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Showing 1-25 of 551 posts in this discussion
Initial post: Oct 22, 2008 9:42:59 AM PDT
Nikica Gilic says:
Tonight I'm going to a double bill concert - first a tribute to a Croatian jazz veteran Aleksandar Bubanoviæ; the second part is the concert of the great trumpet player JON FADDIS.

The last concert I'went to was by Enrico Rava quintet.

In reply to an earlier post on Oct 22, 2008 10:40:53 AM PDT

Steve Turre,Bill Frisell,Soulive = most of the last day of Telluride Jazz '07. Missed T-ride Jazz and Blues entirely this year. DANGiT!!

On tap : . B.B.King this coming Friday 10/24/o8 in Albuquerque

In reply to an earlier post on Oct 22, 2008 11:40:09 AM PDT
Robert Payne says:
Recently I saw flutist Holly Hoffman and her husband, pianist Mike Wofford, perform at the Blue Room, in Kansas City. They performed with two of Kansas City's best known musicians, bassist Gerald Spaits and drummer Tommy Ruskin. Excellent set!!

Looking forward to seeing John Scofield for the first time, after the holidays! He is going to bring his working trio (Steve Swallow and Bill Stewart) to The Folly Theatre, in Kansas City.

In reply to an earlier post on Oct 22, 2008 3:40:56 PM PDT
The Daywood says:
Last night at a club in Denton...Tonight at a club in Denton...Friday...Sunday...

We have these amorphous Jazz ensembles that form, reform, disappear, reappear, get bigger, get smaller....All made up of students, alumni, and faculty from the UNT School of Music's Jazz Studies Program

In reply to an earlier post on Oct 22, 2008 6:31:59 PM PDT
Bryce Jerlow says:

This addresses the one I did NOT get to Mon, 10-20, though I was anxiously awaiting it: PHAT BIG BAND, whom I have never seen. I suddenly needed a medical procedure which was quickly scheduled for Tues at 6:00 AM. Safely back home an hour ago.

The Daywood: We have a broad jazz resource here in Los Angeles, but you have a vast reloading reservoir.

Bryce, aka JBJ

In reply to an earlier post on Oct 22, 2008 6:43:41 PM PDT
Big B says:
Sorry to hear about it J.B. I missed seeing Ramsey Lewis and Paquito d'Rivera this past Sunday night.......was cancelled as Ramsey Lewis is ill and has postponed the tour till further notice. Hope he will be ok.

In reply to an earlier post on Oct 23, 2008 4:06:23 AM PDT
Nikica Gilic says:
Sorry about medical problems;
I'm sure there be some great concerts soon in your area. L.A. must be a better place to go to jazz concerts than Zagreb, although Zagreb has very much improved in the past few years.
Related to that - Big B,
I'm sorry you missed on Paquito d'Rivera - I heard him last year in Zagreb (he was playing with the Brazilian guitarist duo made of brothers Assad) and he was magnificent.

In reply to an earlier post on Oct 24, 2008 4:14:36 PM PDT
Rusty says:
Used to live in Dallas and routinely got out to enjoy the one-o'clock lab band at North Texas.

Just saw Marcus Roberts with Jason Marsalis (d) and Roland Guerin (b) from the third row middle in gorgeous renovated concert hall. Jason Marsalis is as creative as any jazz drummer I have ever seen. GREAT show. Must see.

In reply to an earlier post on Oct 28, 2008 2:08:01 PM PDT
it was Ornette Coleman.

In reply to an earlier post on Dec 29, 2008 2:38:22 AM PST
Pat Nava says:
Buddy Rich Big Band (Special Guest, Don Menza on alto sax) - Great American Music Hall, San Francisco, 1985. Maynard Ferguson's Band opened.

In reply to an earlier post on Dec 29, 2008 4:04:30 AM PST
Bryce Jerlow says:

Your last gig was in 1985! Tuff to beat Don Menza or Maynard, but you sure have lost out on a lot of great stuff in the past TWENTY FOUR YEARS.

Bryce Jerlow
- last was BIG PHAT for the very first time last week. Nearly went to ERNIE ANDREWS 80th last night, but only in horse shoes and hand grenades ... Jan 2 will be seeing ALLEN BROADBENT followed on the 3rd by PONCHO SANCHEZ whom I also saw only a month ago.

In reply to an earlier post on Dec 29, 2008 8:33:18 AM PST
willm says:
Ornette in Chapel Hill,NC.Nov 13.Last tour date,08.

In reply to an earlier post on Dec 29, 2008 3:19:42 PM PST

Bryce has already echoed my thoughts on reading your post. Where have you been for 24 years? Practising, I hope. It was a thrill for me to see the Buddy Rich Big band on TV, so I can see why it has stuck in your mind, and you must have forgotten the gigs you have been to since.

My last concert was a big band from Sydney, plus two combos, just a few months ago. My last gig was Sunday - a straight ahead quintet. Before that was Saturday, and before that ... just too many to mention, at least 25 in the last two months which has included some of Australia's best, including Johnny Nicol on guitar and vocal.
and Willy Qua, alto and drums, formerly of Galapagas Duck.

New Years Eve will see me on a jazz river boat trip. Last New Yers Eve was Jack Sheldon with Tierney Sutton and her trio in L.A.


In reply to an earlier post on Dec 29, 2008 3:25:34 PM PST

re:Ornette in Chapel Hill,NC.Nov 13.Last tour date,08

How was that?

In reply to an earlier post on Dec 29, 2008 3:40:26 PM PST
Here's a sample of the gig's I attend. I missed this one, but I can see my octagenarian friend in the audience. She told me she got home at 1.30 am.

The musicians at this gig always share a few numbers with the apprentices. Please check them out. This is the future of Australia jazz - If there is a future audience.


In reply to an earlier post on Dec 29, 2008 5:46:43 PM PST
jazz fan says:
The Roots of Rock & Roll at Joel's Frontyard Steakhouse in Verona, December 20.

In reply to an earlier post on Dec 30, 2008 2:47:30 AM PST
willm says:

I was surprised at how great he sounded,although he looked a little frail.
He had his son,Denardo on drums w/two bassists.
Played for about two hours.With the political things going on in NC at the time it all seemed beautifully surreal.He only played four shows in the US on this tour.

In reply to an earlier post on Dec 30, 2008 8:21:24 AM PST
Nikica Gilic says:
I've heard (and seen) Ornette Coleman last year in Croatia - the impression was that he was physically very frail (he did have some sort of health problems not long before that), but musically he was very powerful.

In reply to an earlier post on Dec 30, 2008 11:02:18 AM PST
whim, Nikica,

V. COOL! You were lucky to catch those shows. I've never had the pleasure of seeing him live. I'll probably have to resort to a dvd.

In reply to an earlier post on Dec 30, 2008 12:29:51 PM PST
Last edited by the author on Dec 30, 2008 2:01:29 PM PST
Spartacus says:
Looking around to see what's up New Years Eve.
Actually the last live music I heard was last night at Cecil's In West Orange NJ. They have a house band that plays there every Monday Night let by Mike Lee, saxophonist who has played with a number of major orchestras including Maria Schneider and Joe Lovano. Last night featured a original piece by Craig Yaremko a really good young reed player. I had heard the piece done before in a small group and it didn't leave much of an impression, but arranged for a 17 piece band it was a real killer of a number with a lot of over the top playing by all the musicians. Craig has two CDs out if anyone wants to give him a listen. For samples of the house band at Cecil's, Craig has a couple of downloads available at his website:

As to New Year's eve, there's nothing happening around here. Californians are the lucky ones. I hear Kenny Burrell and James Moody (a Newark boy) are at the Jazz Bakery.


In reply to an earlier post on May 5, 2010 12:12:48 PM PDT
Mr. P says:
Gil Scott-Heron @ The Royal Festival Hall, Saturday 24 April 2010

Due to the fact no UK Jazz/RnB publications advertised the coming of this legend to these shores [for the first time in apparently over 20 years]; I only found out by chance two months after tickets went on sale!! GSH was due to play two gigs in April. The second date a few days later added due to overwhelming public demand. I knew what I had to do.

I just couldn't get a second night ticket but had an instinctual feeling GSH may do some extra nights in London as the demand was so high. I scoped the listings magazine and found he was playin an outside venue in London in July. Boom! I got tickets there & then! Two down, one to go.

Then an Icelandic volcano called, Eyjafjallajokull, decides to spit out an ash cloud in the weeks running up to the first gig. The volcano grounds all air traffic form Britain for the first time in UK aviation history! The Tuesday night gig is cancelled for safety reasons. Well, that's Mother Nature for you....just when the Human race thinks it runs things, she reminds us we just the latest inhabitants of planet earth.

I try desperately over the next three days and manage to secure one ticket way back in the rear stalls. On the day of the gig I spend 7 hours waiting in the `returns' area. I meet a down couple from Brooklyn who are here on business trying to get tickets and we kill time talkin music. I eventually score a row `H' seat! I decide to stay as there's only coupla hours til showtime. Peeps come and go. I stay. I get upgraded to centre seat, row `C'!! I realize I probably aint gonna do no better. But I stay in my seat till 10mins before the show starts....and I get an upgrade to the front row!!
After all this drama, after 7 hours of waiting [and so little current live footage of GSH on Youtube], I start to feel lil anxious as to whether he still got `it'.

I look round this large modern Opera House-style venue built exclusively for classical music acoustics and then turn my gaze to the stage. In contrast the stage is very plain, draped in black curtains, no stage sets or banners... just a piano, bongos and, centre stage, a beat up old Rhodes electric piano.
The lights dim fast and, without any introduction... Gil Scott-Heron, in suit, shirt and flat-cap, struts on stage with a huge grin! Instantaneously, the whole audience gets to its feet and applauds. He struts from one side of the stage to the other grinning as the standing ovation lasts for bout 3 or 4 minutes. The foot of the stage is covered by scores of paparazzo whose flash bulbs suddenly go manic.

He takes a microphone and says: "How you alright?" "What's happenin' out there!?" The instantly recognizable, deep mahogany-toned voice bellows from the wiry old man in front of me. His broad grin takes up the lower part of his face, his cap so far down his face he is all shadow from the bridge of his nose up!

I get an instant moment of mild shock. Now, don't get it twisted!!! I aint no groupie, I don't do `hysterical' over artists I admire. I admire, I don't idealize or hero-worship an artist. He is a flawed human being like the rest of us; not a god. He just happens to be a supremely talented human being. But his music has meant so very much to me over the years. And, for a brief moment I have to mentally pinch myself cos I'm acknowledging who is feet away from me.

Mr. Scott-Heron's grin is infectious and I find myself smiling from ear to ear. The applause dies down. He then proceeds for the next 10 minutes to do a stand-up routine [with some real corny jokes!!] He says for once a gig was cancelled and it aint nothing to do with him! He also talks of his work with an organization to demand that Black History Month in the US be moved because it was clearly the last month created [Black people at the back of the queue again!] and cos "February" is too hard to pronounce.

I watch him intently. I'm a people watcher anyways, I read body language. I notice that he looks much older than his 61 years. He has a slightly unsteady walk; his right foot seems a lil unstable. I wonder if this is scars from his often difficult life, but in the context of the comedy introduction, I feel he may be quite nervous. I worry for him. I get lil anxious again.

Then as he's talkin; Pro-Palestine protesters start screaming their slogans interrupting Mr. Scott-Heron;s flow. I feel myself sink drop my head into my hands and I say to myself: Oh man! Shut the **** up!

Mr. Scott-Heron realizes they aint gonna shut up and lets them scream out their message. They are objecting to his planned tour date in Tel Aviv and want him to boycott the date in protest at the way Palestinians have been targeted by Israel's army in disputed land.

They had been outside handing out leaflets...which is fair enuff. But to attend the show and try and make a protest in the middle of the gig was plain ignorant!

Then when the shouting kept interrupting Mr. Scott-Heron he became impatient with them. He'd let them have their moment and they wouldn't shut up. Members of the audience are now cussing these few protesters. Without missing a beat Mr. Scott-Heron said dismissively: "You've had your moment, this aint the U.N!" The majority of the crowd laughs. He continues: "People have paid money to hear music, if you wanna be heard get your own time on stage...and then I'll come along and bug the s*** outta you for an hour and a half!" The majority roar a cheer of agreement!

He walks to the electric piano and sits down. I notice his right leg bouncing nervously. He places his hand on the keyboards and plays a bum note. "I know I don't like that key!" I aint gonna front my heart was in my mouth at this point. He then places his hands down again. The chords create a sweet melancholic vibe that goes thru my ribs and I feel a tight lump in my throat. As the melody does the magic!

Gil Scott-Heron now effortlessly plays as the lights dim further. A clear white spotlight beams from the front of the Opera House ceiling onto the man and his piano. There is a subtle effect of dried ice smoke that creates an intimate smoky Jazz club vibe. Another white spotlight beams down from the back of the stage and as it penetrates the smoke creates an ethereal effect; its rays blessing the legend below.

He plays `Blue Collar' his funky-Blues from the early 80's but here there is no rhythm, its rearranged back to a cool Bluesy-Jazz ballad. For the rest of the night he continues in the same vibe...his Bluesy drawl over a cool Jazz arrangement...the material no later than bout 82. No Jazz poetry, no mid-tempo Funky Jazz fusion songs. He concentrates mainly on his ballads from the classic original 70's albums that were all based on his deep love of John Coltrane & Billie Holiday.

"You cant name where I aint been down." "Aint no place I aint been down!"

Between songs he continues to play chords as he drops some of his conscious thoughts bout we should learn our history before we blindly condemn immigrants. He plays his positive message of tolerance: `Alien (Hold On to Your Dream)' which recorded has a mid tempo Funky Latin feel but again here arranged in a sparse Blues/Jazz ballad vibe. The audience screams its approval!

He gives us his meditations of the seasons and there symbolic and, sometimes political associations: "We get Summer, then there's an Indian summer cos we forgot bout the Native Americans first time round." The moment he plays the first few chords of `Winter In America' the audience erupts into loud cheering & applause...
"When the Indians welcomed the pilgrims...."

The mood was mellow and soulful. In this huge Royal festival Hall, Mr. Scott-Heron created an intimate New York Jazz club vibe. I watched intently as he went from ballad to ballad, his right foot now keepin time, his eyes closed. Listening to his `stream of consciousness' thoughts. His singing voice, now lil deeper, occasionally with a croak but still there, still so distinctive. I felt his message spark all the synapses in my mind.

The ballads continue with the anti-nuclear power song `We Almost Lost Detroit' during which he introduces his band members as the song progresses, firstly his pianist a Sista with serious skills and then his Bongo player who slowly start to accompany him.

This is the early GSH sound I fell in love with so many years ago. I had expected a possible trip thru his 80's styles but clearly his `Bluesology' had come full circle.

Mr Scott-Heron speaks briefly about his recent jail terms, noting that a few journalists stated he was a sad man singin Blues-based ballads when he came out of jail... Mr Scott-Heron states he was actually very happy to be released. He says that some journalists wrote he disappeared but it was these people who did the disappearing. He also talks of his issue with music sampling. How he finds the using of someone's art without permission difficult to reconcile [the audience cheers its endorsement!] But he also confesses that he feels insecure that whoever samples his music may do a better song [!] However, he pays respect to MC Common for his use of a Scott-Heron composition and says "he's a very thoughtful, deep brother."

At one point Mr Scott-Heron walks to the front of the stage and talks about his celebrated classic album `Pieces Of A Man.' He's honored that so many fellow artists [from Esther Phillips to Patti Labelle] have over the years covered all the songs from the album...with the exception of the title track.
`Maybe there's a reason they left that one for me." He says with a wry smile. The instantly recognizable Jazz piano chords begin.....

"Jagged Jig Saw pieces, tossed about the room..."

As he stands and totally inhabits the song; I feel a rush of emotion and connection. One of my favorite joints. As he sings this sad observation of a man in crisis....its difficult not to feel the now autobiographical element to this song...Damn! That reached me to my bone!

After a solo piece by his gifted pianist, a dreadlocked Sista with mad skills on the keys Mr. Scott-Heron takes centre stage. He's joined by his harmonica player who doubles up as hype man. He lifts the peak of his cap and for the first time I can his eyes.

GSH begins to drop some wisdom about reclaiming the history and origins of Jazz.... [To paraphrase:]
"Back over a century ago in the brothels of New Orleans the Blues musicians would kill time by practicing tunes or accompanying the activity around them. [GSH raises his arm and mimics holding down chords on an imaginary double bass...he starts to mimic the walking bass line sound with his deep voice.]

In these Cat Houses these cats would improvise round the Blues and move the sound forward. Little lata it became known as `J***' [rythmes with schizm] music. An apt title in these surroundings.

Little lata, sometime in the 1890's, a large consignment of brass instruments that were makin there way to groups of White marching bands went missing. Little while lata a number of Black people were seen walkin round the streets with brand new saxophones, trumpets, horns & trombones. These cats would play this J*** music with soul...tryin to make a tune to get up and groove to. But the White residents would dog them for playin their brothel music; calling them `a**' playas and their songs `a** music cos they had no formal training."

The band start a walkin rhthym on the keys and bongos accompanying GSH's lecture....

"After a while the term `A** music' caught on....and got real popular. You could hear the Blues and Gospel in the Gumbo and a new dance music was born. Even some White people started to dig this new sound. Eventually, the White musicians would wholesale steal the once discredited sound and sell it as their own. Records and money could be made outta this Black dance music. But White people couldn't be playin no music called `J***!' They couldn't be playin an `A**' dance tune. So, the White people put the J*** and the A** together and came up with Jass. But it still kinda sounded nasty, so the s's got replaces with z's....and it became known as....Jazz.

What the Black pioneers started has become the template for all popular music in America and traveled the world. And this is in tribute to those early pioneers as Jazz and its elements are the foundation of all Black music that has developed since. So the next time you hear any popular music on your radio you can ask yourself this question: Is that Jazz?....and the answer invariably is Yes."

The band kicks in and starts to swing like Count Basie & orchestra with "Is That Jazz?"

"And Billie was really the Queen of a scene
That keeps echoing on in my head.
I take pride it what's mine is that a crime?
We overanalyze we let others define
A thousand precious feelings from our past.
When we express love and tenderness
Is that Jazz? Is that Jazz? Is that Jazz? Is that Jazz?"

The Harp playa blows a mean solo so fierce it sounds like a sax! The band has been on over an hour and it's the first up-tempo tune. I see movement in the corner of my eyes and look around to see young people outta their seats getting their groove on! The joint is jumpin!

GSH says he wanted to come to London as it's been too long and he has friends here....and they wont go see him! He also says he has a daughter here that is [I think he says:] twelve years old. He says she's `running in the race tomorrow' [the London Marathon]. "She'll be running at 6am in the morning, don't know anything bout running at 6am in the morning; hell, don't know nuthin at that time of morning." And dedicates his beautiful ballad `Your Daddy Loves You' to her.

After two encores the hype man gets us to join GSH one last time with the "celebrate, celebrate" chants that lead into the finale....'The Bottle'....

We all get to our feet and chant, sing and groove to this gifted and irreplaceable artist. The spirit suddenly took over and people from the seats behind were rushing the stage. The whole stage was full of young people chanting along, arms in the air!

As the song ended the audience stayed on its feet and gave a fitting ovation. More screams of `encore'; we hadn't had enuff yet! The band stood in a row, old skool style, bowed twice and exited the stage. On his way off stage GSH took the time to shake a few of the hands amongst the sea of reaching hands.

I wasn't ready for the end of the gig as the lights went up. I checked my watch; he'd been on for just over two hours!!....where did it go? I gave thanks I would be seeing this fascinating, uplifting and deeply moving artist in the summer.

As I glided out of the venue into the warm spring evening... I joined the throng of Londoners rushing around on the street outside. But I floated in a state of bliss...I had been moved....and it felt like home.

Posted on May 5, 2010 12:44:06 PM PDT
Last edited by the author on May 5, 2010 12:46:02 PM PDT
Ms. 90 says:
April 13, 2010 - The Bad Plus - Barns of Wolftrap

My first time seeing them and I really enjoyed the show. A little sterile, but enjoyable. They played my favorite songs - And Now We Test Our Powers of Observation and Flim.

Hope to see Ramsey Lewis next weekend.

Posted on May 6, 2010 6:06:31 AM PDT
wishing Ramsey a speedy and complete recovery.
I mentioned this in a diff. room I had the great pleasure of hearing Mike Renzi and Marlene Ver plank in Newport R I and they were Wonderful. mr Renzi is an excellent Player /accompanist both were cordial and eager to please the audience with any requests."the Spiced Pear rest. Fri. nites

Posted on May 6, 2010 6:58:40 AM PDT
Joshua Redman and Brad Mehldau, last Saturday night. Great concert... Redman was very good (I never realized how much he sounds like Johnny Griffin at times!), and Mehldau was incredible.

Posted on May 8, 2010 7:19:24 PM PDT
willm says:
Dave Rempis and Frank Rosaly.Next up,The Thing!


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