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Interesting - I recall reading that the film had something to do with the Living Theatre, but wasn't sure if it actually was completed and released. On the OC with lyrics front, I've heard the Merrill version (beautiful) and Patty Waters also did "Lonely Woman," albeit with lyrics she wrote herself (also beautiful). The latter is on Marzette Watts' Savoy LP. Also have very few problems with Yoko Ono. She's an interesting artist and seems like a cool lady, from someone I know who works with her.

Bobby Few. Bobby Kapp. Patty Waters.

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Patty Waters Ethel Waters Martin Milner

Ethel Waters Patty Waters Willard Waterman

Ethel "Sweet Mama Stringbean" Waters Patty Waters Burton Greene

First time I went to the Monterey Jazz Festival I saw Patty Waters (as well as another favorite of mine, Bobbe Norris). Patty's sound was so brutally honest and vulnerable, I was on the edge of my seat. I had known the ESP recordings, but this was more profound. I also noticed how much she got from Ethel Waters, and when I spoke with her she confirmed this. A few years later I got to see her reunited with Burton Greene at the Vision Festival. I saw a Hendricks & Ross reunion at the Blue Note in 1999. The pianist, David (whose last name I can't remember), had been a classmate of mine in an abnormal psych class at Brooklyn College ca. 1974, but that was the only time I saw him gigging, and haven't heard of him since.

Pretty close to mine, though I would want to put Patty Waters and Annie Ross in there too somehow.

Harvey Milk Mister T Patty Waters

He had others, as well, from what I'm told (by Bernard, but on this I trust him). Yoko was very into Patty Waters, of course.

Yeah, any of the Dutch Fontana titles would be great, but prying them out of Alan Bates' hands would be mighty difficult I would think. I was pretty sure that Spiritual Infinity was a mass of aborted takes and nothing complete exists. Somebody was going to do the Colbeck a few years ago but I guess it fell through. Fine LP. The Marzette on Savoy is a good idea because a lot of people want to hear it, but it's not exactly earth-shattering music. The Patty Waters track is by far the best.

patty waters is ... beyond words, thanks once again!!! xD

Patty Waters, specifically You Thrill Me on Water.

They ARE in the reissue game. Stollman is at the helm. I gripe but then again it's great to see this stuff out and getting decent distribution/press, and the ZYX licensed issues, Calibre/Get Back "licensed boots," etc. are long OOP anyway. Still, uncovering some of the archived material in a creative way would be nice. If repackaging is their MO, I'd like to see something like a "College Tour" boxed set with music from Ran Blake, Patty Waters, Burton Greene and Sun Ra. As far as new material, the best thing they've done IMO is the Talibam! CD.

Great prices for the Bird and Billie. The Pres is a great disc. I like the Patty Waters a lot. And the Sun Ra is a trip.

It's a great record and the tracks on that comp don't do it justice, save the Patty Waters "Lonely Woman," which is just heartbreaking. Glad to say I bought a copy about two years ago.

Several months later... Giuseppe Logan (who spells his first name with an "e" at the end) appeared again at (though not in) the Vision Festival in NYC this year and seems to be in better circumstances. He told us that he has an apartment of his own now in the East Village, which I was told by a very reliable source was acquired with the help of the Jazz Foundation. He's trying to play his alto saxophone with very few teeth, which is virtually impossible; the only other person I've known to do it successfully was the great Clarence "C" Sharpe. Mr. Logan seems to have trouble playing the alto saxophone for more than a few minutes, and it's hard to know why for sure, teeth or otherwise, but it seems to me that he stops because he's not happy with his playing. On the other hand, there was an upright piano in back of the room used as a dining hall by the Vision Festival for six nights, and Giuseppe Logan sat there and played the piano for hours on end for several evenings, and what he played was really lovely and fascinating, hesitantly delivered, but with exquisite harmonics. (He was working on "Giant Steps" for most of one evening while we were there.) This is from a man who probably hasn't had the opportunity to spend time with a piano for half a century. According to “The Encyclopedia of Jazz in the ‘6O’s" (Leonard Feather) and some other sources, Giuseppe Logan was born in Philadelphia on May 22, 1935. After singing in choirs and playing in his school band, he made his professional debut at 15. He studied with Dennis Sandole and others, and also at New England Conservatory. When interviewed for “The Encyclopedia,” he stated that politics, religion, and philosophy play an active role in all arts, and his ambition was to write a symphony. A somewhat mysterious figure, Mr. Logan was self-taught on piano and drums from age 12 before switching to reeds. At 15 he began playing gigs (his most conventional job was with Earl Bostic). In 1964 he moved to New York and became closely involved with the “free jazz” scene. Mr. Logan (who at that time played alto, bass clarinet, flute, tenor, piano, and Pakistani oboe) worked with Bill Dixon, Pharoah Sanders, and Archie Shepp, then formed his own quartet, which also included a young Don Pullen, Eddie Gomez, and Milford Graves; they appeared at the October Revolution in Jazz in 1964. Later on, Giuseppe Logan had a different quartet with Dave Burrell, was a member of Byard Lancaster‘s band, and toured with Patty Waters. He recorded three sets as a leader for ESP (reissued on CD) and also made guest appearances on records by Ms. Waters and Roswell Rudd (the latter for Impulse!). About his recordings, these comments appear in the "All Music Guide" and elsewhere: One of the most uncompromisingly “out” free jazz records of its time is The Giuseppe Logan Quartet (re-released on ESP CD in ‘O8). This 1964 session features Giuseppe Logan on tenor and alto sax, Pakistani oboe, clarinet, flute, and even bass, backed with a piano-bass-drums trio featuring drummer Milford Graves, who doubles on tabla, adding the then-unique Indian percussion sound to the opener, “Tabla Suite.” The other four tracks are slightly more restrained than that wild start, but while pianist Don Pullen and bassist Eddie Gomez occasionally slip into recognizable chord patterns and time signatures (particularly on the almost conventional opening section of the 15-minute “Bleeker Partita”), the completely free playing of Mr. Logan and Mr. Graves keeps the set firmly in free jazz territory. “More” with the same quartet was released on ESP in ‘65 and reissued on Calibre in 2OO2; and “At Town Hall” was released on ESP also in ‘65 and is not known to have been rereleased. Sonny Murray made these comments to "Paris Transatlantic": "They had a nice band with Giuseppe Logan. I was never sure when they first started if any of them knew what to do (laughs) but then I found out Giuseppe had a Masters degree, Don Pullen was highly educated, and Milford was good on all that Latin percussion. It was a great group, really. Giuseppe Logan lost his mind, which was really sad. That came about because his wife left him and took his son with her. He had a twelve-year-old son who could read music backwards, play the trumpet, and was a real genius. Giuseppe was very proud of his boy. When his wife left, that threw him into a tailspin he never recovered from, and he searched down south, everywhere, and he could never find his son or his wife." Coming back to this year's Vision Festival, Henry Grimes and Giuseppe Logan felt an immediate rapport, and Henry invited Giuseppe to play during Henry's solo set. It was the first time they had played together, there was no piano in that particular space, and Giuseppe only played his alto saxophone with Henry for about two minutes, but those were the most beautiful and emotional two minutes imaginable. It was the first time, but let's hope it won't be the last. http://www.henrygrimes.com musicmargaret[@]earthlink.net

Hi Clifford. PM sent on: Ronnie Boykins - The Will Come, Is Now (ESP) $6 great session w/ Daoud Haroom, Art Lewis, Jimmy Vass et al. Sun Ra - Some Blues But Not the Kind that's Blue (Atavistic) $5 no obi, great 70s session Alexander Von Schlippenbach - Piano Solo '77 (FMP) $10 fantastic mind-expanding solos Patty Waters - The Complete ESP-Disk Recordings (ESP) $7 fantastic compilation of music from College Tour and Patty Waters Sings, now oop. Tx.

THis is hard... I may forget some Some nobody has mentioned I think: Bob Marley Jack Bruce Joao Gilberto Gram Parsons Toots Hibbert Steve Winwood John Lennon Paul McCartney Little Richard Chuck Berry Ray Charles Mick Jagger Greg Allman Mercedes Sosa Country singer favorites: Willie Nelson George Jones Tammy Wynette Hank Williams Merle Haggard Patty Loveless More: Bob Dylan Sandy Denny Muddy Waters Howlin' Wolf Van Morrison BB King Otis Redding Sam Cooke Marvin Gaye Dionne Warwick Joni Mitchell Rod Stewart Levon Helm (and the other Band singers too) and I am sure I am leaving out a favorite

Oh yes! How could I space on her? Lee is a very diverse singer - able to sing or recite lines "straight" yet with an ineffable sense of depth. And her production of free, non-lyric sounds is unparalleled. I particularly like her work with Gunter Hampel. Still, my desert island vocal disc would be Patty Waters' You Thrill Me (Water).

Find the singers who most fit with the instrumental sounds/approaches you like. The vocalists who, for me, have made the most impact are those who treat their voice as a conduit for deep personal feelings and not just singing the lyrics pat. Some whom I like in particular: Patty Waters, Sheila Jordan, Annie Ross. YMMV.

I've heard recordings of Brotzmann and Kowald with Jazzrealities and it's pretty interesting from a historical point of view but of course the Fontana LP does it all way better without them. Keep in mind that Brotzmann couldn't read music at that time (not sure about Kowald). I believe that Giuseppi's reading was pretty good, from what I've been told. Everywhere may be a little off balance in Giuseppi's favor, but I have the sneaking suspicion that he was not playing very loudly or projecting that much. If you listen to his commentary on Patty Waters' College Tour LP, it's definitely off in the distance. Maybe that was intentional, or psychological, OR a result of poor miking.

I was rather taken by Devorah Day's Light of Day a few years back, but it doesn't seem that that many others were. But hey. Strong Seconds on the Patty Waters You Thrill Me disc as well. Some of that stuff is as cut-to-the-quick real as it can get. Sarah Vaughn - Swingin' Easy This is what Sarah did, done about as well and as unencumbered as she ever did it save for maybe some of those Musicraft sides. Billie - All Or Nothing At All At the end of the day, this is the one I keep coming back to. The fifth? Whatever is handy (and right) at the time, when the time comes, if it does. some good people already mentioned, too many others not to narrow it down to just one.

Here are a few more, the list may not be "well-informed" only because I'm not a huge follower of jazz vocals... but these four I find extraordinary. All of Jeanne's and Patty's work is major, of course. Sheila Jordan - Portrait of Sheila Patty Waters - You Thrill Me Jeanne Lee w/ Ran Blake - The Newest Sound Around John Coltrane and Johnny Hartman

Marzette Watts (ts) Bill Dixon (p-1) Juney Booth (b) J.C. Moses (d) Play it straight (1) F.L.O.A.R.S.S. Joudpoo George Turner (cnt) Marty Cook (tb) Marzette Watts (ts) Bobby Few (p) Frank Kipers (vln) Cevera Jefferys, Steve Tintweiss (b) Tom Berge (d) Patty Waters, Amy Sheffer (vcl) Lonely woman (fk,as out) October song Medley Recorded in the fall of 1969 ; Released on Savoy MG 12193 Wow! Thanks Chas.