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Joe Farrell, though great on some recordings, has been dead for some time. I thought you were looking for current artists? Try Geoffrey Keezer latest: WILDCRAFTED

Joe Locke receiving the JJA Award for ´Mallet Player of the Year´ June 19, 2006 --- photo © Gene Martin

Website Jay Migliori 11/14/1930 - 09/02/2001 veteran saxophonist migliori dead in calif. at 70 mission viejo, calif. (reuters) - jazz saxophonist jay migliori, who performed with charlie parker, miles davis, frank zappa and frank sinatra as well as the grammy-winning group supersax, has died at age 70, the los angeles times reported on friday. migliori, who lived in the southern california city of mission viejo, died of colon cancer, the paper reported. he underwent cancer surgery six years ago. however, until just six weeks ago, he continued performing in nightclubs and other venues five nights a week. as a studio musician, migliori played on more than 4,000 commercial recordings including singles and albums by frank sinatra, dean martin, glen campbell, the beach boys, tito puente, neil diamond, the manhattan transfer, the monkees, ray charles and celine dion. he also performed with more than two dozen major bands including those led by the likes of miles davis, stan kenton, terry gibbs, louie bellson, si zentner and maynard ferguson. born in erie, pennsylvania, migliori received an alto saxophone for his 12th birthday and fell in love with jazz as a teen-ager. he once described his style as ``modern acoustic jazz with roots in bebop.'' saxophone legend charlie parker was also a major influence on migliori. in 1971 migliori joined supersax, a group with five saxophonists that specialized in performing arrangements of the improvised solos of charlie parker. the group's album, ''supersax plays bird,'' won a grammy in 1973 for best jazz instrumental performance by a group. migliori recorded four of his own albums including ``jazz in transition''. he is survived by his wife, patti, four children and two grandchildren. discography: (all credits are for sax (tenor or bari) unless otherwise noted) * 1942 capitol 50th anniversary jazz box * 1947 atlantic jazz: singers * 1947 atlantic jazz: 12 volume box set * 1950 cole, nat king- big band cole * 1951 herman, woody- compact jazz * 1955 jay migliori quintet * 1958 herman, woody- herman's heat & puente's beat * 1963 spector, phil- christmas gift for you from phil sp * 1964 big surf hits- big surf hits * 1966 righteous brothers- back to back * 1966 crawford, don- don crawford * 1968 newman, randy- randy newman * 1968 van dyke parks- song cycle (reeds (multiple), woodwind) * 1968 monkees- birds, the bees & the monkees * 1970 friends of distinction- whatever * 1971 collins, albert- there's gotta be a change * 1971 hawes, hampton- northern windows (flute, reeds) * van dyke parks: discover america (2) (1972, lp, usa, ??) - incl.various zappa alumni * 1972 supersax- supersax plays bird * 1973 dalton, kathy- amazing * 1973 ammons, gene- brasswind (flute, flute (alto), alto sax) * 1973 supersax- salt peanuts * 1974 adderley, nat- double exposure (reeds) * 1975 axelrod, david- seriously deep (wind) * 1975 nilsson, harry- duit on mon dei * 1975 axton, hoyt- southbound (horn) * 1975 wainwright, loudon iii- unrequited (wind) * 1975 adderley, cannonball- big man (reeds (multiple)) * 1975 sellers, maxine- life is short but it is wide * 1975 chapin, harry- portrait gallery (reeds, wind, brass) * 1975 phillips, esther- confessin' the blues * 1976 tubes- young & rich * 1976 waldman, wendy- main refrain * 1976 manhattan transfer- coming out * 1976 manhattan transfer- pastiche (reeds) * 1977 phillips, michelle- victim of romance (wind, woodwind) * 1977 phil spector's 20 greatest hits * 1977 cohen, leonard- death of a ladies' man * 1978 supersax- dynamite * 1986 supersax- supersax and l.a. voices: straighte * 1988 wilson, brian- brian wilson * 1989 supersax- stone bird * 1989 williams, joe- in good company * 1989 harris, chiz- confirmation * 1989 rip chords- hey little cobra * 1991 marrying man- marrying man * 1991 monkees- listen to the band * 1991 spector, phil- back to mono (1958-1969) (horn, saxophone) * 1991 kenton, stan- 50th anniversary celebration: the b * 1992 league of their own- league of their own * 1992 manhattan transfer- anthology: down in birdland * 1992 herman, woody- crown royal * 1993 axelrod, david- requiem: the holocaust (reeds (multiple)) * 1993 beach boys- good vibrations: thirty years of th (horn) * 1993 puente, tito- blue gardenia * 1994 everly brothers- heartaches & harmonies [box set] (woodwind) * 1994 pianoel: an artist collection, vol. (reeds) * 1996 usher, gary- gary usher greats, vol. 1: kickstan * 1996 jan & dean- surf city/folk 'n roll (horn) * 1996 monkees- missing links, vol. 3 (horn) * 1996 waldman, wendy- love is the only goal: the best of (horn) * 1996 heroes of country music, vol. 5: le (woodwind) * 1996 best of jazz 'round midnight * 1996 diamond, neil- in my lifetime * 1996 jay migliori- smile * 1997 day, doris- move over darling * 1997 berry, jan- second wave * 1997 wilsons- wilsons * herman, woody- crazy rhythm * herman, woody- ready-get set-jump AND: Jay Migliori was best known as a member of the group Supersax, where he shared tenor duties with Warne Marsh in the original line-up. The nine piece band (five saxes, trumpet and rhythm) was formed in LA in 1972, and specialised in playing highly virtuoso arrangements of Charlie Parker's solos, mostly by Med Flory. Migliori had one taste of playing with Parker for real, when he was invited to sit in on several tunes at the Boston night club The Hi-Hat in 1954. The occasion was preserved on a radio broadcast on Symphony Sid Torin's networked show, and issued on disc on Bird in Boston: Live at the Hi-Hat, Vol. 2. Migliori was studying at Berklee College at the time, and playing in Boston's clubs. He was given an alto saxophone as a present on his 12th birthday, and developed a passion for jazz as a teenager. He attended the St. Louis Institute of Music, then played in the 571st Air Force Band in Texas in 1951-2. On demobilisation, he enrolled at Berklee. He made his recording debut in 1955, then joined Woody Herman in early 1957. He played with the Herman band for 18 months, including an extended tour of South America, and can be heard soloing on "The Preacher" and others on Herman's disc, Woody Herman '58 (Verve). He settled in Los Angeles in late 1959, and became a busy studio musician, playing on an estimated 4,000 commercial recordings with a huge range of artists, including Frank Sinatra, The Beach Boys, Glen Campbell, Ray Charles, Celine Dion and Frank Zappa. He continued to play in jazz settings throughout his life, working with band leaders like Miles Davis, Stan Kenton, Terry Gibbs, Louie Bellson, and Maynard Ferguson, among many others. He led his own groups, playing what he described as "modern acoustic jazz with roots in bebop", and recorded occasional albums under his own name. He underwent surgery for cancer in 1995, but continued to maintain a heavy working schedule until very recently. He died of colon cancer, and is survived by his wife, Patti, four children and two grandchildren.

Here's a three good ones from my library: UNFINISHED DREAM: THE MUSICAL WORLD OF RED CALLANDER

I have this one that is interesting. It's one of the few dates by the late Gregory Herbert: Date: 1971 Location: New York City Label: Mainstream Johnny Coles (ldr), Gregory Herbert (ts), Johnny Coles (t, fh), Astley Fennell (tb), Howard Johnson (tu), Cedar Walton (p, ep), Reggie Workman (b, eb), Bruce Ditmas (d) a. a-01 Never Can Say Goodbye (Clifton Davis) b. a-02 September Of My Years (Jimmy Van Heusen, Sammy Cahn) c. a-03 728 (Johnny Coles) d. b-01 Eleven [aka Petits Machins] (Gil Evans, Miles Davis) e. b-02 Betty's Bossa (Cecil Bridgewater) f. b-03 Funk Dumplin' (Johnny Coles) All titles on: - Mainstream LP 12": MRL 346 - Katumbo (Dance) (1971) Omit Astley Fennell (tb) on c, f. Omit Howard Johnson (tu) on c, f. LP issue gives no recording date - 1971 is issue date. d. listed as Petits Machins.

You might also try: Central Avenue Sounds

I thought I had every Albert Dailey recording... I must have missed Textures. I have some very fond memories with that Getz Quartet with Dailey, George Mraz and Billy Hart.

When this was released, I really liked this one. I havn't heard it in years, but I'll bet I'll still dig Purdie's drums. LARRY CORYELL: FAIRYLAND A PLACE OF DELICATE BEAUTY AND MAGICAL CHARM RECORDED LIVE, MONTREUX, SWITZERLAND 1974 MEGA RECORDS, INC., USA RECORDED: JUNE 18, 1971 RELEASED: 1974, USA Produced by Bob Thiele for Flying Dutchman Productions, Ltd. Recorded June 18, 1971 Larry Coryell guitar, vocals (on 1) Chuck Rainey bass Pretty Purdie drums 1. Souls Dirge (9:39) [Larry Coryell] 2. Eskdalemuir (8:38) [Larry Coryell] 3. Stones.... (7:08) [Doug Davis] 4. Further Explorations For Albert Stinson (6:47) [Larry Coryell]

Industrialist Alfried Krupp, Essen, Germany, July 6, 1963. by Arnold Newman GI: Have your personal feelings about someone ever affected the way you chose to photograph that person? AN: There's only twice I ever tried to deliberately show an individual as bad, and that was Alfried Krupp and Richard Nixon. Actually, I didn't do it on purpose to Nixon -- he did it to himself. I deliberately put a knife in Krupp's back, visually. He was a friend of Hitler's and Hitler let him use prisoners as slave labor. If the prisoners fell, he just unchained them and they went directly into the crematoriums in Auschwitz. Krupp's people realized I was Jewish, and they were worried that I might not be kind to him. I was trying to figure a way to show who he really was without being obvious. I lit from both sides and I said, "Would you lean forward." And my hair stood up on end. The light from the sides made him look like the devil. It's an un-retouched photograph. He actually was a handsome man.

Never heard of him before but he seems to be based in the bay Area and plays with Charlie Hunter and others.

Fingers !

Allen, I was thinking you could do an exquisite corpse of sorts by having all interested board members provide a random line. You could then construct your notes my simply pasting together the results. Or then again maybe not. Bill Isn't that the William Burroughs method? The Cut - Up Technique It worked for him.

Thomas Marriott Thomas Marriott / Origin Records Link

Sounds like a Scotch and Milk night.

All About Jazz / Seattle John Bishop and Matt Jorgensen from Origin Records, The Ballard Festival and AAJ / Seattle have done much to make the jazz enviroment in Seattle a heathy and growing one. Their efforts can be used as a template for others around the world, in their own cities. And, they are bad-assed musicians to boot! ORIGIN RECORDS

So that's your problem! You gotta change to a more sophisticated drug.

You know Jim, I'm not sure about that. Check their website for information. One thing though, you do need a commercial grade mask. The stuff is very strong, almost like a epoxy. When you put the Glitza on, you can't be in the room and it takes hours for the smell to go away. Even going into a house the day after, it make me cough like hell! It's really the very best product on the market and will last much, much longer that anything else.

Here is Bird's saxophone with the case: Ornette: Some info: The Grafton was developed by Hector Sommaruga, an Italian living in London. The instrument takes its name from the street (Grafton Way) where his shop was initially located in the late 1940's. The decision to manufacture a saxophone from plastic was based upon the relative cheapness of the material rather than an improvement in tonal characteristics. The instrument was conceived to have a plastic body; bell; and key guards; a brass neck (a plastic one would break in attachment); and a mechanism which incorporated a unique springing system. Many of the posts for attaching the mechanism were cast as part of the body. The instrument was finally offered for sale to the public in 1950, at a price of 55 pounds, about half the cost on a conventional saxophone at the time. The Grafton was a failure for some very good reasons: (1) the plastic construction just didn't sound like other saxophones and was not compatible with section playing. (2) The design of the mechanism gave a very unfamiliar "feel" to players. (3) the plastic body was very prone to cracking and the key guards snapped off easily. (4) Repair technicians were unfamiliar with the instrument and the necessary parts (particularly the unique springs) were not readily available.

Jim, I've looked at all of the photos of your work and read your process and Ive got to say, as a builder, you did a job like a mechanic! But the next time you finish the floor, use these products from Glitza What we do is put down 2 coats of Bacca sealer and then one coat of Glitza. The floor will be as hard as a rock. Here's one of our Model Homes: with red oak floors.

Thanks, that clears that up. I guess the producer was tyrying to tie them in together in a "series", but it only caused confusion. I see Japanese recordings that follow the same "logic".

Jack, weren't there two different issues of the Village Gate material? I have that on cd but maybe there were different issues on LP?

I have quite a few Ruiz recordings, two of my favorites are Momments Notice with George Coleman, and Island Eyes. I always liked him after seeing him with Rahsaan. That said, at a gig at Smoke last Fall he acted quite strange and disoriented; not at all together. And yeah, you can do a lot of damage falling face first with dead wieght, onto a curb. Here's wishing him well.

Boots Randolph used be in there every year.

Abdul Al-Khabyyr Sorry, I spelled it wrong the first time. As far as the salute goes, after his solo he would smile and pop off a little salute off his forehead and maybe a little bow. Now, I guess that would be O.K. once in a while, but he would do it for every solo! I think I saw this edition of the band two or three times. I also saw him with Mercer Ellington before then. Still with the little salute!