

Shirley Temple Black?

What makes a jazz classic? Tommy Smith brings you the stories behind the notes of such standards as 'Night and Day' and 'A Night in Tunisia'. Tommy Smith - Jazzlines on BBC

Lauren Camp, who is a fabric artist and a DJ at KSFR in Sant Fe, does some nice work. here is a example and her website:The Fabric of Jazz

Has anyone heard this? John Martyn - guitars, vocals Spencer Cozens - keyboards, synth bass Alan Thomson, Dave Ball - bass John Henderson, Arran Ahmun - drums Miles Bould - percussion Andy Sheppard - soprano saxophone Joe Locke - vibes Jessica King - backing vocals * Hole in the Rain * Annie Says * Jack the Lad * Number Nine * The Cure * Same Difference * Father Time * Call Me * CoolTide

I have "Now Hear This" also; a great date!

Sure, but it's the Alumni tag that has me asking. They could just call it a Tribute band, but best of luck to them.

Marketing in jazz is needed but..... Outside of John Lee, what makes these other players Dizzy Alumni?

My6 wife and I saw him about three years ago at a Eastman Pops concert in Rochester and he was very enjoyable. All the women were singing with him on "You're Gonna Miss My Love" and dancing in their seats. He had a wonderful guitar player with him, with a unique sound, that played some pretty modern, funky solos. A older guy whose name I didn't get. Was he with him last night?

The lyrics to "A Child is Born" by Thad Jones: (these are the original lyrics by Alec Wilder) Now, out of the night; New as the dawn, Into the light, This Child, Innocent Child, Soft as a fawn, This Child is born. One small heart; One pair of eyes; One work of art, Here in my arms, Here he lies, Trusting and warm, Blessed this morn A Child is born. A Child Is Born - Composer: Thad Jones - ©1969

Also known as the Joe Locke / Geoffrey Keezer Quartet Here's a photo from the recording session: Bob Hurst, Geoffrey Keezer, Billy Kilson and Joe Locke Do you have a Hiroshi link that you can share?

This, from Larry Appelbaum, via the Jazz Programers List: While I'm very happy that the Monk-Coltrane CD is attracting so much attention, I'm surprised and occasionally peeved by the number of journalists who make careless mistakes, or worse, simply make things up. I can't even count how many interviews I've done via email where the writer still misspelled my name and got facts wrong. Even some of the leading jazz publications are guilty of this. Another example; this article above is from the Hollywood Reporter, a presumably reputable publication. Yet the reporter never contacted me, so where did he get the idea that I'm a Library of Congress "researcher?" Perhaps from an article two weeks ago in the Washington Post by Matt Schudel? I was surprised that in my own home town a reporter from the W.Post writing about this didn't even lift up the phone to get a quote or to check my job title. And I know he has my business card because I gave it to him myself at a concert earlier this year. So, one reporter makes a mistake that gets published, then others start repeating it. It reminds me of the oft-repeated mistakes stemming from Leonard Feather's Encyclopedia of Jazz, or the fact that for 30 years people have been insisting that Andrew Hill was born in Port Au Prince. Don't get me wrong, in most cases it's just publicity and anything that turns people on to good music is a good thing. But sometimes, for better or worse, publicity that gets published becomes a part of the historical record. While I am occasionally referred to as the Library's jazz specialist, my job title is actually Senior Studio Engineer/Supervisor. More specifically, I am the Supervisor of the Magnetic Recording Laboratory in the Division of Motion Pictures, Broadcasting & Recorded Sound at the Library of Congress. Now, back to regularly scheduled programming. Larry Appelbaum (not Applebaum) WPFW-FM

".....and the beavers could also help keep waterways clear of debris." Actually they build dams that block streams and creeks that cause flooding. In New York State they are happy to provide permits to "trap" beavers that cause blockages. Those traps are set out and then checked two weeks later. Usually, in those two weeks, those beavers either drown or starve to death. It's a way that the State uses to avoid the stigma of shooting ( thus outright killing ) beavers. If people think they are just trapped, it's humane.

The Kid in White has more Natural Soul than most pop performers I've seen in a while!

In no order at all and on vinyl only: In My Prime Ugestu Olympia Concert Meet Me at the Jazz Corner of the World - 1 & 2 The Big Beat A Night at Birdland Vol. 1 Kyoto Art Blakey and the Jazz Messengers (Savoy) Keystone 3 Mosaic Three Blind Mice Art's Break Jazz Messengers '70 Moanin Anthenagin Reflections in Blue Caravan Oh-By The Way S'make It A Jazz Message St Germain - 3 Volumes A Day With Art Blakey - 1961 Hard Drive Hard Bop Live at Bubba's Jazz Messengers ( Impulse) Indestructable Free For All

Putter Smith With Bass: As Mr. Kidd in Diamonds Are Forever

Ther is a chapter on Shadow Wilson in Drummin' Men the Bebop Years that everyone would enjoy. Fine book.

I'd be interested in hearing that band again with the subsitution of Greg Hutchinson on drums for Ralph Peterson.

Have you seen the article of this woman in the photo that found her recently? You would never know it was the same person. She's been absolutely ravaged by time and circumstances.

A very Happy Birthday to you Chris, and a deep Thank You for your work and sharing your thoughts. Best, Tom Marcello

Jim, I bought this book via Cadence a couple of years ago. Good book and I concur with Mike's comment that it could be more, but then again, It's nice to have it.

Here's a goodin' from a good ol' boy: Mama Tried The first thing I remember knowing, Was a lonesome whistle blowing, And a young un's dream of growing up to ride; On a freight train leaving town, Not knowing where I'm bound, No-one could change my mind but Mama tried. One and only rebel child, From a family, meek and mild: My Mama seemed to know what lay in store. Despite all my Sunday learning, Towards the bad, I kept on turning. 'Til Mama couldn't hold me anymore. And I turned twenty-one in prison doing life without parole. No-one could steer me right but Mama tried, Mama tried. Mama tried to raise me better, but her pleading, I denied. That leaves only me to blame 'cos Mama tried. Dear old Daddy, rest his soul, Left my Mom a heavy load; She tried so very hard to fill his shoes. Working hours without rest, Wanted me to have the best. She tried to raise me right but I refused. And I turned twenty-one in prison doing life without parole. No-one could steer me right but Mama tried, Mama tried. Mama tried to raise me better, but her pleading, I denied. That leaves only me to blame 'cos Mama tried.

I agree. But it seems to me that an artist should not passively rely on the activities of tapers and/or traders and the distribution of these recordings via one on one trades. An artist can maximize the effect by actively embracing the model. Instead of simply allowing taping and trading, maybe the artist can put 40 more people in the venue by actively encouraging the activity. It would be interesting to know whether artists like Greg Osby and Jeremy Pelt, who actually have live performances available as free MP3 downloads from their websites, have seen a real increase in support as a result. I totally agree and have been trying to encourage that on my end. I think I'll ask Osby. johnagrady - i don't think there is a problem with the terms used. I applaud you for your efforts to support the musicians you have supported as a result of taping and trading. I simply challenge the premise that your experience is representative of the majority of the trading community. I have seen it both ways, but I still think that the activity can be as much of a disincentive to attend performances and purchase recordings as it can be an incentive. ← Again, I agree. To totally embrace John's premise is one sided, and radical, but his heart's in the right place. The availability of downloads from artist sites is the best of all possible worlds; for the artist, that is.

Ron, I think there is a small amount of exposure to be gained by a jazz artist via trades. It opens up a few more ears. In the Jazz Business, where putting 20 more people in seats at a venue or selling a few dozen more cds can mean something positive, it's worth the risk.

I like the Vernell Fournier tune on that one: "Armando".

I remember that "Fairyland" had a trio with Chuck Rainey and Bernard Purdie. I liked it a lot when it came out but do not own it now. Havn't heard it in many a moon. I still own the Nelson "Live in Berlin".