marcello

I suggest Tim Garland who not only has the best sound on soprano, but is a master of the instrument and a great composer. There's some sound samples on his website.

This week we bought a lot to build a new home for the wife and I this Summer:

On the Origin Records site for the new cd, there is a great video of Hadley and Freddie Hubbard from 1978. VIDEO

Mary Osborne, Vi Redd, Marian McPartland & Lynn Milano June 30th, 1977

Frank Hardcastle

Here's some photos of mine. One of the best sets of music I've ever seen:

I loved it when Prop Joe's nephew got a bullet in the brain. Great show/Series. Much better than the Sopranos, which should have ended after the 3rd season or so.

And where exactly would Zorn be without those fawning critics that made his career? I second that asswipe vote!

Happy Birthday, plunger face!

After a little Google: Earland's first solo album was the 1969 Soul Crib on Choice Records, which never has been on CD. From Stereo Jack on another post: Just looked this up in Raben's "Jazz Records". Earland had two LP's on Choice, both recorded c. 1969. All of the second one "Soul Crib" was reissued on Muse, but apparently this one was not reissued. From Funky 16 Corners The same goes for the LP and 45 that Earland recorded for Choice (also a Newark, NJ label). The LP was recorded at Van Gelders, and though it features Earland’s partner Jimmy Ponder on guitar, it also features Walter Perkins (out of Chicago) on drums, and George Coleman on tenor sax . Coleman had played with Perkins in the MJT+3 and had briefly replaced John Coltrane in the Miles Davis Quintet. It seems unlikely Earland would have had access to players like this had he not already been recording for Blue Note. The ‘Soul Crib’ LP leans more toward the jazz side of things, featuring no fewer than five standards, one swinging original ‘The Dozens’ (one side of the Choice 45 with ‘Strangers in the Night’ on the flip), and a bizarre free/out improv piece called ‘Mus’ Be LSD’ that seems completely out of place. Charles Earland: Soul Crib Englewood Cliffs, NJ, 1969 Charles Earland-org; George Coleman-tsx; Jimmy Ponder-g; Walter Perkins-d. [a] Soon It’s Gonna Rain Strangers In The Night [c] Old Folks Hill-Robinson 5:26 [d] The Dozens Charles Earland 3:47 [e] Milestones (No. 2) Miles Davis 8:50 [f] Must Be LSD Charles Earland 6:32 [g] Undecided Charlie Shavers 7:44 Choice ST 520 Note: [a] and are on Charles Earland: Smokin’ Muse LP MR 5126 dated 1977 [c] [d] [e] [f] [g] are on Charles Earland: Mama Roots Muse LP MR 5156 dated 1978 with [f] titled “Mama Roots” AND... CHARLES EARLAND George Coleman (ts), Charles Earland (org), Jimmy Ponder (g), Walter Perkins (d, vcl - 1), Herb Fisher (perc). Producer Ozzie Cadena. RVG's, Englewood Cliffs, c1969 Soon it's Gonna Rain Choice ST520, Muse 5126 Strangers in the Night Choice #31, ST520, Muse 5126 Old folks Choice ST520, Muse 5156, 32Jazz 32121 The Dozens Choice #31 ST520, Muse 5156, 32Jazz 32121 Milestones (Milestones #2 on Muse) Choice ST520, Muse 5126, 32Jazz 32196 Mus' Be LSD Choice ST520 Poss same session Fisher out. Mama Roots (1) Muse 5156 Add Dave Schnitter (ts). Undecided Choice ST520, Muse 5156, 32Jazz 32121 Choice ST520 issued as "Soul Crib" Muse 5126 issued as "Smokin'" Muse 5156 issued as "Mama Roots" 32Jazz 32196 issued as "Almighty Burner" 32Jazz 32121 issued as "Organomically Correct" ----------------------------------------------------------------------

I have to say that when Wayne Shorter started leading a small group again and I heard them, what they were doing—he’s always been an inspiration for me, but I think that the way that they were doing it was so, I hate the word “revolutionary,” but revolutionary! It was a way of taking the songs and then throwing out your assumptions about the way they’re supposed to be played, and who’s supposed to play what part, and what’s supposed to happen when, and what does the idea of tempo, and key, and texture mean. And they shook it all up and poured it out on the table and it’s this beautiful mosaic of all the constituent parts of the music—but without the glue of all of our assumptions about the way it’s supposed to be. Dave Douglas: Music, Commerce and Culture Wars

Try this one. Mine is on Fresh Sounds:

Ted , I'm a huge believer in ZICAM . It really works. Best, Tom

First, I'm sorry to say, that I don't know much about Cong Vu except that Ted Poor is the drummer, who I know a little. Secondly bluenote, it would help if you didn't start a thread with a question like " I like Coltrane, how about you?'. It makes you sound like you're really a novice with no real opinion and as such, open to razing. State your specific opinion ( and don't flood tho board with dozens of the same kind of threads) and you'll learn that the people here are very nice and knowledgeable. Thirdly, there is the old problem with what one types on a keyboard and what they can verbalize in person. We all have this problem. Be prudent in you posts so that you are not misunderstood, and LISTEN. Lastly, I spent a few minutes with bluenote on Live Chat, and there, he comes across as a sensible person with more knowledge than he comes off here ( don't get cocky, BN!). The bottom line is he really loves this music but maybe his Board etiquette needs some honing.

I have not heard the entire session yet, but here's a review: MUSIC REVIEW: Hadley Caliman, Gratitude by Adam Greenberg, All Music Guide For his first album as a leader in a couple of decades, Hadley Caliman returns with a bang. Though released by Seattle's Origin label, it's not strictly Northwest jazz, and though containing a couple of players from the California scenes, it's not strictly West Coast jazz. It's something different, tangible, with ties to the classics but explorations well into the new beyond. For someone who's played with everyone from Dexter Gordon to Santana, perhaps this shouldn't be surprising. The album opens with "Back for More," a new item from trumpeter Thomas Marriott with some nice parallel lines and a driving rhythm section. "This Is New" provides vibist Joe Locke with his first of many opportunities to stretch out on a good extended solo that does what few vibe players are apt to pull off in this era — maintain excitement while not succumbing to a pure show of force. By the time the album gets to "Invitation," there's a sense of Coltrane in Caliman's playing — not mimicry, but certainly some influence. "Comencio" takes advantage of a shiny Latin groove as a backdrop for more horn interaction between Caliman and Marriott and an excellent drum solo courtesy of Joe La Barbera. "If" comes from the San Francisco scene, and has a bit of the jazz club jam sound to it, but then lets Locke loose for a vibe extravaganza only matched by the groove in bassist Phil Sparks' extended solo. The album finishes off the way it started, with a delivery that promises more. The album is a fine one, rife with Caliman's obvious talent on the sax, but perhaps more so by the full supporting cast, each member of which gets plenty of time in the limelight, and makes it worthwhile.

Is your avatar Vincent Schiavelli or Jeff Van Gundy? Harvey Pekar

I can add except that Ramond Ross has passed: Paid Notice: Deaths ROSS, RAYMOND Published: October 12, 2004 ROSS--Raymond. On the evening of August 24, the photographer Raymond Ross, age 81, died in his home on Houston Street in Manhattan. The cause of death was complications from diabetes and asthma. For nearly 60 years, Ray Ross was a wellknown and widely admired figure in the New York downtown music scene. His intimate photographs document the flowering of Jazz, as he was one of the few to chronicle the transition from the big band sound of Duke Ellington to the Bebop era ushered in by John Coltrane and Miles Davis. His lifelong involvement with the downtown community kept him engaged with the avantgarde music and dance world he loved so dearly. He leaves behind over 20,000 photographs and a large community of artists, musicians and friends who know that Ray's adventurous spirit lives on in their own work. Born in New York City on February 10, 1924, Ray is survived by his friend and companion for many years Ellen Christi. His nephews David A. Ross of New York City, Mark R. Ross of Los Angeles, and Robert B. Ross of San Francisco will remember Ray as a man committed to his passion for music and photography. A memorial celebration for Ray will be held at St. Peter's at Lexington and 54th Street at 7 PM on Sunday, November 21. BTW; it Buddy Chlids not Buddy Childers who did the liner photos. Graffiti Blues

Each county in New York State sets their sales tax rate with approval of the State legislature. Here, in Monroe County, it's 8%. My county has the highest real estate tax rate of just about all of NYS, which means in the whole country! Chuck, the prices of real estate in Chicago should come down more after this Summer, when the housing speculator's backlog is gone. The problem for you may be finding a buyer in your market at the right time and price.

Thanks for posting this - bet there were more than a few drinks spilt when this was transmitted (mid-80s?). Too bad they cut it off for commercials just when the band were hitting the groove. This is from the 1st year, 1976.

SUN RA

I've used this, and it's easy: AUDIO HIJACK

Happy Birthday Big Al many more to come

On a related note ( and thank you David for another fine program) this is a book that is worth having for the stories about some of the same type of entertainers:

Frankly, anyone who broadcasting this music, especially with interesting content and forethought like Laz, should be given all praise and encouragement. The fans, radio, club and concert promoters have to support each other or they'll go the way of the Indian tribes, who fought between themselves so much they were easy to conquer.

Hey! This gives me another chance to post another couple of my photos: Clark Terry & Ernie Wilkins - July 6,1976 - NYC