Johnny E

Clifford (Cliff) Burton on bass?

Clifford Hayes on violin!

So Reptet gots a gig at the Elephant Room on April 30th, just in case any of my Austin based friends are interested. Thanks to ya'll for hipping me to the club. -John

One can only hope.

Ibanez had three solid seasons in KC (especially his last two). Let's look at the numbers. In his three seasons in Kansas City from 2001-2003 he hit, .280, .294, and .294 respectively, and he connected for 247 RBI and 55 HR in the same period. Not Superstar numbers but pretty respectible. And these three years were the first time in his career that he got to play full-time, not just as a back-up. And he has torn it up at Safeco Field (not yet open when he played in Seattle). He has five home runs and 15 RBI there in just 45 at-bats over the past two years. Left handed linedrive hitters tend to do well at the Safe since the gap are huge. Plus he's coming home to where his family lives. I predict he will have a fine season.

Far before my time. But from what I've heard from my mother he was not only a true original and funny as hell, but the pioneer of what has become an American Institution – iconic late night talk show hosts. Although watching Jay Leno, I'm not sure that's a good thing, he really sucks. RIP Jack.

Now that Kaz is gone, the M's are gonna swoop up Pudge leaving Detriot high and dry. With the additions of Pudge, Guardado, Aurilia, and Ibanez it should make for a very interesting season for the Mariners. GO M's!!!!!!!!!!!!!!!!!

I'd say check out 'Les Diaboliques'. It was recorded live with a trio of vocalist Maggie Nichols, bassist Joelle Leandre, and Irene on piano. There is a playful spirit that runs through this recording. And the playing is incredible! Also check out 'The Storming of the Winter Palace' with an all-star lineup of free improvisers: vocalist Maggie Nicols, trombonist George Lewis, bassist Joelle Leandre, and percussionist Günter Sommer. Anything with Lewis on it is essential.

Non GrataMonktail Creative Music Concern | Monktail Creative music is a much bandied-about term. Creativity lies in the imagination of its creators. The Monktail Creative Music Concern comes out of Seattle with enough steam in its collective mind to gratify both in the depth of its intensity and the expanse of its musical ambition. The concern has around 20 musicians floating in its ambit, but it is a core eleven-piece band that fires up the interest on this, the MCMC’s debut album. The music was improvised live in the studio with tracks 5 and 6 based on graphic scores from John Seman and Mark Ostrowski respectively. The band works both levels well, instant improvisation bringing to the fore the understanding that has developed between them. They essay the permutations and extend the direction of the music with a sparkling array of ideas. On the plateau of the scores, the music throbs with the vigour they stoke it with. Take “Cantometrics to Cotton.” A deep swirling begotten through keyboards, horns, percussion, and then the saxophones which eddies the body strongly into a whirlwind. The flute counterpoints, the trumpet slivers the atmosphere, drums and bass throb at the bottom. Sound has been escarped, fragmented, made complete in the assemblance of the brass, for a tumultuous explosion. When they go in for “Air Room,” the interplay is tightly knit. There is a depth-charge, a potent sense of urgency that ignites the music. The pulse is set in motion by the trumpet and then the saxophone comes in to loop the lines. Stephen Fendrich ministers calm on the piano, but only for a while until the whole fires up again. The group takes up a nice change of pace and view on “Whisper Skin,” a ballad that gets its lifeblood from Ahamefule J. Oluo, not only on the trumpet but from the hybrid trump-bone as well. The song does get heated along the way but it is a seamless extension and they even get into swing without losing a beat. The music grabs—and if this is what it is to be, more power to the MCMC. Visit MCMC on the web at www.monktail.com. ~ Jerry D'Souza http://www.allaboutjazz.com/php/review.php?id=11327

Philly water is the worse. They call it Schuylkill punch (named after the very polluted Schuylkill River from which the Philadelphia water supply is drawn. It's brown. Since moving to Seattle I drink straight from the tap. When I first moved here I thought the tap water tasted like Perrier. I've cooled to it by now, but it still is just fine to me.

By Brakhage This multi-disc set is simply amazing! If your a fan of experimental film it's a "must buy". Here's more detail: Working completely outside the mainstream, Stan Brakhage has made nearly 400 films over the past half century. Challenging all taboos in his exploration of “birth, sex, death, and the search for God,” Brakhage has turned his camera on explicit lovemaking, childbirth, even actual autopsy. Many of his most famous works pursue the nature of vision itself and transcend the act of filming. Some, including the legendary Mothlight, were made without using a camera at all. Instead, Brakhage has pioneered the art of making images directly on film itself––starting with clear leader or exposed film, then drawing, painting, and scratching it by hand. Treating each frame as a miniature canvas, Brakhage can produce only a quarter- to a half-second of film a day, but his visionary style of image-making has changed everything from cartoons and television commercials to MTV music videos and the work of such mainstream moviemakers as Martin Scorsese, David Fincher, and Oliver Stone. 26 masterworks by Stan Brakhage in high-definition digital transfers made from newly minted film elements. For the first time on DVD, viewers will be able to look at Brakhage’s meticulously crafted frames one by one. "One of the key visual artists of the last one hundred years." (NATIONAL GALLERY OF ART - WASHINGTON, D.C.) Two-Disc Set! Director: Stan Brakhage Language: Monaura/Silent. ISBN: 1-55940-938-X Region: Region 1. Format(s): Color, Black & White. Length: 243 minutes. Special Features: Double Disk set, New High-Definition digital transfers of all 26 films, video encounters with filmmaker, reflections on selected films by Stan Brakhage, New essay and film capsules by Brakhage expert Fred Camper, optimal image quailty: RSDL dual-layer edition.

The day of infamy, by the way, was 03/03/03. Good things come in threes... not! 3-3-3 is half of 6-6-6, so draw your own conclusions... March 3rd is my birthday...starting to understand now?

Thanks Chuck...can I quote you on that?

My group Reptet is being flown into Austin from Seattle to play a wedding on Saturday May first. We like to find a venue to play in town on Friday April 30th. And helpful hints? Which venues in Austin book post-bop jazz?

Thanks guys. If anybody wants to learn more about Monktail, Monktail Records or Reptet you can go to: www.monktail.com or www.reptet.com

Up, just in case anyone is interested and missed it.

I'll send one off now!

Pete Rose was the most exciting player I've ever seen play the game. I might feel differently if he wasn't on my world champ 1980 Phillies, but damn, let the guy in. He maybe stupid, but he was one hell of a ball player! I get excited just thinking about him rounding second and his hat flying off his head and a headfirst slide into third. Charlie Hustle baby!!!

Below is a link to this months Earshot Magazine. On page 8 you'll find a fine review of the new Monktail CD "Non Grata". Also, my other group Reptet (along with our Tenor Player Tobi Stone) were nominated for Emerging jazz artist of the year for 2003. check it out in .pdf form here: http://www.earshot.org/pub/04january.pdf

I'm sorry but four on the floor with Monk on piano is simply:

Fair enough

I hope you'l not just take my word for it but go out and hear them for yourself. Some suggestions: Karyobin - Spontaneous Music Ensemble (John Stevens group) 1968 with Derek Bailey - Guitar Dave Holland - Bass Evan Parker - Saxophone John Stevens - Drums Kenny Wheeler - Trumpet, Horn Change of Season 1984 with Han Bennink - Drums Steve Lacy - Sax (Soprano) George Lewis - Trombone Misha Mengelberg - Piano, Arranger Arjen Gorter - Bass Live 1976/1977 Alexander Von Schlippenbach - piano Sven-Ake Johansson - drums

Happy New Year everyone. Let's hope it's a good one approaching.

You guys are really Ameri-centric...(is that a word? ) What about John Stevens, Han Bennink, and Sven-Ake Johansson? They're just as influential and important than any on the previous lists with the possible exception of Baby Dodds, Kenny Clarke, Philly Joe & Elvin. Check this out: http://jazzinstituteofchicago.org/index.as...johnstevens.asp

Got a pickup gig at a Italian Resturant in Bothel Washington. What the hell, the pay is good.