marcello

Just one man's opinion.

I'm not sure about "Atlantis"; I'll listen to that later on line and compare. Here are the track times: 1．SKAGLY - 9:56 (Hubbard) 2．FINGER PAINTING - 6:44 (Hancock) 3．MUTANTS ON THE BEACH - 11:04 (Williams) 4．CIRCE - 4:30 (Shorter)

I have a Japanese pressing of "Five Stars" (1979 Sony/CBS ). It's short but sweet. 1．SKAGLY 2．FINGER PAINTING 3．MUTANTS ON THE BEACH 4．CIRCE 1979年作品 ●Sony Records/Columbia/SRCS-7046 ●Musicians● P.Herbie Hancock B.Ron Carter Ds.Tony Williams Ts.Ss.Wayne Shorter Tp.Flh.Freddie Hubbard

Try a figure more like 3 or 4 dollars. And anyway, let the guy make a extra dollar or two if he can, for christsakes!

Then there is this one on vinyl again but now, they are all available on CD; insn't everything? PMR-004 "Live" © 1975 John Coltrane Memorial Concert Recorded September 12, 1971 at Town Hall, New York City Elvin Jones Drums Frank Foster Tenor and soprano saxophones Chick Corea Piano Gene Perla Bass Joe Farrell Tenor saxphone & Flute Shinjitu (Keiko Jones) 22:00 Simone (Frank Foster) 23:53

There is also: Elvin Jones - "On the Mountian" with Gene Perla and Jan Hammer, that I have on vinyl. Very good contemporary Elvin. Elvin Jones, drums; Jan Hammer, piano, Fender Rhodes, Moog; Gene Perla, acoustic bass, electric bass Tracklist: 1. Thorn of a White Rose — 5:07 2. Namuh — 7:47 3. On the Mountain — 4:37 4. Smoke in the Sun — 4:00 5. London Air — 5:29 6. Destiny — 7:28

I had the pleasure of knowing Mr. Wilder some when I was in college in Rochester. I was a bellman at the hotel he called home in Rochester ( where he spent a lot of time as it was his home town; his other "home was the Algonquin in NYC ) and I also spent quite a bit of time with his best friend, photographer Louis Ouzer. Lou's studio and the Eastman School (where his classmates were Mitch Miller and Goddard Liberson of Columbia ), and the hotel were within yards of each so I saw and talked with him for a good part of two years in the early '70's. If I didn't work or was at class I was at the Ouzer Studio (I went to school for photography at R.I.T.) working for Lou and watching him work. Mr. Wilder would spend hours at the studio, reading and talking to Mr. and Mrs.Ouzer who were his best friend. It was a place where he didn't have his armour up. Besides the popular songs that he CRAFTED, Wilder wrote many, many modern chamber pieces for different ensembles and respected soloists."Suite for Flute, Clarinet and Piano", "Grandma Moses Suite", "Nonet for Brass" ,and for tuba, "Effie Suite", are performed often. His "popular" material is also performed regularly: Recordings of "I'll Be Around" include: Eddie Higgins Quintet, Moonlight Becomes You [Venus] Randy Porter Trio, Brio [Heavywood] Jackie Allen, Love Is Blue [A440 Music Group] Tierney Sutton, Dancing in the Dark [Telarc] George Shearing includes "Who Can I Turn To?" on his new CD Like Fine Wine [Mack Avenue]. Cologne [Fuzzy Music] by pianist Bill Dobbins includes three Wilder songs: "While We're Young," "The Winter of My Discontent," and "Moon and Sand." This is just I could find without trying hard! His radio show that he did with Loonis McGlohon, "American Popular Song" was a real treat that brought this very intelligent mind together with the best singers alive. Overrated? I don't think so.

Rooster: I have the Norman Connors - Dark Of Light, on vinyl, and I've got to say: it sucked then and I can guess it sucks now, also. It has all of the usual suspects on it. There are some good moments; but just that; moments. Norman Connors : drums Herbie Hancock : electric piano, acoustic piano Eddie Henderson : trumpet Carlos Garnett : tenor saxophone, soprano saxophone Gary Bartz : alto saxophone Art Webb : flute Cecil McBee : bass Buster Williams : bass (on 1) Stanley Clarke : bass (on 3) Onaje Allan Gumbs : acoustic piano (on 4) Lawrence Killian : congas Warren Smith : percussion Ted Dunber : acoustic and electric guitar (on 1) Elmer Gibson : electric piano (on 3) Henry Palmer : percussion (on 3) Gerald Roberts : percussion (on 3) Alfred Williams : alto flute, bassoon (on 3) chorus : Dee Dee Bridgewater, Ellen DeLeston, Michael Brown strings : Gail Dixon, Pat Dixon, Jerry Litte TRACKS (total time 35:16) : P.S. Mine has a different cover than this:

I hear what you're trying to say Larry; but this is just the point of her individuality; her art. What was facinating about what I heard was not just the ensembles but the way she pairs solists within the pieces and then moved on ( or rather forward) with her orchestrations. Her music is not so obvious or thematic to the ear, for sure, and dosn't conclude in conventional ( and themes don't always return ) systems. She's different, for sure. Now I just read Mike's post and once again, he says it better that I !

A thanks from me also, Mike. It seems that all of the shows were sell outs. A well deserved sucess for Maria and the Orchestra. There was some subsituting and additions during the three sets I heard, also. Vocalist Luciana Souza sang on Sunday ( but not Saturday) on one song, Steve Wilson played alto and flute on two of the three sets and then was spelled by Tim Ries. Here is a photo of Scott Robinson with one of his shirts!

Now THIS is the kind of tribute that Allen Lowe would love! In this regard, I see his point.

THIS is a antidote to THAT! Frank Kimbrough / Joe Locke Duo - The Willow FRANK KIMBROUGH / JOE LOCKE DUO: THE WILLOW OmniTone (12201) Frank Kimbrough - Piano Joe Locke - Vibraphone, Marimba with Tim Ries - Saxophones Jeff Ballard - Drums and Percussion If that's your Sunday morning, what is your Saturday night like!

Do you mean this? Date: 1971-07-21 Venue: Nice, France Herbie Hancock Eddie Henderson Julian Priester Bennie Maupin Buster Williams Billy Hart You’ll Know when you get there Toys Ostinato (suite for Angela) Here is another: Date: 1972-02-20 Venue: Detroit, Stata Gallery Herbie Hancock Sextet Eddie Henderson : trumpet Julian Priester : trombone Bennie Maupin : tenor & soprano saxophone, flute, bass clarinet Buster Williams : electric bass, acoustic bass Billy Hart : drums. Check this link HERE

Re: Tour; from Frank Kimbrough's website: June 2005 21 – w/ Maria Schneider Orchestra – World Financial Center, NYC 24 – w/ Maria Schneider Orchestra – Great Barrington, MA November 4 – 19 European Tour w/ Maria Schneider Orchestra 2006 January 20 – w/ Maria Schneider Orchestra – Burlington, VT 21 – w/ Maria Schneider Orchestra – Hanover, NH 22 – w/ Maria Schneider Orchestra – Portsmouth, NH 27 – w/ Maria Schneider Orchestra – Penn State U. 28 – w/ Maria Schneider Orchestra – Erie, PA 29 – w/ Maria Schneider Orchestra – Buffalo, NY February 3 – 8 – w/ Maria Schneider Orchestra Tour 8 – w/ Maria Schneider Orchestra – Disney Concert Hall, Los Angeles, CA 24 - 28 – w/ Maria Schnieder Orchestra tour: dates to be announced in Austin, TX; Windom, MN; Minneapolis, MN; Columbia, MO March 11 – w/ Maria Schneider Orchestra – U Mass Amherst April 6 - 9 – w/ Maria Schneider Orchestra – Pittsburgh, PA 22 – w/ Maria Schnieder Orchestra – Greeley, CO 28 – w/ Maria Schneider Orchestra – Reno, NV Frank Kimbrough's web link

I heard Matia Scheider's Orch. this last Thursday and Friday at the Jazz Standard. The band was really wonderful to hear live with that beautiful music and great soloists. Many of the themes that I heard were of a spanish influence of many parts and time changes; most building to a great cresendo before ending. Most memorable were: a chorus for chorus exchange between Gary Versace on accordian and Frank Kimbrough, great flowing, trumpet solos by Greg Gisbert, the driving tenor of Donny McCaskin, "the seventh wonder of the world" ( Maria's words) Scott Robinson on baritone, a firery Ingred Jensen, and Jay Anderson (on bass) and Clarence Penn ( on Drums) holding the arraingements together and moving them along. FRank Kimbrough told me afterwards: "It's not a orhcestra; it's a ORGANISM!"

If Elvin's the one giving the cymbal overdose, I'll take it. Guy

I better get my ears cleaned! Are the Paris recordings the same?

I'll give another listen, Mike. I have always had the impression that he was not playing ANY of the heads on that tour. This gives me another chance to hear them again.

I find the cymbal sound on the cd very anoying, to say the least. I can't listen to it at all. They really ruined the sound for me. High treble! I'm glad I have the vinyl.

Nobody has mentioned that this is the tour and recordings where Trane only plays solos; no heads and only a couple of partial endings.

Here is a recent article: Saxing Up the Alto Kenny Garrett puts the cool back into the bastard child of the sax world By Peter Koht The alto sax has a checkered history. Charlie Parker and Cannonball Adderley made it famous back in the days of "Donna Lee" and "Anthropology," but since the death of the Bird, the alto cool quotient has taken a hit. While tenor lovers count John Coltrane and Pharaoh Sanders as their instrumental prophets, the main messiahs of the E-flat horn have been blessed with names like Phil Woods and Sonny Sitt. Even though it's a more agile instrument, the alto has become the bastard child of the jazz world, relegated mostly to swing bands and concert music. Unlike all the other kids who ditch the alto as soon as their fingers get big enough to pick up the tenor to try to be the next 'Trane, Kenny Garrett knew that he wanted to chunk it out on the alto. Garrett's first professional gig was not too shabby; he got a seat in the Duke Ellington Orchestra, under the direction of Duke's son, Mercer. This gig led Kenny out of the Detroit music scene and into New York's. After a brief stint in some pit orchestras, he found himself playing for both Art Blakey's Jazz Messengers and Miles' Davis' group. From Miles he learned many musical lessons and some practical ones as well. "Miles' genius was getting the best out of musicians but not controlling them--letting them be free but also getting what he wanted from them," says Garrett. Years later, when he found himself leading his own quartet, he adopted Miles' approach to being on the bandstand. "What I want to do is let my music be as spontaneous as possible. Initially, of course, I need to let my musicians know what I am looking for, but after that, the music is free to evolve." Evolution is an eloquent choice of words to describe the output of this gentleman. Unlike many traditionalists who believe that jazz ended when Wayne Shorter took over for Coltrane in Miles' group back in 1964, each new Kenny Garrett project is a complete redesign of the genre and its possibilities. Garrett's expansiveness has also found him seeking inspiration in Asian folk music. On his first trip to Asia, Garrett became enamored with both the languages and the music of the Pacific Rim, and has recently begun to study the music of China, where he's scheduled to tour next August. "Once you start checking out the music in a new place, you start to understand the connections between the verbal and the musical, and it's another window on the culture." Garrett's interest in new sounds also applies to contemporary American music. Unlike many of his contemporaries in the jazz world, Garrett doesn't believe that hip-hop is having a deleterious effect on the evolution of the music. In fact, some of his most recent tunes show a strong bent toward this genre. "I have a 15-year-old daughter who keeps me current, and so does my drummer. People think that hip-hop is new, but it has really old foundations. The other night I went to go see Johnny Griffin, and he was quoting all these different songs in his solos. You can hear his story, and the history of the music in everything that he plays. So sampling has an old foundation." While Garrett has the freedom to work with almost anyone in the jazz community, he has chosen to build his band around people with open ears who are unafraid to follow him in his sonic wanderings. "I like working with younger musicians, because older musicians might not know new tunes or even want to play them, where younger players like to keep it fresh." This attitude, combined with his boundless energy and sense of fun, has made Garrett one of the more interesting and hip players to watch in the jazz world. Not too shabby for an alto player. Kenny Garrett Quartet plays Monday, March 28, at 7pm at the Kuumbwa, 320 Cedar St., SC. Tickets $20-$23. (831.427.5100; www.kuumbwajazz.com). [ Santa Cruz | Metroactive Central | Archives ] From the March 23-30, 2005 issue of Metro Santa Cruz. Copyright © Metro Publishing Inc. Maintained by Boulevards New Media. For more information about Santa Cruz, visit santacruz.com.

You should look at the WWOZ website for club listings ( like Snug Harbor ); it's a nice station to listen to also. WWOZ Link

After reading all of this I realize that there really is not a comprehensive biography of this seminal figure and huge influence. Calling Chris!

This is a goodin'! Bar Wars Willis Jackson with Pat Martino Original Release :: 1978 Muse (#5162)

Allen, with all due respect to you and these artists; they don't make their living doing just this type of project. All of these artists have a long history of personal projects that are individual and forward. I think you must also consider, in regards to your comments about Bird and Bud not doing this sort of project, is that they both died very young ( younger that most of the artists at this festival) and that 50 years of Jazz history has passed to be mined and considered. Now if your talking about the dreadful Marsalis Ellington Programs, that another problem.