blue lake

This needs editing,which I'm giving it elsewhere, and will probably hand off the polished version to another site....all about jazz or jazzhouse.org...in any case...thanks for reading the rough draft.

Yeah Adam, please report on that one.

All set?

Tonight's radio program featured Horace Tapscott, but inside of that the midnight hour, "Out On Blue Lake," was dedicated to Malachi Favors. Playlist -- 12 a.m. Malachi Favors (solo) Tutankahamen "The Art Ensemble 1967/68" Nessa Art Ensemble Tutankahamen "Tribute to Lester " ECM Pharoah Sanders with the Ritual Trio (Ari Brown, Malachi Favors, Kahil El'Zabar) at the Wealthy Theater, Grand Rapids, May 2001, Pharoah's Song (station recording for airplay only). Ahmed Abdullah Mystery of Two "Liquid Magic " Silkheart Dennis Gonzalez New Dallas Sextet Good Friends "Namesake" Silkheart Art Ensemble Tatas-Matoes "Art Ensemble 1967/68 " Nessa After a jazz datebook, played Horace Tapscott's 35 minute solo suite "Struggle X (An Afro-American Dream)" from the Nimbus Solo Sessions Vol. 2 (early '80's).

Was digging Chick Webb last night. His band in 29 had it’s moments and included Louis Jordan, but after they recorded with Louis Armstrong in 1931 (“That’s My Home”) they intensified, with Edgar Sampson appearing in the sax section and trumpeter Taft Jordan on Armstrong repertoire. The Webb band, the premier dance orchestra, didn’t boast a single “star” soloist, yet the people who played in the group over the period before Ella became it’s main attraction in 1935 is an impressive concentration of talent, including cameos by Johnny Hodges and Cootie Williams. Benny Carter’s arrangement of “Liza” is thee Webb Orchestra record. Hearing this drum feature, recorded in 1938 after Krupa’s “Sing Sing Sing” with Goodman, makes clear how Webb turned around Sid Catlett, who grew up on Zutty Singleton and Baby Dodds. Chick Webb is often credited with influencing Krupa and Rich, though his impact on Jo Jones, though short lived, is more far reaching. Right up to the now. Webb gems include “Stompin’ at the Savoy,” “When Dreams Come True,” “Don’t Be That Way,” “Blue Lou,” and “Harlem Congo.” Stanley Dance put together members of the Ellington and Webb bands as The Gotham Stompers (with Ivie Anderson singing) in March 1937. “My Honey’s Lovin Arms” of all things (there’s a Bernard Addison sighting) on a session that swings easy and includes great drumming on “Alabamy Home.” (From The Ellington Small Bands Vol 1 on Columbia Legacy). Was able to cobble together two sides from the Mezz Mezzrow and His Orchestra Victor session (1934), and they are incredible: “Apologies” and “35th and Calumet.” Max Kaminsky, Renauld Jones, Chelsea Qualey, trumpets; Floyd O’Brien, trombone; Mezz Mezzrow, clarinet, alto sax, arranger; Benny Carter, alto sax; Bud Freeman, tenor sax; Willie “The Lion” Smith, piano; John Kirby, bass, Chick Webb, drums. Webb's place in the music is high atop the band.

Someone returned a pair of tickets they couldn't use. Timing more than ripping.

7:30 p.m. Tickets $10/$7 for students. (616) 493 - 8600.

By Howard Reich Tribune arts critic February 3, 2004 For roughly half a century, the magnificent Chicago bassist Malachi Favors was a catalyst for new ideas in jazz, influencing generations of players and anchoring one of the most widely esteemed bands in the musical avant-garde, the Art Ensemble of Chicago. Mr. Favors' death at age 76 of pancreatic cancer Friday, Jan. 30, in Illinois Masonic Hospital left his colleagues struggling to find language to do justice to his achievements. "This man contributed so much, it's almost impossible to put into words," said tenor saxophonist Fred Anderson, whose South Side club, the Velvet Lounge, frequently was a forum for Mr. Favors. "He played here just about a month ago, and, as usual, a lot of people came to hear him," Anderson said. "They came because he had one of the greatest bass sounds anyone has ever heard. His low notes were so deep and his rhythms seemed to float." Indeed, Mr. Favors' approach to his instrument was distinct. His darkly sonorous tone, seemingly nonchalant virtuosity and penchant for saying a great deal in a few carefully chosen notes made him a deeply admired figure. "His technique was superb, but when you listened to him, the importance of the experience went way beyond technique," said Tatsu Aoki, a noted Chicago bassist who collaborated with Mr. Favors on the landmark 1999 duet "2 X 4." "I believe that in the history of jazz bass playing, he is one of the few people who sounded completely original. He did not play a lot of notes, but his sound was so deep and great you could not miss the soulfulness of it." One of 10 children born to a religious family in Lexington, Miss., Mr. Favors attributed his early interest in the acoustic bass to the work of Wilbur Ware, a legendary Chicago player with whom Mr. Favors studied after moving north. By the mid-1950s, Mr. Favors had become a leading figure in Chicago music, recording with the innovative pianist Andrew Hill, performing with bands led by the visionary reedist Roscoe Mitchell and, in 1961, joining pianist Muhal Richard Abrams' ground-breaking Experimental Band. That ensemble set the stage for the emergence, in 1965, of the Association for the Advancement of Creative Musicians (AACM), a Chicago collective that helped redefine the jazz avant-garde. But it wasn't until 1969--when Mr. Favors joined with Mitchell, reedist Joseph Jarman, trumpeter Lester Bowie and, soon after, drummer Don Moye in Paris--that the Art Ensemble became a potent force in new music. Mr. Favors, who often added to his name the African word Maghostut (meaning "I am the Host") and sometimes appeared wearing face paint, produced an ample discography, including his solo recording "Natural and the Spiritual" and a plethora of Art Ensemble of Chicago releases. Though many reference works cite 1937 as the year of Mr. Favors' birth, his daughter, Malba Favors Allen, said he was born on Aug. 22, 1927. Besides his daughter, Mr. Favors is survived by brothers James and George; sisters Rosetta Rinner, Mary Golden and Nayyinah Nusaddiq; and two grandchildren. A wake will held at 10 a.m. Thursday at Love Community Church, 1701 W. 167th St., Hazel Crest, followed by a service at 11 a.m.

Fischer played duets with saxophonist Gary Foster twice at Blue Lake Fine Arts Camp and once at St. Cecilia Music Society in Grand Rapids during the 1980s. Pre concert interviews were published in the Grand Rapids Press. Some of that was on digital piano, which was set up to play three sounds simultaneously on each key. The revelation in that setting is of course Fischer's take on Tristano, and a hard swinging version of Sippin at Bells. He writes string sweeteners for Prince, and through the rumor mill one hears Prince never wants to meet him face to face as it might spoil their collaboration, for both of them

Ehrlich also spent time recently in the Andrew Hill band that recorded on Palmetto and appeared at the Chicago Jazz Festival, which was a great set, capped off when Von Freeman came out and played with Andrew's rhythm section and just steam rolled through "Stardust," I think it was. Who's the boss of you!? Vonski is the boss of me! Andrew didn't have a chance. It was strange, really, but not bad. I just opened this new disc yesterday and there's my man Mark Helias conducting the first cut, playing bass all up in the rest...looking forward to hearing it before reading the critics....

So, Eric, are the over 50 hours of jazz your station puts out available on the web? Are you world wide with it, or limited in bandwidth?

Rockefella -- was that Vincent Price?

Just tried it and didn't find the "Chronological Classics" or anything like it in the pull down label search area. Would love to get in on this: please advise, thanks.

So, how did it go at Billy's? How did the saxophonist work out?

I think WGVU streams on the web www.wgvu.org maybe the site: y'all can listen to that live broadcast (maybe?)

March 16-21 THE MONK PROJECT Featuring: STEVE LACY, ROSWELL RUDD AND DAVE DOUGLAS Tues.-Thurs., March 23-28 CECIL TAYLOR BIG BAND March 30-April 4 Historic NY Appearance!!! ART ENSEMBLE OF CHICAGO ANCIENT TO THE FUTURE- 30 YEARS OF GREAT BLACK MUSIC!

I need a little help with this Charlie Parker tune: do you know what, if any, standard it is based on? Is it a blues, or completely original??? And for what it's worth, how does Charlie's Wig or Bird Feathers releated to Jimmy Heath's 'C.T.A.' if at all. Asking for a friend, thanks.

Thanks for the post. Some of Ornette's quotes are similar to the recent article in the Chicago Tribune. Great to see Ornette getting out again. He'll be in Ann Arbor, at Hill Auditorium, this March.

Where did these reviewers get the song titles for the new Jimmy Lyons Box set?

I mean, she wakes up at 5 and starts crying, saying, Big Bed.

Our two month old baby girl still looks like a Who from Whooville when she gets up in the night to eat: arms and legs tucked under, peanut shaped body all scruntched face down into the nape of my neck. She had four vaccine shots today. Misery. The two and half year old daughter has taken to sleeping in bed every morning around 5 a.m., which is about when I've been hitting the hay lately. Louise, the two year old, was quietly laughing to herself on my pillow when I went up to bed this morning. I listened, and off along the coastline of Lake Michigan, crossing the Grand River, was a morning frieght train movin' on. "Do you hear the train, Lu?" More laughing, then she yells, "Big CHOO CHOO!" loud enough to wake the neighborhood. My wife stirred. "Daddy: HOME!" "Yes Lu, it would appear so." And pulling the scarf over my eyes, "Daddy MEEP (translated from "Minky," i.e. a small personal blanket). "Yes Lu. Do you hear the train? Listen." "Yeahhhhhh, outside... fawr away." "Very good, honey, now let's go to sleep." "Oh-tay." When she whines she sounds just like Bob Dylan. Imagine Dylan singing, "Dora Fruit Snacks" as "Dorah zoot fracks" and you can imagine the sound. Is this my life?

Because the straight ahead players in Chicago heard all of Eddie Harris?

Coming in late to the party: checked in a couple of days ago, but wow: great thread. Haven't read into all of it, but wanted to add that Henderson's trio with George Mraz and Al Foster played in Kalamazoo a couple of years before Joe Hen's end and it was all about color, the whole night, as if the lead voice was secondary to ensemble color and texture. Great melodies, too, many of his favorites -- but he'd wait until midway or to the end of the numbers to announce them, to play the melody outright. As for modern players with Henderson's influence I heard a solo tonight by Tony Malaby on bassist Mario Pavone's cd "Orange" that was dealing with outside/inside duality of Henderson's approach, elaborating with abandon (on the cut "Goorootoo") and getting up into the harmonic embroidery until it led to pure sound. A worthy extension.

From what I've heard from people who where there, the Art Ensemble filled the autidorium at the University of Chicago before they left for France. Their following was in Chicago, but it wasn't "small," as in reaching to break 100 people in the audience. They were already on their way.

Tuesday: November 4, 2003 10 p.m. to 3 a.m. Jazz From Blue Lake WBLV FM 90.3 / WBLU FM 88.9 Blue Lake Public Radio/Blue Lake Fine Arts Camp 300 East Crystal Lake Road Twin Lake MI, 49457 Lazaro Vega, producer and host www.bluelake.org radio@bluelake.org Tonight’s Jazz Retrospective features pianist Ralph Sutton. 10 p.m. Theme: Bennie Green Blow Your Horn Decca Ralph Sutton At Sundown/Avalon Wonderous Piano Arbors Ralph Sutton Rain/I Never Knew Partners In Crime Sackville Geoff Muldaur’s Futuristic Ensemble Davenport Blues/Candlelights Private Astronomy DG Branford Marsalis B’s Paris Blues/Autumn Lamp Romare Bearden Marsalis Music Billie Pierce Florida Blues Primitive Piano Sirens Henry Johnson My Foolish Heart Organic A440 Carol Sloane More Than You Know Whisper Sweet High Note 11 p.m. Ralph Sutton Sleep Pocketful of Dreams Sackville Jay McShann/Ralph Sutton Honky Tonk Train Blues/Rosetta Last of the Whorehouse Piano Players Chiaroscuro Ralph Sutton St.Louis Blues And Kenny Davern Chiaroscuro Phil Kelly & NW Prevailing Winds Bella Luce Convergence Zone Origin Jay Thomas Low Key Lightly Blues For J.W. McVouty Joel Harrison I Walk the Line Free Country Act Bruce Forman Sweet & Lovely Boot Leg Vol. 1 BlueJazz Bill Cunliffe Here’s To Neil How My Heart Sings Tohr 12 a.m. The Great Jazz Trio Six and Four Autumn Leaves 441 Barry Harris Casbah Live In New York Reservoire Carolyn Breuer Serenade Serenade Radio Netherlands Jeremy Pelt 502 Blues (Drinkin & Drivin) Close To My Heart Max Jazz Ralph Sutton Keepin Out of Mischief Now …And the Jazz Band Chazz Jazz Fats Waller Dinah/12th St. Rag Early Years Pt. 2 Bluebird Buddy Rich-Sweets Edison Nice Work If You Can Get It Buddy& Sweets Verve 1 a.m. Count Basie Bluebeard Blues/The Golden Bullet America’s #1 Band Columbia/Legacy Benny Goodman Septet Stealin’ Apples 50th Anniv. Capitol Scott Hamilton Easter Parade Live In London Concord John Hicks My Monday Date Fatha’s Day High Note Bob Florence Limited Edition Chelsea Bridge Whatever Bubbles Up Summitt Chris Conner Serenade In Blue I Walk In Music High Note Duke Ellington Rhapsody In Blue Complete Reprise Mosaic Cannonball Adderley Autumn Leaves Somethin’ Else Blue Note 2 a.m. Ralph Sutton I Ain’t Got Nobody Wondrous Piano Arbors Ralph Sutton Tea for Two/Farwell Blues A Pair of Kings Arbors Ron Eschete/Mort Weiss East of the Sun No Place To Hide SMS Brad Goode/Von Freeman Bye Bye Blackbird Inside Chicago V.4 Steeplechase Active Ingrediants Song for Dyani Titration Delmark Sun Ra Where Pathways Meet Lanquidity Evidence Steve Lacy/Mal Waldron Let’s Call This Round Midnight Hat Art