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I was just watching the DVD of Woods with Quincy's Big Band in Switzerland and Belgium. Woods is incredible on his two features, "Gypsy" and "The Midnight Sun Will Never Set". Julius Watkins plays some great out solos on his features, and Quentin Jackson does some great things with the plunger on his features. Also great rhythm section of Joe Harris and Buddy Catlett, but I don't know what Patty Brown and Les Spann were doing there.Also great solos by Budd Johnson, Clark Terry, Jimmy Cleveland, Jerome Richardson, Sahib Shihab, Benny Bailey, and Ake Persson. Great band!

Also on the Patty Duke show if childhood memory serves me correctly.

Thanks. I can report now that my sister-in-law is on my shit list. And her sister isn't exactly happy either even if she won't use that terminology. Bob said to Patty that his temperature was 100.7. She heard "107" and remarkably, did not exclaim "A hundred and seven????!!!!" which would have cut this "crisis" off right at the start when Bob would have said "NO, One hundred POINT seven." Then my wife wouldn't have spent Friday feeling terrified about her brother's condition. Unbelievable. He's got a minor cold for all we know. I guess we'll have confirmation when he feels better, hopefully, in a few days.

My wife got a call from her sister today. Sister lives with their Mom and her sister in Jupiter Florida. Their brother lives nearby in Palm Beach Gardens. Seems that yesterday Bob ran into their mother at the local Sam's Club, gave her a hug and helped her load up. Today he had a temperature of 107. And apparently that didn't earn him a bed at the hospital. So in addition to being worried about their brother, now they have to worry about Mom and Aunt Lyn who are 78-80 years old. And Patty is morbidly obese so if she gets it from Bob thru Mom, who knows ...

No idea when this was released; I came across it tonight. https://cleanfeed-records.com/product/an-evening-in-houston/ Patty Waters is a living legend and every record with her voice is, in consequence, a preciosity. Unanimously considered the main singer of the free jazz tendency since the release of her historical ESP-Disk albums “Sings” and ‘College Tour” in the Sixties, and widely known (Diamanda Galas and Patti Smith pointed her as their main reference) for her impressive interpretation of the traditional “Black is the Color (of My True Love’s Hair)”, her influence resisted to a 30 years disappearance from the stages and the studios. The return happened in 1996, but only to a couple more albums and a few concerts. “An Evening in Houston” marks Waters re-encounter with pianist Burton Greene in a 2018 special gig, along with the greats Mario Pavone and Barry Altschul. A repertoire of folk songs, jazz standards (including “Strange Fruit”, a song we all know because of Billie Holiday, Patty Waters’ idol) and compositions by Thelonious Monk and Ornette Coleman show us why this mysterious personality was, and still is, one of the most astonishing innovators of the voice expressive capabilities in music, either singing or using it as an instrument. Yes, it’s that important.

You may start with “Live in London “ a double CD with a great band In concert. On YouTube there are a lots of clips of this album. I love his later albums more then his earlier but I have a sweet spot for old wise rock poets over young anger ones, a true rock poet improve ageing. I prefer today’s Patty Smith for instance. Another one I file among apostles and forgot to mention.

Upcoming Smalls broadcasts. Monday 8/31 ARI HOENIG QUARTET 4:45 pm to 6:30 pm Ari Hoenig / Drums Tivon Pennicott / Tenor Sax Gabriel Chakarji / Piano Matt Penman / Bass SPONSORED BY @EXUBERANCE, PHILADELPHIA Tuesday 9/1 4:45 pm to 6:30 pm JOE MAGNARELLI Qnt Joe Magnarelli / Trumpet Nick Hempton / Alto Sax Anthony Wonsey / Piano Andy Watson / Drums Neal Miner / Bass SPONSORED BY TONY AND PATTY LEDONNE Wednesday 9/2 4:45 pm to 6:30 pm DAVE KIKOSKI QUARTET Dave Kikoski / Piano Joel Frahm / Tenor Sax Johnathan Blake / Drums Boris Kozlov / Bass SPONSORED BY FREDERICO COSTA Thursday 9/3 4:45 pm to 6:30 pm OMER AVITAL SEPTET Omer Avital / Bass Edo Gur / Trumpet Yonatan Guedj / Alto Sax Jonathan Peled / Trombone Davis Whitfield / Piano Itay Morchi / Drums Friday 9/4 4:45 pm to 6:30 pm KENNY WERNER TRIO Kenny Werner / Piano Ari Hoenig / Drums Johannes Weidenmuller / Bass SPONSORED BY JASON WECHSLER Saturday 9/5 4:45 pm to 6:30 pm MELISSA ALDANA QUARTET Melissa Aldana / Tenor Sax Charles Altura / Guitar Pablo Menares / Bass Kush Abadey / Drums SPONSORED BY BOBBY AND KANDY SULLIVAN Sunday 9/6 4:45 pm to 6:30 pm JON ROCHE SEXTET Jon Roche / Bass Joe Magnarelli / Trumpet Stefano Doglioni / Clarinet John Merrill / Guitar Michael Kanan / Piano Clifford Barbaro / Drums SPONSORED BY ROBERT BLOOM This is Smalls, not the Vanguard

Next at the Village Vanguard: BEN MONDER LIVE STREAM AT 9PM EDT SEPTEMBER 1 - SOLO SERIES PREMIERE Ben Monder - Guitar $10 TICKETS Upcoming Smalls broadcasts. Monday 8/31 ARI HOENIG QUARTET 4:45 pm to 6:30 pm Ari Hoenig / Drums Tivon Pennicott / Tenor Sax Gabriel Chakarji / Piano Matt Penman / Bass SPONSORED BY @EXUBERANCE, PHILADELPHIA Tuesday 9/1 4:45 pm to 6:30 pm JOE MAGNARELLI Qnt Joe Magnarelli / Trumpet Nick Hempton / Alto Sax Anthony Wonsey / Piano Andy Watson / Drums Neal Miner / Bass SPONSORED BY TONY AND PATTY LEDONNE Wednesday 9/2 4:45 pm to 6:30 pm DAVE KIKOSKI QUARTET Dave Kikoski / Piano Joel Frahm / Tenor Sax Johnathan Blake / Drums Boris Kozlov / Bass SPONSORED BY FREDERICO COSTA Thursday 9/3 4:45 pm to 6:30 pm OMER AVITAL SEPTET Omer Avital / Bass Edo Gur / Trumpet Yonatan Guedj / Alto Sax Jonathan Peled / Trombone Davis Whitfield / Piano Itay Morchi / Drums Friday 9/4 4:45 pm to 6:30 pm KENNY WERNER TRIO Kenny Werner / Piano Ari Hoenig / Drums Johannes Weidenmuller / Bass SPONSORED BY JASON WECHSLER Saturday 9/5 4:45 pm to 6:30 pm MELISSA ALDANA QUARTET Melissa Aldana / Tenor Sax Charles Altura / Guitar Pablo Menares / Bass Kush Abadey / Drums SPONSORED BY BOBBY AND KANDY SULLIVAN Sunday 9/6 4:45 pm to 6:30 pm JON ROCHE SEXTET Jon Roche / Bass Joe Magnarelli / Trumpet Stefano Doglioni / Clarinet John Merrill / Guitar Michael Kanan / Piano Clifford Barbaro / Drums SPONSORED BY ROBERT BLOOM

For those of you who get Tommy's Jazz Offer emails, are there any on the list of "Best Voices Time Forgot" that you'd recommend? FSRV_101 Wanda Stafford & Patricia Scot In Love for the Very First Time + Once Around the Clock FSRV_102 Marcy Lutes & Patty McGovern Debut + Wednesday's Child FSRV_103 Dori Howard & Janet Brace Dori Howard Sings + Special Delivery FSRV_104 Thelma Gracen & Milli vernon Thelma Gracen + Introducing Milli Vernon FSRV_105 Peggy King & Pam Garner Lazy Afternoon + Sings Ballads For Broken Hearts FSRV_106 Beverly Kelly & Dolores Hawkins Beverly Kelly Sings + Dolores FSRV_107 Jane Harvey & Anne Richards Leave it to Jane! + Born to be Blue FSRV_108 India Adams & Easy Williams Comfort Me With Apples + Easy Does It! FSRV_109 Norene Tate & Mae Barnes Tenderly + Mae Barnes FSRV_110 Jennie Smith & Diana Trask Love Among the Young + Diana Trask FSRV_111 Martha Hayes & Ilene Woods A Hayes Named Martha + It’s Late FSRV_112 Gloria Smyth & Helyne Stewart Like Soul! + Love Moods FSRV_113 Honi Gordon & Sue Childs Honi Gordon Sings + Introducing Sue Childs FSRV_114 Pat Thomas & Barbara Long Jazz Patters + Soul FSRV_115 Juanita Cruse & Jeri Jorden Juanita! + Easy Living FSRV_116 Marlene & Pat O'Day With Every Breath I Take + When Your Lover Has Gone FSRV_117 Corky Shayne & Georgia Carr In the Mood for a Song? + Songs by a Moody Miss FSRV_118 Janet Blair & Claudia Thompson Flame Out! + Goodbye to Love FSRV_119 Crystal Joy & Althea Gibson The Fabulous Crystal Joy + Althea Gibson Sings FSRV_120 Rose Hardaway & Ada Lee It’s Time for Rose Hardaway + Ada Lee Comes On! FSRV_121 Cathi Hayes & Lu Ann Simms It's All Right with Me + At Separate Tables FSRV_122 Renée Raff & Pat Dahl Among the Stars + We Dig Pat Dahl FSRV_123 Carole Simpson & Connie Haines Singin' and Swingin' + A Tribute to Helen Morgan FSRV_124 Shelley Moore & Ann Williams For the First Time... + First Time Out FSRV_125 Lynn Taylor & Marjorie Lee I See Your Face Before Me + Remembering FSRV_201 Frank D'Rone Frank D'Rone Sings + After the Ball FSRV_202 Rocky Cole & Deno Kannes Smooth & Rocky + The Kid from Salt Lake City FSRV_203 Marty Bell & Don Heller The Voice of Marty Bell + Blame It on My Youth FSRV_204 Dick Williams & Larry Hovis Love is Nothin' But Blues + My Heart Belongs to Only You

because he doesn't pimp his own work, here's a GREAT mix of vintage (and non-cliched) R&B by Rod Stasick: https://www.mixcloud.com/rostasi/random-radio-075-rockit88/?utm_campaign=notification_new_upload&utm_medium=email&utm_source=notification&utm_content=html Chubby Newsom - Toodle Luddle Baby Beverly Ann Gibson - Wait and See Pigmeat Markham - Your Wire's Been Tapped L.C. McKinley - Nit Wit Bee Bee Queen - Queen Bee Oscar McLollie & Jeanette Baker - Hey Girl, Hey Boy Rockin' Roy Thomas - Manslaughter Jimmy Milner & His Blue Ribbon Band - Nobles Shuffle Baby Dee - He Ain't Mine No More Rosetta Perry - Farewell Blues Jimmy Lewis - Let's Get Together Joe Lutcher - No Name Boogie Four Tees - Funky Duck The Crawford Brothers - I Ain't Guilty Hank Ballard - Broadway Al King - It's Getting Late Jackie Kelso & His Orchestra - Blue Moon Jack McVea - Wine-O Mamie Bradley & Group with Andy Gibson's Orch. - The Patty Cake Sam Meyers - You Don't Have to Go Booker T. Washington - St. Louis Boogie J.L. Smith - If It's Too Late Little Mummy - Where You at Jack Aaron Neville - Wrong Number Al Savage & Joe Morris Orchestra - Be Seein' You in My Dreams Finey Mo - Shake That Thing Betty James - I'm a Little Mixed Up Anita Tucker - Ring-Aling-Aling (Let the Wedding Bells Ring) Carmen Davis with Ernie Freeman's Combo - No, No Baby June Bateman - Come on Little Boy Marylin Scott (Mary Deloatch) - Rumors of War Gene & Gary - Baby Without You Bea Booker - Comfort in My Heart Ford Nelson Quintet - Little Annie Melvin Smith - I'm Out of My Mind Bobby Long & His Satelites - Mojo Workout Albert Washington - Ramble Louis Payne Orchestra - That's Allright with Me Fats Witherspoon - Hook Line and Sinker Carl Matthews - Big Man Willie King (Billy Gayles) with the Ike Turner Orchestra - Big Leg Woman Wailin' Bill Dell - You Gotta Be Loose Nellie Lutcher - Hurry on Down Irvin "Big Boy" Groves - I Got a New Car Eva Foster - You'll Never Know Louis Jordan - Jack, You're Dead Bernie Hardison - Love Me Baby Larry Davis - Whole World Down on You Bobbie James - Baby I'm Tired Charles Sheffield - It's Your Voodoo Working Tampa Red & Georgia Tom - Dead Cat on the Line Kip Anderson - I Wanna Be the Only One Arthur K Adams - I Need You Julia Lee - Snatch and Grab It Piney Brown - Talkin' About You Lord Tennyson - The Dance Marie Adams with Chuck Dillon Orch. - Ain't Car Crazy Marie Adams & Junior Ryder with Johnny Otis Orch. - Boom Diddy WA WA Barbara Lynn - Oh Baby Carmen Taylor - Teen-Age Ball Lemmy Johnson - Eatin' and Sleepin' Blues Jimmy Preston & Burnetta Evans - Oh Babe Elmo Nixon - Forgive Me Baby Richard Lewis & His Orchestra - Richard's Bounce Sam Price - The Dirty Dozens Team Mates - Crazy Baby Hop Wilson - Chicken Stuff Johnny Copeland & His Soul Agents - Ghetto Child Johnny Griffin and the Joe Morris Orchestra - Chuck-A-Boogie Danny "Run Joe" Taylor - You Look Bad Pee Wee Barnum - Rockin' Rhythm King Coleman - Alley Rat Eddie Kirk - Hog Killin' Time Floyd Tumbam Orchestra - Bashful and Blue Eunice Davis - Get Your Enjoys Bobby Robinson - Pour the Corn Drivers - Mr. Astronaut Johnny Moore's Three Blazers with Lee Barnes - Blues for What I Never Had Big Joe Turner - I Love My Baby Freddie Clark - Beggin' Papa Blues Dave Bartholomew - Good Jax Boogie Katie Webster & Ashton Conroy - Baby Baby Charlie Singleton Orchestra - Earthquake Fletcher Smith - Brand New Neighborhood The Three Riffs - Hard Ridin' Mama Morris Lane - Bobby's Boogie Lowell Fulson - Baby Won't You Jump with Me Tarheel Slim - Wildcat Tamer

I've never seen mayonnaise ON french fries, but in Belgian restaurants I see that pommes frites come with a container of mayo (aoli) on the side and you DIP one fry at a time into it. Just a little. It's not SPREAD over a pile of fries like ketchup. Maybe some places spread it over but I haven't seen that. I''m kinda surprised gumbo hasn't been mentioned. Wikipedia will usually says it's a soup or stew. I disagree. It's its own thing. I fix chicken soup, chicken stew, and chicken gumbo and they are all very different from one another. Well, chicken stew is closer to chicken gumbo than chicken soup is. But we call it chicken fricassee. Cajuns may state forcefully that gumbo has NO tomatoes in it. That's New Orleans style. I disagree with that too. I grew up in Vermilion parish which is one of the most Cajun parishes there is., Even when I went to school the cafeteria ladies fixed okra and shrimp gumbo and it DID have a little bit, not a lot, of tomato in it. It was definitely NOT a New Orleans recipe. I doubt those cafeteria ladies knew any New Orleans recipes! My mother used a little and so do I when I make it. How do you dress your hamburgers? I put ketchup on the bottom bun and mayo on the top bun. Lettuce and tomato and top of the patty. For steamed or boiled shrimp or crawfish a lot of Cajuns fix their own sauce at the table -- a mixture of ketchup, mayo, and worcestershire sauce. For oysters you vary that with a little bit of horseradish. Restaurants used to put all those ingredients on the table and you fixed your own sauce at the table. I don't know why but in English we don't say make something, we say fix something. But in French we DO say fait (make or do). Even in A Confederacy of Dunces, set in New Orleans, the characters say "Fix me a weenie" (Make me a hot dog) to the Lucky Dog representative. I guess it's both Cajun English and Yat.

A patty-type construction made of puffed rice, sometimes with additional flavoring, sometimes not, It's a staple of dieting, because it's filling(ish), it's got flavor (sorta), and it's mostly air. Actually, there's a brown rice version that is tasty enough to eat by itself. Those are pretty good!

Ron Thorne, man of the world, Jazz drummer and all around great guy died a few hours ago after a decade-long battle with COPD. Ron was 76. My condolences to his wife Patty, who was by his side to the end. I met Ron on the Jazz Corner and considered him one of my on-line friends. It's weird that we never meet some of these "friends" but still feel the loss as if they lived down the street. Ron's son Justin posted this on FB: Justin Thorne After a lengthy, nearly 11-year battle with COPD, my father Ron Thorne has left us today, in his sleep in the early hours of his 76th birthday. Very happy to have been by his side for the final 6 days, and to surround him with as much of his favorite music as circumstances allowed. For a patient who was ruled out of surviving countless times, he outdid every prognosis they made, and always did everything on his terms.

1.Earl Coleman - When Did You Leave Heaven, from LOVE SONGS 2. Joe Albany - You Don't Know What Love Is, from PROTOBOPPER 3.Gene Ammons - Ca'Purange, from BAD BOSSA NOVA 4. Curtis Amy - Mustang, from MUSTANG 5. Paul Horn - Mr.Bond, from SOMETHING BLUE 6. Etta Jones - Give Me Something To Remember You By, from DON'T TALK TO STRANGERS 7. Milt Jackson & Coleman Hawkins - Don't Take Your Love Away From Me, fromBEAN BAGS 8. Phineas Newborn, Jr. - Gee Baby Ain't I Good To You, from I LOVE A PIANO 9. Patty McGovern & Thomas Talbert - All In Fun, from WEDNESDAY'S CHILD

ECM Areni Agbabian Bloom Areni Agbabian: voice, piano Nicolas Stocker: percussion Release date: April 26, 2019 ECM 2549 B0029232-02 UPC: 6025 675 2590 5 Areni Agbabian casts a quiet spell with her art, as an improvising vocalist, folk singer, storyteller and pianist. Her voice has been described as “bell-toned” by The Guardian and “lush” by theLos Angeles Times, the music she creates with it “intensely focused, moving toward some kind of hidden truth,” according to The New York Times. Agbabian’s ECM debut, Bloom, has a richness that belies its spare ingredients: just her evocative voice and piano, along with the subtly ingenious percussion of Nicolas Stocker (who was last heard on ECM with Nik Bärtsch’s Mobile ensemble). Born and raised in Los Angeles into an Armenian family, Agbabian came to international attention via performances and recordings with groups led by Armenian jazz pianist Tigran Hamasyan. Bloom draws deeply on the singer’s Armenian heritage, as she reinterprets sacred hymns, a traditional spoken-word tale and a dark folk melody transcribed by the great Armenian composer and ethnomusicologist Komitas. She intersperses these among her own vocal and instrumental compositions, which channel a wide world of influences, from Komitas to Tigran Mansurian, from Morton Feldman to George Crumb, from Patty Waters to Kate Bush. The melody that recurs through the highlights “Petal One,” “Petal Two” and “Full Bloom” glows with an aural and emotional purity that’s characteristic of Agbabian’s music. Agbabian recorded Bloom at Auditorio Stelio Molo RSI in Lugano, Switzerland, with ECM founder Manfred Eicher producing. The two had met some years before at a post-concert dinner in Paris, with Eicher then listening to her first solo album, Kissy(bag). About the experience of working with the producer for Bloom, Agbabian says: “First of all, the studio in Lugano is a warm wooden room with a natural reverb and projection, perfect for this sort of acoustic music. With his years of experience, Manfred guides an artist to the correct balance musically. As far as my songs went, he suggested a few changes that made them more appropriate for a studio recording as opposed to concert performance. He also suggested that I play slightly different takes of the same material, which created recurring motifs that gave the album narrative shape. There are a couple of pieces credited to Manfred, ‘Rain Drops’ and ‘Whiteness,’ that serve as parentheses within the storybook feel of Bloom. He had suggested that I play a mid-range chord in E-flat and slowly make my way up the keyboard with an airy feel. He conducted these moments live in the studio space.” Stocker also contributes two solo percussion pieces to the album, “Light Effects” and “Colored.” About the collaboration with the percussionist, Agbabian explains: “When I was invited to check out the studio in Lugano, I met Nicolas while he was playing a Nik Bärtsch session. I could immediately tell that Nicolas was a very kind person, and I really liked the color palette of his percussion setup, which he extended with unique bells and gongs. We ended up working together intensively for a few weeks before recording, both in L.A. and Zurich. I added a few items to his percussion set, such as Tibetan singing bowls. Also, the piano preparations on some of the pieces ended up giving us a unified percussion sound, especially on my piece ‘The Water Bride.’ And ‘The River’ was a pure improvisation by the two of us from which his polyrhythmic groove in ‘Colored’ emerged.” Agbabian has been a singer since she was an infant, already humming melodies at the age of 11 months. Growing up in a world of sound, she was hitting xylophones and drums by age 4, making up melodies and rhythms. She sang rhymes and folk songs with her aunt, a trained opera singer and Armenian music specialist, and her mother, a storyteller and Armenian folklorist. These women imprinted the Armenian language, its tones and inflections, into her mind and body. At age 7, Agbabian began a study of classical piano that lasted for 20 years. Throughout this period, she continued her vocal work, and by her early 20s, she had sung in many choirs of Armenian sacred and Bulgarian folk music, eventually performing traditional Armenian folklore and music professionally. She gradually integrated these byways of her musical journey into an individual musical path. After some years performing in the improvised music scene of New York City, Agbabian returned to her hometown of Los Angeles. She joined Hamasyan’s quintet, touring the world and recording two albums with him; she also wrote the lyrics to “Lament” on his Shadow Theater LP. As a vocalist, Agbabian has worked not only in jazz and folk music but also in contemporary opera, dance, new music and multimedia performance, with her credits including the opera What To Wear by Bang on a Can composer Michael Gordon. She released her solo album Kissy(Bag) in 2014. Of late, Agbabian has been performing Armenian and Persian music in Los Angeles with Lernazang, a group of young folk instrumentalists; she also collaborates with guitarist Gagik “Gagas” Khodavirdi, her husband. Throughout Bloom, a sense of spiritual yearning makes itself felt, strikingly so in Agbabian’s own deeply introspective songs “Patience” and “Mother,” as well as in the Armenian sacred hymn “Anganim Arachi Ko.” The connection between the traditional material and the original songs is virtually genetic. She explains: “Armenian music is in my DNA. It speaks to me on a spiritual level that I cannot explain. In fact, the sacred music eventually is what changed my life. It was through it that I came to know God, and through the imagery of the Biblical stories of the Resurrection written in grabar (classical Armenian) that my heart was transformed. Intellectually, it is probably more difficult than any other music I have studied, European classical music included, especially because of Armenian music’s linguistic and rhythmic challenges, the microtonality and the memorization. I’m in my fourth year of participating in sacred music study and practice. This requires an understanding of ritual time, and supporting the cerebral process of understanding music with conscious listening of my whole person.” ECM Stephan Micus White Night Stephan Micus: kalimbas duduk, bass duduk, sinding, dondon, fourteen-string guitar, steel string guitar, Tibetan cymbals, cane whistles, vocals Release date: April 26, 2019 ECM 2639 B0029979-02 UPC: 6025 773 6220 0 Though the purity of the moonlight has silenced both nightingale and cricket, the cuckoo alone sings all the white night. (Anonymous, Japanese) “I’ve always been inspired by moonlight,” says Stephan Micus. “Often I go walking, swimming in the sea or, best of all, cross-country skiing when the moon turns the snow into millions of diamonds. Moonlight for me has a special magic.” Stephan Micus has a strong and physical relationship with nature, landscapes and the people who inhabit them, all over the world. You hear that in his music which is created for instruments he has collected in years of travels and re-fashioned for his own use. He plays all the parts and multi-tracks them with up to 22 layers on the ‘Fireflies’ track on this album. By contrast, ‘The Moon’ and ‘All the Way’ are solo pieces recorded in one take. On White Night, his 23rd solo album for ECM, Micus takes us on a journey into an imaginary world entering at ‘The Eastern Gate’ and exiting at ‘The Western Gate’. In between the gates unfold the different scenes of the composition: ‘The Bridge’, ‘The River’, ‘The Moon’ and so on. Aside from the 14 string guitar, to conjure this world Micus plays instruments from Armenia, Tibet, India, Egypt, Ghana, Senegal, Tanzania, Botswana, Namibia and Ethiopia, most of them in combinations never heard before. For each of his albums, Micus uses a defined cast of instruments to create its distinctive sound world. On White Night, the leading characters are African ‘thumb pianos’ (kalimba) and the Armenian duduk, two instruments which are extremely different in their personalities. The duduk always has a trace of melancholy, whereas the kalimba is imbued with a spirit of joy. To combine the two is like bringing two irreconcilable spirits together. The technical name for the kalimba is a lamellophone, which comprises metal tongues attached to a resonator. They are known by different names in various parts of sub-Saharan Africa - mbira, kalimba, sanza, ndingo etc. On this album Micus uses instruments he has collected in Tanzania, Botswana, Namibia and Ethiopia. “These are old and unique instruments,” he says. “Most of them I found in remote villages and so each one has its own story connected with the people I met, with the landscapes and these memories help me create the music for them, something an instrument bought in a shop could never do. In most cases I change the tunings according to the music which evolves when I start improvising on them. My first kalimba I bought in Tanzania some 26 years ago.” “Whenever I travel I take a kalimba with me on my journey. It’s such a great instrument to carry along,” says Micus who has a practical relationship with these instruments. “It’s small and doesn’t disturb anyone. This enables me to keep working on some tunes and rhythms even if I am on the road.” One of the solo tracks at the heart of the album is ‘All the Way’, played on a kalimba Micus bought in a village where the indigenous San people have been settled in Botswana. This is a one-take performance on an instrument of 22 keys. “I admire the way that for thousands of years, the San lived on the land without leaving any traces or without doing any damage to it, just like the Australian aborigines or Native Americans. But strangely people have always looked down on these people, while really we should honour them for this great achievement”. This kalimba solo is a tribute to all people who respect our planet and preserve its amazing beauty. Another kalimba, from Tanzania, that Micus uses on ‘The River’, has small rings on its keys creating a buzzing sound like waves and splashes in the water. On ‘The Bridge’ and ‘The Forest’, Micus uses a kalimba specially created for this album. He commissioned the South African instrumentalist Phillip Nangle to build an instrument with just bronze keys instead of the usual steel ones. Bronze gives a warmer, more mellow sound, which makes a superb accompaniment to Micus’ voice singing his lyrics in an invented language. Micus has made two trips to Armenia to learn to play the duduk, the plaintive, oboe-like instrument which lends its melancholy tone to so much Armenian music. The first time he studied with Djivan Gasparyan, the second with Gevorg Dabaghyan, two musicians who are considered by many to be the greatest living masters. He’s used the duduk on two previous albums Towards the Wind (2002) and Snow (2008). Traditionally the bass duduk is only used as an accompanying drone, playing just one or two notes. But on the opening and closing tracks ofWhite Night Micus uses it for soulful melodies that frame his story with themes of deep profundity. You’ve never heard a duduk go as low as this. The other solo in the center of the album is ‘The Moon’, a duduk solo, played on a much smaller instrument than the standard one. The composition has nothing to do with traditional Armenian music, but certainly evokes the lonely, misty and ethereal shimmer of the moon in the night sky. For many of his CD booklets Micus chooses a small text to intensify the particular mood of each album. For White Night he’s chosen a Japanese poem, so the track ‘The Poet’ could represent the anonymous writer reciting his verse about the entrancing birdsong in the white, moonlit night. Other striking instruments we hear are Indian cane whistles multi-tracked many times, which in ‘Fireflies’ alternate with Micus’ own voice in chorus. “They are simple cane flutes which you play like a recorder. I bought them on the street somewhere costing a few cents each.” And there are the Tibetan cymbals which Micus bought in Ladakh. These are ritual temple instruments and their clashing rhythms bring a ceremonial quality to the opening and closing of this album. It’s a reminder that Stephan Micus’ music has a profundity, that connects to cultures all over the world and their musical expression. But as he says, “it makes no sense for me to play traditional Armenian duduk.” His desire is to take us on a journey, using rare and obscure instruments combined in a novel way, to reach out to our universal emotions. “Nowadays people in cities have lost contact with the moon,” says Micus. “I have lived all my life in the countryside and have had the privilege to experience many nights around the full moon. That’s why I dedicate this album to the moon which has always been a source of magic in many cultures. Music too is a source of magic which is where the two connect.” ECM Michele Rabbia/Gianluca Petrella/Eivind Aarset Lost River digital release date: May 31, 2019 CD release date: June 7, 2019 Michele Rabbia: drums, percussion, electronics; Gianluca Petrella: trombone, sounds; Eivind Aarset: guitar, electronics Lost River is an evocative post-ambient, richly textured sonic event, and one of the outstanding beyond-category recordings of recent ECM history. Drummer Michele Rabbia and guitarist Eivind Aarset had played many duo concerts, and Rabbia had also worked with trombonist Gianluca Petrella in other contexts, but this recording marks a premiere for the trio. Spontaneously improvised for the most part, and with mysterious detail flowering inside its soundscapes, Lost River keeps revealing new forms. Rabbia's drumming is freely creative and propulsive, and enhanced through his use of electronics. Aarset's flowing playing will delight listeners who have enjoyed his Dream Logic project and his contribution to recordings with Nils Petter Molvӕr, Tigran Hamasyan, Andy Sheppard and others. Petrella's role as a principal instrumental voice will surprise those who know him only as a great "jazz" soloist with Enrico Rava and Giovanni Guidi; his broad range is very well deployed in Manfred Eicher's widescreen production on this recording, made in Udine in January 2018. ECM Paul Bley / Gary Peacock / Paul Motian When Will The Blues Leave digital release date: May 31, 2019 CD release date: June 7, 2019 Paul Bley: piano Gary Peacock: double bass Paul Motian: drums In 1999, a year after recording the splendid reunion album Not Two, Not One, Paul Bley's highly innovative trio with Gary Peacock and Paul Motian took to the road with concerts on both sides of the Atlantic. When Will The Blues Leave documents a terrific performance at the Aula Magna di Trevano in Switzerland. Included here, alongside the angular freebop Ornette Coleman title track, are Paul Bley's "Mazatlan", brimming over with energy, Gary Peacock's evergreen "Moor", Gershwin's tender "I Loves You Porgy" and much more... All played with the subtlety of master improvisers, recasting the music in every moment.

Just listed on bobdylan.com --109.98 presage price from them. (Full track listing had been posted but is now withdrawn--I managed to copy this below from another forum). The Rolling Thunder Revue: The 1975 Live Recordings 14-CD Box Set $109.98 Y4CDBD68 Write the First Review This is a pre-order. Expected ship date is June 05, 2019 Details A comprehensive anthology of music from the mythic first leg of Bob Dylan's groundbreaking Rolling Thunder Revue, this 14CD box set includes all five of Dylan’s full sets from that tour that were professionally recorded. The collection also provides the listener with an intimate insider's seat for recently unearthed rehearsals at New York's S.I.R. studios and the Seacrest Mote in Falmouth, MA plus a bonus disc showcasing one-of-a-kind performances from the tour. CD Box Set Includes: 14-disc set Over 100 previously unreleased tracks Five complete shows, newly mixed Three discs of rehearsals Bonus disc of rarities DISC 1: S.I.R. Rehearsals, New York, NY – October 19, 1975 DISC 2: S.I.R. Rehearsals, New York, NY – October 21, 1975 DISC 3: Seacrest Motel Rehearsals, Falmouth, MA – October 29, 1975 DISC 4-5: Memorial Auditorium, Worcester, MA – November 19, 1975 DISC 6-7: Harvard Square Theater, Cambridge, MA – November 20, 1975 DISC 8-9: Boston Music Hall, Boston, MA – November 21, 1975 (afternoon) DISC 10-11: Boston Music Hall, Boston, MA – November 21, 1975 (evening) DISC 12-13: Forum de Montreal, Quebec, Canada – December 4, 1975 DISC 14: Rare Performances Please note: release date is June 7, 2019. Pre-orders will start shipping on or around June 5, 2019. Tracklist: Disc 1 - S.I.R. Rehearsals, New York, NY – October 19, 1975 Rake and Ramblin' Boy Romance in Durango Rita May I Want You Love Minus Zero/No Limit She Belongs to Me Joey Isis Hollywood Angel People Get Ready What Will You Do When Jesus Comes? Spanish Is the Loving Tongue The Ballad of Ira Hayes One More Cup of Coffee (Valley Below) Tonight I'll Be Staying Here with You This Land Is Your Land Dark as a Dungeon* Disc 2 - S.I.R. Rehearsals, New York, NY – October 21, 1975 She Belongs to Me A Hard Rain's a-Gonna Fall Isis This Wheel's on Fire/Hurricane/All Along the Watchtower One More Cup of Coffee (Valley Below) If You See Her, Say Hello One Too Many Mornings Gwenevere Lily, Rosemary and the Jack of Hearts Patty's Gone to Laredo It's Alright, Ma (I'm Only Bleeding) Disc 3 - Seacrest Motel Rehearsals, Falmouth, MA – October 29, 1975 Tears of Rage I Shall Be Released Easy and Slow Ballad of a Thin Man Hurricane One More Cup of Coffee (Valley Below) Just Like a Woman Knockin' on Heaven's Door Disc 4 and 5 - Memorial Auditorium, Worcester, MA – November 19, 1975 When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll It Takes a Lot to Laugh, It Takes a Train to Cry Romance in Durango Isis Blowin' in the Wind -- duet with Baez Wild Mountain Thyme -- duet with Baez Mama, You Been on My Mind -- duet with Baez Dark as a Dungeon -- duet with Baez I Shall Be Released -- duet with Baez Tangled Up in Blue -- solo acoustic Oh, Sister Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 6 and 7 - Harvard Square Theater, Cambridge, MA – November 20, 1975 When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll It Takes a Lot to Laugh, It Takes a Train to Cry Romance in Durango Isis Blowin' in the Wind -- duet with Baez Wild Mountain Thyme -- duet with Baez Mama, You Been on My Mind -- duet with Baez Dark as a Dungeon -- duet with Baez I Shall Be Released -- duet with Baez Simple Twist of Fate -- solo acoustic Oh, Sister Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 8 and 9 - Boston Music Hall, Boston, MA – November 21, 1975 (afternoon) When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll A Hard Rain's a-Gonna Fall Romance in Durango Isis The Times They Are a-Changin' -- duet with Baez I Dreamed I Saw St. Augustine -- duet with Baez Mama, You Been on My Mind -- duet with Baez Never Let Me Go -- duet with Baez I Shall Be Released -- duet with Baez Mr. Tambourine Man -- solo acoustic Oh, Sister -- solo acoustic Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 10 and 11 - Boston Music Hall, Boston, MA – November 21, 1975 (evening) When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll It Takes a Lot to Laugh, It Takes a Train to Cry Romance in Durango Isis Blowin' in the Wind -- duet with Baez The Water Is Wide -- duet with Baez Mama, You Been on My Mind -- duet with Baez Dark as a Dungeon -- duet with Baez I Shall Be Released -- duet with Baez I Don't Believe You (She Acts Like We Never Have Met) -- solo acoustic Tangled Up in Blue -- solo acoustic Oh, Sister Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 12 and 13 - Forum de Montreal, Quebec, Canada – December 4, 1975 When I Paint My Masterpiece It Ain't Me, Babe The Lonesome Death of Hattie Carroll Tonight I'll Be Staying Here with You A Hard Rain's a-Gonna Fall Romance in Durango Isis Blowin' in the Wind -- duet with Baez Dark as a Dungeon -- duet with Baez Mama, You Been on My Mind -- duet with Baez Never Let Me Go -- duet with Baez I Dreamed I Saw St. Augustine -- duet with Baez I Shall Be Released -- duet with Baez It's All Over Now, Baby Blue^ -- solo acoustic Love Minus Zero/No Limit^-- solo acoustic Tangled Up in Blue -- solo acoustic Oh, Sister Hurricane One More Cup of Coffee (Valley Below) Sara Just Like a Woman Knockin' on Heaven's Door This Land Is Your Land Disc 14 - Rare Performances One Too Many Mornings - October 24 – Gerdes Folk City, New York City, New York Simple Twist of Fate -- October 28 – Mahjong Parlor, Falmouth, MA Isis -- November 2 – Technical University, Lowell, MA With God on Our Side -- November 4 – Afternoon – Civic Center, Providence, RI It's Alright, Ma (I'm Only Bleeding) -- November 4 – Evening – Civic Center, Providence, RI Radio advertisement for Niagara Falls shows -- Niagara Falls, NY The Ballad of Ira Hayes -- November 16 – Tuscarora Reservation, NY Your Cheatin' Heart* (PROBABLY AN INCOMPLETE LISTING OF THIS DISC'S CONTENTS).

ECM Giovanni Guidi Avec le temps Giovanni Guidi: piano Thomas Morgan: double bass João Lobo: drums Francesco Bearzatti: tenor saxophone Roberto Cecchetto: guitar Release date: March 22, 2019 ECM 2604 B0029680-02 UPC: 6025 770 6280 3 Giovanni Guidi is one of the most consistently creative pianists in Europe today, focusing inspirations from contemporary jazz and free playing in a strongly lyrical approach of his own. As well as composing his own material, he has a discerning ear for pieces his group might adapt. The new album begins with an extraordinary interpretation of a yearning song of love and loss by the Monaco-born poet-composer-chansonnier Léo Ferré (1916-1993). The melody and atmosphere of Ferré’s “Avec Le Temps”, one of the classics of the French chanson repertoire, are explored in new detail by Guidi and bassist Thomas Morgan. Of Morgan, Guidi recently noted: “I don’t know if there are other musicians who are so inside the music with every note, who capture everything that’s happening in every moment.” The concentrated soulfulness of the bass playing may put listeners in mind of Charlie Haden’s heyday: Thomas Morgan, too, plays the music not the background. The song’s deep feeling is intensified by João Lobo’s creatively free snare and cymbals, offering fresh color and texture. Both the title piece here and the closing “Tomasz”, a Guidi original dedicated to the late Tomasz Stanko, take Giovanni’s conception of the art of the trio to the next level, extending the work begun on the critically-praised albums City of Broken Dreams and This Is The Day. Avec le temps also initiates some new departures as Guidi expands his group to quintet size with the addition of saxophonist Francesco Bearzatti and guitarist Roberto Cecchetto for six of the pieces here. The quintet originally toured under the headline Giovanni Guidi Inferno, and while it plainly has the capacity to burn down the house, it also radiates a more differentiated flame, as needs dictate. Bearzatti and Cecchetto are strikingly original and resourceful musicians, both leaders in their own right. Bearzatti is one of the outstanding saxophonists of his generation in Italy. Anchored in the tradition – he studied with, among others, George Coleman – he also pushes into areas of pure sound exploration and is conceptually open-minded; his own discography including tributes to, for instance, Malcolm X and to Woody Guthrie. Latterly, Bearzatti and Giovanni Guidi have also been playing together in duo. Like Guidi himself, guitarist Roberto Cecchetto has played extensively with Enrico Rava. Cecchetto was for eight years a core member of Rava’s Electric Five group. His own leader dates include recordings with Guidi and with Bearzatti, and he has worked with many distinguished players including Gianluigi Trovesi, Lee Konitz, Kenny Wheeler, Roswell Rudd, Stefano Bollani and more. Thomas Morgan’s sensitive work with Tomasz Stanko, David Virelles, Masabumi Kikuchi, Craig Taborn, Jakob Bro, Bill Frisell, and many more has been widely-acclaimed. In the Guidi group he is well-matched by drummer João Lobo, who similarly brings deep listening to every performance. Collectively, the quintet is ready to deal with the challenges of the most diverse material, from the bluesy cast of “15th of August”, to the group creation “No Taxi” which is reminiscent of some of Ornette Coleman’s themes, to the tender lullaby “Ti Stimo”, and the free-flowing ballad “Caino”, which draws forth beautiful playing by Guidi and Bearzatti. As a whole, Avec le temps proposes a fascinating journey over changing terrain. *** Giovanni Guidi, born in Foligno, near Perugia, in 1985, was launched on the international stage in the groups of Enrico Rava. After being struck by the focused intensity of the young pianist’s playing during the summer courses of Siena Jazz, Rava invited him into his band. Guidi, who was 17 years old when he first played with the trumpeter, appears with Rava on the ECM albums Tribe and Rava On The Dance Floor. In addition to Giovanni Guidi’s recordings with Thomas Morgan and João Lobo, the pianist can be heard on Ida Lupino, with Gianluca Petrella, Gerald Cleaver and Louis Sclavis, which was voted Italian jazz album of the year in Musica Jazz. Avec le temps was recorded at Studios La Buissonne in Pernes-les-Fontaines in the south of France in November 2017, and produced by Manfred Eicher. As with City of Broken Dreams and This Is The Day, the cover painting is by Emmanuel Barcilon, whose delicate yet intense color-fields provide an apt visual metaphor for the musical poetry of Giovanni Guidi. ECM Areni Agbabian Bloom Areni Agbabian: voice, piano Nicolas Stocker: percussion Release date: April 26, 2019 ECM 2549 B0029232-02 UPC: 6025 675 2590 5 Areni Agbabian casts a quiet spell with her art, as an improvising vocalist, folk singer, storyteller and pianist. Her voice has been described as “bell-toned” by The Guardian and “lush” by theLos Angeles Times, the music she creates with it “intensely focused, moving toward some kind of hidden truth,” according to The New York Times. Agbabian’s ECM debut, Bloom, has a richness that belies its spare ingredients: just her evocative voice and piano, along with the subtly ingenious percussion of Nicolas Stocker (who was last heard on ECM with Nik Bärtsch’s Mobile ensemble). Born and raised in Los Angeles into an Armenian family, Agbabian came to international attention via performances and recordings with groups led by Armenian jazz pianist Tigran Hamasyan. Bloom draws deeply on the singer’s Armenian heritage, as she reinterprets sacred hymns, a traditional spoken-word tale and a dark folk melody transcribed by the great Armenian composer and ethnomusicologist Komitas. She intersperses these among her own vocal and instrumental compositions, which channel a wide world of influences, from Komitas to Tigran Mansurian, from Morton Feldman to George Crumb, from Patty Waters to Kate Bush. The melody that recurs through the highlights “Petal One,” “Petal Two” and “Full Bloom” glows with an aural and emotional purity that’s characteristic of Agbabian’s music. Agbabian recorded Bloom at Auditorio Stelio Molo RSI in Lugano, Switzerland, with ECM founder Manfred Eicher producing. The two had met some years before at a post-concert dinner in Paris, with Eicher then listening to her first solo album, Kissy(bag). About the experience of working with the producer for Bloom, Agbabian says: “First of all, the studio in Lugano is a warm wooden room with a natural reverb and projection, perfect for this sort of acoustic music. With his years of experience, Manfred guides an artist to the correct balance musically. As far as my songs went, he suggested a few changes that made them more appropriate for a studio recording as opposed to concert performance. He also suggested that I play slightly different takes of the same material, which created recurring motifs that gave the album narrative shape. There are a couple of pieces credited to Manfred, ‘Rain Drops’ and ‘Whiteness,’ that serve as parentheses within the storybook feel of Bloom. He had suggested that I play a mid-range chord in E-flat and slowly make my way up the keyboard with an airy feel. He conducted these moments live in the studio space.” Stocker also contributes two solo percussion pieces to the album, “Light Effects” and “Colored.” About the collaboration with the percussionist, Agbabian explains: “When I was invited to check out the studio in Lugano, I met Nicolas while he was playing a Nik Bärtsch session. I could immediately tell that Nicolas was a very kind person, and I really liked the color palette of his percussion setup, which he extended with unique bells and gongs. We ended up working together intensively for a few weeks before recording, both in L.A. and Zurich. I added a few items to his percussion set, such as Tibetan singing bowls. Also, the piano preparations on some of the pieces ended up giving us a unified percussion sound, especially on my piece ‘The Water Bride.’ And ‘The River’ was a pure improvisation by the two of us from which his polyrhythmic groove in ‘Colored’ emerged.” Agbabian has been a singer since she was an infant, already humming melodies at the age of 11 months. Growing up in a world of sound, she was hitting xylophones and drums by age 4, making up melodies and rhythms. She sang rhymes and folk songs with her aunt, a trained opera singer and Armenian music specialist, and her mother, a storyteller and Armenian folklorist. These women imprinted the Armenian language, its tones and inflections, into her mind and body. At age 7, Agbabian began a study of classical piano that lasted for 20 years. Throughout this period, she continued her vocal work, and by her early 20s, she had sung in many choirs of Armenian sacred and Bulgarian folk music, eventually performing traditional Armenian folklore and music professionally. She gradually integrated these byways of her musical journey into an individual musical path. After some years performing in the improvised music scene of New York City, Agbabian returned to her hometown of Los Angeles. She joined Hamasyan’s quintet, touring the world and recording two albums with him; she also wrote the lyrics to “Lament” on his Shadow Theater LP. As a vocalist, Agbabian has worked not only in jazz and folk music but also in contemporary opera, dance, new music and multimedia performance, with her credits including the opera What To Wear by Bang on a Can composer Michael Gordon. She released her solo album Kissy(Bag) in 2014. Of late, Agbabian has been performing Armenian and Persian music in Los Angeles with Lernazang, a group of young folk instrumentalists; she also collaborates with guitarist Gagik “Gagas” Khodavirdi, her husband. Throughout Bloom, a sense of spiritual yearning makes itself felt, strikingly so in Agbabian’s own deeply introspective songs “Patience” and “Mother,” as well as in the Armenian sacred hymn “Anganim Arachi Ko.” The connection between the traditional material and the original songs is virtually genetic. She explains: “Armenian music is in my DNA. It speaks to me on a spiritual level that I cannot explain. In fact, the sacred music eventually is what changed my life. It was through it that I came to know God, and through the imagery of the Biblical stories of the Resurrection written in grabar (classical Armenian) that my heart was transformed. Intellectually, it is probably more difficult than any other music I have studied, European classical music included, especially because of Armenian music’s linguistic and rhythmic challenges, the microtonality and the memorization. I’m in my fourth year of participating in sacred music study and practice. This requires an understanding of ritual time, and supporting the cerebral process of understanding music with conscious listening of my whole person.”

Does anybody have more accurate recording dates for these recordings? THE KING COLE TRIO Nat Cole (p, vo), Oscar Moore (g, vo), Wesley Prince (sb, vo). Standard Transcription, Los Angeles, c. October, 1938. 1-01. Mutiny In The Nursery 1-02. F. D. R. Jones 1-03. The Sheik Oh Araby 1-04. The Blue Danube 1-05. Button Button 1-06. Jingle Bells 1-07. Swannee River 1-08. With Plenty Of Money And You Standard Transcription, Los Angeles, October, 1938. 1-09. Don't Blame Me 1-10. Lullaby In Rhythm 1-11. Dark Rapture 1-12. By The River St. Marie Standard Transcription, Los Angeles, November, 1938. 1-13. The Wiggly Walk 1-14. Fela Hop 1-15. Chopsticks 1-16. Patty Cake, Patty Cake (Baker Man) 1-17. Blue Skies 1-18. Liza (All The Clouds'll Roll Away) 1-19. Three Blind Mice 1-20. Caravan KING COLE SWINGSTERS Nat Cole (p, vo), Oscar Moore (g, vo), Wesley Prince (sb, vo), Bonnie Lake, Juanelda Carter (vo). Davis & Schwegler Transcription, Radio Recorder's Studios, Los Angeles, November, 1938. 1-21. There's No Anesthetic For Love 1-22. Dixie Jamboree 1-23. Ta-De-Ah 1-24. Reffin' At The Bar-B-Q 1-25. Harlem Swing - vBL 1-26. I Lost Control Of Myself - vBL 2-01. The Land Of Make Believe - vBL 2-02. That "Please Be Mineable" Feling 2-03. Dancing In The Street - vJC 2-04. You're So Different - vJC 2-05. I Wouldn't Have Known It - vJC 2-06. Let's Get Happy THE KING COLE TRIO Nat Cole (p, vo), Oscar Moore (g, vo), Wesley Prince (sb, vo). Standard Transcription, Los Angeles, February, 1939. 2-07. Undecided 2-08. 'Tain't What You Do (It's The Way That Cha Do It) 2-09. Do You Want To Jump, Children ? 2-10. Riffin' In F Minor 2-11. Ol'Man Mose Ain't Dead 2-12. Blue Lou 2-13. Honey 2-14. Russin Lullaby Standard Transcription, Los Angeles, April, 1939. 2-15. Georgie Porgie 2-16. The Limp 2-17. Snug As A Bug In A Rug 2-18. Liebestraum 2-19. Fidgety Joe 2-20. Two Against One 2-21. Some Like It Hot 2-22. I Like To Riff Standard Transcription, Los Angeles, April, 1939. 2-23. Crazy Rhythm 2-24. Moongrow 2-25. Don't Let That Moon Get Away 2-26. My Blue Heaven 3-01. I Was Doing All Right 3-02. I Can't Get Started 3-03. Old Man Moon 3-04. Carry Me Back To Old Virginny Standard Transcription, Los Angeles, May, 1939. 3-05. Moon Song (That Wasn't Meant For Me) 3-06. Baby, Won't You Please Come Home 3-07. Sweet Lorraine 3-08. Rosetta Standard Transcription, Los Angeles, May, 1939. 3-09. Thrompin' 3-10. You're My Life 3-11. Hoy Soy 3-12. Black Spider Stomp Standard Transcription, Los Angeles, June, 1939. 3-13. Take 'Em 3-14. Scategoria 3-15. Rhythm Serenade 3-16. Rib Town Shuffle The Dreamers: Undefined black male quartet or quintet. Standard Transcription, Los Angeles, August, 1939. 3-17. Music'll Chase Your Blues Away - vTD 3-18. I'll Gather Up My Memories 3-19. A Fool's Affair 3-20. Jump, Jack, Jump 3-21. I Knew A Time 3-22. Mine You'll Alaways Be 3-23. Doin' The Bow Bow 3-24. Lilla Mae - vTD Standard Transcription, Los Angeles, May, 1940. 4-01. Slew Foot Joe 4-02. 1, 2, 3, 4 4-03. Crazy 'Bout Rhythm 4-04. Off The Beam 4-05. King Cole Blues 4-06. Jivin' With The Notes Standard Transcription, Los Angeles, November, 1940. 4-07. Early Morning Blues 4-08. Bedtime 4-09. Honey Hush 4-10. French Toast 4-11. Vine Street Jump 4-12. B Flat 4-13. You Send Me 4-14. Love Is My Alibi 4-15. Pogo Stick Bounce 4-16. Gone With The Draft Standard Transcription, Los Angeles, February, 1941. 4-17. Jumpin' With The Mop 4-18. Jam Jam 4-19. Lest's Try Again 4-20. Scotchin' With The Soda 4-21. Fudge Wudgge 4-22. Smokey Joe 4-23. Windy City Boogie Woogie 4-24. Gone With The Draft 4-25. This Side Up 4-26. Ode To A Wild Clam

Wanda's tempo works for me, it leaves room to think about what those lyrics are really talking about.. It's an observation more than a show. Patty Loveless, not so much: But Loretta Lynn? Hell yeah, production be damned, that woman is all about real.

I started there in fall 1973, and was head of the Jazz Project from 1974-75. Besides Rollins, we put on Oregon, Weather Report and (a free show) Jack DeJohnette/John Abercrombie. Funny that you mention the Sam Rivers show, which was in the fall of 1973. I was there that night, and after 2 hours of high-energy music, the concert ended suddenly when the Social Hall was evacuated because of the shooting. I saw Barry Altschul recently in Houston, backing Patty Waters, and asked him if he remembered that show. He didn't. I said "it was you and Dave Holland backing Sam Rivers." He thought back and said "Are you sure it wasn't Reggie Workman?" Do you remember who it was? And yes, Straight Country and Blues. They put on a lot of great folk festivals. But so did Cornell. It was a great time for music.

It's "Way Back Home", maybe repurposed with lyrics and maybe a new title, no idea. But that's the Patty Hearst song in my mind, always and forever. http://www.latimes.com/local/obituaries/la-me-joe-sample-20140915-story.html http://jerryjazzmusician.com/2014/09/joe-sample-sla-budding-writers-career-path/

Not certain I understand. Are you talking about this film, in which Patty Hearst appeared?

Yeah - does she LOOK like Patty Hearst? Dunno what PH looks like, to be frank. MG

#9 is Patty Hearst.