marcello

His first name was McKinley, right? So he was called, early on: KINNY Dorham.

Thanks for the report, Uncle Skid. I'm glad you could be there. As far as people leaving, you're probally right about them leaving after their kids played, but I have been a part of many artist workshops with student ensembles, and for the parents to leave while the artists ( who just spent their day teaching their children) are on stage, is not good manners. I know that tomorrow, the band is playing in Lima.....Peru! Ahh, the life of a Jazz Musician! And yes, you win the "Plonker" prize. If you were from Britian, you would have had quite the belly laugh! Another photo from that session with Bob Hurst, Geoff, Billy Killson and Joe.

Here is a photo of George ( on the far right) with ( sorry I can't remember the bass player!), Gene Jackson and Joe Locke from this fall from a concert of the Joe Locke Quartet at the American Museum of Natural History; the "Starry Nights" concert series that is sponsored bt WBGO.

So what happened here? How much was the take and did you send it to Kloss yet?

There is a real nice cd of the "Lost Quintet" called: Title: IT'S ABOUT THAT TIME Date: July 1969 Release: Jazz Door #1294 That has some of the best Chick w/ Miles that I have heard.

Here is another from the same session. Photo by me; the humor from a British friend of Joe Locke's. How many of you know what a "Plonker" is?

Geoff may be a genius; a fantastic pianist with a exciting sense of harmonics. Ingrid is a mean trumpet player. A lot of chops and soul. They are also best of friends. I wouldn't miss it. I have my own bias, though. Here is a photo of Geoffrey, Yours Truly and Joe Locke.

Maybe they are just excited by "The Moontrane"!

Does that mean one on top too? Ha!... No, side by side, as the song goes. One deeper than the other. But really, he's fine.

Might have been your lucky day. Aw, Chuck... What's wrong with a drummer who plays TWO snares!?

Looks like it. Looks like they got their MOJO Workin'.

Listening is required before commenting, I do believe. In this case: over the top = shock and awe!

I don't know that Spoon, but I'm a big Terreon (Tank) Gully fan!

Well, Thank YOU SS! My Funny Valentine on that is SO over the top! WOW!

Thank You, Paul!

This, from Jim Wilke of "Jazz After Hours" on the jazzproglist: Like the internet, you can't always believe your ears. Or the radio either. I used to have to remind about half the student announcers I was coaching it was Garner (not Gardner) and Blakey (not Blakely). And was it Barbara Walters who said Cowmen McWay? Jim

This is my town so I'm glad to help. The Club Pass is a good way to see two or three different sets a night, The first shows start between 6 and 7 pm so if you make a dinner reservation beforehand, you can get a good seat. There are also concerts that are held in various auditoriums ( like Kilbourn Hall at the Eastman School od Music ) that you have access to with the Club Pass. Last year at Kilbourn Hall I saw Cedar Walton and Tim Ries; the year before, Chris Potter. Those shows start at 6pm. The only Eastman Theatre show I will see is Sonny Rollins ( who I saw there in 2003 ); the other acts don't move me too much. Rochester is a small city, so even with the Festival, it's pretty easy to see what you really want to see, especialy during the week days. All of the clubs and theaters are within a short walking distance from eachother so it is easy to go from one to the other. The most interesting for me ( besides Rollins ) are: Bill Frisell Trio John Scofield Band Ravi Coltrane Quartet Joe LaBarbera 5tet ( a hometown boy ) Dewey Redman Quartet James Spaulding Pete Laroca Sims Wallace Roney Lynn Arrielle Trio Steve Turre Quartet Don McCaslin Quartet Arthur Blythe Hilton Ruiz Trio The Crown Plaza Hotel is where all of the performers stay and there are jam sessions there every night. Last year, Tommy Smith played the most amazing tenor solo at one of those sessions that I have EVER heard, live, in my life! I'm not sure he's human.

Try this one instead! CARLA BLEY: DINNER MUSIC WATT WORKS, WATT/6, 2313 106(LP) ©(P)1977 WATT WORKS, INC. / ECM RECORDS GMBH RECORDED: JULY-SEPTEMBER 1976 RELEASED: 1977, GERMANY RE-ISSUED: POLYDOR K.K., J23J 20386(CD) RELEASED: FEBRUARY 1, 1990, JAPAN All compositions by Carla Bley Roswell Rudd : trombone Carlos Ward : alto saxophone, tenor saxophone, flute Michael Mantler : trumpet Bob Stewart : tuba Richard Tee : piano, electric piano Eric Gale : guitar (on 2,4,6) Cornell Dupree : guitar (on 1,7) Carla Bley : organ, piano (introduction on 1), vocal (on 4), piano & tenor saxohone (on 6) Gordon Edwards : bass guitar Steve Gadd : drums TRACKS (total time 48:21) : 1. Sing Me Softly Of The Blues (7:42) 2. Dreams So Real (5:35) 3. Ad Infinitum (5:52) 4. Dining Alone (4:33) 5. Song Song Long (6:02) 6. Ida Lupino (7:57) 7. Funnybird Song (3:03) 8. A New Hymn (7:25)

Rooster - Don't you mean JOE LaBarbra on drums?

I have that recording. Nice sound; good performance (12/1969). I like this a little better that Captian Marvel for the performances. The last two songs are by the group with Albert Dailey, George Mraz and Billy Hart. A group I saw live many times. Sweet Rain - 6:32 Wee - 8:39 Lush Life - 4:54 Night Time Street - 9:22 La Fiesta - 12:32 Lester Left Town - 9:29 Lover Man - 12:09

Maybe it shoud read: "Badal Roy From India....a long time ago"

At Snug Harbor: http://www.snugjazz.com 14th Tablas Master Badal Roy from India 15th Jazz Piano Ellis Marsalis Quartet

I would rather use Lou's photo, if I could find it. Not to hijack the thread but I can't resist, so please forgive me in advance: Lou Ouzer, 88, a master of black and white portraiture Lou Ouzer, best known for his black and white portraits especially those of musicians, died on February 16 at age 88. A jazz concert was held at the Eastman School of Music, Rochester, New York, on February 19 and Ouzer’s pho- tographs were projected on a screen above the Eastman New Jazz Ensemble. Each musical piece was introduced by Tom Hampson, the voice of radio station WXXI’s program Mostly Jazz. Hampson gave an account of the times, the musi- cians, the music and the photographs of greats such as Duke Ellington, Dizzy Gillespie, Gerry Mulligan, Paul Desmond and many other jazz notables.

A little too much generalization on my part. I can agree with you both a be a little more festive in the future. We were discussing from Dorham's view of the genre, correct? Again, I agree with Jim and at the same time won't rain on your parade.

This note from the jazz-west coast newsgroup: I just finished my first time through this wonderful biography, and it won't be my last. It's impossible to say enough good things about this book, Doug's writing, or the work that went into producing it. Paul Desmond has been one of my very favorite musicians since the first time I heard him as a teenager in the 50's, and my appreciation has only deepened since then. In his playing, I heard much of the man that Doug allows us to know in these pages. Doug's research is extensive, and it's clear that many of Paul's friends and family opened up to him. None of this is surprising -- Doug had been close to Paul, to Brubeck, and to many of Paul's friends since the 50's, and Doug's been a top flight writer and journalist for all of those intervening years. In the book, we are treated to a nice sampling of Paul's writing, much of it in the form of letters to friends and family, but also things he writes to himself. We gain a good understanding of how he grew up, the influence of his father, a composer and arranger, how he got started in both music and writing, how he paid his dues. We get to realize the breadth of Paul's interest in the world around him, and, eventually, his view of it. We are exposed to generous and thoughtful analysis of some performances illustrating his musical development, both by Doug and by master musicians Doug recruited for the task. We read interviews and analysis of Paul the man, his music, and his musicianship from many of the great musicians of his time. Doug doesn't have to tell us how great Paul was -- he quotes musicians like John Handy and Bobby Shew saying so to their college classes, and he quotes Bird's appreciation of the alto player of his generation who played the least like him. On the other hand, this is far from a "puff piece" -- Ramsey is more than willing to expose Paul's faults and insecurities, but he also is able to put them in perspective. Having long been a fan of Doug's writing, I was thrilled to hear he had decided to write about his friend, knew it was going to be a great document. Almost the only thing that surprised me was how MUCH he was able to accomplish in so short a time. This book is a "must read" for anyone interested in Paul, in what being a jazz musician is all about, and even as a study of the time in which Paul lived. It's also quite pleasurable writing -- lively, great images, great pacing, and wonderful wordsmithing. And not only are there words -- the book has hundreds of great photographs, including my personal favorite, a shot in the studio of Paul obviously having fun at the piano and grinning from ear to ear. That photo alone is worth the price of the book! Not surprisingly, I find much in common between Paul and another of my heroes, Lester Young. I've read three books about Prez, and I feel I could still read another one to learn more about the man and his music. I won't have the problem with Paul -- Doug Ramsey got it right the first time. Jim Brown