marcello

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.

Chuck Nessa Posted on Mar 21 2005, 09:02 PM Please consider that on his own, CC might not have a concept to bring off a date of his own by then. A little of this and a little of that, I suppose. The question really does'nt have a answer, does it?

I know that Frank Kimbrough has been working on this for more than a year and I believe there was a performance last year at the same event. Knowing Frank's work, I'm sure that it is something special; in fact, the whole festival is. My kind of players; thoughtful, intelligent and rooted.

Thanks for the correction and information. I better check my will!

As Michael said, there are a lot of gems out there and they are the real joy in this music. Myself, I'd rather hear new music, expertly played and arranged, than hear a standard that has been beat to death; and underexposed older works are a joy to hear also.

Great News. Is Paul Bollenback still playing guitar with the band?

Jim - Flood sounds great. The Japanese really know thier sonics! A short story: The Headhunters band played in Rochester during the time that "Headhunters" first came out. Herbie had a nice big fro, a leather jump suit and all of that. He did this shtick were he held his hands above the keyboards and moved them up and down; raising and lowering the volume. All and all a good show. Cedar Walton was in town for a three week gig with Sam Jones and Louis Hayes at a club nearby. I caught Cedar during that time on as many nights that I could. Being little Ol'e Rochester, the place was nearly empty on most of the weekday nights, and I and other friends became familiar to the band. In the night that Herbie played the concert, all of the Headhunters came in and had a ball playing and joking and sitting in untill 2 am. Outside of the muscians there was only two or three tables of people ( about ten people total ) there. It was like a Tuesday night. It was very cool indeed to see the love they showed and the fun that they all had together. To watch Herbie and Cedar bump each other off the piano bench during songs ( and laughing their asses off ) was a joy to behold.

A "Living Will" is not the correct term, I do believe. What you need is called a "Health Care Proxy" that spells out what you would want if you can't communicate to doctors.

Herbie Hancock - Flood This is a nice one I have ( on Japanese vinyl ) that shows off this side of him very well. You can get it from CD Universe. Song Title 1. Introduction/Maiden Voyage 2. Actual Proof 3. Spank-A-Lee 4. Watermelon Man 5. Butterfly 6. Chameleon 7. Hang up Your Hang Ups NOTES Originally released in 1975 as a double live album, recorded and initially released only in Japan. Flood admirably documents Hancock's Headhunters-period in a concert setting. The tunes are mostly culled from the recommended studio albums Headhunters, Thrust and Man-Child, with an excellent remodeling of 'Maiden Voyage' opening the program.

The Joe Locke is on his "State Of Soul" cd, with the late Mark Ledford on vocals. Great recording, if I may say so. 1 It's Too Late 2 Come Down Time 3 Land of the Living 4 Dimming of the Day 5 Hello to the Wind 6 Sometimes It Rains 7 New Pompei 8 For All We Know 9 Stranger to Himself Mike Pope Arranger, Bass Joe Locke Arranger, Marimba, Producer, Vibraphone, Main Performer, Piano Tim Garland Clarinet (Bass), Sax (Tenor) Henry Hey Arranger, Organ (Hammond), Producer, Recording, Piano Paul Bollenback Guitar (Electric), Guitar (Acoustic) Billy Kilson Drums Mark Ledford Vocals

Try Frank Malfitano who books both the Detroit and Syracuse Jazz festivals. fmalfitano@syracusejazzfest.com

Yes, that's it I believe. I think it goes "Shhh... a slip of a lip might sink a ship". I have it first, on tape from 1943.

They were broadcasts that Ellington did for the Treasury Department in 1945 (continuing into 1946, I think) encouraging people to buy war bonds (later re-titled "Victory Bonds" after Japan surrendered.

Yes AND No to all of the above but.... isn't "In Your Own Sweet Way" a hell of a song?

I've never heard of such a large sum for a deposit; or any deposit for that matter on a cell phone. In my area, for my business, Verizon has the best packages and service area, by far. I pay for 4 phones and a toal pf about 3000 minutes per month. Last month the whole package cost me $239.00; and that includes all of the taxes ( in NY the suck you dry every chance they get) and access fees. When traveling outside of your area code, you have no roaming charges ion the USA and if you call another Verizon cell customer, the call is free, as are the calls in the group. Sorry you are having such a bad time, though.

Around about 1981 I saw Johnny Hartman at Disney World at a bar/lounge they had there. He sang as well as he could given the fact that hardly anyone was there to hear him, it was noisy and he had a pretty sad pick-up group behind him. I remember a popcorn machine churning away during a ballad. After the set, I found Hartman sitting in a chair,smoking and all alone in a hallway outside of the lounge. He looked so sad and disgusted! I didn't feel I should say anything to him ( I kind of wish I had, today) but he had LPs that he had the bar selling so I bought a copiy of each, even though I already had at least one of them. I had to do something for him! Odd place indeed! I don't believe there was a cover charge and Zoot Sims was there the week before and Clark Terry the next week!

I always dug seeing the MJQ live. John Lewis was a really great "thinking" blues piano player, if you get my drift. Sometimes they could get into a intense ,swinging groove as only they could; I loved it. So, my favorites are their live recordings. One of the best is "Dedicated to Connie"; a two cd set. 1. The Little Comedy/La Cantarice/Harlequin/Fontessa 2. 'Round Midnight 3. Cylinder 4. Bag's Groove 5. Odds Against Tomorrow 6. It Don't Mean A Thing (If It Ain't Got That Swing) 7. A Social Call 1. Django 2. I Should Care 3. How High The Moon 4. Colombine/Pulcinella 5. Spanish Steps 6. Pyramid (Home For Junior) 7. Milt Meets Sid 8. I Remember Clifford 9. Vendome 10. Skating In Central Park

His heart was in the right place when it comes down to it, right? For every Teresa Brewer he produced there was a "The Kennedy Dream" or a "Three for Shepp"!