Search the Community

Peppermint Patty Chuck Biscuits Cookie Lyon

John Prine – Fair & Square (Oh Boy Records) — Mostly originals, including "Crazy as a Loon" & "Some Humans Ain't Human". John Prine – In Spite of Ourselves (Oh Boy Records) — Duets with Iris DeMent (4), Connie Smith (2), Dolores Keane (2), Melba Montgomery (2), Lucinda Williams, Emmylou Harris, Trisha Yearwood, Patty Loveless and Fiona Prine; covers of country tunes and Prine's title song. In a mood for some John Prine. He makes me feel good...or, at least, somewhat better.

An appropriate St. Patty's Day album from an Irish lassie. It even concludes with "Too-Ra-Loo-Ra-Loo-Ral". She was backed by Nat Pierce, Jake Hanna, Monty Budwig, Scott Hamilton and Cal Collins on this 1978 album.

Went to the second Paris show. It was my first opportunity at seeing and listening to Patty Waters live and am glad I attended this. Henry Grimes and Patty Waters shared the back of the cellar where the show was being performed. Patty Waters looking very frail and wearing a black floorlength gown which made her look like a fragile rescapee from the Peace and Love generation. Grimes took the stage first with one of his long solo that builds on spîrit plus virtuosity with a mix of bowing and plucking. You rarely catch bass solos that last so long (more than half and hour) and yet manage to grab your attention and grab it and on and on.... Also the place was so small that the listener becomes really part of the whole musical performance. You're sitting right next to the musicians. Patty Waters stood in a corner behind Grimes smiling and digging it all the time and when Grimes finished his solo section gently moved to the front and went into one of her tormented vocalizing. From the moment she started to sing, her smiling face turned into a tortured expression that matched her vocalizing. Her repertoire included songs like 'Nature Boy' and 'Black is the Color of My True Love Hair' and her singing was more reminiscent of her two ESP albums than her more recent recordings. Musings that reach deep inside the listener. Wish her two Paris shows had gathered more publicity. The events were not announced in the main media outlets. It was just lucky that both were attended by small enthusiastic audiences. Henry Grimes had a stupendous improvisation in the second set that I wish had been recorded!

The Nutty Squirrels ACORN Pecan Patty

Here are the musical selections we heard on "Straight, No Chaser" on October 31st: Artie Shaw & His Orchestra -- "Nightmare" -- Hollywood Swing & Jazz -- Rhino Fletcher Henderson & His Orchestra -- "Great Caesar's Ghost" -- The End of an Era -- Contact -- 1937 Louis Armstrong -- "The Skeleton in the Closet" -- Rare Items (1935-1944) -- Decca -- 1936 Raymond Scott Quintette -- "New Year's Eve in a Haunted House" -- Reckless Nights and Turkish Twilights -- Sony -- 1939 Duke Ellington and His Famous Orchestra -- "Jumpin' Punkins" -- The Blanton-Webster Band -- RCA Bluebird -- c. 1940 Charles Mingus Sextette -- "Weird Nightmare" -- Charlie Mingus--The Young Rebel -- Proper -- 1946 Charles Mingus -- "West Coast Ghost" -- Jazz Workshop 1957-1958 -- Fresh Sound Jack Walrath -- "Fright Night" -- Neohippus -- Blue Note -- 1988 Le Sun Ra & His Arkestra -- "Medicine for a Nightmare" -- Sun Ra--The Singles -- Evidence -- 1956 Bill Evans Trio -- "Haunted Heart" -- Explorations -- Riverside -- 1961 Jeremy Pelt -- "The Ballad of Ichabod Crane" -- Soul -- HighNote -- 2011 Joanne Brackeen -- "Ghost Butter" -- Pink Elephant Magic -- Arkadia Jazz -- 1998 Ingrid Jensen -- "Skookum Spook" -- Vernal Fields -- Enja -- 1994 Prince Lasha Quintet -- "Ghost of the Past" -- The Cry! -- Contemporary -- 1962 Jackie McLean -- "Frankenstein" -- One Step Beyond -- Blue Note -- 1963 Bill Carrothers -- "Creep Show" -- Shine Ball -- Fresh Sound New Talent -- c. 2003 Fieldwork -- "Ghost Time" -- Door -- Pi -- 2007 Gebhard Ullmann -- "Black Cat" -- Ta Lam -- Songlines -- 1991 Marc Ribot -- "House of Mirrors" -- Soundtracks II -- Tzadik -- rel. 2006 Chris Icasiano -- "Mountain Ghost" -- Racer Sessions--Curator Compilation: Volume Two -- Table & Chairs -- rel. 2012 Dom Minasi -- "The Vampire's Revenge" -- The Vampire's Revenge -- CDM -- 2005 Albert Ayler Trio -- "Ghosts" -- Spiritual Unity -- EDP-Disk -- 1964 New American Wing -- "Fleeing Ghosts" -- New American Wing -- (self) -- 2005 Next Monday, November 7, Patty Fong will be your guest host on "Straight, No Chaser."

Thanks to anybody who listened, and more thanks to everybody who listened and responded. Most thanks to those who listened, responded, and had actual, specific thoughts, pro or con. Here are the answers, as well as the not-quite-fully-formed "narrative" behind the overall presentation. TRACK ONE - "Signing Off" by Johnny Otis feat. Dorothy Morrison, from Back To Jazz (Jazz World) God does this sound like the end of...something. Had enough, tired of it, signing off. For the purpose of this story, let's say it's the end of a normal day for somebody who is out in a world they really don't like but have to live in. 5:00, quitting time, y'all can have it. Snooorrrrrrre...taking a nap... TRACK TWO - "Wednesday Night Prayer Meeting (Part One), by The String Bass Of Charles Mingus with Accompaniment (Atlantic 45) And yeah, it's Wednesday night now, time for our tired-of-it person to go to church, the one place where they can feel free to be their natural self as they feel it. I love how the alto lick from the first tune is so laconically played there and then is heard here with that fire burning. The mask is off, free at last! However, it's a hard life, one does get tired, and one can certainly be excused for falling asleep in church, even at the Wednesday night prayer meeting. And when you sleep, you dream... TRACK THREE - "Ikef" from Of Visions and Truth: A Song Cycle by Olly Wilson, from Recorded Music of the African Diaspora. Kirk Wilson conducting New Black Music Repertory Ensemble, Donnie Ray Albert, Tenor. Text by Henry Dumas (Albany) BOIIIIINNNGGGGG!?!?!?!??!?!?!!!!!!!!!!!! It's been decades since a piece of music has so discombobulated me as immediately and for as long as this one and another piece of the song cycle "If We Must Die" did. But the more it fell into place, the more it became apparent that this was very, very much African-American music to the core. The vocabulary, the accents, and especially the underlying pulse of the whole thing, "white" music does not come out this way, it just doesn't. Now, what happens in terms of fragmentation, orchestration, tonality, all the "obvious" elements of casual music listening, well, it breaks everything up more than a little bit. And the vocals are definitely more rooted in the tradition of the Spiritual than they are Gospel. But nevertheless, once you isolate the elements, their sources are obvious, and when you start reconstructing them as a listener, it all comes back together as yet another form of Great Black Music. It could be compared to "It Was A Very Good Year", except it only goes up to 18, getting high, and ending in images of spinning, exploding visions of 3, after which, it ends. and what does that say as a possible commentary on Young Black Lives, then and now? And yeah, it also sounds like a dream where you see everything you know broken up all to hell, everything floating and flying around, where is the reality here? But as with most dreams, the longer you dream it, the more it comes into focus... TRACK FOUR - "Call Me Super Bad (Cornelius Rework)" from James Brown Utlimate Remixes (Universal Japan) Talk about deconstructing something and then putting it back together in a way that is at once totally familiar and totally new...what this shares with the previous cut is how all these things, seemingly unrelated (but not) keep in focus by pivoting/rotating around a central pulse and keep looping back on one another. I've heard James Brown sampled and/ore remixed to death, and this is one of the very few that don't just re-contextualize the original, they re-imagine it completely. There's a couple of things on that same album that do the same thing, but this is the most radical. It's paced to produce a maximum slow burn, and that is what it does before ending as it (almost) began, an unexpectedly quiet, isolated Rhodes note. The dream has gained focus and gathered confidence, it is gaining its own steam and is ready to roll, onward! TRACK FIVE - "Soanta V" by John Cage, from Sonatas & Interludes for Prepared Piano, Maro Ajemian, piano (CRI American Masters reissue of the original 1951 Dial Records issue) Visionary in both concept and performance, played faster here than most later performances. Slowing it down really brings out the funk in it and makes it sound like some kind of lost ancestor to Sextant-era Herbie Hancock. Here it is more like a march to victory or something, a dream line dance heading to dream glory, a place where all is melody, all is pulse, all is true. And as with any good dream, it does, it goes there... TRACK SIX - "Allegro comodo" , Movement One of Piano Trio, Op. 5 by Mel Powell. From Contemporary Piano Trios, performed by The Francesco Trio (Music & Arts) Mel Powell had one helluva musical journey. He got deeply into serial music, then electronic music, and none of it is trifling or cheap. It's not all "perfect", but never is any of it cheap or common. His career change was obviously one of a deep-rooted sincerity, and he did right by himself. This is an early (1957) work of his, and boy, is it delightful. Pretty much ALL melody, themes endlessly and masterfully spun around inside and outside up and around themselves, if you get lost, wait a second or two, it comes back around quick enough. and the more you listen, the less likely you are to get lost. Truly glorious. And The Francesco Trio plays with SOOOOO much pocket,, yes, pocket! But this is a dream, remember, and in a dream, glory soon turns to...something else... TRACK SEVEN - "Lonesome Road" from The Winds Of Destiny (American Songbook IV), Songs of Strife, Love, Mystery, and Exulation A Cylce Of American Civil War Songs, Folk Songs, and Spirituals. From Complete Crumb Edition Vol. 13. Barbara Ann Martin, Soprano, James Freeman, Conductor (Bridge) ...ghosts, abandonment, a deep sadness, melancholia, looking down a very lonesome road indeed... ...and be careful heading down that lonesome road, because, you never know who will pop up and start trying to getcha... TRACK EIGHT -- "Learning Through Adversity and Defeat" by Napoleon Hill (Napoleon Hill Productions 45) Yeah...so just who IS this guy? https://en.wikipedia.org/wiki/Napoleon_Hill His son Blair was born without a trace of ears, yet he consulted with Presidents Of the United States. What kind of a combination wise-man-demon was he? And good LORD does he bring a lot of noise with his noise, what's that all about, is that a warning or an incentive to listen that much closer to him as he gives us the Secrets To Success? And all that extraneous nosie...isn't that the same nosie we were hearing in church, and even during the day? Is this guy as real as that? Or is none of that real after all,? Is this dream real? Or not? Or is it really that complicated? Maybe he's just a... TRACK NINE - "Jackass" from Animal, Vegetable Mineral by Stephen Mackey. From Concertos For Saxophone Quartet, PRISM Quartet, Boston Modern Orchestra Project, Gil Rose, conductor (innova). Heeeeee-HAW. heeee-HAW. and so forth. I love this piece, the way it always comes back to the goddam donkey hee-HAW, always, sometimes more than one at once, but always that hee-HAW, sometimes he dares to fly, but much sooner than later, always heeeeeeeeeeeeeeeeeeeee-HAW. So yeah, that weird salesman guy was a jackass. But this is still a dream, and dreams are always about our self, so...who are we.... TRACK TEN - "There Never Was A Revolution", "Choose", and the beginning of "Tastes The Same" from Tania by Anthony Davis (Koch) An opera about the Patty Hearst kidnapping, with a libretto and (as detailed in the liners), a multi-media staging. It's gonna take years before anybody sorts this all out, if they ever do, but this extract here shows the music to be as seamless as it the verbal and (assumed) visual to be unusual, and with "known jazz names" like J.D. Parran & Gerry Hemmingway (and all-around badass Bert(ram) Turetzky) in the band, the stop-start, odd-metered music flows freely, and the Mingus/Ellington -ish orchestrations give the vocals a solid foundation on which to soar. The end of "Choose" with the voices going all at once brings to mind the final bit of "Mercy Mercy Me" as well as things like Andrew Hill's Lift Every Voice, Black Voices, obviously "classically trained" but not equally obviously "Black" - and also equally obviously not "White". The timbre, the vibrato. Avery Brooks, Thomas Young in the mix as well as Cythia Aaronson-Davis. Charles Stepney is not far removed from this either, listen deeper to some of those Rotary Connection things. Lines are getting blurred out the ass here, and perhaps that's what happens when lines begin to dissolve. Perhaps the lines are the dream. Either way, the lines are there until they're not. And then where are you? The lines are definitely dissolving in the dream, it goes from questioning if there ever was a revolution, and if so, geez, sorry about that, didn't mean to make a scene, to a rather forceful call to "Come back to the rage" and taking inventory of "this is all I am", choose dammit, CHOOSE! It's getting kinda, uh, fire-y up in this dream...not sure if this is where I wanted to end up, jeez, all I wanted to do was go to church and take a nap...not.....ALL THIS! WHERE AM I? Time to wake up! TRACK ELEVEN - "Wednesday Night Prayer Meeting (Part Two), by The String Bass Of Charles Mingus with Accompaniment (Atlantic 45) Oh, ok, never mind, it was all a dream...all the different ways a life and its musics could easily go, fuck that, that's too complicated, scary, even off-putting. Let's just stay home, let's just RE-joy-ce, let's all get saved (but never spent) - hallelujah. Amen. C'mon church, let's go... ...let's go bowling. Right? TRACK TWELVE - "strIKE!" aka ""Let The Word Go Forth" by Hank Levine from Sing Along With JFK (Reprise) So, all this noise, is it scratches on the vinyl, is it just the sounds of crashing bowling pins, just what is it we're using to block out the endless droning of a once-meaningful language turned trite, trivial, and predictable? And why is it that no matter how loud the bowling alley gets (and at one point it gets VIOLENTLY loud), the mundanity of the droning keeps on, you can't kill it, you can't stop it, you can't get it out of there, it just keeps on going. And maybe it keeps on going only because we keep listening to it, even though all the noise is suggesting that perhaps...that's enough of that for now. After all, life is just a bowl. Flush it every once in a while. Hey you - OUTTA THE WAY. Yeah, me. Signing off? Signed out.

Track 10 is indeed an aria from an opera by a "jazz composer", as was suggested by randyhersom. Not Braxton, but Anthony Davis. It's from "Tania", Davis' opera on Patty Hearst. Track 12 is a very young Mr Sangrey experimenting with the 4 track cassette recorder he got from Father Christmas. I liked this BFT.

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.

Ellen Parsons Patty Hewes Bunny Boiler

Here is the music we heard on "Straight, No Chaser" on KBCS on June 20: Warren Byrd & David Chevan -- "Sha Shtil" -- This Is The Afro-Semitic Experience -- Reckless DC Music -- 2001 Erica Lindsay & Sumi Tonooka -- "Initiation" -- Initiation -- ARC -- 2004 Ahmed Abdullah's Dispersions of the Spirit of Ra -- "We Travel the Spaceways" -- Traveling the Spaceways -- Planet Arts -- 2004 Sam Boshnack Quintet -- "Juba" -- Exploding Syndrome -- (self) -- rel. 2014 Sumi Tonooka -- "Evidence" -- Now -- ARC -- 2010 Samuel Blaser Consort in Motion -- "Linea" -- A Mirror to Machaut -- Songlines -- 2013 Kris Allen (pictured below) -- "Flores" -- Beloved -- Truth Revolution Recording Collective -- 2015 (N) Jack De Johnette, Ravi Coltrane & Matthew Garrison -- "Rashied" -- In Movement -- ECM -- 2015 (N) Ben Goldberg Quintet -- "F13" -- The Door, The Hat, The Chair, The Fact -- Cryptogramophone -- 2004 Alchemy Sound Project -- "Archetype" -- Further Explorations -- ARC -- 2014 (N) Satoko Fujii Orchestra -- "Freeze--Winter" -- South Wind -- Leo -- 1997 Smiley Winters -- "Some Blue Shoes" -- Smiley Etc. -- Arhoolie -- 1969 Anthony Braxton -- "Composition No. 373" (excerpt) --3 Compositions [EEMHM] 2011 -- Firehouse 12 -- 2011 (N) I will be out of town next week. On June 27, Patty Fong (host of KBCS's "Musica de la Raza") will be your guest host on "Straight, No Chaser." As always, you can hear this and other KBCS programs at your convenience for two weeks after the broadcast date in the audio archive at www.kbcs.fm.

>A frog goes into a bank and approaches the teller. He can see from >her nameplate that her name is Patricia Whack. > >"Miss Whack, I'd like to get a $30,000 loan to take a holiday." > >Patty looks at the frog in disbelief and asks his name. > >The frog says his name is Kermit Jagger, his dad is Mick Jagger, and >that it's okay, he knows the bank manager. > >Patty explains that he will need to secure the loan with some >collateral. > >The frog says, "Sure. I have this," and produces a tiny porcelain >elephant, about an inch tall, bright pink and perfectly formed. > >Very confused, Patty explains that she'll have to consult with the >bank manager and disappears into a back office. > >She finds the manager and says, "There's a frog called Kermit Jagger >out there who claims to know you and wants to borrow $30,000, and he >wants to use this as collateral." > >She holds up the tiny pink elephant. "I mean, what in the world is >this?" > > > >(you're gonna love this) > > > >(its a real treat) > > > >( a masterpiece) > > > >(wait for it) > >The bank manager looks back at her and says... > >"It's a knickknack, Patty Whack. Give the frog a loan. His old man's >a Rolling Stone."

Correct, Jim! I learned last night that he was the President of the Screen Actors Guild thirty years ago, preceding Ed Asner. Patty Duke's dad on the Patty Duke Show and the English teacher, Mr. Pomfritt, on The Many Loves of Dobie Gillis. At age 89, he's still working. Most recently on the HBO series True Blood. Probably one of the busiest actors in the history of television.

Patty Waters Sam Rivers Delia Smith

b, Case in point. With that little reaction of yours the chastity belts came out of the closet (well actually chastity belt since we only have one chickie posting on this thread) and the cock rings were out the window. I can only speculate as to the reason for your displeasure: IT'S THE LACK OF ANONYMITY !! Back to "THE CHAIR": Because of its anonymous posture, displeasure was not an issue. It was like a bunch of Disney characters havin' at it. Take for example our recent case of THE GROPER. Albertson immediately accused me of dual identity. THE GROPER obviously is a free thinker yet he was pounced on as a result of it. (or should I say *I* WAS ERRONEOUSLY POUNCED ON??) You even made it known that "if push came to shove"you'd prefer Patty's participation at Organissimo over my own. THAT HURT!! (It would have been better gone unsaid.) We all have it ingrained on our forheads (some even have it as a screen saver) that it's YOUR "GIG" and it's YOUR "HOUSE"...WE GOT IT, OK?? But what your insensitive remark could only accomplish is 1. Patty can gloat that she is favored over me, 2. Patty may feel guilt that I may be banned or choose to leave as a result of her being in your favor, 3. Organissimo posters can take sides in the poster of favor poll, 4. Any number of false misconceived notions. Now one can only wonder whether you prefer the participation of certain posters over others... Albertson over ME....THE GROPER over Deus62.....Conn over Jsngry..... In short: I feel that your candid remark was in bad taste. IF YOU SELL TIN YOU GOTTA HEAR IT RATTLE !! Let there be no doubt, Organissimo's "CHAIR" would cause ME many detractors. Anybody who was vulgar or was "LETTING IT ALL HANG OUT" would immediately be thought to be me. Albertson could imitate my writing style and get the world pissed off at me. Hence my allusion to it being 4 sided chess. I know Patty wants to push her "Goody Two Shoes" philosophy on these proceedings but it's highly unlikely any of the "IN CROWD" would make her privvy to its existence. She would be left "ABOVE BOARD" to cut and paste AMG Jazz facts and biographies, while under the cover of darkness the "HIP" would be partying out of earshot of the Stapleton "No No Nanette" set. This thread is the closest thing we have to the "Chair" and take notice of it's views..fast approaching 20,000 !! Do you see what I'm sayin'??........I hope the fuck you do. DEEP

RIP Patty.

I'm in New Orleans, and was walking on the levee in the French Quarter. I sat for a while to watch the river go by and to listen to the pre-boarding calliope concert from the steamer Natchez. The calliope player played the Patty Duke Show theme, which I thought was a sweet tribute. Then she played "Cakewalking Babies From Home," which was hip in a different way.

I forgot to post a link. https://www.bing.com/search?q=Patty+Duke&filters=tnTID%3a%22476620DD-6038-4e33-9E50-B51A4B019DB0%22+tnVersion%3a%221354482%22+segment%3a%22popularnow.carousel%22+tnCol%3a%222%22+tnOrder%3a%22d6466cdd-7a7f-4fef-b59d-e89972dc484f%22&FORM=HPNN01

that's too bad. i listen to her xmas record at times. strange to think: Patty Duke + Gomez = Samwise!

Peppermint Patty Galilea La Salvia Bill Le Sage

Bones Howe Morticia Patty Hearse

Always seemed more Patty Waters than Uncle Meat to me. But yeah, if you're looking for that sensitive folky thing, it ain't here!

Exactly how did jazz acquire this curious cultural cachet? I commend your attention to “Playboy Swings!: How Hugh Hefner and Playboy Changed the Face of Music,” a well-researched, fascinatingly detailed new book by Patty Farmer that comes out next month. Written with the assistance of Will Friedwald, a frequent contributor to the Journal, “Playboy Swings!” goes a long way toward answering that question. Full review here: WSJ (Full article title: The Man Who Made Jazz Sexy. You may need to Google the title to read the article.)

Patty Griffin tonight

September 1, 2015 The Jazz Datebook: Regular Hits: Mondays from 8 to 11 p.m. pianist/vocalist John Shea swings downtown Grand Rapids from the front window of The Republic, 45 South Division, Grand Rapids. With bassist Warren Jones III and drummer Fred Knapp, John presents a wide variety of jazz and songbook standards. www.republicgrandrapids.com. Mondays from 6 to 10 p.m., Fridays 7 – 11 p.m. and Saturdays 6-10 p.m. The What Not Inn features a revolving cast of local musicians each weekend and Mondays hosts a jam session open to musicians and vocalists. See the full schedule here: www.whatnotinn.com. The What Not Inn is located at M89 and the Blue Star Highway, 2405 68th Street, Fennville, MI. (269) 543-3341. Tuesdays, 7:30 – 10:30, there’s an open mic jazz jam session at The Grand, 22 Washington, Grand Haven, MI. (616) 847 – 8944. Wednesdays from 7 to 10 p.m. The Tom Hagen Trio with vocalist Rick Reuther have been appearing at Notos Old World Italian Dining, 6600 28th Street SE, Grand Rapids for more than 13 years, the longest continuous jazz hang in west Michigan. (616) 493 – 6686, or www.notosoldworld.com. Wednesdays, House of Music Entertainment at The B.O.B., 20 Monroe Ave. NW, Grand Rapids, 49503, features jazz and blues. September 2, the Steve Talaga Trio (great jazz piano); 9-9, The Steve Hilger Jazz Fusion Project; 9-30 Evidence (straight ahead and Latin jazz); 10-7, The Steve Hilger Band; 10-21, the John Shea Trio. More from www.thebob.com/houseofmusic . Wednesday, Thursday, Friday and Saturday live piano jazz is heard from 7 to 10 p.m. at Mangiamo, 1033 Lake Drive S.E., Grand Rapids. Information from (616) 742 – 0600. www.thegilmorecollection.com. Thursdays at 7 p.m. a variety of jazz bands rotate the schedule at The Book Nook and Java Shop, 8744 Ferry Street in Montague. The last Thursday of the month belongs to trumpeter Brad Fritcher and Trios. See www.thebooknookjavashop.com and click on the calendar for Thursday night. Fridays, 7 p.m. the John Shea Trio plays at the J.W. Marriot Hotel, 235 Louis Street N.W., Grand Rapids. (616) 242 – 1448. Saturdays at 7:30, pianist John Shea leads his trio at Noto’s Old World Italian Dining, 6600 28th Street S.E., Grand Rapids. See www.notosoldworld.com or call (616) 493 – 6686. Sundays from 9:30 a.m. to 1:30 p.m. guitarist Greg Miller brings his 6-1-6 guitar concept to the J.W. Marriot Hotel, 235 Louis Street N.W., Grand Rapids. (616) 242 – 1448. Sundays, Randy Marsh’s Sunday Night Jazz Hang at The Speak EZ Lounge, 600 Monroe Avenue N.W., Grand Rapids, is a fun jam session. Information from (616) 458 – 2689. Student musicians under 21 with a parent or legal guardian will have a chance to play with Marsh from 7 to 9; the host trio plays from 9 p.m. – 10 p.m. www.speakezlounge.com. Sundays from 6 to 9 p.m. through the summer, pianist/vocalist John Shea leads his trio through the great American song book and jazz standards at New Holland Brewing Company, 66 E. 8th St., Holland. See www.newhollandbrew.com or phone (616) 355-6422. First Sunday of every month from 5 to 7 p.m. the Grand Rapids Jazz Orchestra plays Founders Brewing Company, 235 Grandville Avenue S.W., downtown Grand Rapids. The GRJO is the region’s premier professional jazz orchestra. Information from www.grjo.com. Timely Hits: Friday, September 4th through Monday, September 7thThe Detroit Jazz Festival takes place in downtown Detroit. Hundreds of concerts are scheduled, including four by artist in residence, Pat Metheny: Pat Metheny Trio with Antonio Sanchez, Scott Colley & special guest Kenny Garrett; Pat Metheny acoustic duo with bassist Ron Carter; Pat Metheny Reunion with Gary Burton Quartet; Pat Metheny, Scott Colley, Antonio Sanchez, and Danny Gottlieb with the Detroit Jazz Festival Big Band and String Orchestra, Conducted by Alan Broadbent, perform new works including the North American premiere of Metheny’s multi-movement/multi-media tribute to Eberhard Weber. More from www.detroitjazzfest.com. Thursday, September 3th through Sunday, September 6th, The Chicago Jazz Festival is held at the Chicago Cultural Center, 78 E. Washington St, and Millennium Park, Jay Pritzker Pavilion, 201 E. Randolph St., Chicago. This year’s highlights include the Chicago Jazz Orchestra’s Billy Strayhorn Centennial Celebration, Art Hoyle Sextet’s tribute to Clark Terry, Jose James singing the music of Billie Holiday, and the re-union of Muhal Richard Abrams Experimental Band with Roscoe Mitchell, Henry Threadgill, Wadada Leo Smith and many others. See www.chicagojazzfestival.us. Thursday, September 3rd at 7 p.m. Robin Connell and Paul Brewer lead their band at Mill Point Park, 203 S. Cutler Street, Spring Lake, MI. Free. Friday, September 4th at 8 p.m. the Robin Connell Trio with drummer Paul B. Smith and bassist Chris Kjorness perform at Morat's Bakery 4747 First St, New Era, Michigan. Saturday, September 5th saxophonist Mike Frost leads his band called Project at the JW Marriott downtown GR, Mixology Lounge, 7 – 10 p.m., J.W. Marriot Hotel, 235 Louis Street N.W., Grand Rapids. (616) 242 – 1448. Saturday, September 5th at 7 p.m. the General Assemble Big Band, with vocalist Ginny Dusseau appears at Wenger Pavilion in Baldwin. Saturday, September 5th at 8 p.m. Swingtooth plays Newaygo Brewing Co, 19 State Rd, Newaygo, Michigan 49337. Thursday, September 10th at 7:30 p.m. the Israeli singer/actress Ester Rada performs at Hope College’s Knickerbocker Theater, 86 E. 8th Street, Holland, MI. Rada credits Nina Simone, Ella Fitzgerald and Aretha Franklin as her musical influences, alongside Eryka Badu, Lauryn Hill and Jill Scott. Tickets from (616) 395 – 7890. Thursday, September 10th at 9 p.m. organist Tony Monaco jams at Our Brewing Company, 76 E. 8th Street, Holland, MI. (616) 994 – 8417. See: http://www.allmusic.com/artist/tony-monaco-mn0000013079. Thursday, September 10th at 7 in the Christel DeHaan Fine Arts Center, University of Indianapolis, IN, the 10 day Indy Jazz Fest kicks off. Friday, September 11th, Dr. Lonnie Smith plays organ, among others. A full schedule is available from www.indygo.net. Sunday, September 13 at 3 p.m. “Jazz in the Sanctuary” returns to Fountain Street Church, 24 Fountain Street NE, Grand Rapids, with pianists Robin Connell and Paul Johnston, associate professor of jazz studies at Eastern Illinois University and a member of the jazz piano faculty at Interlochen Arts Camp. Tickets from (917) 846 – 2081 or ruthstein@gmail.com. Sunday, September 13th at 3 p.m. world flutist Gary Stroutsos with a quintet featuring woodwinds by Ken Morgan, world percussion and voice by Carolyn Koebel; vibraphonist Jim Cooper; and bassist Denis Shebukhov appear in “Woodwinds Without Boundaries” at Petter Wine Gallery Barn, 161 N. Blue Star Highway, Douglas MI. Information from kenmorganjazz@gmail.com or (269) 358 – 8028. Saturday, September 19th at 6 p.m. the Jim Cooper Quartet with trumpeter Dmitry Matheny at Saugatuck Brewing Company, 2948 Blue Star Highway, Douglas, MI. See: http://saugatuckbrewing.com/events/live-music-jim-cooper-trio/ . Sunday, September 20th at 3 p.m. the Gebhard Ullmann/Steve Swell Chicago Project with cellist Fred Lonberg-Holm and drummer/percussionist Michael Zerang open the new season of The Underground Series, curated by Blue Lake Public Radio’s own Lazaro Vega and made possible with support from www.adventuremusic.org, at LaFontsee Galleries, 833 Lake Drive SE, Grand Rapids. “Gebhard Ullmann is one of the finest improvising artist in the world today,” said pianist Paul Bley of the Berlin-based saxophonist/bass clarinetist. This concert is made possible in part by the Goethe Institute. Further explorations in sound are scheduled from The Gary McCourry Saxophone Ensemble, the Matt Ulery large chamber jazz ensemble In the Ivory, and a one of a kind meeting between percussionists Adam Rudolph and Hamid Drake. Information from (616) 451 – 9820 or www.lafontsee.us. Monday, September 21st at 6:30 p.m. the West Michigan Jazz Society launches their new Monday Night Jazz Series season at The Guest House, 638 Stocking Ave. NW, Grand Rapids, with vocalist Patty Gayle and the Mark Kahny Trio. See www.wmichjazz.org.