Tuesday, 31 May 2011

Indra Lesmana, and especially Jazz present XXIII: Silent Hill

Sunday last Primarily Jazz turned into a session acoustic sweet with N Endah' Rhesa. This same special session came after a special showcase by Indonesian sweetheart, Andien a week earlier, which is still showing his good Mignon it intervened in its maturity. One of the most beautiful soft females Jazzin voice of the Indonesia for romanticism brought to the scene in the form of story telling acoustic, we were wondering who will be the next highlight of the regular weekly jazz event that was created with the idea of Indra lesmana and honhon lesmana. Similarly, the Marvel ends here. Honhon announced officially for the last Sunday of may, this will be a very popular singer with a unique voice and the voice. It is none other than Tompi.

tompi, mostly jazz

While we have both female talent to fill the vocal sections in jazz, we have considerably less male to take the particular role. Yes, we do not have some great those from time to time, but the amount is not as much as jazz singers wife. Among them is Tompi , which was his professional career as a jazz singer for almost a decade. Born as teuku adifitrian in Lhokseumawe, Aceh and y high, he began really with taking the Faculty of Medicine of the Universitas Indonesia. While studying to be a doctor, he realized his passion for music that he took a voice lesson with Bertha and Tjut Njak Deviana also piano. Shortly after, he joined a group that was created in 2003 by Gita Wirjawan, Cherokee. Although it began to be noticed through his involvement in this group, it was the first salon of Bali who finally made him the wounds. From there, he climbed higher and higher in relatively little time with his solo career. Being a regular performer at festivals of jazz around the Indonesia is a proof of his fame as a gatherer of crowd. But more that it has a few standout and talents. Except its unique wide range voice which can go as low as Barry White high momentum as the sound of the Chipmunks, he is also able to imitate the sound of instruments like the trumpet, guitar and drums. He knows how control the scene and love always have fun onstage with spontaneous improvisations and interactions with the group. He conducted the pinned some popular songs outside the fence in its well funny but cool jazz interpretation, it has tons of hits of all his albums. Cool scat singing is also one of its instructional capabilities. Once in ourinterview with a singer named AtiliaMalaysia Tompi said: "it is engineering with terr. Today not many people can scat as it can. "Tompi was spotted very often at primarily of Jazz, but he now has the stage to himself as the special guest for this Sunday.

Standing on two different career might not be easy, but Tompi wants to show that he can do. During his singing career is smooth, he also masters the plastic surgery. We are completely different, but still Tompi sees something in common between them. "The two need artistic touch high", said. This week, the singing doctor will be stab his needle on red and White Lounge as the special guest of primarily of Jazz XXIII Edition. As usual the genuine spontaneous jam session will be be he y too, guarded by aziz Indra.

You are a fan of Tompi or a regular guest of primarily of Jazz? You are looking for a very affordable jazz event where you can see many jazz artists mingle all around you? Would you like enjoy a lifestyle Jazzin, or simply want to support our movement jazz with Indra Lesmana and fellow artists? Even if you only want to have a few hours of jazz relaxin, primarily Jazz welcomes you with open hands. Be there and enjoy the Jazzin Sunday night that only primarily Jazz can provide!

Indra Lesmana & especially JAZZ XXIII: Tompi

Date: Sunday, may 29, 2011
Time: 09: 00 - go (door opens at 8: 00 pm)
Jam Session begins at 10: 30
Location: Show red and white
JL. Kemang Raya 16 b, Jakarta

Admission: IDR 50,000
including first drink coverage
There is also limited CD Inlines music & Friends'

RSVP: + 62 21 7183184/71792252/81932337226 (sms only)

Obituary: Dreamworks Music Manager Smith Dies

Kenneth "kaz" Smith, a former manager of DreamWorks music and supervisor of independent music who has worked on films such as "american beauty", "gladiator" and "shrek," died on 3 may, after a battle with brain cancer year. He was 43.

He has worked in the DreamWorks Film Music Department from 1999 to 2008, when it becomes a Creative Manager for film and TV licences to EMI/Capitol Records. He occasionally independent as a supervisor of music on various independent films through his company High Volume Inc., including the indie 2002 "Kingston High" and "The Red Machine 2009."

He was credited as coordinator of characteristic on toons music including "Madagascar" and his suite, "Videes away" and "kung fu Panda."

Smith was a veteran of the Air Force who served during the Persian Gulf war.

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Herbie Hancock received an honorary doctorate from Juilliard - News

Articles jazz: Herbie Hancock received the diploma of doctorate honoris causa from Juilliard - Kimberly Huynh — Jazz Articles(@ import url(http://www.google.com/cse/api/branding.css); Open a sessionRegister JazzTimes 23/05/11 Herbie Hancock receives Ph.d. honoris causa from Juilliard also honoured were composer and conductor John Adams, actor Derek Jacobi and choreographer Twyla Tharp. Kimberly huynh

With a career of wide that spans five decades and brought to him fourteen Grammy Awards, Herbie Hancock has received other recognition for all his contributions to the community of jazz and music. Famous jazz pianist and producer has received an honorary doctorate in music from the Juilliard School, Friday, may 20, 2011 106th ceremony launching at Alice Tully Hall School. Other recipients of the honorary doctorate were composer and conductor John Adams, actor Derek Jacobi and choreographer Twyla Tharp.

Hancockatjulliard_depth1Herbie Hancock 1-106th ceremony launching the Juilliard received his honorary degree by Peter Schaaf Hancockatjulliard2_depth1 2 Herbie Hancock at 106th launch ceremony of the Juilliard received his honorary degree from the Juilliard Provost and Dean, Ara Guzelimian and Juilliard President Joseph w. Polisi by Peter Schaaf 1 2

Hancock was born in Chicago in 1940. First of all, it enters the stage musical at the age of 11, a young piano prodigy and performed Piano Concerto No. 5 in d major with the Chicago Symphony Orchestra of Mozart. Hancock released his first album jazz, takin' ' Off, in 1962 on the Blue Note label. Shortly after, Miles Davis recruited Hancock, and their five years working together with other artists, they have produced many influential, including albums

In addition to his musical contributions, Hancock worked to help keep the legacy of jazz as President of Thelonious Monk Institute of Jazz. Hancock serves as founder of The International Committee of artists for peace, to show how the arts can promote the principles of humanism and non-violence.

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Tommy Smith: Karma - review

Scottish saxophonist Smith, a 1980s teenage prodigy, is today the most respected European musicians jazz - for his mastery of sax, but for its influence on culture jazz of his homeland through the Scottish National Jazz Orchestra and its youth wingfounded and still directs. Smith can play tremble full-on post-bop or Explorer North-Euro atmosphere, but it is a powerful fusion album - which seems quite familiar at first, with its hammering backbeats (from the fierce Alyn Cosker), unison slick vocals and keyboard and Headhunters bass guitar effects. But Smith is much too smart to clearly and this set for what he calls his "grunge group" turns out to be a rare splicing of themes to rich tones, like pipes, tenor orchestrated fiercely throat improv, Arabic and Irish musictight grooving which suggests Weather Report or Chris Potter group Undergroundet haunting some atmospherics of his shakuhachi bamboo flute. Compositions of Smith are average before fusion slam-bang usual incursions, and the infamous pensive Star (based on an Irish folk song) is a benefit of great sax-ballad.

Jazz Icons: Series 3 Box Set (8 DVDs)

Jazz Icons: Series 3 Box Set (8 DVDs)**Exclusive Bonus Disc** Sonny Rollins: This collection includes two Sonny Rollins 1959 European concerts in which he is accompanied by recently re-discovered bassist Henry Grimes. Rahsaan Roland Kirk: performs Oliver Nelson's Stolen Moments backed by a cream-of-the-crop European rhythm section consisting of drummer Daniel Humair, pianist George Gruntz, and bassist Guy Pedersen.
A super-modest Sonny Rollins is interviewed in Stockholm 1959 before he performs Ellington's It Don't Mean A Thing If It Ain't Got That Swing at a blistering tempo with bebop-era standout Joe Harris on drums and Henry Grimes on bass.
Nina Simone: This collection includes a no-holds-barred Nina Simone live performance of Mississippi Goddamn followed by an interview with the Swedish program host. Features a 12 page booklet with liner notes by Ashley Khan, John Kruth and Rob Bowman.

Price: $119.99

Click here to buy from Amazon

Pascal Schumacher: Bang my Can - review

Musician Belgian Schumacher indicated new jazz- directions vibraphone with his session here we Gong last year and he launches his successor with a handful of UK concerts during the summer, starting with a performance of Vortex May 31. This set of same key to Keith Jarrett (thanks to the work of pianist commonly Franz von Chossy) and a variety of classical composers of the 20th century, including Erik Satie, and according to Schumacher, groups of Radiohead via eclectic American composer-performers Bang is on a Can are influences here. Thumbnails short vibes shine, evaporate, construct catches of dry percussion under Bad more resembling ecstatic grooves, dances elegantly classical piano riffs are supported by the rattling of battery and it y aspiration ballad - like episodes in which the patient of the leading solo developmentCareful simultaneous Chossy and some hot low counterpoint like an updated version of the legendary Modern Jazz Quartet. The Groover loop Headspin suggests group hard rock of Neil Cowley, some low stormy bugged crunchings are reminiscent of old is peaked, but resolve in the delicate vibes showers. He composed closely, skilfully elegant music that mixes the abstractions with very accessible - although not always memorable - themes.

New Orleans Jazz Fest visitor complains of arrest to the porte de Gentilly

A woman from California to 64 years who said that she reached in her first new orleans Jazz Fest after a long battle with breast cancer herself in the handcuffs off the reasons fair, arrested on charges of criminal violationresisting an officer and public drunkenness.

jazz_fest_fair_grounds_trash.jpgDavid Grunfeld, The Times-Picayune archiveThe next day of the New Orleans Jazz Fest 2011 has been photographed on May 8.

It is, said laws Shelton, it did not touch a drop in more than a decade and without fighting.

A retirement family therapist, Shelton said that she squawked just when the officer stopped at the door of Gentilly.

"He grabbed my arm and wear me cuffs.". He did not say what it was or why, "she said." "" I've never been arrested in my life. It has never been a reason. ?

Arrest records show that Detective Gus complacency James Shelton April 30 to 5: 45 pm in the block of 1700 of Gentilly Boulevard. His report read in this way: "topic in parking lot during Jazz Fest." Subject has said three times to leave the area, but denied subject, pushing past the agent. Topic had mixed speech with a strong smell of drink alcoholic from his breath and person. ?

Shelton conceded that it did so good air at the time, with poison on his face, an outbreak of gastrointestinal and general fatigue. She says that she has not rebounded yet fully stage the treatment of cancer III in 2008.

"It was all adding them up, ' I want to (stay), but I need a rest."

She said that she walked back and forth to try to find the row for the appropriate shuttle bus and then approached the agent. It does not have much to answer, and then it passes by him, how he cuffed it, she said.

Police does not return a request for comments on what has happened.

Shelton was taken by the Cruiser at the central booking and expected hours with a group of other women who had been arrested, she said. It seems not police conducted a sobriety test. She called a friend lawyer in Lafayette, who concluded an agreement with an attorney of the city early Monday to abandon prosecution incurred if she agrees to waive its payment of bond of $450. Moreover, a judge would set a trial date later.

"Essentially, it has no choice.". It does not pay a ticket back, "said attorney James Barzee Jr."quite frankly, I think it was a way (to the city) to get rid of the case and the binding of money... (The Attorney of the city) never watched it. I do not think he had it even. ?

Barzee said he did not know the Attorney name. Eddie Walters, administrator of the Municipal Court of New Orleans, said that the bond is based on a schedule approved in the Court on the charges at low altitude. Where will go money forfeited to the Shelton was not clear Thursday, but Walters, stated that the deal of forfeiture made seem unusual.

Shelton, said she plans to file a complaint. She said that she gave up alcohol in the 1990s, with coffee and pasta.

"It's so ironic." My friends and my family here may believe, "she said at his home in Grass Valley, California, a small town near the Sierra Nevada.

Arrest of Shelton completed his Jazz Fest. It has blocked to hear some live music and record a change in flight, but his days of New Orleans are exceeded, she said. Before his departure, she visited a Jackson Square tarot card reader.

"She said: ' you be involved in a Court recently?". Well, you will get your money,'"Shelton says. "I thought was funny, because my attorney, said forget it.". We have made the deal. ?

John Simerman can be attached to jsimerman@timespicayune.com or 504-826-3330.

Cassandra Wilson joins Prince at the Fourm April 28!

Cassandra Wilson
opening performance for

April 28, 2011
7: 30 pm

in the fabulous Fourm

Sensational, earthy and soulful Cassandra Wilson will open for the Almighty Prince!

You get tickets for Thursday to ticketing of the Fourm, online at Ticket Master or other points of sale of tickets

Click on your photo Cassandra is preferred to hear an interview with
LeRoy Downs where we talk about Prince!

Best of Smooth Jazz 4

Best of Smooth Jazz 4Tracklistings

1. Call To Worship
2. Fit To Battle
3. Ananias & Sapphira
4. Introduction To Rev
5. Rev
6. Because You Loved Me
7. Make Me A Believer
8. He's Been Just That Good
9. If You Ever Need Me
10. Africa Jesus Africa
11. You Are Everything
12. Smile Medley Pt1 Smile
13. Smile Medley Pt2 God Has Smiled On Me
14. It s What I Do
15. Running Away

Price: $13.96

Click here to buy from Amazon

The pork chop sandwich can be re-created (sort of) New Orleans Jazz Fest

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The minute the New Orleans Jazz Festival is over, the remembrance of all the food you've just savored leads to the next thought: I bet I could make that at home.

porkchopsan.JPGAndrew Boyd/The Times-PicayuneFood editor Judy Walker applies Creole mustard to a pork chop sandwich at New Orleans Jazz Fest.2011.

And that's possible, although some of the dishes might be trickier than others.

You have to work the nuances to make a pork chop sandwich taste like the one at the fest.

Just the idea of a bone-in pork chop sandwich baffles some die-hard festival foodies. I have seen Uptown noses instantly pointed in the air at the very mention of it.

The sandwich may not have the rustic cachet of the cochon de lait po-boy or the seafood glamor that is the soft-shell crab po-boy, but the humble creation -- two slices of white bread around a thinly sliced and floured deep-fried chop -- has a devout following.

That would include Richard Isolda, a Philadelphia lawyer who ate five of them during the first three days of the festival.

"On a good day, I skip breakfast and get two of them instead of just one, " Isolda said. "I usually end up at the Jazz and Heritage Stage, right there" where the sandwiches are sold from the booth of Miss Linda's Catering. "If you've got a bad hangover, you can hit that sandwich, and that ya ka mein, old sober is right there. And for dessert the mango freeze. You go two steps and you've got a complete meal at Jazz Fest."

Isolda and his wife are 20-year festival veterans and love New Orleans so much that they have recreated "as much as we could" in their Philadelphia suburb of Riverside, N.J., a house that Isolda photographed on Esplanade Avenue. He has dined around the world, and can talk knowledgeably about most of the food at Jazz Fest.

"We don't get that stuff up here. That's the whole point, " Isolda said in a phone interview after the festival. "It's hard to explain to certain Northerners up here why you would eat a pork chop sandwich with the bone in it. You eat around the thing. You take out the bone, you take out the flavor."

"It's so simple, " said "Treme" actor Steve Zahn as he bit into one on Thursday afternoon of the second fest weekend. "It's really good, " said Nate Lewis of Seattle, as he, too, sampled his first.

The guys were standing next to the booth where Linda Green sold about 4,000 of them during the seven days of the festival. On the counter were condiments in thin-tipped bottles, so customers could apply judicious amounts of mayonnaise, Creole mustard and/or catsup to personal taste.

Inside the booth, a cook tossed the meat in a tub of flour before lowering the chops into the deep fryer, where they tend to twist like thin-cut catfish filets.

"Mine are thin, " Green said. "They're much better fried thin than thick. Thick would still be raw, and I'm not going to kill nobody."

One secret of the sandwich is the seasoning in the flour, Green confirmed.

"You've got to season a pork chop. (Customers) want to taste, " she said. She doesn't season the meat itself. (This year, the sandwiches, and the ya ka mein and bread pudding she sells were all dedicated to a dear friend who worked in Green's booth and died in February, Emanuel "Ricky" Summers, Green noted.)

The portability of the sandwich is part of its appeal. It's inserted into a paper sleeve, neat and tidy to transport and eat with no utensils or even a napkin. Bonus: The bread acts as an insulator to keep the meat inside it warm.

Local food maven and host of WWNO radio program "Louisiana Eats, " Poppy Tooker, has taken to carrying one around in her handbag during the festival.

"They are crazy good, " Tooker said. "And they should be the required breakfast at Tales of the Cocktail because if you're going to have a big day of imbibing, it's the perfect foundation."

Plus, she said, she likes to joke, "If there's a pork chop sandwich in my purse, it must be Jazz Fest!"

Tooker learned this trick from her friend Michelle Nugent, the festival food director.

Nugent thought the festival needed more Louisiana street foods.

"I used to go to some of the zydeco festivals in southwest Louisiana, " Nugent said. "My favorite was the Original Southwest Louisiana Zydeco festival in Plaisance, and I kind of glommed on to the fact you could get a fried pork chop with the bone in it between two pieces of white bread with a little mayo on it.

"It was heaven because you didn't have to think about it. It was yummy. And I have a thing for bones.

"Several years ago, the people who were (vendors) before Miss Linda were doing a soul food plate. I suggested they do a fried pork-chop sandwich. They thought I was crazy out of my brain. I said, 'Take a leap of faith with me.' And people love it."

When those vendors elected not to return to the festival, Nugent "offered it to Miss Linda because I knew she would do a great job with it."

When Green sees Nugent on a festival morning, she automatically hands over one of the sandwiches.

"One day I was working with one of fellows out here on one of those scary bad weather days, and he said, 'I'm so hungry I can't stand it.'

"I pulled it out. 'As a matter of fact, I have a pork chop sandwich.'"

. . . . . . . .

To approximate Ms. Linda Green's Pork Chop Sandwich: First, find a butcher to slice (or otherwise procure) thin (about a quarter-inch) bone-in pork chops. Season all-purpose flour with your favorite seasoning mix. Heat oil for deep frying. When oil is hot, carefully lower chops into it. Cook briefly, just until the chops start to twist. Drain well.

Serve one chop between two slices of white bread, with mayonnaise, Creole mustard and catsup on the side.

. . . . . . . .

This copy-cat version of the festival's beloved Crawfish Bread came to us from a reader in Destrehan several years ago.

It has since become a reader favorite.

Jerry's Crawfish Bread

1/4 cup olive oil

1/4 cup butter

1 cup chopped green onions (tops and bottoms)

1/2 cup finely chopped celery

1/2 cup finely chopped green bell pepper

4 toes finely chopped garlic

1/2 cup white wine

1 pound peeled crawfish tails with fat

8 ounces cream cheese, cut into small squares

Seasoning mix to taste (such as Seafood Magic)

1 (11-ounce) roll refrigerated French bread dough

8 ounces shredded "pizza mix" cheese (or mozzarella)

Preheat oven to 350 degrees. In a large skillet, saute chopped vegetables in olive oil and butter until wilted. Add crawfish tails with fat and wine; stir well and add cream cheese. Stir until melted. Add seasoning mix and cook until all is thickened, just a few minutes. Remove from heat and let flavors blend.

Carefully roll out French bread dough on a greased baking sheet. Spoon crawfish mixture onto center of dough. Sprinkle on shredded cheese mix. Fold dough over mixture to make a loaf. Cut 2 small slits in dough.

Bake about 20 minutes or until loaf is golden brown. Let set a few minutes and slice into serving-size pieces.

. . . . . . . .

pheasantquailgumboJF.JPGChuck Cook/The Times-Picayune ArchivePrejean's dark Pheasant, Quail and Andouille Gumbo is a Jazz Fest favorite.

The famous pheasant, quail and andouille gumbo is in the cookbook of Prejean's, the restaurant in Lafayette that serves umteen gallons of it at the festival. The recipe says to serve the gumbo over cooked rice with potato salad on the side.

The secret is a really dark roux.

Prejean's Pheasant, Quail and Andouille Gumbo

Makes 5 quarts

1/4 cup corn oil

1/2 pound andouille sausage, sliced in 1/4-inch-thick circles

1/4 pound Cajun smoked sausage, sliced into 1/4-inch-thick circles

3/4 cup coarsely diced onion

1/2 cup coarsely diced bell pepper

1/4 cup finely diced celery

3 boneless quail

2 boneless pheasant breasts

2 tablespoons paprika

1/4 teaspoon black pepper

1/4 teaspoon white pepper

1/4 teaspoon cayenne pepper

1 bay leaf

2-1/2 quarts concentrated chicken stock

1/2 cup plus 1 tablespoon dark roux

2 teaspoons Kitchen Bouquet

3 dashes Tabasco

3 tablespoons sliced green onion tops

Heat corn oil to hot and maintain heat in an 8-quart cast-iron or other heavy pot over medium-low heat.

Meanwhile, in a nonstick skillet, brown andouille sausage, then add to oil in the cast-iron pot. Repeat process with Cajun sausage, onion, bell pepper and celery, quail and pheasant, sauteing each ingredient individually and transferring each ingredient to the cast-iron pot as it is browned.

Add the paprika, black pepper, white pepper, cayenne and bay leaf to the pot and stir. Mix in stock. Stir in roux until blended. Bring to a boil and cook 40 minutes, stirring attentively.

Add Kitchen Bouquet, Tabasco and green onions and stir well. Simmer 5 minutes longer. Serve hot.

. . . . . . . .

In 2006, Sheila Owens, who named Rosemint Tea after her mother, shared the recipe for the drink she developed more than two decades ago, one of the signature beverages sold at the Jazz Fest.

It's surprisingly simple. To duplicate Rosemint, steep Celestial Seasonings Red Zinger tea until it's strong, then add unfiltered Louisiana honey. Owen's ratio is 1 cup of dried tea per 1 gallon of water, plus 1 cup honey. The unfiltered honey, which is darker and more flavorful than regular honey, is the secret ingredient.

. . . . . . . .

Food editor Judy Walker can be reached at jwalker@timespicayune.com or 504.826.3485.

Monday, 30 May 2011

Perfect Jazz Collection: 25 Original Jazz Recordings

Perfect Jazz Collection: 25 Original Jazz RecordingsImport 25 CD boxset containing 25 of the finest Jazz albums ever released. Each album is packaged in a card wallet, and the box set includes a 40 page booklet in both English and French. Classic albums included are Miles Davis' Kind Of Blue, Dave Brubeck's Time Out, Billie Holiday's Lady In Satin, Nina Simone's Sings The Blues, Erroll Garner's Concert By The Sea, Charlie Parker's Bird and many more! Sony. 2010.

Price: $99.98

Click here to buy from Amazon

Best of Smooth Jazz 3

Best of Smooth Jazz 3"It must schwing!" was the motto of Alfred Lion and Francis Wolff, two German Jewish immigrants who in 1939 set up Blue Note Records, the jazz label that was home to such greats as Miles Davis, John Coltrane, Herbie Hancock, Thelonious Monk, Art Blakey, Dexter Gordon and Sonny Rollins. Blue Note, the most successful movie ever made about jazz, is a testimony to the passion and vision of these two men and certainly swings like the propulsive sounds that made their label so famous.

Price: $13.96

Click here to buy from Amazon

Album review: Kurt Elling "door".

Charlie christenson is back and he is not happy last Jazz CD of singer Kurt Elling, the gate (Concord Records). Read his case against the album, which he regarded as an album without inspiration and poorly executed:

"It's official, jazz singer Kurt Elling that sold. The following is the case of the track by track from his latest album, The Gate (Concord, 2011:)

"Mat Kudasia" - a 1981 song by King Crimson, based on the Japanese words, which means "Please wait for me.". The arrangement was Elling, created on the spot by bassist John Patitucci. Missing definition previous arrangements focused on bass, laid-back, sleepy in the discography of Elling. This track provides the first glimpse of what is to come: pure vanilla... "?read more"

Image courtesy of Concord Records

Late Night Piano

Late Night PianoJapanese Blu-Spec CD pressing of this classic album. The Blue Spec format takes Blu-ray disc technology to create CD's which are compatible with normal CD players but provides ultra high quality sound. Sony. 2009.

Price: $7.98

Click here to buy from Amazon

Happy birthday Miles Davis!

The most famous jazz musician to come from the St. Louis metropolitan area, Miles Davis (photographed) was born on May 26, 1926 in Alton, he and grew up in East St. Louis. Today would have been 85th anniversary of Miles, and the occasion is celebrated across the country in many respects, including an official in East St. Louis City Hall party.

StLJN also received this morning a notice of a press conference to be held this afternoon to announce the Miles Davis Festival, an upcoming series of local events celebrating the legacy of Miles which will include concerts, art exhibits and photos and even a gift of a copy of The Genius of Miles Davis CD mega-set.

The official representatives of the estate of trumpeter Miles Davis properties, LLC are involved, as are the Sony/Legacy, Jazz Blues and soups of BB, Series Nu - Art and his coming, Metropolitan Gallery, the Room of Concert of Sheldonand radio station WSIE (FM 88.7). More details on what they are revealed...

During this time, there is much to celebrate in line, too. LIFE magazine has just released some previously invisible 1958 Davis photosand blog music The revivalist has a large tribute, including links to all the previous coverage of Miles here. Elements of Jazz has rounded of videos of various interviews related to Davis, the GrooveNotes of the 85th anniversary happenings investigations while in New York and elsewhere here.

As always, you recommend the Miles Davis online for news in Davis site and you can also enjoy Jeffrey Hyatt the MDGs this essay wrote StLJN on this date in 2009. You can view all coverage of Davis the StLJN linked by six years hereand brother site heliocentric worlds has a lot of performances of Miles Davis compiled video here.

Ambrose Akinmusire - review

Californian trumpeter of 29 years old Ambrose Akinmusire defines the spirit of research for comparisons - and in his case, they are with some of the biggest names in the incarnations more African-American jazz, Miles Davis included. But newcomer Akinmusire is not just a virtuoso Swoosh - the power of his work comes as much from its context, a group of young friends of long date and associates. His shrewd and resourceful Walter Smith III tenor saxophonist is up to the League of the Akinmusire, as are the other members of a quintet that buzzes with ideas.

The group opened with Confessions to my unborn daughter, the first track of the new album, when the heart emerges shiny - a meditation trumpet unaccompanied tones high crystalline, whisper-quiet (bearing the Norwegian Impressionist Arve Henriksen in mind) and runs serpentine boppishFinally absorbed in counterpoint to occasional rising anthem of the theme and Smith tenor saxophone. A rough tempo groove followed, releasing graceful, leaping octave long lines of Akinmusire - his improvisation foresight over long distances, being the quality that it shares with the giants of the tradition of Lester Young to Sonny Rollins, or his first model of the trumpetClifford Brown.

Pianist Sam Harris - which sounds as if his distinctive vocabulary was perfected by its partners, as well as by any model clear piano - introduced the momentum towards the tip of the feet, in which Akinmusire finally released soft sighs, before a more urgent abstract range in a clamor collective early-jazz. Fire next time of the second series triggered best solo tenor of Smith, a mixture of iron logic regularly accumulating and slippery lyricism to the tones of light. Harish Raghavan bassist exposes a gravitas Mingus-like and drummer Justin Brown unleashed a scorching long pause on an extensible piano vamp who had the crowd loudly praying.

Listen to the Collection of savory with Loren Schoenberg

Duke and DjangoPhoto: William Gottlieb/library CongressDuke Ellington and Django Reinhardt: their meeting in 1946 at Carnegie Hall is one of many rare extracts, we will hear from the collection of savory on this edition of the lights of the night.

The quest of the Grail - it is a story of fans love jazz. This record lost or elusive, acetate, a rare 78 or even cylinder of New Orleans jazz legend Buddy Bolden made so-called, can keep collectors, academics and others looking for years or often for decades.

For the jazz artist and the National Museum of Jazz to the Director of Harlem Loren schoenberg, a quest for 30 years ended even more exciting that he dreamed of, where he acquired a collection of swing-era radio for the Museum. The recordings, made by an engineer and a fan of jazz named Bill savoryoffers hours and hours of jazz greats as Benny Goodman, Duke Ellington, Billie Holiday, Lester Young and others conducting, often captured in excellent audio fidelity. For lovers of jazz, it is a chance to hear all sorts of details and nuance emerging in a way which can change how you look at the history of jazz. for someone who likes everything simply music made by some of the best artists of America, it is a pleasure to have even more to come to light.

Schoenberg joined this week to talk about the collection of savory and play excerpts that have not been heard on the radio since Bill Savory recorded their. Among the artists featured on the program Mildred Bailey, Lester Young, Roy Eldridge, Benny Goodman, Bunny Berigan, Chu Berry, Duke Ellington, Fats Waller, Bobby Hackett, Earl Hines, Django Reinhardt (performing with Ellington in Carnegie Hall in 1946), Louis JordanJohn Kirby, Joe red MooneyNorvo, Artie Shaw, Dave Tough, Tommy Dorsey and Bud Freeman.

Special thanks to Loren Schoenberg.

Chet Baker, Thelonious Monk, and even more for Concord Jazz reissues

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(conqueroo) Concord Music Group will release six new titles in the Original Jazz Classics Remasters series on June 14, 2011.

The six new titles in the series are: Chet Baker: In New York * Ornette Coleman: Something Else!!! * Thelonious Monk: Thelonious Alone in San Francisco * Cannonball Adderley with Bill Evans: Know What I Mean? * Bill Evans Trio: Explorations * Ella Fitzgerald and Joe Pass: Easy Living.

Enhanced by 24-bit remastering by Joe Tarantino, generous helpings of bonus tracks (many of them previously unreleased), and new liner notes that provide historical and technical context, the series showcases some of the most pivotal recordings of the past several decades by artists whose influences on the jazz tradition is beyond measure.

Chet Baker: In New York: Recorded in September 1958 for Riverside, Chet Baker's In New York features saxophonist Johnny Griffin, pianist Al Haig, bassist Paul Chambers and drummer Philly Joe Jones. In addition to the half-dozen tracks from the original album, the reissue includes a bonus seventh track ? "Soft Winds," a blues composition written by Benny Goodman and Fletcher Henderson.

The recording provides a glimpse of the trumpeter "coming off a run of popularity, critical praise, and commercial success the likes of which few musicians have known," according to the new liner notes by Doug Ramsey. By the late '50s, Baker had won numerous awards throughout the decade for his instrumental work, and was even regarded as a romantic idol for his singing.

"Baker had been somewhat pigeonholed as a West Coast cool jazz artist," says Phillips, "but this recording illustrates that he was right at home playing with New York musicians ? who dealt with their own stereotype of being harder edged and more aggressive. On this recording, they all seem to meet effortlessly somewhere in the middle."

Of the ongoing tug-of-war between Baker's artistic successes and his personal battles with substance abuse, Ramsey adds: "It will be a long time before Chet's struggles with his demon are forgotten, but one day when the headlines have finally disappeared, the beauty of his music will still be shimmering in the air."

Ornette Coleman: Something Else!!!: Recorded at Contemporary's studios in Los Angeles in February and March 1958, Ornette Coleman's Something Else!!! features Don Cherry on pocket trumpet, Walter Norris on piano, Don Payne on bass, and Billy Higgins on drums. The first of two albums that Coleman recorded for Contemporary, Something Else!!! marks the saxophonist's debut as a leader. "He was a very influential but at times controversial artist," says Phillips. "Right out of the gate he was doing something that was just so different from what people were used to hearing," says Phillips. "Although structurally-speaking, the music in this recording is based on established song forms, you can hear very clearly that Coleman is starting to break free of the limitations of conventional harmony."

Neil Tesser writes in his new liner notes that Coleman traced jazz back to its roots to rid the music of its increasingly elaborate harmonic structures and other constraints. "Without the limitations imposed by such harmonic patterns, his band would freely travel into, out of, and between musical keys," says Tesser. "As Ornette said in the original notes, 'I think one day music will be a lot freer. The pattern for a tune, for instance, will be forgotten and the tune itself will be the pattern . . .' When he recorded Something Else!!! that day was still a little ways off. In these performances, you hear him in the last throes of unshackling the past."

Thelonious Monk: Thelonious Alone in San Francisco: Recorded on Riverside in October 1959, Thelonious Alone in San Francisco was a sequel of sorts to Thelonious Himself, recorded two years earlier. In addition to the album's 10 original tracks, the reissue includes an alternate take of "There's Danger in Your Eyes, Cherie."

"With Thelonious Alone in San Francisco, Monk proved that his earlier success as a solo artist was not a fluke," says Tesser in his liner notes for the reissue. "And in rejecting all the 'rules' for playing without accompaniment ? as he'd rejected so many rules before ? Monk expanded the entire concept of the solo piano idiom. Without Monk's recordings as bedrock, it's hard to imagine similarly intimate (though otherwise quite different) solo albums that would eventually come from Bill Evans, Herbie Hancock, Keith Jarrett, Chick Corea or even McCoy Tyner."

For as unique as Monk's style was, "he stayed pretty consistently within that style throughout the remainder of his career," says Phillips. "That's not to imply that there was any lack of creativity on his part. Within the unique style that he established, there was so much to explore and develop. But he still sounds unmistakably like Thelonious Monk, no matter what chapter of his career you listen to."

Cannonball Adderley with Bill Evans: Know What I Mean?: Know What I Mean? was recorded between January and March 1961, with bassist Percy Heath and drummer Connie Kay supporting the saxophonist and pianist. The reissue includes three bonus tracks that are alternate takes of "Who Cares?," "Toy" (previously unreleased), and "Know What I Mean?".

"This album takes two artists who were part of the legendary, historic 1958 Miles Davis Sextet and pairs them together," says Phillips. "The modal approach that Evans was pioneering in the context of that 1958 group reveals itself in some of the material that he and Cannonball are playing on this album."

Orrin Keepnews, who produced the original recording sessions, writes in his new liner notes for this OJC Remasters reissue, "One of the many advantages of working with a man like Julian Adderley was that he was totally stubborn about pursuing an idea he believed in. And, quite simply, he thoroughly believed in the validity of an album based on his moving very much in a Bill Evans?influenced direction."

In his liner notes to the original recording, Joe Goldberg observes that while not all of the selections are ballads, an "aura of relaxation" permeates the recording. "In this instance it can be recognized as simply a matter of four highly skilled artists away from their usual tasks and delighting in one another's musical company," he says. "Nothing more really need be said about the results of their meeting than that the feeling of delight comes through."

Bill Evans Trio: Explorations: Recorded in New York in February 1961 for Riverside, Explorations was the last album this version of the Evans trio would make in a recording studio. Bassist Scott LaFaro and drummer Paul Motian also appear on Sunday at the Village Vanguard and Waltz for Debby ? both live recordings, released later in 1961 ? but LaFaro died in a car accident shortly after the live sessions. This reissue features four bonus tracks, including previously unreleased alternate takes of "How Deep Is the Ocean?" and "I Wish I Knew."

"Evans' sound and approach was his own by '61," says Ashley Kahn in his new liner notes. "His piano style had fully matured, as had the interplay of the trio . . . Upon entering Bell Sound's studio on February 2, 1961, producer Orrin Keepnews immediately noted the three had 'made giant strides towards the goal of becoming a three-voice unit rather than a piano player and his accompanists.'"

What's more, the disparity of styles between the unreleased alternate takes and their counterparts that made the final cut on the original record "illustrates that jazz masters like these are real improvisers," says Phillips, "and no two takes are ever going to sound the same ? because no two moments in jazz are ever the same."

Ella Fitzgerald and Joe Pass: Easy Living: Recorded in Los Angeles in 1983 and 1986, Easy Living was one of a series of Ella Fitzgerald?Joe Pass collaborations on Pablo throughout the '80s. In addition to the original album's 15 tracks, the reissue also includes two previously unreleased bonus tracks ? alternate takes of "Don't Be that Way" and "Love for Sale."

Easy Living and the other collaborations between these two veterans "worked on many levels," says Tad Hershorn in his liner notes for the reissue. "As her voice aged and deepened, Fitzgerald discovered partial remedies in her phrasing, choices of keys and the pleasing maturity that now enveloped her still youthful voice. Pass was the perfect foil to display her diminishing resources to their best and most emotive advantage. Ella was known to incessantly toy with songs in her restless artistic striving, so one can perceive the music she made with Pass as a direct extension of her creative method. The leanness of their music underscores that even this late in her career, Ella Fitzgerald retained her bonafides as a singer for whom words did matter: not every song was merely a vehicle for her to bat notes out of the park. The allure was in the quiet majestic intimacy that focused an audience's attention on full absorption of the musings of joy, wistfulness, and melody."

The level of confidence with which each of these two musicians performs on this recording is hard to miss. "The fact that Ella could walk into the studio with a bunch of lead sheets," says Phillips, "and they could do a little rehearsal on the spot, figure out the best key for her, and he could just play it in any key behind her ? all of that takes some phenomenal
musicianship . . . They have a very conversational, relaxed sensibility about them, and both musicians seem very much at ease performing together and recording together in the studio."

Hello Tomorrow

Hello TomorrowIn a career spanning two decades, Dave Koz has established himself as a platinum-selling artist, humanitarian, entrepreneur, radio host, and instrumental music advocate. A six-time GRAMMY nominee, he was honored in 2009 by the Hollywood Chamber of Commerce with a star on the Hollywood Walk of Fame. The list of artists who Koz has played with bears testament to his talent and includes such musical luminaries as Burt Bacharach, Ray Charles, Natalie Cole, Celine Dion, Kenny Loggins, U2, Barry Manilow, Michael McDonald, Luther Vandross, and Rod Stewart. On this, his Concord Records debut, Dave works with such legendary and diverse musicians as Herb Alpert, Jonathan Butler, Brian Culbertson, Sheila E., Dana Glover, Boney James, Jeff Lorber, Marcus Miller, Keb' Mo', Ray Parker Jr., Lee Ritenour, & Christian Scott, to name a few. Hello Tomorrow may be all at once his most musical, as well as his most meaningful project to date, as it is about embracing life, the changes it brings and the promise of a new day ahead.

Price: $18.98

Click here to buy from Amazon

SITTI Back Up with a new easy-listening Album

The ruling Queen in the bossa nova opens his Kingdom to release its fresh new coming from his new album simply entitled "sitti" who have just arrived in stores this week.

All the 8 new pieces and 3 classic remakes are a fusion of original flavor bossa nova Sitti, mixed with provisions easy listening music sessions with artists such as Gary Granada renowned for the single "sulat", crooner Richard poon in "Dream enough" Ramon RJ Jacinto "muli" and Jek manual (formerly of Iaxe)-up to the 1990s his classical group "Ako' his 'Ika yo' y y related."

But among all these, single carrier "Wag Mo Na Munang Sabihin" Sitti moves the most. Written by the former leader of the group without sugar, the legendary ebe dancel itself, it's a song on the end imminent and inevitable of a relationship that could not simply work out. It was so beautiful and sad Sitti has admitted that it made its endured while recording it.

Following his 2009 Contagious album which presented his superb interpretations of tracks from the bossa nova, Sitti finally comes out of its shell as it gives us a glimpse of his own writing with the singles "Baby Im' In Love" and "end it With You" this new easy-listening record namesake.

Discover the perfect mixture of bossa nova and listening easy with the release of the album again Sitti of Warner Music, out now in stores of your favourite music.







Sunday & Jazz Klab @ Margo Friday Jazz of Jazz @ Dago Plaza II

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Last month KlabJazz made a breakthrough by taking Sunday Jazz to land on a whole new place. If before we got this regular jazz event twice a month at the same venue, now it’s divided to be served at two different places, Potluck Kitchen and Nyamak Foodcourt, Dago Plaza. Each of the venue has one turn for each month to deliver five or six bands under Sunday Jazz. New place, new atmosphere. The cool stage of Nyamak Foodcourt that’s designed in urban ghetto style held its first ever Sunday Jazz on April 24, 2011 by having 6 bands performing for 4 hours straight. Now the second episode of Sunday Jazz @ Dago Plaza is coming. For this edition KlabJazz will bring a new batch. 6 bands are ready to roll, each with their own style or musical background. Think of having 6 different sides of jazz while enjoying variety of foods at the same time with no cover charge required. That’s the least you could get this Sunday (May 29, 2011). So if you’re in Bandung and feel like having jazz, you can come to Nyamak Foodcourt, Dago Plaza to quench your thirst.

Meanwhile, we just got another good news. KlabJazz seems to get busy this week. Just two days before the second Sunday Jazz @ Dago Plaza, KlabJazz will merry this week’s Margo Friday Jazz first. Located just south of Jakarta, Depok now has Margo Jazz Community as the homebase for both jazz artists and jazz aficionados in that area. Both Bandung’s KlabJazz and Depok’s Margo Jazz Community are two of the most established and solid jazz communities in Indonesia at the present time. These two communities have been working together in numerous occasions, exchanging groups, inviting each other to play on both sides. KlabJazz visited their collague on October 16, 2009 in a special Bandung edition called KlabJazz @ Margo Friday Jazz. On November 7, 2010 it was Margo’s turn to play in Sunday Jazz XVIII in Bandung, featuring a set of talented young jazz artists in a group named Margo Rising Stars. It’s great to see the harmonious friendship between two well established communities like this. We won’t be able to go anywhere if we only walk alone in achieving our dreams. So collaboration like this will surely beneficial to our jazz movement.

margo friday jazz, klabjazz, mr funkenstein, halfwhole project, sekapur sirih, ivan & tesla, sunday ice cream, west java syndicate

KlabJazz is sending 5 groups for this week’s Margo Friday Jazz. Halfwhole Project is the busiest one among the lineup since they will also play at Dago Plaza on Sunday. Ivan & Tesla who just released their album Dig This (available on our online store, click here to purchase) are going there too. The delicious fusion band Sekapur Sirih will be back in one complete unit for this occasion along with the action packed prog jazz with some ethnic touch group West Java Syndicate and last but not least, the groove/pop jazz band who can be very refreshing just like enjoying an ice cream on a hot summer day, Sunday Ice Cream. All these lineup will join a new band of Notturno‘s Cak Hend, Mr Funkenstein.

Let’s get deep a little with Mr Funkenstein. This band is really interesting mostly since they bring back the pure, high dose vintage funk just like Herbie Hancock in the 70′s, Deodato and the likes, or later appeared through Joey deFrancesco and many more. While lately funk has been more associated to the modern groove/pop band, Mr Funkenstein is the answer for us who feel thirsty for having the infectious vintage funk back again. “It was because of Joey deFrancesco’s appearance at Java Jazz Festival 2011, all of a sudden we all felt like playing the old funk like this.” said Cak Hend. They have performed at Komunitas Jazz Kemayoran’s 7th birthday, the 84th edition about 2 months ago, and now they are going to give the thick funk pattern on Margo’s stage. Mr Funkenstein wants to dedicate Funk & Blues as the roots in developing their concept. With the strong influences from Medeski, Martin & Wood, Joey deFrancesco, Jimmy Smith, Larry Golding, John Scofield, Big Organ Trio to Soulive 4, Yudha (sax), Cak Hend (drum), Shelly (organ) and Demank (bass) with additional player Basir (guitar) are cooking up their funk taste beyond limit. “It’s nutricious and will make you addicted!” said them on their Reverbnation page. If you listen to the songs there, you’ll know that they really mean it. This is one of the groups that we have no doubt to go big really soon. An album? You bet. Cak Hend also said, “We are preparing the materials at the moment for the album.” Before the album appear, let’s taste the high dose of funkin’ jazz courtesy of Mr Funkenstein on Margo Friday Jazz first. The show will be held on this Friday, May 27, 2011 at Margo City Mall, Jl Margonda Raya, Depok.

Back to the Sunday Jazz @ Dago Plaza 2nd edition, let’s look at a little profile of each band. First of all, we are curious to see how a violin ensemble play jazz. Led by one of the Bandung’s prime jazz violist Ammy Kurniawan, the Ammy Alternative Strings will bring their orchestrational concept to meet jazz discipline. Ammy is a personnel of famous independent group 4 Peniti as well as actively playing as a sessionist. Beside working as a musician, he’s also active as a teacher. He’s been teaching lots of kids for some years. Looking at the lack of jazz violists today in our music scene, we look forward to have more new players on the field coming from him.

Move to the next line up there’s Dyah Sekar Quartet. Led by a cute young pianist Dyah Sekar Utami, this group is ready to bring straight ahead as their menu. Like Ammy, Dyah Sekar is also active as a vocal and piano teacher at Elfa’s Music School. For this time Dyah will bring three of her friends including SHE‘s drummer Adisty Zulkarnaen, Ryan Hidayat (guitar) and Gallang Perdana Dalimunthe (electric bass). She’s participated a couple of times on Sunday Jazz before, like at the special edition of Jazz & Perempuan, Sunday Jazz @ Potluck XIX edition or in some jam sessions. Not only the straight ahead, she can play anything from swing to samba just as good. Halfwhole Project is going to continue their performance from the previous Sunday Jazz @ Potluck. They will give the joy of straight ahead too. Athfand Harahap (guitar), Gallang Perdhana Dalimunthe (electric bass), Edward Manurung (drums) and Christ Stanley (electric piano) are the men behind this group.

One of the winner of Kampoeng Jazz band audition named KPH All Stars is on the list too. This group consists of teachers from Kruisnode Piano House (KPH). We saw them twice at the audition and the Kampoeng Jazz main event where they brought a very thick pattern of fusion. Like many of fusion bands all over the world, this group has also had two guitarists, Teguh Aditya and Irman Soeramihardja. The other personnel are Andre KPH (keyboard), Reza Bachtiar (bass) and Grand Doank (drums). Macchiato is the other band who’s said to bring fusion/jazz pop too for this edition. The band comprises of Johanes “Aang” Susetya (keyboard), Augustinus (drums), Roy Bimantoro (bass), Bramania (guitar), Dicky Suwarjiki (saxopohone) and Ronal “Beenyo” (bass).

sunday jazz @ dago plaza, sandy winarta trio, andy gomez, sandy winarta, kevin yosua

Last but not least, the stunning drummer Sandy Winarta will perform in the formation of three, Sandy Winarta Trio. Still at his relatively young age, Sandy Winarta is the most wanted jazz drummer at this moment. This native Balinese son knows how to give more than just rhythm with his drums. Besides his role as the drummer of some bands including Sarimanouk Quartet, Pitoelas Big Band and the most recent one joining Indra Lesmana and Barry Likumahuwa in LLW, he’s also active as a composer and music teacher. His experience has been wonderful so far by his appearances in many kinds of concert, from small combo to big sized orchestra. We still remember how amazing it was when Sandy played in the shape of quartet at Sunday Jazz @ Potluck IV last year. At that time he shared his basic thought of establishing a band where he stood as a leader. “It’s the group where we like to play standards… I just love to take standards as the template and then go on with our creativity in playing.” said Sandy at that time. One thing for sure, appearing with lasser team as a trio won’t make it less tasty. Other than his captivating play that can always make people focus on him, he will bring two standout fellow musicians, the great young bassist Kevin Yosua and the famous pianist from Yogyakarta, Andy Gomez. We’ve heard KlabJazz’s plan to bring Sandy Winarta back again gracing the Sunday Jazz event since two months ago but due to his busy schedule he was unable to come. Now it’s confirmed, finally we’ll have the chance to see the awesome drum playing of Sandy Winarta along with his trio.

Both schedules are set. The next Sunday Jazz @ Dago Plaza will be held on this Sunday as the result of cooperation between KlabJazz and Dago Plaza Management, and Margo Friday Jazz will come two days earlier. If you live around Depok, don’t miss KlabJazz’ invasion to Margo joining Mr Funkenstein. But if you’re in Bandung during this weekend, jump into the pool and join us at Nyamak Foodcourt, Dago Plaza.

KlabJazz @ Margo Friday Jazz

Date: Friday, May 27, 2011
Time: 7:30 – 11:30 pm
Location: Margo City Mall, Jl Margonda Raya, Depok

Sunday Jazz @ Dago Plaza II

Date: Sunday, May 29, 2011
Time: 4:00 pm – 8:00 pm
Location: Nyamak Foodcourt – Dago Plaza, Bandung
Jl Ir H Juanda no 61-63, Bandung


See you there!

PageFlip cicada-Bluetooth pedal

A moment ago I examined the Airturn Bluetooth pedals. I used my iPad as a PDF reader on your sheet of music for months now, and the pedals Airturn solved the problem of shooting of page, which has allowed me to start playing songs that were more lengthy page. A few weeks after I got pedals of Airturn the company discovered a problem with the mono jacks and had to recall most of the units they had shipped out. I sent my pedals back and waited to get replacements. The post office has lost my package for several weeks and I received very Impatiens because I was back to playing a pagers on the concerts, which was a big drag. My boyfriend Joe had picked up a new pedal called the cicada PageFlip which seemed pretty cool. I went ahead and ordered a while I waited for the post office to materialize my Airturn pedals.

There are a few things that interests me at the outset in the PageFlip. The first is the fact that the PageFlip is a single compact unit, unlike the Airturn, which consists of two separate pedals connected by cords of a Bluetooth transmitter box. One of the major issues that I had had with the Airturn was that pedals would constantly move as I. They had to be constantly repositioned hand. It was a real drag to keep the bending to fiddle with Airturn pedal on the floor between air. The PageFlip cicada never had need to be repositioned as the pedals were connected.

The Page Flip has a few features missing from the Airturn. The PageFlip cicada can be configured to transmit the page turns in different ways, depending on which application you use to read music. It can be set to send signals such as page up/page down, left arrow right arrow, mouse button left line underlining/delete or right mouse button. The cicada has also a repeated switch where you want the ability to quickly convert multiple pages.

The cicada takes place much less floor units of Airturn, which has unfortunately done also to a greater probability of walking on the wrong pedal in the heat of the battle. This brings me to the biggest problem that occurred when using the cicada PageFlip... accidental page returns. The pedals of the cicada are high enough soil to the Airturn, and they do not have much strength. This makes it very difficult to say when my foot was actually on the pedal. Thus, I felt like I had to keep my foot risen above the pedals, to avoid trigger them accidentally. If you wear hard sole shoes there are not enough tactile feedback when you are in fact hit the pedal. As I had my foot isolation would slowly drift down and trigger pedals if I has no attention to what I was doing, then....BAM... suddenly guitarist with that I played read the wrong changes. I finally obtained the freezing it and learned to keep my toes in the air and just made a motion of trampling exaggerated when I wanted to change pages. Annoying, but not a big deal really.

I have developed an easy to make it more effective when mod the cicada pedals. I slipped just folded pieces of paper in the upper part of the hinged pedals, which reduces the pedal to the point just above where they trigger. This eliminates the gypsy moth first part of the movement of the pedals, where I cannot even if my foot on the pedal or not. This also allows me to keep my lower toes, where before that I felt like I had to fight to keep my toes high so that I might accidentally trigger the pedals. There is much more strength with the pedal down and now I feel like I can actually when my foot pedals.

I think that the reason the most persuasive to go with the PageFlip on the Airturn ultimately cicada is probably the price. The Airturn trio (two pedals + transmitter) sells for $124.95, and more if you want to buy the Commission holds any place. The PageFlip cicada sells $79.95. I think the cicada is the pedal that I will be taking to my concerts.

Website of the PageFlip cicada

Sunday, 29 May 2011

John Scofield: Peace for a moment - review

For fans of punchy funk - play star guitar, this defined ballad probably too close turns dinner - smoothjazz . But Scofield likes giving each album a clear identity - latest was the piety Street focused on the Gospel, while its predecessor, this meeting, has been an explosion of jazz with a brass section thrown in - perhaps then its distinctive mix of bittersweet harmoniesblues of insults and bop negotiated glibly runs will find a public wider with a repertoire that listeners to Melody Gardot and Madeleine Peyroux may be more familiar with. Themes of Scofield certainly does are not overshadowed by the classics here, as you Don't Know What Love Is, or I love you Porgy. His softly swinging in simple terms, or the slightly jazzy ballad already September (which it sounds like model his early Jim Hall) singing with his own sound and talent for striking writing, as does the plain country-grooving-then-funky song. Scofield releases sounds typically hooty pitch-bending to implement you Don't Know What Love Is, and I loves you Porgy is initially almost abstract. But there is an atmosphere is indicative, not only by playing Scofield, but in his wonderful group - keyboardist Larry Goldings, bassist Scott Colley and drummer Brian Blade - slightly limiting the edge of the exercise.

Really cerebral jazz, literally

Enlarge William Gottlieb/The Library of Congress

"you Go To my head": saxophonist Flip Phillips, behind the scenes.

William Gottlieb/The Library of Congress "you Go To my head": saxophonist Flip Phillips, behind the scenes.

A jazz performance, how can you when a musician is improvising, and when he or she plays a prepared melody, style? What happens in a certain way, it sounds almost exactly the same than the other?

A team of German scientists wanted to learn more about how the brain deals with spontaneity. They had so much jazz six pianists improvise a runway of accompaniment. Then researchers transcribed these representations and had pianists to replicate the improvisations of their colleagues. All this is recorded.

These recordings were played for another set of jazz musicians 22. Under MRI taken at listening, the part of the brain called the amygdala - an emotional response centre - reacted higher improvisation and imitations. (Computer analysis reveals that the improvisations are more dynamically variable and more rhythmically irregular than their imitations). And the team also found that when musicians thought they listened improvisations (if they were or not), they appeared to be improvising imagine - or at least, the parts of the brain that control the action lit up.

You can read the full study, or just a summary. But a report in Science magazine online is easier to digest and more fun. Basically, there are two sets of examples of what musicians listened - you can test for yourself whether or not it is improvised. Don't worry if you get wrong: proves that the musicians got it right only 55% of the time on average, barely above chance. [Science:brains on Jazz feel music]

Everything must go

Posted on May 21, 2011 by wiley

Today is the day of the rapture big, so it may be appropriate to consider a few tunes for the end of time. Of course, a lot of people is familiar with This is the end of the World As We Know It, the REM but how many have heard of the Mose Allison Ever Since the World Ended?

And let's not forget artificial Armageddon. In the film, Dr. Strangelove, Slim Pickens was the atomic bomb until the land of Vera Lynn We ll Meet Again.

Also, remember that Jamey Abersold has the end of the sale.

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The Golden Age Of American Popular Music: The Jazz Hits From The Hot 100 1958-1966

The Golden Age Of American Popular Music: The Jazz Hits From The Hot 100 1958-1966The Golden Age Of American Popular Music is fast-becoming as successful series as our Golden Age of American Rock 'n' Roll. This spin-off from the main series is a collection of Jazz Hits from the core years of 1958-1966.

Amazingly, no one has gathered together these hits on one CD before. We are the first to approach it unashamedly from a pop angle eschewing the consciously hip considerations that normally weigh down most jazz compilations.

We've slightly widened the brief to include some hits from Billboard's 'Bubbling Under' chart that was published as an adjunct to the Hot 100 in these years. However the genre was popular enough for us to include 15 Top 30 hits.

Although some of the titles will be familiar to pop fans such as Dave Brubeck's Take Five or The Girl From Ipanema by Stan Getz and Astrud Gilberto, as ever these are leavened by the much less familiar and sometimes quite rare. We've also insisted on the single versions of the tracks, which haven't been available elsewhere, such as Watermelon Man and The Sidewinder.

Our usual superb quality sound and lavishly illustrated booklet rounds off this release.

Price: $19.99

Click here to buy from Amazon

Miles Davis 1971: Wah Wah or step Wah Wah - Jazz video Guy

To celebrate the 85th anniversary of birth of Miles Davis, I created this video in which Sonny Rollins and Gary Bartz discuss the Prince of darkness, his need for change and his band of 1971 which included m. Bartz, Keith JarrettMichael HendersonJack DeJohnette and Airto.


I had the great pleasure of meeting the scholar of Louis Armstrong Ricky Riccardi at the Armstrong Archives (located in the library of the Queens College and they are a Marvel) so that we could have a brief discussion about his new book, WHAT A WONDERFUL WORLD: the magic of LOUIS ARMSTRONG (Pantheon) years later.? The book will be out June 21, although you can pre-order it on Amazon.

This is a wonderful book, and I will have more to say about this in a few weeks.? But here is its young author - informed, sincere, down-to-Earth and full of love for his subject.? And I am not the only one who thinks so:

"The story of Louis Armstrong in recent years is the large post-war jazz untold tale.".? "Now, Ricky Riccardi he said to perfection," said Terry Teachout, author of POPs: A life of Louis Armstrong

Now you understand why Louis smiles while Ricky is speaking?

You will have another opportunity to meet with Ricky, to buy an autographed copy of his book... and where better than at a party at the Louis Armstrong House Museum summer garden????? The Party of the book will take place in the garden of Armstrong at the Louis Armstrong House Museum, Sunday, June 26 from 2 pm to 4 pm.

Tickets are $35, which includes a book autographed, a guided tour of the House of Armstrong and refreshments.? $25 for members LAHM.

Space is limited. Make your reservation today!

Reservations can be made at: reservations@louisarmstronghouse.org.

For further questions call the Museum at (718) 478-8274.

The LOUIS ARMSTRONG House Museum is located at 34-56 107th Street, Corona, Queens, New York City Research.? It is easy to get there by car or public transport.

If you come to the party, I hope that you buy a copy of the book of Ricky and consider becoming a member of the Museum House Louis Armstrong - a rich sanctuary visited by people of all countries of the globe.???? Members support their mission - ensuring the Louis spread joy is never forgotten - and receive exclusive benefits throughout the year, including: free admission for tours of the historic house, all events special member discounts, a subscription to news Dippermouth, an overview of the events in venir10% discount in our museum shop, the parties before exposure with other members and much more.

Blue Train

Blue TrainJohn Coltrane's most important and best selling album after "A Love Supreme", Blue Train gets with Rudy Van Gelder for a 24-bit mastering treatment. This edition features the complete session with alternate takes included.

JOHN COLTRANE: Tenor Saxophone

Price: $11.94

Click here to buy from Amazon

WVMV V98.7: Smooth Jazz, Vol. 11

WVMV V98.7: Smooth Jazz, Vol. 11Tracklistings

1. Call To Worship
2. Fit To Battle
3. Ananias & Sapphira
4. Introduction To Rev
5. Rev
6. Because You Loved Me
7. Make Me A Believer
8. He's Been Just That Good
9. If You Ever Need Me
10. Africa Jesus Africa
11. You Are Everything
12. Smile Medley Pt1 Smile
13. Smile Medley Pt2 God Has Smiled On Me
14. It s What I Do
15. Running Away

Price: $12.98

Click here to buy from Amazon

East St. Louis, Miles Davis' birthday this Thursday, May 26

The city of East St. Louis will celebrate what would have been the 85th anniversary of birth of the most famous native son, trumpeter Miles Davis, at 12: 00 pm this Thursday, May 26 in the room of the Council of the Municipal of East St. Louis301 River Park Drive building.

According to a press release, "the free family event will include a"resemblance"- decorated cake;" Jazz by Reginald Thomas and the 85th anniversary Jazz set. "Step: the birth of an ancestor," a poetic elegy/multimodal piece by ESL poet laureate Eugene b. Redmond (and Soular systems together); "." and reminiscences by miles of friends from childhood and high school classmates. ?

Davis (photographed), who died in 1991, was born in Alton and grew up in East St. Louis to age a. He is a graduate of the Lincoln Senior High School in 1944 and attended the Julliard School of Music before launching a career that made him one of the most popular jazz musicians and the most influential of all time. When ESL dedicated Miles Dewey Davis III Elementary School, in 1982 Davis and Cicely Tyson, his wife at the time, attended the ceremony, as did high school Professor Davis Elwood Buchanan.

For more information about the birthday celebration of Thursday Miles Davis, contact Lauren parks by calling 618-482-6601 or by e-mail at lparks @ cesl.us; or e. b. Redmond by calling 618-650-3991 or by e-mail at eredmon@siue.edu.

Join the Conversation: Dr. John or the Neville, which should close Gentilly stage at New Orleans Jazz Fest?

Neville Brothers on Second Sunday Jazz Fest

Radiators traditionally closed the Gentilly stage last Sunday of the New Orleans Jazz Fest. With the group split, we asked: which must close this stage last Sunday?

"This honour must go to a local". "Dr. John is a good choice, but then I must choose between him and the grew."-ArabiKing

"So much to choose, Deacon John, Dr. John, Harry Connick Jr., Pete Fountain, Dixie cups and of course, our Queen, Irma Thomas."-valkyrie

Mike Clark: A Force Positive - Rhythm ' only contributions

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Mike Clark's skills, creativity and groove communique from behind the drum set have long been the catalyst for many a drummers' funk and jazz aspirations--whether said drummers are aware of the influence or not. Clark's syncopated sense of time has oozed out from Oakland onto countless records and tours. He is widely known for his work with Herbie Hancock's Headhunters, beginning with the 1974 record, Thrust and the sounds of "Actual Proof." Clark is now a staple on the world's music scene. He keeps more than busy with a variety of musically varied projects and has established himself at home and abroad as a popular jazz-drumming bandleader.

Clark’s latest project , the Headhunters' Platinum, will be released on June 14 on the Owl Studios label and will feature the group under the leadership of Clark and Bill Summers, with contributions from Snoop Dogg, George Clinton, Killah Priest, Donald Harrison, Patrice Rushen, Rob Dixon, Derrick Gardner and Richie Goods.


Dominic Fragman: Tell me about some of the projects you have been working on recently. You've been running all over the place.

Mike Clark: I'll give you a little background of what's been going on lately. I had a record out about two years ago called Blueprints of Jazz. It's an all acoustic, all straight-ahead jazz record--hard bop. It features Christian Mcbride on bass, Donald Harrison on alto, Patrice Rushen on piano, Christian Scott on trumpet and Jed Levy on tenor. It was picked by DownBeat as one of the best jazz records of the decade--of course out of a couple hundred or so, but still, I'll roll with that!

I had it in my mind to pattern a band after something close to Art Blakey and the Jazz Messengers but with a modern sensibility. So, the recording had all the elements of 1950's and 60's hard bop and post bop bands. It was really fun. We got everything in one take and walked out. We were done in one day. So, that was cool.

I also just did an organ record this past year for Owl Studios called Carnival Of Soul. I wanted to address the organ thing because I did a lot of those gigs as a kid and even here in New York in my later life with cats like Brother Jack McDuff and Lonnie Smith. My first gigs as a leader were with an organ trio. When I was about twenty years old, I had a four night a week organ trio gig for almost four years in California and we were killin! We played everything I wanted! It was great. So, I did a lot of playing in the organ environment and I figured, let me be honest and instead of recording what I think might be the latest thing to get airplay, let me play something that reflects who I actually am.

The record just got picked by JazzWeek Radio as one of the best of 100 for 2010. I had some great players out for the dates. Lenny White came out to play on a track. We did a two drum cut for Big Sid Catlett's "Mop-Mop" and turned it into a funk groove. It was a lot of fun. We called it "Catlett Outta the Bag." That track is also on Lenny's new CD, Anamoly. I had three different organ players - Jerry Z, Jeff Pittson, Delbert Bump - Rob Dixon on saxophone, Tim Ouimette on trumpet and Delbert McClinton was a special guest. He is an old friend of mine. He came over and did a killer rendition of "Cry Me a River."

Between Blueprints of Jazz and Carnival of Soul, I am going back and forth trying to book both bands.

Right. You just went over to Russia with one of your groups. Who did you make that trip with?

Yeah, I just got back into town not too long ago. I went with my organ trio with Jerry Z on B3 and Rob Dixon. Rob Dixon is a great tenor player who comes out of Indianapolis. We toured all throughout Russia, Siberia, everywhere.

How was that?

It was killin! We drew 600 to 1000 people per night! It was unbelievable! I'm a drummer for crying out loud! People know who we are over there. They were really into it. They were like, "We've been waiting 20 years to hear you!" I just couldn't believe the audiences because I'm not a front man. And we didn't play any fusion, just all jazz. They are way into it!

We also have a new Headhunters' CD coming out on Owl Studio's label that is really workin'. It features Snoop Dogg, George Clinton, Killah Priest, Donald Harrison, Patrice Rushen, Rob Dixon, Derrick Gardner, Richie Goods, Bill Summers, and myself. A cross generational effort, we mixed up a lot of genres--jazz, funk, African, latin, and even hip hop on several pieces--that was fun! I wrote or collaborated on most of the tunes.

Something else I am quite excited about is my new project, a sextet I am leading, called Indigo Blue, featuring me, of course, Christian McBride, Wallace Roney, Donald Harrison, Rob Dixon, and Antonio Farao. It is acoustic, straight-ahead jazz music, New York-style. We are recording it live at The Iridium at an upcoming date July 29th through the 31st in Manhattan.

So that's kind of what's going on and also I've been going to Italy to play with the amazing, Antonio Farao. I've done a lot of stuff with him over there--a lot of touring. I also did a recent tour overseas with Jeff Berlin, a brilliant bass player. I also am appearing on an episode of Treme this season, the HBO series about post Katrina New Orleans with Donald Harrison and The Congo Nation.

Do you still find time to practice every day?

No, no. I don't get to practice every day. I practice when I'm home. It's a drag because I can't play the drums in my apartment. Now, I do shed on the pad in the crib. Unfortunately, it's hard with my schedule lately to get downtown and practice things where I need hand and feet coordination or stuff where I need to develop new ideas on the kit.

I know that you do practice Buddhism and meditation. How do you think that kind of focus and mental clarity affect your practice and playing? Does it put these things in a better or higher place for you?

Great question. Herbie actually taught me Buddhism and taught me to chant "Nam My?h? Renge Ky?." Buddhism postulates "Nam My?h? Renge Ky?" is the law of the universe, of cause and effect through sound and rhythm. So in chanting for your dream, you uncover the reason you have not yet obtained it and you do what they call your Human Revolution. You start changing the parts of your inner world that are not so attractive. Basically, if the universe is a mirror of your inner world that is telling you—no matter how subtly—"I can't," "I'm not this enough" or "I'm not that enough" the chanting will smash that away. The Buddha nature is nothing mystic or supernatural. It is just the point in your life that is positive. The point that says "Yes I can." Once that is a part of your foundation then yes, you can!

That is why people get these great benefits. For example, the tune "Actual Proof." When we were recording that tune they were not going to let me play those beats. They wanted me to play a really simple thing. When I said something to the upper managements folks it only turned into an argument. So, I took what Herbie taught me about the chant and I snuck off into another room for about twenty minutes. It was a far out thing because I was a young guy and my prayer was . . . well, everything else for the record was already finished and in the can and fairly pedestrian, I felt. I said, man, this is Herbie Hancock. Everybody in the world is going to hear this. So I chanted that I would be immortalized by this one track in jazz history. You know, I was 25 years old! There was no use chanting to be the regular guy who’s playing down at the pizza joint. I wanted the whole thing!

So, I chanted and something inside of me changed. Instead of going back out there all confrontational and meeting the guy street style, I was very polite. I even lied to him and said, "Hey that's a great idea but why don’t you let me try it this way." By doing that and complimenting his idea I disarmed him. So he let me do it. I could play what I wanted under the condition that I got it in one take, if not we did it his way. I said "OK." Now, indeed everybody knows me from that track from that moment until the day I kick the bucket!

That's what you wanted!

Yeah and the track was credited with a drum innovation and many drummers that I know tell me the tune was a huge part of their roots. I mean like three generations of guys because that record was made in 1974. I have all kinds of really great drummers—guys who I think are fantastic—I don't even know they know me and I'll be sitting there checking out their gig talking about how great they are and they come up to me and say "Oh man, are you Mike Clark?" And they thank me for "Actual Proof." I am honored and happy to be able to make that kind of contribution. And all of it came from that Buddhist prayer. Without that, I would have probably knuckled under and just done it the other way. That is why they entitled that track "Actual Proof" because Buddhism says you get what you chant for through inner reformation. That is what they call actual proof: a change within you made by you.

So I chant every morning and evening. I do focus on my drumming and music goals but also other aspects of my life.

So along with the meditation, do you assess the place where music and drumming puts you within the universe and/or how it helps the universe?

Well, music transcends all boundaries and languages. It's not like when you go from country to country and you can't speak the language any longer. Music is a language. Musicians have this vocabulary that we speak and speak to other people even. I think, being that music transcends this communication hurdle, it is a super positive force for bringing people together. You don’t have to be from the same ethnic background or anything and we can still get down and play together right away.

Music also evokes all these creative emotions, which is the thing that most people gravitate towards. There is a lot of value there because of how it makes us feel. Life is made up second to second of feelings: how we feel about ourselves, how we feel about others. And, we are always trying to polish and improve our inner world so that our art will be clearer and of service to others as opposed to just being an extension of our ego. Ego is definitely involved because no one wants to get up and sound bad. We want to present something that we believe in and that we like. We—musicians—are also working on this inner picture by way of practice. That is how we hide the blemishes in our personality. It is not dishonesty. We are really trying to present a better picture. If you track it down further, we are trying to present—or be—a better person. In that aspect, it is a hell of a contribution to our society and our world.

Through music and art, musicians and artists want to bring the most positive energy and causes in the world to the forefront. Therefore, it is a great service that we perform. Sometimes we are not paid correctly like a lawyer or a person on Wall Street but we do have the satisfaction of knowing we are doing the right thing. There is no doubt.

You were saying earlier, you get to check out drummers playing around the city sometimes. Who are some of your favorite players right now?

I get hit quite a bit with this, "which one of the new drummers are you listening to or do you like?" Here is my answer. I don't listen to fusion drummers or chop electric drummers. I listen to jazz drummers. Some of the jazz drummers I like that are in the environment playing today are Billy Hart. Billy is one of my all time favorites. I love his improvisation and his sense of history and his innovation. I love what he hears and what he brings to the music. He is a master of improvisation. He can really handle himself in the band. I really love how he plays.

I love Lenny White. I'm talking about jazz not fusion. I love Lenny in any situation but I especially love him in jazz. He's fascinating to listen to. You never know what he's going to do. And he has the filthiest, dirtiest, nastiest swing beat I have heard since the passing of Elvin Jones. I can't imagine anybody who has got a deeper groove when it comes to swingin' than Lenny White. Unfortunately, a lot of people don't know that about him. They know him from fusion and that's a damn shame because he's really a master of jazz music. He makes a lot of records.

I also love Al Foster. I think Al can really swing. He's got great ideas. He's got great hands and feet. He has got great chops and I love listening to him play. He is another one where I don't know what is going to happen next.

Those are the guys I listen to. When I hear everybody else, I like them. I don't dislike them. I like them. But nobody knocks me out like those guys. And then, of course, there are the heroes that we all have from yesteryear: Elvin, Tony, Philly Joe, Max Roach, Roy Haynes. We don't have to go on and name everybody.

How would you define chops?

For me, there is a difference between chops and technique. Technique would be the mechanics of how to play certain figures or ideas. Chops are what a guy does in the heat of the moment right on the spot. When I say chops, I do not mean how fast I can play or how high I can jump or any of that. What I mean is I am functioning at my best; hearing everything in a split second; translating what I am hearing into the music and having it be musical right away. Being able to play ideas that challenge my hands and feet and at the same time have that coming through the history; coming through the music. My chops are good when all these things are present during the hit. You know what I mean? Like when a tenor player tells me, "man, my chops feel good," it does not mean he is blowing a mile a minute. It means his technique, the way he feels with his horn, the way he is laying with the band, his phrases are all there. Now, it doesn't mean he can't play all the fast stuff.

All these qualities are all necessary factors for development as a player in drumming and music overall--what do you think the next step in music and drumming might be? Where or what is the new thing?

Well . . . I have no idea. It's a great question. I wish I had an answer. Here is why I think it may be a difficult question: the contour, the shape, the history of jazz has shifted. A lot of the younger musicians were not alive so they did not get to hear some of the great masters play. As a result, when you hear these newer cats play you can tell they got it off the records. That is not their fault. There is nowhere else to get it. For example, Jimmy Cobb is one of the last guys left. So, because people are only able to get the stuff from records, it sounds different now. Changes and shifts in the perceptions of playing have developed. These changes are also a result of record companies and their attempts--and successes--at placing and creating whoever they want to make the latest hero. When this kind of thing happens, it doesn't mean that the guy they pick has any history, therefore, the real history is even further diluted and the tradition slips further away. And, when I say the tradition, I don't mean you have to play the same phrasing like the guys fifty years ago. I mean that somewhere in the playing the tradition, the language is alive. Now, however, in a lot of the music where there is "swingin" the jazz lexicon and language is absent. Therefore, it can really go anywhere.

You could have any combination where different understandings of playing can come out. Where it used to be there was Chick Webb, then Gene Krupa, then Buddy Rich and Louie Bellson; and that is on that side of the fence. On the other side there was Big Sid Catlett and then Max Roach then Philly Joe then Elvin and Tony. Those guys were all logical extensions of what was going to happen next. In fact, at times, if you were paying close enough attention, you could actually predict what kind of direction things were going to go.

Now I am not saying any of this is bad! It is just what I see. As a result, I just don't know what's going to happen. That is all I am getting at. I mean people are trying to assimilate anything from Buddy Rich to Elvin and more because there is so much information out now with computers and YouTube. It is not like the old days where you had to go sit with and talk to Roy Haynes or Philly Joe or Elvin to try to understand what was going on. Now you can just go online and even find it written out.

But, you will not get that life and feel from recordings and computers. And based on all of this I haven’t got the foggiest idea what's up!

Any idea where you would like to see it go?

I would like to see a creative mind that has put some time into the instrument and has also put some time into the history. This does not mean they have to play like somebody from long ago. There is nothing I hate more than these bebop snobs that tell you if you are not playing like 1955 that you can't swing. Someone needs to take them out in the ally and kick the crap out of them because that is complete b.s. And you can quote me on that! That's some bullshit! Those guys don't even sound like the cats from the 50's. I played with Sonny Stitt and a lot of the guys from back in that time period. Trust me, these guys now are very good. It does not mean they are any better or any worse. It means they don't sound like the guys that invented and came from bebop. They are trying to play a music that was happening around fifty years ago based on what they think happened. There is nothing wrong with that. It just does not ring true in my brain.

And there is nothing wrong with that either—not ringing true in my brain! Some of it does. However, if you are going to say that this space that I understand is the only place where there is value, then what you are doing is acting like a dog. You are peeing on territory. Like an old caveman: marking off the area of your expertise and claiming that to be the only area. That kind of behavior protects you from having to compete with somebody who understands a different area. It is really some old business that is really territorial and fear-based.

As someone who has been dubbed as such--not just by a vote or because it was written somewhere, but because people continue to approach you and tell you that you are--what does it take to be an innovator?

Well, I do not think I have played anything that has not been played before. I think I have rearranged what was played before me in a sensibility that worked for my brain. So it was not that I did not carry the tradition with me, it is that I studied it. I studied all those drummers we have talked about and more—and not just the drummers but also the bands that went before me. So, when I came up with those things I played with Herbie, it seemed to me a logical extension of the stuff that I had listened to and studied. But, instead of playing swing, we were going to play eighth note or sixteenth note patterns—whatever that funky thing is. So I orchestrated my understanding in that direction rather than play it the way I heard everybody else play it.

I was never examining what other cats did technically or exactly how they played their beats. I never copied them. I just tried to play in that direction. There was no, right right left left foot foot stuff. Your hands and feet will just take you there and if they don't then you work on it. I worked on my own kind of technique by listening to guys and then trying to play the sound or direction of whatever it was they were playing. So then I took that information and something like what is on "Actual Proof" just poured out of me. I do not understand how another cat feels, thinks or breathes when he sits down behind the drums. I just know me so I have just played my stuff. But every record and drummer I have heard has influenced me. Paul Murphy's drumming has influenced me. It is all in my brain and it can come out. I played an avant garde gig not too long ago and drew on some of the things I knew Paul does—not exactly, just in that direction. I tried to get my bass drum moving like he does and play a lot of rolls and make things thick like he can. Although I do not know what his sticking is, I worked to create some kind of swell inside the music like I saw Paul do many times with Jimmy Lyons. And it worked great! Everybody liked it!