230 100 60595 https://digital.lib.buffalo.edu/files/original/0c6ba829cff0c270790f5864ba3b0b82.pdf 6c2b568d55f1a2daf0efad73fcfd273b PDF Text Text buffallo jazz (fepo(ft july/auguft '75 free no. 17118 /"' IL ASSOCIA TlON FOR JAZZ PERFORMANCE 7 I, DS 17 - IS don menza Don "Red" Menza (tenor sax) and Frank Rosolino (trombon e) kick off the month of July with separate gigs at Toronto's Bourbon Str eet. Menza , born in Buffalo, and Rosolino, along with trump eter Sam Noto, arefamiliarto many Buffalonians as they played a great deal in the city during th e 60's before moving West. Recent visits in c lude "Red" sitting in with the Professors at Gabri e l's Gate , and a feature appearance at a Philharmonic PopsPresen iation; Don & Frank were f eatured at a Buff State Jazz Ensemble Concert last year; and - Sam has been to Mulligan's Night Club twice, appearing with New Wave . Recent recordings featuring the three artists are Frank Strazzeri's Taurus on the Revelation label (Menza & Rosolino) and Red Rodney's Superbop on Muse (Noto) . Sam Noto will be at George's Spaghetti House Sept. 1- 6. neWf This issue covers July and August. The What's Happening Section includes all available information for both months . The Sunday Afternoon Jazz Scene, instigated by the No Name (with BJR assistance) has spread throughout the city . Mulligan's seconded the motion and many Buffalonians are now thouroughly enjoying the traditionally "dull" day . Anyone with info regarding other scenes, please contact our office . Many of you may be awar e by now of the Jazz Con cert s presented in Delaware Park . Theseconcerts are brought to you by AJP through th e cooperation of the city of Buffalo and the Dept. of Parks . Funds have been allocated from th e fed eral comprehensive training and employment act (CETA) to secure salaried , full time positions for mUSICians , artists and technicians. The concerts , presented every Wednesday and Sunday at dusk, are held free at th e Casino area . Members of the Ensemble include Jay Beckensteln and Phil DiRe (Director) - saxophones, James Ford reeds, All en Tinney and Jeremy Wall - keyboards, James Clark - guitar, Sabu Adeyola - bass and Nasara Abadey, Jerry McClam and Tom Walsh percussion . In autumn, AJP will produce a series of educational clinic performances with informational media presentations. AJP intends to commun icate its commitments to potentia I music ians and to encourage their interest and experimentation with Jazz . More on AJP in the future . Meanwhi Ie - enjoy those concerts! bulletin board CLASSIFIED Wanted 2-3 piece jazz group for Rest. - Tav ern on Elmwood Ave. - Sat. nites. 886-9270. CONCORD SUMMER FESTIVAL Concord has been the only festival promoter kind enough to send us information for incorporating jazz into your summer travels . Concord is about 40 mi les NE of San Franc isco . The festival will be held July 18,19,20; 25, 26, 27 and Aug . 1, 2, 3. Featured will be such groups as Pat Martino, Kenny Burrell, the L.A . Four, Crusaders, Jackie & Roy, Milt Jackson, Carmen McRae, The East & West Coast All Stars and more . For information write Concord Summer Festival, P.O. Box 845, Concord, CA 94522; or phone (415) 682- 6770. SYRACUSE NEWS The Dinkier Lounge, Syracuse's main jazz show place, is having problems with some new competitionRussia! Apparently a musical diplomat is offering.many jazz artists more money than they normally get to play for a cultural exchange program. Due to a few disappointments in the last few months with unannounced changes in the bands that back the featured artists appearing, the Dinkier is now in the process of changing their booking methods (they usually book well in �advance, but are now becoming cautious). Because of this, their schedule for July and August is not complete Iy set, but they sti II guarantee to prov ide the best in "adult jazz music" and suggest calling in advance for current and coming attractions. It's been along time waiting, but Syracuse now has a second jazz lounge to enjoy- the Casa Di Lisa on 1625 Erie Boulevard East. Its' a cozy place that featur es jazz groups four nights a week . Although the entertainment lacks the names featured in bigger clubs lik e th e Dinkier, the music lacks none of the excitement and many times surpasses it. Th e surprise of Casa Di Lisa is the impeccable taste that Ronnie and Lisa show with the booking of thei r week night 'house band'. On Saturdays the crowds turn out for an energetic band, the Larry Pines Quintet, that features music from Charlie Parker to Chi ck Cor ea . Th e Casa Di Lisa is an oasis for jazz musi cia ns and en thusiasts in a city in ne ed of small cl ubs. J.S . @ 1975 - Buffalo Jazz Report No portion of this publication may be reproduc ed without written consent from the publisher . Editor/Publisher - Bill Wall Contributors - Tom Alabiso, Loui s Bradshaw, Paul Gresham, Marty Hazen, John Hunt, Tom Mazzone , John Osborn, Paula Wall. Illustrator - Christine Engla Eber Correspondents Roch ester - Jim Laniok Syracuse - Jerry Stabil e Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 (feco(fdnn9~ PAUL DESMOND - PURE DESMOND - CTI 6059 S1 This album is aptly titled because I doubt if it could be more "pure" . It is a quartet session featuring Canadian guitarist Ed Bickert, Ron Carter and Connie Kay. The music is typical of a Desmond set in a live performance - ballads and up-tempos, with graceful melody lines throughout. There are no Desmond compositions her e as he uses the works of Ell i ngton, 0 jango Reinhardt, Cole Porter and others . Bi cke rt has been working with Desmond upon his visits to the Bourbon Street in Toronto, which resulted in this album. He is an exceptional guitarist, often reminding me of Jim Hall. BW. BLACK GIANTS - COLUMBIA PG 33402 Columbia 's latest " twofer" is a collection of 17 tracks from as many artists ranging from a 1927 Louis Armstrong performance of Potato Head Blues t o Mingus ' 1972 Ecclusiastics . Most of the material was recorded after 1956. The biggest tr ea t here is a 1958 recording of LoveForSalebyMileswith Cannonball, Coltran e and Bill Evans which runs 11:45. That track has never previously been released . A great educational package. B .W. 2 When You Are In Toronto This Summer, Be Sure To Visit The Jazz and Bluel Record Centre 893 Yonge ftreet 416- 929- 5065 recordf. book,. fOOgazineJ; jazz information - import fpecialift Jazz Specialists For 17 Years PAUL BLEY - COPENHAGEN AND HAARLEM ARISTA AL 1901 A highly improvisational, totally acoustic, double a Ibum consisting of two separate sess ions - side one and two recorded on November 5, 1965 in Denmark, sides thr ee and four recorded a year later in Holland . Bl ey's piano is one third of a tri o along with Barry Atlschul on drums and Kent Carter on bass for the Denmark recordi ng, and Mark L evenson taking ove r for the Holland dates. "Mister Joy" , a liv e cut, stands apart from th e other material as the most lyri ca l with fine soloing by Bl ey and L even son. A comparison to some of the work of Keith Jarrett is easily noted. J.H . BOBBY HUTCHERSON - LINGER LANE - BLUE NOTE 369 One might suspect a commercial venture when reading of background singers and the Theme From M.A.S.H. on the cover. Not necessarily so. Although this would appeal to wider audiences it should also be of interest to fans of Bobby s previous works e.g. San Francisco. Recorded outdoors at Idylwild, CA, it is lyrical, rythmical and easy to listen to. Hutcherson is heard on lyon mar imba with a septet that includes John Rowin on guitar, Harvey Mason on drums and Bobby e Hall on percussion. I have to object to the shortness of side two (approx. 11-1 / 2 min.). which is not compensated for on side 1 (19 -1/2) . Nice, but not as good as his previous Cirrus. B .W. haircutterl er~~~ +II~ 59 Kenmore Ave. (corne~ ft. 11(iii._ 836-1781 of Wi ndemere) behi nd jewel ry store in basement of Haircuts Underground �THE BLUE NOTE RE-ISSUE SERIES Many people, myself included, had been wondering what happ ened to Blue Note, THE jazz label of not so long ago . Now they ' ve burst forth with a monstrous init ial release (9 2-record sets) in their rew re- issue series, with a promise of many more to come . Th ese nine are: Horace Silver, Jimmy Smith, Freddie Hubbard, Herbie Hancock, Ch ick Corea, Dexter Gordon , Stanley Turrentine, Thad Jones/M el Lewis , and Sonny Rollins. The musi c is all from the 1960's except where noted below; each has authorative liner notes; th e pressings are fine and most of th e discs average over 20 minutes per side. Now, some brief notes on som e of the albums: Dexter Gordon (LA-393) - some of the best tun es from the tenor giant who influenced Coltrane and countl ess others . Al so, a track from the now de leted album Gettin' Around with Bobby Hutcherson . H is post '65 work is on Prestig e, BASF and Steepl echase. Thad Jones/Mel Lewis (LA-392) - from th e solid state sides and 2 from Consumation . Also, tracks with vocali sts Ruth Brown (original LP deleted), and Joe Will iams. Big band of course . Stanley Turrentine (LA-394) - Stanl ey did a ton of work for Blue Note . Thesearesemi - bigbanddates and small group sessions, the latter featuring Kenny Burrell and his ex-wife Shirl ey Scott on organ. Freddie Hubbard (LA-356) - a good sampling of si x of Freddie's Blue Note sides featuring McCoy Tyn er, Elvin Jon es, Jimmy Heath, Julian Priester , Cedar Walt on, et c . Herbie Han cock (LA-399) - the best way for Her bi e's new fans to look into his formative years . In cludes Maiden Voyag e; ranges from '62-'69. Chick Corea (LA-395) - mostly trio dates w/ Miroslav Vitous & Roy Hayn es, or Dav e Holland and Barry Altschul. Also 3 tracks from larg er group recordings from is (on solid state) . Covers '68-'70. Jimmy Smith (LA-400) - 10 tracks from 9 sessions covering th e period from '5 6-'66. Includes some of his best known tunes. Horace Silver (LA-402) - Silve r has been with Blue Note since '52 and is well represented here with many of his classics included . Some ofthemusicians Joe Henderson , J.J . Johnson, Randy Brecker , Billy Cobham , Louis Hayes. Sonny Rollins (LA - 401) - His Blue Note period ('56-'57) well covered. Includes tracks from 4 out of ~Utntotun lltatbtr~ Custom Tai loring in Suede & Leather Clothing - Bags - Sandals Acc essory Items Herba l Teas - Exotic Coffee Bea ns 77 Allen ftreet 882-5633 WELCOME TO ONE OF THE LARGEST COLLECTIONS OF JAZZ IN THE COUNTRY Plus Prices Below Most Competition Incredible Selection - Low Prices University Pl aza -B"fl o. 25 Marshall St. - Syr. Steepl ec has e, Sackville, Choice & Halycon print albums . A must for Rollins fans . Includes Elvin Jones, Monk, Art Blakey, Donald Byrd. B .W. THE ELEVENTH HOUSE featur ing LARRY CORYELL - LEVEL ONE - ARISTA AL 4052 For those who li ke the heav y, electric Coryell , thi s latest release is a good example. Similar to Introducing th e Eleventh House, th e combination of Coryell 's guitar, Mike Mandel on synthesizer/ keyboards, and Mi c hae l Lawrenc e (replacing Randy Brecker ) on trumpet/flugelhorn pro vide a tight , rhy thm-l ead alternati on. Coryell ta kes th e forefront throughout but unlike the first album, Mandel 's syn th esizer work is quite reserved. Mi c hael Lawrence who has worked with Joe Henderson and Hora ce Si Iver., among others, plays except iona Ily well wh en given the chance. Mouzon drives th e group forcefully with his percussion and newcomer John Lee adds a phase-modu lated bass . Th e album is com pl ex, fast and high powered. Exceptions are mellow Diedra and Coryell solo, Eyes of L o ve. This is on e of Coryell's better efforts but his group nee ds more room t o demonstrate th eir capabilities. T .M . BEN WEBSTER - Duke's In Bed ; Atmosphere For Lovers & Thieves ; Swingin ' in London - Black Lion Audiofidelity has released three albums in the states by tenor giant Ben Webster , who di ed in Den mark two years ago. Duke 's & Atmosphere were recorded, for the most, at the same sessions in 1965 - a year after Ben left the states . The first is a mixture of ballads and uptempo tunes, where the second consists only of slow ballads - a Ben Webster specialty . Two groups are featured - the Alex Riel Trio w/ Kenny Dr ew and Niels-Henning Orsted Pederson; and - a 6- pi ece band led by trumpeter Arnved Meyer . Swingin ' finds Ben teamed with trumpeter Bill Coleman and was recorded in 1967. Backed by a guitar-piano-bass - drums section , Ben is heard on one track, Bill on thr ee and together on th e remaining three . Included is the Webster repetoire standard Sunday & Satin Doll. In shori - the musi c swings. Anyone not familiar with Ben would do well with any of the above . He ' s too great to be passed by . B.W . 3 �CONCORD JAZZ Concord ha s r e l eased three mor e platt e rs, bringing th e ir total ou tput t o e ight. Ruby B raff/ Ge o. Barn es Quartet Salutes Rodgers & Hart (CJ 7) is th e groups third and probably best r e lea se t o date. It s a mor e spirit ed and less "stuffy" than th eir prev ious work and pro of that ke eping a group togeth e r, as well as stead y work, pay s off. As th e t i tl e suggests - its all R & H c lassi cs. A jumpin' li ve sess ion recorded at th e Concord Summ e r F esti va l comes f rom He r b Elli s , RayBrown, "Sweets" Edi so n, Pla s Johnson and Geo rg e Duke. After You've Gone (CJ -6 ) has some blues and ballad t racks, but mor e ofte n than not it sw ing s. Its great to hea r Pl as (sax & flute) on record ag a in . Herb i s his usual hi ghness and Duk e is supe rb - hea rd only on acousti c piano . Th is group i s billed as theWest Coast All Star s for thi S summer's f es tiviti es. A good-time is availab le via Th e L.A . F ourSco r es (CJ - 8) featuring Laur indo Almeida, Shelly Manne , Ray Brown & Bud Shank. lis Lalln styl ewi thblts of M an neFunk added for extra zest Shank IS heard on sax and flute; Almeida, of course, IS on c la ssica l guitar. B oth Brown and Manne are known for their supernatu ral sense of time, Ihus, there's no dragging here . Why a "good-time"! For example, Shelly says of the B erlmbau he plays on Berlmbau Canoca "you ca n hunt with it or you ca n smoke i l." The mood of the mus IC is a B .W. r es ult of th e mood of Ihe artists. NEW RELEASES WOODY SHAW on MUSE ••• with Cecil McBee, Buster Wil· Iiams, rence, Azar Law- Onal e AI ~en Gumb s, 5058 etc. MR WOOD Y SHA W - THE MOONTRANE - MUSE 5058 Woody Shaw has be en a fea tur ed so lOist in groups led by such hi ghly regarded musicians as M cCoy Tyn er, J oe Henderson & Horace Silver. Here he impr eSSive ly displays hiS ta le nts as a lea de r with his thir d album Th e Mo on tran e (others on co ntemporary). Woody maintain s hi s traditi on of being in some of th e mo st desirabl e musical compa ny one could imagi ne and acts according ly . Th er e i s eve ry r eason here to be li eve that Woody Shaw is a musical for ce to be reckoned with. Hi s pe rformance throughout is impeccab le regardless of temp o, and hi S sens itiv e use of 3 horn s mo st ce rtainly deserves an honorabl e mention . The Moontran e i s a must. P.G . DOM UM ROMAO SPIRIT OF THE TIMESJoe Beck & Others - MR 5049 JOE BONNER ' THE LIFESAVER - Solo MR 5065 SONNY CRISS 'CRISSCRAFT - The Legendar y Alto players lirst i n 6 yrs . MR 5068 KENNY CLARK-FRANCY BOLAND BIG BANDI OP EN DOOR MR 5065 P revious Muse albums by Roy Brook 5 , Sonny Stit t, Pat Martino, James Mood y , Catal yst , Cedar Walton , Jimmy Heat h , & many others. Eric Kloss, Car l os Garnett ANDREW HILL - SPIRAL - ARISTA AL 7007 Th e pe rsonnel on th e album imm ed iate ly al ert you t o the po ss ibi lit i es of some great mu s i c. You will not b e disappointed . Hill has been around for many years and played with some of the be st. On e of th e pr etti est pi eces on th e album is In vita ti on, a duet betw ee n Hill and K onltz. That take s nothmg away fr om th e oth er se lect i o ns included her e. A fine, melodic sessio n all th e way around . Andr ew Hill i s an excep ti onal pianist! compo ser with a numb e r of fme records t o hi s cred il. He's not been recorded often enough, and thi s one's a tr ea t. J.H. available now at ~"", ~\~\\\ DISCOUNT ~~ 1,/, ~ageS RECORDS Coupon worth TWO DOLLARS I I Jozz Off the Mlgrs. sugg. list price 01 any availobl e Albu m at any 01 the 9 CAVAGES locations. I I Expires 9-1-75 I • SENECA MAll I.. • BOUlEVARD MAll • COMO MALL I • MAIN PLACE MAll • THRUWAY PLAZA L! SO~SH~. ~RS~.l~O~ll.J 4 DEWEY REDMAN - LOOK FOR THE BLACK STAR ARISTA AL 7077 Anoth er of the A r is ta- Freedom releases, thi s one be ing Redman' s fir st recording as a leader in 1966 in San Fran c isco. By most st andards, an a Ibum way ahea d of it s time in terms of eac h members individual freedom of expr ess io n and degree of exp erim entati on. Of note are th e myriad sounds Redman co ax s from his �FREE PARKING AT JAm THE RECORD mAn fHERWAY GARDEnJ Best Domestic & Imported Jazz Records & Tapes Available Take Evans Ave. Cu toff (OEW pl"ior to 427 Hwy.) On Your Next Trip to Toronto U.S. Funds at Par - Tourist Info. Available tenor, hi s voice, and from th e horn-voi ce combination - not all of which are necess arily pleasing. The work of bassi st Donald Garrett (recording mate of Coltrane and Ar chi e Sh epp) and of piani st Jym Young remain outstanding through out. J.H. SONNY CRISS - SA TURDA Y MORNING - XANADU 105 Sonny Criss' last album was released in 1969 . Now , after SIX years, the alto player comes to light with two albums - thi s and Crisscraft on Muse . Producer Don Schlltten knows how to put acousti c, straight ahead saxophone sessions togeth er (Stitt, Cn ss, Gordon, etc.) and this is no exception. Th e section - Barry Harri s, Leroy Vinnegar and Lenny McBrowne are naturals for this type of session and perform admirably throughout. Criss is great in his blues / bop style - always fluid and melodious . Liner noter Mark Gardner points out that his sound is crisp . Add that to the above . Highly r ecommended. B .W . BILL Y COBHAM - SHABAZZ - ATLANTIC SD -18139 Recorded live in Europe. Cobham's drumming pyrotechnics are displayed very well in this release . Th e drums become overpowering after a short period of listening. Th e band hastheabilitytoperform tightly (eg Cobham's last album Total Eclipse) but live it seems to lack continuity and direction. Mil cho Leviev on keyboards, th e Brecker brothers on sax and trumpet , Glenn F erris on trombone, andJohnAbercrombie on guitar provide some entertainment, but on the whol e, they are overshadowed by Cobham. T.M. ZN~U~~ '7'1t.{z &de ~ l2t-- ~People~ .PI7 /f/lpv XANADU GOLD Th e first series from Don Schlitten's Xanadu label includes thr ee discs in the gold "original recordings" senes . Johnny Griffi n, Barney Wi len and Kenny Cia rke are featur ed with Bud Powell on Bud In Paris (X - 102) . Fiv e sessions in '59 & '60 are included, my favorite being two piano - tenor duos with Griffin. Wil en r eplac es Griffin for 4 more in a quartet setting, the r es t beinq trio . Great Powe ll . Jo e Guy & Hot Lips Page (X-107) is, as the titl e suggests, a Trump et Battle at Minton 's. Recorded in 1941, th e tracks ar e long considering their age. Th e trumpets are hot, Jamming withsuchp eopl e asCharli e Christian, Monk, K enny Clark e and others, as well as a few "unknowns". Hampton Hawes & Paul Chambers ar e the hosts for The East/ West Controversy (X - 104). Sid e one is a 1951 tr io date w/ Hawes, Harper Crosby and Lawrence Marbl e. Side two is the gem - w/ Chambers, Jack M ontrose & Bill Perkins on saxes, pianist Paul Moer and drummers Mel Lewis or Philly Joe Jones. No disappointments her e for any fan of good jazz. Th e shortest side runs 28 minutes' B .W. MULLIGAN'S Nb~~~ JAZZ ON SUNDAY AFTERN(X)N ! LIVE JAZZ EVERY SUNDAY ON THE NIGHT CWB STAGE! 4-8 PM! JEAN LUC-PONTY - HERE IN SEPT. MNC ........1677 HERTEL AVEf\lJE MICHAL URBANIAK - FUSION III - COLUMBIA PC 33542 FUNK FACTORY - ATCO SD 36-116 The violin of Mi chal Urbaniak is featured on two releases. Urbaniak's Eastern European jazz remains . unique even with the addition of Am erican artists such as Larry Coryell, John Ab ercrombie and Steve Gadd. Funk Factory is laden heavily with voices (Urszula Dudziak and th e B ernard Kafka Singers) and as th e name implies, the major theme is funk. Nothing t oo impressive here except for some interesting synthesizer work by Wlodek Gulgowsk i. Fusion 1/1 displays Urbaniak's concern with music texture . His sonorous violin, Gulgowski's synthesizers and Dud ziak's voice bl end well t ogether and make this release Urbaniak's best to date . T .M . GA TO BARBIERI - ALIVE IN N . Y. - IMPULSE ASD 9303 This album brings to mind a recent Gato concert in Buffal o, presented just over a month after this recording . With his previous disc (Chapter 3) we wit nessed a mellower Gato and this one falls along the 5 �same I ines . Tw o tun es from that album ar e heard here. A plus for this session over t he Buffal o date is the inclusion of bassist Ron Carter, freeing Howard John son to perform on flug elhorn, tuba and bass clarinet. Th e leader is his usual (passionate) self, and occupi es most of th e solo space. In short - if you like his re cent work you might givethis one some th ought. B .W . JOHN HENDRICKS - TELL ME THE TRUTH-ARISTA 4043 Coming from the ranks of Lambert, Hendri cks and Ross, vocalis t J on Hendri cks B elongs on record - its as simple as that. Here he scats, sings ballads, funky tunes and swi ngs; all with a natural ease. Espec ial l y noteworthy is Coltrane's Naima, to which J on has added lyrics; Old F olks - the lusty ballad sta ndard ; Gil Evans' Blue s For Pablo and th e titl e track - a Hendricks original. Different combinations of accompanying musicians are utiliz ed to effectively ac hi eve a balance d yet diversified set of music . B.W . MARION BROWN - VISTA - IMPULSE 9304 Regardless of your feelings about Marion, this release should be a very pleasant surprise. If you ha ve bought hi s albums in the past, this won't let you down . If you've been i nclined to overlook Mari on for a more popular sound - Vistashould satisfy any doubts about his artistry . Lend a particular ear to the beautiful arrangement of Stevie Wonder's Vis ions - you may wonder why Stevie didn't do it this way. The album features vo cals by All en Murphy and some really ni ce piano by Stanl ey Cowell. An additional surprise is the appeara nce of drummer Ed Blackwell . P .G. MODERN JAZZ QUARTET - LAST CONCERT ATLANTIC SD2 -909 Four sides of some of th e bes t MJQ on r eco rd. Anyone who has enjoyed any of th eir music in the group's 22 year hi st o ry shou ld be totally pleased with this li ve concert, which, to my ears, boa sts an incredible amount of spirit, camarade ri e, vita l ity and creativi ty . W ithout a doubt - it's worth th e pri ce. B.W. an intense version of Hancock's Riot. It is on Side two - Charity & Cumulus th at B itches comes to mind. It tak es a few li s tenings to t ota lly appreciate this record available through Testam ent Reco rds , 507 Palo Verde A ve., Pasadena, CA 91107 (if not locally). B .W. CECIL M cBEE - MUTIMA - STRA TA EAST Ba ssist Cec il M c Bee is probably most currently noted for his work with Pharoah Sanders and Music In c. His debut album Mutima combines th e conce ptual approach of that work experience. Side 1 opens with a solo pi ece From Within on whi ch he plays acoustic b asses and gives an ex tensiv e I istening observ ation of h is ability to master th e instrument. Then its the avant garde Life Waves. Side 2 begins with the title tune and finds th e 13-pi ece band in a more melodic context. The album concludes with a freespirite dtune titl ed Tulsa Black. All composi lions and arrangements are by Ceci l and show a highly consc ious effort on his part. P .G . JEAN LUC- PONTY - UPON THE WINGS OF MUSICA TLANTIC SO 18138 Jean Luc- Ponty presents an album that is an exampl e of co mb ini ng a master vi olinis t with an excellent background group. Luc - Ponty is one of th e best jazz violinists today and he doesn't disappoint us here. The influenc e of th e Mah avishnu Orchestra cannot be deni ed, but Luc-Ponty goes beyond intricate, machinegun rhythms and plays beautifully, utilizing th e keyboard work of young Patri ce Rushen (whi ch is out- ERICSON LOUNGE FORrJlERL Y -THE ROYAL ARMS" Presents In A Rare Club Appea rance BIRTHRIGHT JULY 11.12.13 and 18.19.20 KEITH JARRETT - EL JUICIO - ATLANTIC 1673 Th is was r eco rded a f ew years back when Jarrett was with Atl antic. It is very similar t o his current group work - side one being melodi c and structured whil e side two is more "outside". Fin e music fr om B .W. the Jarrett Quartet and good programming . PHIL WOODS QUARTET - TESTAMENT 4402 Th is album comes from tapes of Wood's 1973 West Coast Quartet. Unlike his recent Muse effort, it is almost totally electric . Woods is onelectric sax , P ete Robinson - keyboard and synthesizer, Henry Franklin - bass and Brian Moffatt - per c ussion . Th ere's no bop here , rather Post Bitch es Brew jazz w/ rock overtones. Nefertiti is taken at a much faster t empo than on his previous recording and is joined to 6 GIANT STEPPES JULY 25.26.27: AUG.I. 2.3 101il3 19 W.UTICA 886-9163 SUNDAY NIGHT IS JAM NIGHT All Musicians Welcome �standing) - Ndngu (of Weather Report, George Duke, etc .) is impressive on percussion and with Mahavishnu's Ralph e Armstrong on bass , th e rhythm section is complete. Exce ll ent listening. T .M. JIMMY SMITH 75 - MOJ) 12828 This one's a few notch es above his prev ious Paid In Full. Sid e on e was done live in Tel Av iv, Israe l (1974) with guitarist Ray Crawford and Donald Dean . Smith plays his tail off and the audienc e is right with him. Mojo Wo rk in ' (a standout) and Organ Grinder's Swing are included . Side two is a studio session with the trio augmented by percussionists on various tracks . Its more polished and a bit less inspired (to be expected) but enjoyable nonetheless with tunes such as Tes tify in , and St. Thomas . Without a doubt Jimmy's best in who knows how long. Avai lable from Mojo Records, Suite 307, 6355 Topagna Canyon Blvd ., Woodland Hil l s, CA 91364. B.W. STANLEY COWELL - BRILLIANTCIRCLES-ARISTA AL 1009 An Ameri c an release of an album r eco rded in 1969. The titl e cut, an impressive opening tun e writt en by Cowell, has a beautiful melody lin e and ample sol o room for everyone. This pattern continues throughout the album . With establish ed musicians like the ones on this session, and allowing them individual expression it's hard to go wrong. Cowell's styl e is a pleasing synthesis of structure and informality . Definitely one of the better albums in the J.H. Arista series to date. BRASS CO. - COLORS - STRA TA EAST 19752 A big band recording led by B ill Hardman, Bill Lee & Billy Higgins . Th e arrangements are loose, leaving plenty of room for r elaxed improvi sation. Augm ent ing the 12 piece group (on different tunes) are Clifford Jordan, Stanley Cowell and Ch arles Tolli ver. All compositions ar e by the three leaders, and included is Alias Buster Henry - which was on Jordan 's Glass Bead Games. The title track is a 12 minute suite with extended so los from T olliver,Kiane Zawadi (Euphonium) and Lonnie Hillyer (Trumpet). Good l istening. B.W . OLIVER LAKE - HEAVY SPIRITS - ARISTA AL 1008 With Anthony Bra xton writing the liner note, you get a strong indication as to what lies inside. F rom the opening bars, Lake takes off with his alto sax and stretches the music. The mysterioso violins and the trombone of Joseph Bowi e on side two add additional color to th e already expansive, free style. Th e tune, 'Heavy Sp irits" , is the exception to a rather unmelodi c album . Lake's debut recording for Arista is good for those who enjoy th e avant - garde but it does take conSiderable listen ing. J.H. ROLAND HANNA - PERUGIA - ARISTA AL 10TO The first thing that struck me about this album is the excellent quality of th e live recording . Roland Hanna was a cut and a half above even the best big band piano players when he was with Thad Jones and Mel Lewis . He proves it's all there and more with this solo date, by his superb technical skills and by the response of the Montreaux audience. You'll want to savor every note of th is one. J. H. Come share summer with us. For Free: Trlsha Brown Dance Company, July 7-13. Workshops, rehearsa ls and pertormances. Soho Ensemble, Aug. 13-19. Makes great chamber music. Gerry Tarack, Aug. 29-30. A fresh and young chamber ensemble. Free Street Theater, Aug. 15-17. A many-talented wonder. Off Center Theater, Aug. 29Sept. 1. Theater involving you John Mills-Cockell, Aug. 20Sept. 2. SyntheSizer composer and Artist in Residence. Viola Farber, Aug. 30Sept. 1. Pertormances, workshops, rehearsals of modern dance. For $3. Bolshoi Ballet, July 12-14. Only lawn seats remain . Avail able day of pertormance. The City Center Joffrey Ballet, Aug. 12-16. Back for another dazzling trium ph. The Eliot Feld Ballet, Aug. 22-24. Acclaimed company will premiere new work. Artpark Box Office is open 10:00 AM to 7:00 PM . Ask for the complete list and schedule for Artpark '75. For ticket information ca ll 754-4375 or from Buffalo 694-8191 , ( IIII ) Artpark'7S wlhat'~ Ihappeniing buffalo area NEW DIXIE MINSTRELS - traditional jazz at th e Inn on Colden Lakes, Heath Rd. , Colden Sat. nights, 10- 2; Paul Snyder 's Darien Lake Pub July 4 & 18 - 8-12 PM ; M & T Plaza July 18 at noon. STA TLER HIL TON - See ad. MULLIGAN'S - See ad . NO -NAME - See ad. Pg . 7 AJP CONCERTS - every Wed. & Sun . at 6 PM Delawar e Park Casino Area . every JUnOAY 7-11 TUEJOAY 10-2 bar with no name 946 elmwood ave. at bidwell 7 �Bourbon cD®~ m®~rnillI1 ~ 1rrnrn ~rnw Willwrn Street TORONTO w®~ ijThJlfrn JJrnn~ as ~ @~o ijThJlfrn ~rnrno illf®ffiJ ®l])ffiJ (4 16) 864 - 1020 And following: John Culliton Mahone, and The Salt CitJ Six FRA NK ROSOL! NO July 1-1 2 DON MENZA July 14 - 26 CHAS. McPHERSON July 28 - August 9 JOHNNY GUARN IERI August 11 - 23 VICTOR FELDMAN Aug. 25 - Sept. 6 July 8 thru July 27 Tues. ttlru Sun. from 9 PM • No cover • Free parking in the Statler garage I)()W~T()W~ Phone A head for Dinner Reservation s D ine & Danc e 9 - 1 No Cover The Statler Hilton a WO. Hassett enterprise WILL ALGER'S JAZZ BAND - Fieldstone Manor (Lockport) Fridays 9:30-1 :30, Saturdays 10-2. ..xJHNNY GIBSON TRIO w/ Geo . Holt (tpt. J - Anchor Bar Fr i. , Sat. & Sun . nights . ERICSON LOUNGE - 19 W. Uti c a - Birthright& Giant Steppes - See ad Pg. 6. toronto BOURBON STREE T - See ad . ONTARIO PLA CE - F oru m - July 8 - Dave B rubeck ; Jul y 12 - S. K enton; July 19 - M. F ergus on; July 26 B oss B ra ss; Ju ly 29 - Michel L egrand. Aug ust 5 C. M angione; August 9 - Bas ie; August 30 - P eter App le yard Big Band w/ Joe Williams. GEORGE 'S SPAGHETTI HOUSE - 290 Dundas St. , E. Rob M cConnell - July 7- 12; Ginni Grant 14 - 19; Mo e K offman 21 - 26; Don Gillis July 28-Aug . 2; Hagood Hardy 4-9; Ted Moses 11-16; Moe Koffman 18 - 23 ; Fred Stone 25-30 ; Sam Noto Sept. 1-6. GROS$MANS TA VERN - 317 Spadina - Traditional jazz F ri. & Sat. nights. OLD BA VARIA - 5 St. Joseph St . - Climax Jazz Band 6 nights a week. COLONIAL - 201 Yonge - 363-6168 . Jimmy McGriff & Richard HGroove* Holmes July 14-19; Lonnie Liston Smith Aug. 4-9 ; Stanley Turrentine Aug. 18-23. Cover charge . Note: In view of the many disappointing can cellations in th e past, the BJR r egards all bookings at the Colonial as tentati ve . 8 roche/ter AUDITORIUM THEA TRE - a new Chuck Mangione Con cert w/o r ch. and Esth er Satte rfi e ld. July 25 & 26. Phone 325 - 1070. TOP OF THE PLAZA - Maynard Ferguson - July 8 & 9 . Ha rvi Gri ffin (Jazz Harpist) fr om July 7 through 30, except 8 & 9. 5-7:30 & 9 - 12 PM, No Cove r . VINTAGE REST. (Ramad a Inn) 1273 Ch ili Ave . 4648800 . July 8-1 2 Horace Si l ver ; 15 -20 Jo e Williams; 22 - 27 L onnie Lis ton Smith; 29 - Aug. 3 Cannonball Adderly . Shows 10 & 12, Cover Charg e. No blue j eans. MONTICELLO - 800 Jefferson Rd . - Gap Mangione th r u July 27 . Iyracu/e THE DINKLER MOTOR INN LOUNGE - 1100 James St. - Geo. Giroux Trio thru July 5. Bookings for July and August are tentative and will f eature adult jazz music ... c all for current attractions - 472-6961. . CASA 01 LISA - 1625 Erie Blvd . East - Wed . Jam nite with Marcus Curry- F ri. to be announced live ent. Sat. - Larry Pines Quintet - Sun. - Marcus Curry (on guitar) - no cover at ali times . . PINK PUSSY CA T - Ponderosa Plaza Rt. 11, North Syracuse . Jazz every Mon. Night with Steam. RADIO WAER 88FM Wed. 6 am - 9 am "Wake Up to Jazz" with Kevin Sio WONO 107. 9 FM Jazz every night (except Sunday) 1 am - 6 am . Various hosts . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3585 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 17/18 Date A point or period of time associated with an event in the lifecycle of the resource 7/1/1975 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 17/18 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/c9244823d42f2310e26f39a406a1253b.pdf 46fa95db9077d360747fc7c9274de94b PDF Text Text lbuffallc jazz fepc" leptember '75 free /'1 L I i1 Q SE? 91979 no. 19 Ve ssl ons l ike Somethm ' Els e (with Mil es DavI s ) will ,make you wond er If he wasn't on an equal lev el with Miles at that time . Cannonball was one of th e fewJazzartlststo maln taln a somewhat stabl e f i nanc ial conditi on dUring th e '60s when the musI c lost much of ItS popularity But with th e suc cess of tunes such as Work Song; Mercy, Merc y, Merc y & oth ers, he keptgrowinginpopularity . His own group first r ecorded for Orrin K ee pnew' s Riverside label. Two of those have be en r e- issued as Cannonball & Eight Giants on th e Mil eston e labe l. Hopefully, more will be available . In ' 64 he went with Capitol, f or which he r ec orded more than 10 albums . Som e r ec ommended albums on that labe l are Black "v g-p ~ '/ " (\0 . \ Messiah, Country Preach er, Price You Got To Pay To Be Free & Walk Tall/ Ouiet Nights . In 1973 he went / Cannonball Adderley The world of Jazz ha s indeed lost anoth er great with th e death of Ju I i an Cannonba II Adde r ley . He has always been known to mu s ic ians and listeners alik e as a gr eat compo se r, perfo rmer and ente rtain er as well as a pro lifi C sp eaker and lectur er . Cannonball was born in 1928 in Fort Laude rdal e , Florida . He had been succ essful ther e as a lo cal band leader and as a high school musi c teacher and was leader of the 36th Army dan ce- band before moving to New York in 1955. His ni ckname actually was Cann ibal as a r esult of hi s huge app etite . He started touring with his broth er Nat and their combo in '56, and join ed Mil es a year later . Aft er leaving Davis he r e- formed a quintet with Nat which soon bec ame one of the most popula r groups in jazz. In 1961 Joe Zawinul j o ined h is group as did Yusef Lateef mak ing a sext et. Lateef was r eplac ed two y ear s later by Chas . Ll oyd . In ' 65 th e group r eturn ed t o a quintet. From th ese groups until his la st , Cannonball has alway s maintained an ex ce pti onally large numb er of fans . Hi s musi c , no matter how old th e comp os iti on, never sound ed dated. He would always l isten to and absorb th e musi c of oth er mu s ici ans (Mil es , 'Tran e, etc .) but would apply what he absorb ed to hi s own styl e. He would never copy . A cl ose listening to back with K eepnews who is now with Fantasy/ Prestig e/ Mi les ton e. The r ec ommended Fantasy albums are Inside Straight, Pyramid & Ph enix. Anoth er album, Big Man, wi II be r eleased shortly . It is th e sto ry of John Henry and is a production he had be en working on fo r some time . Nat is putting th e finishing t ouch es on it as I writ e. Cannonball is surviv ed by his wife , Olga James, his broth er Nat and his parents, Mr . & Mrs . Julian Add erley, Sr . To quote loc al bassist Sabu Ad eyola as he intro duced a set dedi cated to Cannonball at a Buffalo Jazz Ens embl e con ce rt. "Cannonball taught us that be ing hip is not a state of mind - its a way of life ." B .W. new I Th e newest jazz club in town is th e Tralfamador e Cafe, at Main & Fillmore. Its a basem ent club with a mell ow atmosphere . Ch eck th e ad in this issue and make it a point to drop by soon for some fin e music . Birthright played two we ek-ends at th e Ericson Lounge in July, turning the large crowds on to some of th e musi c that will be on their forthcoming album. Th e group will be ent ering th e studios soon, so look for the L..P in th e near futur e. The No -Name is going strong with jazz on Sunday ev enings and Tuesday nights . Musi c ians are en cour ag ed to come by and sit in . Some of our staff had the pleasure of attending the Con cord (Calif.) Jazz Festival in late July . Somegreat musi c eminated from th e new Concord Pavilion, much of wh ich was r ec orded . We' ll let you know about th e r ecord s as soon as th ey ' r e availabl e. WBFO-FM has expanded its jazz programing . Se e ba ck pag e f or details . Congratulations to th e AJPfor an exc e llent summer series of Buffalo Jazz Ensemble con ce rts . @ 1975 - Buffalo Jazz Report No portion of this pUblication may be reproduced without written consent from the publisher . �Editor/ Publisher - Bill Wall Contributors - Tom Alabiso, Louis Bradshaw, Paul Gresham, Marty Hazen, John Hunt, Tom Mazzone, John Osborn, Paula Wall . Illustrator - 'Christine Engla Eber Correspondents Ro ches t er - Jim Laniok Syracuse - Jerry Stabil e Toronto - Hal Hili Address correspondence to: Buffalo Jazz Report 1335 Ma i n Street Buffal o, New York 14209 (716) 883 -3909 , Ext . 11 lecoldiiftgCQ; CANNONBALL ADDERLEY - PHENIX - FANTASY 79004 Phenix, released just a month before Cannonball di ed, is on a level equal with his best recordings. Its a re-working of hi s various "hits", such as M ercy, Mercy, M ercy; 74 Miles Away, Country Pr eacher, Work Song, etc. Each tun e, however, is as different from its original as night from day. Some of his working group of years past on the first record - Nat, Sam Jones & Louis Hayes, &hislatestgroupof Nat, Walt er B ooker & Roy M cCurdy for the second. Mik e Wolff & Geo. Duke areon keyboards, andAirto is heard on percussion. Cannonball was one jazz artistwhonever lost fans, but through being fresh and contemporary would gather new ones with each new album or club appearance. The music here - the compos iti ons, expert execution by each musician, the feel- all of it - is a prime example of what made Julian Adderley such a great musician and teacher. B .W. EL VIN JONES - NEW AGENDA - VANGUARD 79362 New Ag enda is an outstandingexampleofthegreatness of Elvin Jones. The program of tunes has overton es of rock, folk, Eastern & Latin music while remain i ng pure, forceful jazz . Th e powerfu I, innovative drummer is accompanied by many of his "b oys" from past groups - Gene Perla, Azar Lawrence, Steve Grossman, Joe Farrell & Frank Foster. Th e seven songs were composed by as many people - in'c luding Elvin, Grossman, Coltrane, Foster & Ed Bl and of Van guard. Every tune isagem.Givealisten and you'll hear why Jones has been the critic's favorite drum mer for over 10 years straight. B .W. When You Are In Toronto This Summer, Be Sure To Visit The Jazz and Bluel Record Centre 893 Yonge ftreet 416-929-5065 recordl. book/. magazine!. jazz information ~ import Ipeciali/t Jazz Specialists For 17 Years STEVE KUHN - TRANCE - ECM 1052 Stev e Kuhn is not well known, but he should be . From his beginnings with such standout musi cia ns as Coleman Hawkin s, Chet Ba ker and Kenny Dorham, Kuhn went on to be th e first pianist for a brand new group l ed by John Coltran e (following Tran e's split from Mil es in 1960) . McCoy Tyner was th e second pianist in that group. Thi s album ably exhibits th e many facets of a tremendously gifted piani st - at various times r eflecting his c lassica l training, at times be ing totally free-form and expansive ala Chick Corea and Keith Jarrett. Kuhn writ es all th e music and gets great support from Steve Swallow on ba ss, Jack DeJohnette on drums and Sue Evan s on perc us sio n, his current quartet . This man dese rv es far more recognition and if this album is hea rd by enough people then possibly he won't hav e to play for weddings, bar mitzvahs and commercials to make a living. J .H. PAUL MOTIAN - TRIBUTE - ECM 1048 M otian, who is known to many through his work with Keith Jarrett, displays his writing capabilities and his talents as a total percussionist with his debut album . Hi s quintet includes other Jarrett sidemen guitarist Sam Brown & bassist Charli e Haden . A second guitarist, Paul Metzke, is on hand and Carlos Ward is hea rd on alto sax. The 'sound is moody, often electric, almost free at times and always captivating. No piano is needed as the guitarists and M otian fill in all the gaps that need filling . The spaces left empty enhance the music. This is indeed a "tribute" to a man who's been too long in the background . B .W. haircutterl DOM UM ROMAO - SPIRI T OF THE TIMES - MUSE 5049 There are many jazz musiCians who currently rely heavi lyon Afro-Braz iii an rhythms and textures in thei I' music. (Gato, Chick Corea, Carlos Garnet, etc.) Dom Um Romao, former percussionist with Weather Report, however can probably boast the longest involvement (25 years) in thi s kind of music and it shows. Spirit has good personnel like Joe B eck on guitar and Dom Salvador on piano to mention a couple. Standout tunes are The Angels and Wait On The Corner. J.H. 2 59 Kenmore Rve. 836-1781 (corner of Wi ndemere) behi nd jewel ry store in basement of Haircuts Underground �THE MILESTONE TWOFERS u Milestone has released five more Utwofers of out of print music from the Riverside label. Two Thelonious Monk albums are re- issued in Brilliance (47023). Those are Brilliant Corners and Five By Monk By Five, recorded in '56 & '59 respectively. A Monk solo piece is missing, but replaced by a second take of Played Twice. These classic Monk sides, which include Sonny Rollins, Thad Jones, Charles Rouse, Max Roach and other greats, are most worthy for re - issue . All tunes are by Monk . If you like Bill Evans Circa '59-'62, check out Peace, Piece & Other Pieces (47024). Its mostly trio music, with 3 solo piano upieces" and a quintet track with Zoot Sims and Jim Hall . Philly ~oe Jones is on drums for all sessions. Theentiresecond record is released here for the first time. Pianist/Arranger/Composer George Russel/, known for his advanced arrangements and musical concepts for large and small ensembles, can be heard on Outer Thoughts (47027) . Though not as "out'" as suggested, it is far from the norm in '60-'62 jazz . Eric Dolphy is heard on five cuts and is magnificent on 'Round Midnight. Tenorman Jimmy Heath deserves to have his music brought back if anyone does. FastCompany(47025) contains 18 tracks of '59-'64 Heath with cats like Cannonball, Freddie Hubbard, Kenny Burrell and on . Its one of my favorites of the series, but I wish that entire album could have been released instead of the various tracks from six albums. Then I'd know there would be more Heath twofers in the future . Will there? *Pianist Wynton Kelly, perhaps best known for his work with Miles, is documented on Keep It Moving (47023) . We have here two albums - Wynton Kelly & Kelly Blue, recorded in '58 & '59. NatAdderly, Kenny Burrell , Paul Chambers, Jimmy Cobb and others appear with Kelly . The two record set also includes some very interesting and informative liner notes by other jazz greats . B .W. *J .H. CARMEN McRAE - I AM MUSIC - BN 462 This album should be a welcome addition to a collection of anyone who is an enthusiast of female vocalists . Ms. McRae displays her talent of coaxing and bending her resonant sounds and phrases into rhythms. Each selection is more beautiful than the last.. .ending with I Am Music. Which she is. P .W. fi~ Recycle your old paperbacks and records and save money: -Paperbacks, 15c with trades or Y.z cover price with no trades -Record albums 25c with two UIlsc.ratched trades. BJR-backissues II. Le.'1I9lOft """0. n.Y. 14111 Ave. WELCOME TO ONE OF THE LARGEST COLLECTIONS OF . JAZZ IN THE COUNTRY Plus Prices Below Most Competition Incredible Selection - Low Prices University Plaza-Efflo. NOW! JAMAN - 25 Marshall St. - Syr. ·SWEET HERITAGE" SONNY CRISS - CRISSCRAFT - MUSE 5068 A better release than Saturday Morning, reviewed in our last issue. One marked improvement is the addition of organist Jimmy Smith's guitarist Ray Crawford . Dolo Coker, Larry Gales and drummer Jimmy Smith (no relation) provide the alto player with a steady, sensitive rythmic base. If you want an opinion, this is the best Criss album I've heard (other albums available on Prestige) . Bop/ Blues at its best . BW . MULLIGAN'S N~t~~ JAZZ ON SUNDAY AFTERNOON! IN iHE CAFE- 5- 9 PM! MAYNARD FERGUSON - Sept. 23 MNC ........1677 HERTEL AVENJE EDDIE HENDERSON - SUNBURST - BLUE NOTE 464 Henderson's group here is that of Herbie Hancock from Mwandishi ('71) through Sextant (,73), with Geo. Duke replacing Herbie on keyboards/ synthesizers. Other additions are Harvey Mason, AI Johnson and Bobby Hutcherson. Although simpler (to appeal to a larger audience) than the Hancock music of that time, it offers more jazz and less rock than Herbie's most recent efforts. Maupin (sti II with Herbie) sounds great here, as does Eddie, Julian Priester and the rest. If you I ike the music of Hancock, Weather Report, etc., look for Sunburst. B .W. DEXTER GORDON - TANGERINE - PRESTIGE 10091 More great music from the tenor giant . Three tunes are from the session that produced Ca' Purange (l00Sl), and one is from the Generation (10069) date, less Freddie Hubbard. Its a tasty blend of bop and mainstream with first class supportfrom Thad& Hank Jones, Stanley Clarke and Louis Hayes. B.W. 3 �BLUE NOTE RE-ISSUE SERIES Blue Note continues to pUllout of their recent slump with a' second excellent batch of two-fers. Sam Rivers, who recently appeared in Buffalo , performing a new work f orth em ulti-mediaproduction In Niagara ' Square, is featured on Involution (453), composed of neve r ··· r ele ased '66-'67 materi al. The musi c is performed by different musicians on each disc and is rather tame when compared to his current work. All four sides boast some great jazz, with Sam featur ed on t enor and soprano saxe~ and flute. A must if you dig Rivers Blue Note discs, such as Contours . Cec il Taylor 's In Transition (458) is out of print matena l wdh one newly rel ea sed tune . Record ed in '55 & '59, again w / two sets of musi c ians, the musi c is much l ess furiou s than his work of the very early sixti es. I find it similar to his Contem porary album Looking Ahead! Highly recommended. Paul Chambers/ John Coltrane - High Step (451) is rare material with two unre leased cuts featuring 3 groups of musi cia ns . Again - Great Musi c. Th e sessions wer e recorded in '55 & '56 for the Jazz West, Transition and Blue Note labe ls . Big band arranger / compoer Gil Evanscan be heard on Pacific Standard Time (461) . Its a re - issue of '58 & '59 sides f ea turing such artists as Cannonball, Paul Chambers, Elvin Jones, Art Bl akey, P .J. Jones and -others . For the most - heavi ly orchestrated and light hearted. Anoth er blessing of newly rel eas ed music comes from Jackie McLean . Jacknife (457) was recorded in '65 & '66 with two groups, each of which in c ludes pianist Larry Willis and Jack DeJohnette. Th e sextet date features th e dual trumpets of Chas. Tolliver and Le e Morgan . This was recorded prior to Ja ckie's avant garde period . Thus - a bluesy, bop - ish Main stream sound. Pianist Andrew Hill is f ea turedonthr eep r evio usly unre leased sessions recorded in '65, '69 & '70. One is a quintet w/ F. Hubbard & Joe Henderson, another is a quartet w/ Benn ie Maupin inc Iud ing a str ing quartet. The third is a sextet date w/ Maupin, Chas. Tolliver and reedman Pat Patrick . One For On e (459) contains 4 sides of great music from th e und er- rated pianist . In addition to being collector's music, TheAladdin Sessi ons by Lester Young (456) is in cred ibly well r ecorded cons idering its age ('45-'48). Six groupings of musi c ians are heard and all music is in chronolo- 5 1" \\~'\\a e ~. I I Jazz 'ilY 9 /.' I ' .. S gical order. label. Off the Mlgrs. sugg. list price 01 any available Album at any of the 9 CAVAGES locations. PHINEAS NEWBORN, JR. - SOL 0 PIANO - ATLANTIC SO 1672 If a solo album is the true test of a musician's ability, then Phineas Newborn has definite ly passed his . "Solo Piano" proves that despite his absence from th e jazz scene for several years, Newborn has return ed in fine style. The medley transitions in such classics as Willow Weep for Me, Serenade in Blue, Wh ere is the Love and especially Giant Steps are done with a skillful and subtle touch . The physical sound of the piano that Newborn uses for this session is not of th e highest quality (it appears to be slightly tinn ey in th e high es t and lowest registers). Oth erw ise, the album is well r ecorded and makes this a suitable welcome back album for Newborn whi c h should get alot of airplay. J .H . I I I .J L:SO~SH~. ~RS!!!.... L~O~Ll • BOUlEVARD MALL • COMO MALL • MAIN PlACE MALL • THRUWAY PLAZA 4 on th e Aladdi BW. GAR Y BUR TON W/ EBERHARD WEBER - RING ECM 1051 This lates t album, originally rel eased in Europe and available previously only as an import, is one of hiS fin est. The Quintet f ea tures Burton on vibraharp, Mick Goodri ck of The N ew Ouartet (ECM 1030S) on guitar, Pat Methany on el. 12-"string guitar, Steve Swall ow on bass and Open Sky's B ob M oses provides perc ussion. This is the same group that appeared at Buffalo State 's free outdoor jazz concert in April. Th ey are as bea utifuHy integrated on stage as they are in this r e l ease. German bassist Eberhard Weber adds a melodi c acousti c bass and completes the lineup . The r esu lting sound provides some of the best l istening jazz available. Every tune is an excellent example of what's in store, but perhaps the feature is Weber's Th e Colours of Chloe (whi c h was po ss ibly the most apprec i ated song played at State) . Only superlatives can desc rib e this effort. T .M. Expires 10 - 1· 75 I • SENECA MALL released DAVE M cKENNA QUARTET - FEA T. ZOOT SIMS CHIAROSCURO 136 An informal, spirited session in th e "old school" tradition of Ch i aroscuro. Si ms is on tenor and soprano, Ray Mosca on drums. Major Holl ey, wh o was with th AI Cohn - Zoot Sims Quart et of 10 y ears past, is 0 bass, and contributes his patented bowed bass whil humming solos on thr ee tra cks. B.W . DISCOUNT RECORDS Coupon worth TWO DOLLARS Previously 1975 FREDONIA JAZZ ENSEMBLE - THURSDAY NIGHT -. MARK 5981 The Fredonia Jazz Ensemble, winn er of the 1974 Quinipiac Jazz Fest. & co-winner of th e '75 Notre Dame Jazz Fest. offers a topnotch program of tight, screaming big band jazz. The diversified selection of student charts shows influences from Kenton to Thad Jones-Mel Lewis, wh ile the band manages to retain a style of their own. Regardless of th e fact that the average age in the band is about 21, each composer and soloist is worthy of special merit. You may have heard this album on Geo. B eck's "Jazz Nightly" (WEBR). A definite must for big band fans, available for $5.50 postpaid from Fredonia Jazz Enc. , c/o Student Asso c., S. U.N. Y. at Fredon ia, Fredonia, New York B .W . 14063. �stritchaphone and manzello. A great musician, a very fine album. J .H . LiVE 2610 main at fillmore wednfJsdilys ACOUSTIC MUSIC tate nite snacks sundays CLASSICAL JOHN LEWIS - P.O. V. - COLUMBIA 33534 If you miss the M .J.O ., think about buying this. At once the influence Lewis (pia,n ist) had on the M .J.O . sound is most obvious. Th e pure, simple mel odies, colorful percussion, classical overtones and r efresh ing, often humorous changes all occur throughout th e album. The instrumentation consists of pian o and harpsichord, bass, drums, flute, violin and cello . The dem i se of th e infamous quartet shou Id cause no hardship for Lewis. or Jackson . BW . N. Y. JAZZ QUARTET IN CONCERT IN JAPAN SAL VA TlON 703 A buoyant, rela xed live sess ion from Ron Carter, Ben Ril ey, Roland Hanna and Frank Wess . Th e band cooks a bit on Mediterranian Seascape, with Wess on sopran o. Frank is on flute for the remaining tra cks, except for Introsp ection - an exquis ite piano sol o piece from Hanna . An all acoustic, balanc ed program of musi c. B.W. WAL TER NORRIS - DRIFTING - ENJA 2044 The Thad Jones/ Mel Lewis band has spawned some great talent and th e two gentl emen here are no exception . Pianist Walt er Norris has written some fine materi al for this album, but also contained here are beautiful tr ea tments of Thad Jones' classic A Child Is Born and Scott Joplin's Maple Leaf Rag. Duo albums !:lave a tend ency to bog down but not th is one . George Mraz' s bass work is skilled and tasteful. Drifting is good listening . J .H . RAHSAAN ROLAND KIRK - THE CASE OF THE 3SIDED DREAM IN AUDIO COLOR - ATLANTIC 1674 For Rahsaan Roland Kirk this album is asuc cessful attempt at total communication with his' audience . There are. many 'bright moments ' on thi s 3 -sided album (he even plays trumpet on a couple of cuts) . Th e usual Vibration Soc iety sidemen - Sonny Brown, Metathi as Pearson, and Hilton Ruiz are here along with twelve oth er fin e musicians . Th ere is a pl eas ing variety of tunes including two enjoyable v ersions each of Bye Bye Blackbird and The Entertainer. Kirk again proves his virtuosity on tenor and bass sax, flute, CHA5. EARLAND - KHARMA - PRESTIGE 10095 Here we find the organist on stage at the '74 Montreux Jazz Festival with his sextet, augmented by Ron Carter for two numbers. Side One - Joe Brown & Morgan is typical Earland, while th e Suite ForMartin Luther King (Side 2) off ers more "outside" sounds laced with straight ahead soloing . Suite Pt2 is a light, medium paced tune with Earland on electric piano over Carter's repetitive bass figures . Jon Faddis (trumpet), CI ifford Adams (tram .) & Dave Hubbard (saxes) comprise the front line . B .W . DA VE LIEBMAN - DRUM ODE - ECM 1046 In the opening grooves, Liebman tells of his love of drums and drummers, and of their influence on his music. He 's worked with some of the bes t - E . Jones, DeJohnette, Altschul, etc., and has 8 various drummer/ percussionist on this date . Similar to Lookout Farm the music is semi-electric, Iyrical,andfollowsad efi ni te beat (as opposed to his more avant garde recor dings w/ Open Sky) . He's f eatur.ed on t enor and soprano sax es and flutes. Gene Perla (his Jones Quartet coworker) is on bass, John Ab ercrombie on guitar and Ri chard B eirach on e. piano. Vo cals are included by Eleana Steinberg on Oasis over Dave'sfloatingsopra no . A fine effort from Liebman, who always sounds good in any context. B. W. ew 'UlJim ill concert with the B'!JfoloPliilBatfnonic Fri. Oct. 10 8:30PM Michael Tilson Thomas, Conductor Kleinhans Music Hall All tickets $5. Available at Philharmonic Ticket Office (885-5000) Pops tickets available in series of 12 concerts. BUff4LO P"IL".4I!~ONIC Michael Tilson Thomas, Music Director 5 �Trip Records continues its re-issue program with 8 new ones . Milt Jackson Live at the Museum of Modern Art (5553) finds the vibist leading a quintet which included James 1'y100dy and Cedar Walton. This 1965 recording is among the best of the current release . Perhaps the finest of the eight is Max Roach - Jazz in 314 Time (5559), which is mistitled Max Roach Plus Four. Its the 1>ame lineup as the "Plus Four" album (Trip 5522) - Rollins, Dorham, Bryant & Morrow, but all 6 tunes are in waltz-time . Rollins' Valse Hot is a 14 minute highl ight. 1956 material. Quincy Jones Live At Newport 1961 (5554) is straight big band jazz and a far cry better than what he's doing now. The session features such notables as Phil Woods, Curtis Fuller, Melba Liston, Joe Newman, etc. A live 1965 Village Vanguard session resulted in Earl Hines - Grand Reunion (5557) . Great music is belted out by Hines, C . Hawkins, R . Eld - ~Uentotnn lleatber~ Custom Tai loring in Suede & Leather Clothing - Bags - Sandals Accessory Items Herbal Teas - Exotic Coffee Beans 77 Allen Itreet 882-5633 ridge, Geo. Tucker and 01 iver Jackson . Two extended tunes are featured on Clifford BrownAll Stars (5550), recorded in 1954. The trumpet great is joined by Max Roach, Curtis Counce, Kenny Drew, Herb Geller, Joe Miani and Walter Benton on this worthy addition to Trip's Brown series. Others are Jazz Giants Vol . 3 (5555) featuring 6 reedmen w/ 7 groups of musicians recorded from '43'53. Helen Merrill wlstrings (5552) isasuper-mellow date (1955) with a quartet (and strings). Swingin'Easy by Sarah Vaughan (5551) is a relaxed affair with Sassy backed by two different trios. Excellent Vaughan. B .W. THE PIANO CHOIR - HANDSCAPES 2 - STRA TA EAST 19750 Put seven pianists and three percussionists together and you'll get rythym-plus. One ortwopianists are featured on each track while the others provide a rythmic force that is often light, more often electrifying . Acoustic and electric pianos and synthesizers are used on this release, destined to please contemporary piano lovers . B.W. BUDDY RICH - BIG BAND MACHINE - GROOVE MERCHANT GM 3307 When Buddy Rich gets down to business and plays hi·s drums there are few big band drummers who are better or more dynamic . Rich's drums are well recorded here, but not over recorded as they have been on some previous recordings. Buddy allows several 6 U.U.A.B. MUSIC COMMITIEE PRESENTS RAHSAAN ROLAND KIRK and - a Ipecial GueJt. Itar IATURDAY./EPTEmSER 27th Fi II more Room - Norton Ha II Tickets Two Shows - 8 & 11 P.M. /3.50 - Non-Students & Students Night of Performance /2.50 phone 831-5112 for information of the other nineteen members of his band to do some nice solo work while the selection and arrangement of tunes is also quite good. It is not nearly as intense as a Buddy Rich live date (nor as tonally complete as a Maynard Ferguson album) but makes for good big J .H. band listening . RUBY BRAFF -HEARMETALKIN-BLACKLION 127 Cornet stylist Braff is heard here in '67 quartet and quintet settings, and with Alex Welsh' s 9 piece band. Ruby plays with a refined lyri cis m and the musi c swings. He is currently enjoying popularity with the quartet he co-leads with guitarist Geo . Barnes, and this album should be of specia l interest to fans of that group. B.w . ERICSON LOUNGE FORMERLY -THE ROYAL ARMS" Presents , ZIMBABWE Sept. 5,6, & 7 I , BIRTHRIGHT Sept. 12,13,14 19, 20, 21; 26, 27, 28 10 'til 3 19 W.UTlCA 886-9163 SUNDAY NIGHT IS JAM NIGHT All Musicians Welcome ;t �I XJHN ABERCROMBIE - TIMELESS - ECM 1047 Guitari st John Ab ercrombie who has worked with Billy Cobham, Dave Liebman, and others, offers an album featuring Jan Hammer on keyboards and Jack OeJohnette on drums. The result is an exposition of talent in various expressive modes. Though Aber crombie's ability shows throughout, the contributions that Hamm er (on organ, acoustic piano, and synthesizer) and DeJohnette make are immense. This album is another shining example of the innovative contemporary jazz of ECM. T.M . JIM HALL - CONCIERTO - CTI 6060 S1 Thi s album is a masterpiece and the finest work Jim Hall has had released under his own name. Side One op ens with You'd B e So Nice to Come Home To, taken at a fast clip. At once the expertise of Messrs . Bak er, Desmond, Carter, Gadd, Hanna and Hall becomes eVident through interplay, questions and answer s, and straight forward, inventive solos. The pattern continues throughout Two's Blues and The Answer Is Yes, penned by nail and his wife respeclively . The c lima x is a 19 minute (CTII) version of Joaquin Rodrigo's Conclerto De Aranjuez. Desmond, who hassatoutth e lasttwotunes , is back for a terribly beautiful vers ion of th e classical tun e often performed by MJQ. Solo for solo -c hord for chord, these six men perform music that is meticulously perfect enough to capture th e ears of eve ryone a like . Jim Hall - a Jazz Guitarist. Most people have never heard of him. But, Concierto is a most opportune chanc e. B. W . CAL TJADER - LAST NIGHT WHEN WE WERE YOUNG - FANTASY F - 9482 Lately, vibist Cal Tjader has been accused by certain critics of playing what could be kindly referred to as "cocktail jazz." Unfortunately, these critics will not be sil enced by this album. From the opening number Tj ader starts and keeps the pace very, very mellow. This is not to say that Tjader, pianist/arranger Frank Strazzeri and guitarist Eddie Duran don't take some well done solos (check out their work on For All We Know). If you are in the mood for ballad-type music, and you are not expecting Cal to be in his old rousing latino style of the album Along Comes Cal, then Lad Night is for you. J.H. THE RCA LABELS Cedar Walton's Mobius - RCA 1009 - is a Jazz rock outing, of a funky nature, complete with a "heavy" fuzz guitar . While not of the calibre of his Boomer's sessions (Mus e), it will turn on a new audi ence to the pianist. Strange versions of Blue Trane anr:1 Off Minor are included, as is a 4-piece horn section. Vocals are heard on one track. Som e fine Duke Ellington music is available on Eastbourne Performance - RCA - 1023 . The set was ~corded live in England in Dec . '73 and features vocalists Anita Moore and Money Johnson. Johnson, a trumpeter, lays it on with a short version of Basin Street Blues. From the Flying Dutchman label comes Flip Phillips Fliptet - BBMI - 1032, recorded while the tenor player was with Woody Herman ('44-'45) . The ,oups run from 2-10 pieces. The music is taken from 78 RPM recordings and is important, Phillips' WHAT IS HOT KUTS? ••• HOT KUTS is some of the nimblest fingers in Central N.Y., giving people really dynamite haircuts. HOT KU T5 introdu ced the shag and I ayer cut to th i s area, and now are into the new bl unt cuts - the bowl cut, the page boy, bob cuts, subtly angled super long cuts - whatever you want and wi II feel comfortabl e in. The people at HOT KUT5 agree you must feel comfortable in a particular style in order to wear it well . They'll talk to you before th ey cut your hair, so they'll know where you're at, and you'll know where they're at l HOT KUT5 is no factory! You'll get uniquely personal attention . Haircuts include organic shampooing and reconditioning. All of these things have helped to make HOT KU TS II I . n Syracuse. Call Early for an Appointment. 472- 3321 770 JAMES ST . • In the lower lobby of the Towers records being rare. If you dig bop and electri c jazz violin, check out Elek Bac sik's Bird & Dizzy - BOLl - 1082. The album contains 8 tunes played as a tribute to Bird & Diz. Shelly Manne is on hand, alongwithyoungpianist Mike Wofford (who injects a bit of today into the music). The cream of the Pablo line is The Greatest Jazz Concert In The World - 2625' 704. Th is 4 reco rd set was recorded in 1967 with the Duke Ellington arch., Ella, Oscar Peterson Trio, T Bone Walker and the Jimmy Jones Trio. Also, jam sessions with Zoot Sims, Coleman Hawkins, Benny Carter, Clark Terry, Johnny Hodges and others. Well recorded and worth the money (if you're rich) - its a $24.98 list. Check out the fall sales! Not too long ago Tommy Flanagan was greatly in demand as a pianist for record dates. More recently he has been with Ella Fitzgerald. Now he's on record with his trio. Tokyo Recital was recorded in Tokyo in Feb . of this year and is a must for all who enjoy great acoustic trio jazz. The 9 tunes are all Ellin gton and Strayhorn material. Flanagan easily flows with the tempos and moods and his partners never flounder. Satch & Josh - 2310722 - features Count Basie & Oscar Peterson with Ray Brown, Louie Bellson & guitarist Freddy Green. Basi e leaves gaps, Peterson fills them and the two get it on amazingly well . I find this much more interesting than the Basie Trio disc of last year. Ba ssist Ray Brown is a master at the art of per- every /UnOAY 7-11 TUE/OAY 10-2 bar with no name 946 elmwood ave. at bidwell 7 �HERE ~ T~HE S E Bourbon RS Street This September at the Stotler TORONTO (416) 864-1020 BOBBY HACKETT &VIC DICKENSON Sept. 9 - Sept. 21 DOWNTOWN Tues. - Sun. from 9 PM No cover JOE VENUTI &SPEIGEl WilCOX Sept. 23 - Oct. 4 DOWNTOWN Tues. - Sun. from 9 PM No cover ZOOT SIMS QUARTET Sept. 8 - 20 COUNT BASIEILIVEI GOLDEN BALLROOM Fri., Sept. 26, one night only! Dinner & Dancing: $22.50 per person 856-1000 ext. 220 for reservations. BARNEY KESSEL TRIO Sept. 22 - Oct. 4 Free parking in the Statler garage Phone Ahead for Dinner Re servations Dine & Dance 9 -1 No Cover The Statler Hilton a w.o. Hassett enterprise forming in a duo or drum-less tri o format. Pair him with th e master of moods - Duke Ellington an d you've got This On e's For Blanton - 2310271. Duo Perfecti on . B.w. wlh1a~'~ Ih1QfP>fP>eniin~ buffalo area STA TLER HIL TON - See ad Pg . 8 . NO NAME - Se e ad Pg . 7 . TRALFAMADORE CAFE - See ad Pg . 7 . ANCHOR BAR - Johnny Gibson Trio, Fri ., Sat. & Sun . Nights . WILL ALGER'S JAZZ BAND - Fieldstone Man or (Lockport) Fri . & Sat. Nights . toronto BOURBON STREET - Zoot Sims, Barney Ke sse l See ad. GEORGE'S SPAGHETTI HOUSE - 290 Dundas St E 923 - 9887. Herb Spanier Sept . 8 - 13; Moe Koffm~n 15 - 20; Guido Basso 22-27; Bernie Sen ensky29 -0ct. 4 . EGERTONS - Church & Gerrard Sts . "After Hours Jazz" Fri. & Sat. Nights 1:30 -5: 00 AM. Adm . 75 ¢. CHEZ MOl TA VERN - 30 Hayden St. Silv erlea f Jazz men Saturday aft ernoons 3-6. ONTARIO PLACE - at the Forum - Tommy Dorsey Orch. led by Murray McEach ern Sept. 13; StanKenton Sep t. 20; Count Basie Sept. 27; Ella Fitzgerald wi Tommy Flanagan Sept. 28; Woody Herman Oct. 5. All concerts at 5 PM. ROYAL HUNT ROOM - Sutton Place Hotel - pianist Claude Jones. 8 CWHO - 125AM - Jack Col e Sat . 10 :30 PM - 2 AM, CBL - 94 . 1 FM - Jazz RadIO Canada Sat . Mid . AM . Al so Mon .- Fri . same hours . Musi c to Li s ten to Jazz BySat . aft. 2 - 4. rocherter MONTICELLO REST . - 800 Jeffers on Rd . Martin Sept. 2 - 14; Crt/ic's ChOIce 16 - 28; Barbar Carroll starts Sept. 30 . No cover, closed Monda y WINE PRESS - 1730 N. Goodman St. PETRUS Sep t. 11 - 14 VINTAGE REST . (Ramada Inn) 1273 Chill. Schedule not availabl e at presstime. Phon e 464 - 8800 . ryracure DINKLER MOTOR INN - Sch edules not set at pr esstime . Phon e 472 -696 1. CASA 01 LISA - 1625 Eri e Blvd . - Wed. Jam Night, Jazz F.ri. , Sat . & Sun . Nights. No cover. PINK PUSSY CA T - Ponderosa Plaza Rt . 11 - North Syracu se. Jazz Monday nights. WBFO - FM - 88.7 - NEW LISTINGS FRIDA Y Evening - Midnight - 3 - 'Round Midntght with BJR writ er John Hunt. 3- 6 AM - Pulse with Bill Bes ecker. Jazz and e lectronic music . SA TURDA Y - approx . 3 PM Jazz Report with J. Hunt. A half hour report on local jazz happeninqs. SUNDA Y - Noon - 2 - Gr eat Circle Sailing with)r BJR Editor Bill Wall. Midnight - 3 Jazz with Charles Smith . *Please clip thi s li sting and plac e with the full listing printed in the June issue. Full listings printed 3 times per year . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3586 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 19 Date A point or period of time associated with an event in the lifecycle of the resource 9/1/1975 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 19 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/b6ff91f81646813d9f213ee1a7fa66e5.pdf 73a08a88606288677974b11da22a9209 PDF Text Text J. G 197! ML \ b~ , CLUB SCENE Ericson Lounge, at 19 W. Uti c a, hosted Birthright for thr ee we eks in September . That gig coincidedwith a great r evi ew of their album Free Spirits in Coda, the Canadian Jazz Magazine. They'll be back soon, and if you ' ve not heard the group it is a must. Don't get involved in the "Big Name" hangup - catch th em whil e you have the chance . John Coltrane, Herbi e Han cock and Gary Burton were all "Birthrights" be f or e they became well known and this group is going pi aces . If anyone is worri ed about the Uti c a address , it is half a block west of Main St . The area is wellpatrolled and there is parking across the street and in the rear . The cover is a low $1. Jaman will be in this month . Their record Sweet Heritage has just recentiy been r eleased. A review appears in this issue . The jazz pol icy at the Tralfamadore Cafe, at Main & Fill more has been very successful. Many local bands have appeared inc luding Synthetic Rush, Flight and Zimbabwe . The $1 cover offers you fine music and , reasonably priced drinks. We hear that authentic Cuban food is in th e offing, butfornow, try the cheese plate. Jazz is on the menu Fri . and Sat. nights . Th e No Name Bar, ElmwoodandBidwell, continues to pack them Sunday evenings and Tuesday nights . The Tralfamadore and No Name have been using the same . circuit of mus i cians making that contemporary sound availf\ble Tues ., Fri ., Sat. & Sun . nights . Try this : go to th e No Name Sun . evening - then at 11, jog down to Ericson - a mere mile and a half away . Get up to seven hours of I ive music . Mulligan's Cafe wi II host the Buffalo Jazz Ensemble on Sunday afternoons, and at this writing Birthright may be sharing the bi II. Maynard Ferguson and Jean Luc Ponty were in last month and more big names may be coming up . Check Mulligan's ads for more information. Th e Downtown Room in the Statler Hilton opened with Bobby Hackett & Vic Dickenson, backed by th e . Jaman trio . These performances proved not only that Bobby & Vic can still play their tails off, but that the Jaman group is r eady for their own up - coming gig at th e Downtown . Toronto's Bourbon Street has r enamed it s up stai rs lounge . Formerly Abbey Road, th e new Fourth Dimension will host jazz vo calist Jo e Williams with the Bernie Senensky Trio from Tues . , Nov . 4 thru Sat . , Nov. 8. This is good news f or jazz fans in the metro area as well as here in Buffalo. /\ r) ~V I. ~(), \q,\:J \ EARL HINES Earl " Fatha " Hin es , kn own as fath er of modern jazz piano, will make his fi r st appearance ever in Buffalo th is month at th e Statl er Hilton's Downtown Room . Touring w ith him is Marva Josi e, a 29 year old vocalist from New York . Th e 69 year old pianist has perhaps gain ed th e widest r espect in Europe. Sadly enough, he has not gained th e r ecogniti on he deser ve s in h is own country, and th e same i s tru e f or Dext er Gordon, Johnny Griffin , th e I ate great Ben Webster and oth ers who have re - Ioc ated or sp ent muchofth eirtime in Europe. Grove r Sal es of San Fran c i sco Magaz ine has said "Hines with Fats Wall er as a midwife, gave birth to a brood of jazz piani sts that spread th e popularity of jazz far beyond th e confi nes of th e jazz subculture Art Tatum, and T eddy Wilson, Nat "K ing" Cole." Sarah Vaughan made her debut as vocalist and second pian i st with tl;J e Hi nes band at th e Apollo In 1943. Hi s band of that tim e included such peopl e as Chari ie Parker, Di zzy Gi Il espi e and Wardell Gray . In r ecent years , Earl Hines has been well re ceived by listeners, musi c ians and criti c s alike in many citi es, inc luding Toronto and New York . He seems ageless, with more energy than ever and al ways playin g better troan before . I'd ventur e to say that he's th e best that th e Statl er has booked to date, ~d urge you to drop down andfindout why he's called "Fatha" . B . W. RECOMMENDED RECORDINGS : Another Mondav Date - Prestiqe 24043 At the Village Vanguard w/ Eldridge - Xanadu 106 Grand Reunion - Trip 5557 Tea for Two - Black Lion 112 RECORD NEWS Cayre Industries, distributorofDifferantDrummer records, has announced that they have acquired t~ e Bethlehem catalogue . This news will tickle collector! , since Bethlehem material has been out of print for some time . Some of the artists who have recorded �for that label are Art Blakey, Ruby Braff, John Coltrane, Duke Ell ington, Dexter Gordon and Charles Mingus . P.M. Records will release two Elvin Jonesalbums thi s month . Reviews wi II appear in November. Sonny' Criss has signed with ABC Impulse Records. HIS first LP will be released soon. haircutterl + 11f'il~IIf'il<l1 59 Kenmore Ave. Editor/ Publisher - Bill Wall Contributors - Tom Alabiso, Louis Bradshaw, Paul in basement of Haircuts Underground CorrespondeQts - THE ECM DUETS & COLLABORA TlONS Rochester - Jim Laniok Syracuse - Jerry Stabi I e Toronto - Hal Hill Address correspondence to: The most moving of th e f our ECM r eleases is Luminessence (ECM 1049) f eaturing the saxophone of Jan Garbarek over th e strings of th e Sudfunk Symphony Orch. The music was composed by Keith Jarrett. It is the improvisat io ns of Garbarek that are Buffalo Jazz Report" 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 just . incredibly beautiful . As he I iterally cries with hiS Instrument It IS easy to believe Jarretts statement that the music ians verged on t ears "selleral times during the session." A less original, less emotional album comes from Art Lande & Jan Garbarek, titled Red Lanta (ECM 1038) . Pianist Lande is a fine musician, but both his plano work and his compositions sound too much like a copy of Keith Jarrett. If you can dig that, check it out . Garbarek IS hea rd on sopran o and bass saxes and flute . . - Two releases feature vibist Gary Burton. Thefirst IS Matchbook (ECM 1056) with Ralph Towner (Oregon, Paul Winter) on 12 string and classical guitars . The second IS Hotel Hello (ECM 1055) with Steve Swallow (of the BurtonQuintet), who is heard on bass and piano. Burton, for thiS record, also plays organ and marimba. Both are excellent so you might choose according to your preference of instruments . Burton ' s ECM track record is awesome. Four fine albums courtesy of Manfred Eicher. They truly deserve your attention. B .W. leco'din9~ JOHN COL TRANE - STARDUST SESSION - PRESTIGE 24056 The eight tunes on this two-record set all came from a single 1958 session, but were originally released on three different records. Bahia & Stardust are still available, but Standard Coltrane (P-7243) no longer appears in the catalogue. The session featured Wi Ibur Harden on trumpet and flugelhorn with the Mi les Davis rhythm section of Red Garland, Paul Chambers and Jimmy Cobb. Of the selections from the Standard album, my favorite is Trane's rendition of the jazz classic Invitationdone at a slow tempo running 10 minutes . Needless to say, all this music is excellent. Here you have the entire session all together at a reasonable price . Grab one . B.W . :J 1,;':,\'a e ,', '1 9 S MILES DAVIS - DIG - PRESTIGE 24054 DISCOUNT RECORDS Coupon worth TWO DOLLARS I I Jazz 836-1781 (corner of Windemere) behind jewelry store Gresham, Marty Hazen, John Hunt, Tom Mazzone, John Osborn, Paula Wall. Illustrator - Christine Engla Eber ~, .,. er"~~ 1975 - Buffalo Jazz Report No portion of this publication may be reproducer! Without wntten consent from the publisher . (§) Off the Mfgrs. sugg. list price of any available Album at any of the 9 CAVAGES locations. I I Expires 11-1-75 This twofer is a must for anyone who wants to absorb Miles' early music under his own name. These are his first Prestige dates (he was previously on Capl~ol) recorded In 1951 & '53. The first session included Sonny Roll ins and Benny Green, the second Rollins & Jackie McLean, and the third Sonny Truitt and the well-versed duo of AI Cohn & Zoot Sims. Two tunes were re-issued in Collectors Items (P~24022) . The entire collection here is that of Early Miles (P-7674) & Conception (P - 7744), and if you don't have those sides and are into Davis' workthis fine music should be a part of your record collection. B .W. I _SENECA MALL PRINCE IGOR'S CZAR - FROM RUSSIA WITH JAZZ DIFFERANT DRUMMER 1002 L! - - - - - - . The only Russians here are Prince Igor Yahil ivech, pianist and composer of all 6 tunes; and tenor saxophonist Vigor Visotski. While each performs admi- - -BOUlEVARD MALL - COMO MALL I MAIN PlACE MALL - THRUWAY PlAZA _ SOUTH SHORE - UNIVERSITY -LOCKPORT MALL.J 2 �rably, David Liebman (tenor & soprano sax/flute) makes a valuable contribution to the music. Geo. Mraz is on bass and Chip White on drums. The music is contemporary, and neither light nor "outside". Igor is heard only on fender piano. While the music has a notably "different" flavor at times, the only "strange" thing is the shorl spoken voice intros to each tune. Interesting. B.W. ERIC DOLPHY/RON CARTER - MAGIC - PRESTIGE 24053 Eric Dolphy - alto sax, bass clarinet and flute was, without a doubt, one of the greats . To date, Prestige has re-issued (or re-packaged) nine of his albums as twofers (one threefer) and each is well worlh the purchase price. These two collaborations, with bassist Ron Carler, date back to '50 & '61 and comprise the best twofer yet. The first date features Jaki Byard, Booker Little, and Roy Haynes (a very under-rated drummer); the second - Mal Waldron & Charlie Persip with the added bass of Geo. Duviver allowing Carter to switch to cello. There's intricacy for the mind and emotion for the soul and the music draws your attention like a magnet draws metal. Dolphy left us far too soon . Luckily, we have a good deal of his recorded works to enjoy. These albums were originally where? (P-7843) & Far Cry (7747). B.W. �CHILDREN OF ALL AGES - DIFFERANT DRUMMER DO 1005 If you are hoping to find good straight ahead jazz here, I suggest you go directly to side two of this debut album for the new jazz-rock band Children of Aall Ages . It would be a misstatement for me to call thi s a true jazz a.lbum as many of the tunes are strictly rock in meter, tonal complexity and aud iE-nce appeal. Th e vo cals on side one are weak and seemingly needless, for the most part. The side-long journey to the Center of the Univ erse is an example of what this large and impressive assemblage of personnel (including Randy Brecker and Arnie Lawrence) can do when they come to a decision as to wh ich dir ection to take the music in. J .H. LONNIE LISTON SMITH - VISIONSOFANEWWORLD FL Y. DUTCH. BDLI-1196 I can not think of a group that is more appropriately named than Smith's - The Cosmic Echo es. The music is definitely cosmic - the tonal colors, the light headed percussiveness; and - if you listen it echoes, which is not only an electronic effect . Th e airy vocals frdm Lonnie' s brother, Donald Smith, are a valuable asset to the total sound. Lonnie Liston Smith was obviously heavi Iy responsible for the quintessential sound achieved by Pharoah Sanders when he was with him, e.g.- Astral Traveling (a Smith composition). This is not musi c topick apart and analyze - it's mus ic to lay back and get off on . Lonnie will be in Buffalo in November, courtesy of U.U .A .B. ' Pick up this album and br primed . B.W . U.U.A.B. MUSIC COMMITTEE PRESENTS LARRY CORYELL & STEVE KAHN guelt Itorl' LONNIE LISTON SMITH & The Cosmic Echoes , 011'0 PHAROAH SANDERS Friday. november 14 - 8 pm lowel Buffalo Theatre $2.50 & 3.00 Students $3.50 &4.00 Non-Students & Night of Perf. Tickets at Norton Union & all World Ticket Outlets Additional Information at 716-831-5112 4 BEMO PRODUCTIONS PRESENTS HERBIE M~NN &The Family Of Mann Feat. Cissy Houston & The Hijackers, David Newman Pat Rebillot Also George Benson Plus Comedian Geo. Hatchett two shows 8 &10:30PM Friday, October 24 Shea's Buffalo Theatre Tickets at Audrey & Dell's, U.B., Buff State or Phone Central Ticket Office at 856- 2310 for Infonnation SAM NO TO - ENTRANCE - XANADU 103 This is the first recording for Sam as a leader and is a superb entrance . He displayed hi s incredible chops to his feliowBuffalonians r ecentlyatMulli']an's, backed by the "New Wav e"; now an album of pure, swingin' bop joined by a rhythm section that mo ... e than fits th e bill . Barry Harr is recently worked 3 of Sonny Stitts finest albums (Cobbl estone & Muse), and Leroy Vinn egar and Lenny McBrowne need not introduce themselves to most jazz folks. Don Schlitten , owner of Xanadu, was the producer of the monstrous record Superbop (Muse 5046) w/ Noto and Red Rodney B .W. XANADU GOLD Recorded in 1965, Earl Hines & Roy Eldridge at the Village Vanguard (106) is proof positive that Hines is a keyboard master. He's in command throughout, full of dynami cs & energy. Two tracks are by Earl's Trio, which is joined by Eldridge for two more. The quality of the live recording is inconsistent but good . A fine guitar, piano, bass session comes from Tal Farlow. Fuerst Set (109) was done in 1956, taP,J!d informally in (co-producer) Ed Fuerst's apartment in N .Y. Considering that, the recording quality is amaz i ng. A must for anyone seek i ng a I esson on jazz guitar history . Harlem Odyssey (112) is a collectIOn of recordings by various artists dating back to '40 & '41. This is collector's music - pre-historic recording quality, never before released. All tunes were done on portable di sc cutting equipment . Featured are Bi lIy Hoi iday, Monk, Art Tatum & others. B.W . �LONNIE SMITH -AFRODESIA -GROOVEMERCHANT 3308 JIMMY McGRIFF - I STUMP JUICE - GM 3309 The Smith (not to be confused with Lonnie Liston Smith) album combines an Afro-Jazz feel with the right amount of get-down funk. Excellent, thoughtful solos come from Smith, a guitarist noted as "a friend" (Geo. Benson?). trumpeter Greg Hopkins, and, most of all, saxophonist Joe Lovano - who sounds like a disciple of Joe Henderson . Side 2 cut 2 is titled Favors, but sure sounds like Coltrane's Impressions to this listener. Ben Riley (ex-Monk) or Jamey Hadad (drums), and Ron Carter or Ralphe Armstrong complete the group(s) . The McGriff album contains a more commercial funk on side one with the leader heard on organ and piano . Ernest Jones adds a synthesizer and most of the horn work is limited to ensemble passages . Turn to side two and you'll hearsomeofthe finest straightforward organ music to come along for some time . Solos are delivered by guitarist Jimmy Ponder, saxist Joe Thomas and, of course McGriff. An extra note - the Smith album contains over 49 B.w. minutes of music, the McGriff runs 33:15. SHELL Y MANNE - HOT COLES - FL YING DUTCHMAN BDL /-1145 Manne has deviated from the pattern of his previous three discs with a highly polished set of eight Cole Porter standards. The only musician he has held over is pianist Mike Wofford. Victor Feldman is on vibes and marimba, and special mention should be made of the work of the principal soloists - Tom Scott (reeds). Oscar Brashear (trumpet) and Tommy WElCOME TO ONE OF THE LARGEST COLLECTIONS OF JAZZ IN THE COUNTRY Plus Prices Below Most Competition Incredible Selection - Low Prices ~~~ University Plaza -Erflo. 25 Marshall St. - Syr. NOW! JAMAN - ·SWEET HERITAGE'" Tedesco (guitar) . Two percussionists are used for a few tunes . Old tunes with a new sound from the highly respected, versati Ie West Coast drummer . B . W. MOSE ALLISON - CREEK BANK - PRESTIGE 24055 This is a "twofer" re-issue of twb classic, out of print Mose albums - Young Man Mose & Creek Bank. Each was recorded in 1958. His group here consists of Allison - piano; Addison Farmer - bass; & Nick Stabulas or Ronnie Free - drums. Mose, whose roots are in the deep south, is today known as much as a vocal ist as he is a pianist. Of the twenty tracks here five are vocals, including Seventh Son. In addition, he plays ·trumpet on Stroll. Mose Allison is synonymous with "blues" and his early work here is a prime example . B.W. SUBSCRIBE $350 per yedr BJ R 1335 MAIN ST BUFFALO, N.Y 14209 5 �- p a p a q a y o The Only Club in Town with Live Jazz on Monday Night ERICSON LOUNGE PHIL 01 RE with Members of the BUFFALO JAU ENSEMBLE FORMERLY -THE ROYAL ARMS· No Cover - No Minimlm 124 ELMWOOD AVENUE in Allentown Mall The Place to be Every Monday BILL WA TROUS AND THE MANHA TTAN WILDLIFE REFUGE - THE TIGER OF SAN PEDRO - COL UMBIA Trombonist Bill Watrous and his Manhattan Wi!dlife Refuge could be the best and most eliciting big band to come out in a long time. YOl! can listen to this their second album as many times as you want but you will be hard pressed to hear even a single weak musician in this outstanding 20 piece ensemble There is a pleasing variety of selections but all are done with skill, grace and poise . They are especially brilliant on T.S.,T.S., Sweet Georgia Upside Down, and the title cut . The solos are consistently good and reflect the beautiful support each member gE'ts from the other 19 . Give your stereo some volume and enjoy. J.H. ,.WBUF 93FM and HARVEY & CORKY~ present The Jazz Show of the Year CHICK COREA and RETURn TO fOREVER and MAHAVISHNU ORCHESTRA feat. JOHN McLAUGHLIN SA TURDA Y, OCTOBER 25 at 7:30 in the New CENTURY THEATRE 511 Main Street Tickets on Sale Now at: All Ticketron Locations, Man Two, Purchase Radio, Hengerers, Pantastik, U.B., Buff State, 0' Amico's, Sam's, St. Catharines, Salsberg- Toronto. Connaught- Hami Iton. Fredonia College & All Ti cketron Loc. in Rochester 6 JAMAN E. R. October 17-19; 24- 26 October 31- November 1; November 7 - 9 19 W. UTICA 886 - 9163 SUNDAY NIGHT IS JAM NIGHT ..JAMAN - SWEET HERITAGE - MARK 5970 The . long awai~ed album from pianist Jaman', group .'s now available and worth adding to your collectIOn. The group here consists of Birthrig~ drum'!1er Nasara Abadey, bassist . Jim Kerzdorfer (ex-BIrthright) and conga/percussIonist Dhui Mandingo with cellist Dennis Williamson, guitarist Jame Clark and vocalists Beverly Johnson Ross and JoA Crosby. Its honest music. structurally simple enough to reach a large audience, yet musically satisfying enough to catch the interest of initiated listeners. Carroll Hardy really says it all in the liner notes Ahmad Jamal influence, doses of gospel, jazz and blues, etc . The local popularity of Jaman gives you ample opportunity to hear th is music on the radio or performed live . Lend an ear . B.W. ILLINOIS ..JACQUET - HOW HIGH THE MOON PRESTIGE 24057 This man's name may not ring a bell for many I isteners. The name Gene Ammons, however, probably does and if you liked his music you'll like Jacquet. Its that same big toned, honk ing, bluesy, R&B sound . Four sessions recorded in '68 & '69 are heard here with Jacquet on tenor for each tune except 'Round Midnight, on which he plays a well controll bassoon . As with Ammons, he's a saint with ballads. Some of the musicians included are Frank Foster, Cecil Payne, Milt Buckner, Tiny Grimes & Wynton Kelly. Previously issued on Prestige LP's 7575, 7597. 7629 & 7731. The man and his music are worth your attention . B . W. BORAH BERGMAN - DISCOVERY - CHIAROSCURO CR 125 . I feel confid ent in saying that I doubt if you will have ever previously heard anything like th e music of Borah Bergman's Discovery. For openers, when's th!l last time you heard someone play the piano witlr their left foot while also playing with both hands (it'~ hard to tell if he took his shoe off)? Like th E' music of 'Trane, this solo piano album requires mor!' than one sitting if you are to fully appreciate it. The,... are few pianists whose style compres to Bergman's or who have devoted themselvps so intensely to the development of an independent left hand (or foot ffJr that matter). Although much of the music seems 10lack melodic continuity you will find no lack of musical, emotional or psychological energy . Discove'Ji provides new horizons for jazz improvisation. J.H. �TRIP - EMARCY RE-ISSUES Gerry Mulligan Sextet (5561) dates back to 1955 and includes such names as Zoot Sims, Bobby Brookmeyer, Peck Morrison, John Eardley & Dave Bailey . 8 tunes are heard and in two words - it swings. Introducing Nat Adderley (5564) is a must for fans of the Adderley Bros . Exquisite solos from Cannonball, Nat and Horace Si Iver, not to mention the fine work of Paul Chambers and Roy Haynes. The year was 1955 . Swing is the word again on Jazz is a Kick by Bob Brookmeyer (5568) . Recorded in 1960, two groups a septet and a quintet, are heard, each featuring the dual trombones of Brookmeyer (valv e) and Curtis Fuller (sl ide). Perhaps the hottest item here is Som'ething Old, Something New by Dizzy Gillespie (5566). This set was recorded in 1963 with James Moody, Kenny Barron , Christopher Whit e and Rudolph Coli ins. If you're not familiar with Diz or missed out on the original issue - here's your chance . Superb music. Down to Earth by Th e Ramsey Lewis Trio (5563) is a '58 recording and f eatures EI Dee Young on bass and Red Holt on drums (who formed Young-Holt Unlimited ). Th e program is made up of originals and public domain songs. Other releases include a laid back big band date with Sarah Vaughan titled No Count Sarah (5562) done in 1958; a 1956 big band date with Dinah Washington (5565) boasting highly spirited, classy vocals from Dinah . In a vari ety of tempos, simply titled The Swingin ' Miss D. B.w. BRIANDI'S 421 KENMORE AVENUE Presents JAZZ ON WEDNESDAY NIGHTS with PHIL DiRE QUARTET OSCAR PETERSON ET JOEPASS - ASALLEPLEYEL - PABLO 2625 - 705 Oscar Peterson and Joe Pass need no introduction to the jazz publ ic. They have both gained widespr ead respect for performan ces in solo and duo formats . This 1975 concert, recorded in France, is no exception . Much of the album is devoted to solo Peterson, including an Ellington medley. Half of side 3 and all of side 4 contains the duo performances, the remainder being solo Pass . Naturally, there's a well varied program of tempos and moods . Although not the masterful performance of Pass' solo record, or the all out bash of Peterson's The Trio - this set is recommended for fans of either artist. B.W LIVE FRIS. & SATS. ·tilJ.\!"J.\bJJ.\Dr CJ.\r! ~ w@dMSdilYs ACOUSTIC MUSIC late nife snacks wlhQt~ 2610 main at fillmor@ BIRTHRIGHT - OCT. 11 & 18 sundays CLASSICAL MUSIC happening buffalo area See ads. toronto FOURTH DIMENSION - 180 Queen St ., W. (above Bourbon St.) Joe Williams - Nov. 4-8. EGGERTON'S - Church & Gerrard St ., E. Friday & Saturday nights 1:30 to 5:00 AM. Alvin Pall group plus guests . D.J.'s Bar - Hydro Building - University Ave. & College. Six nights a week . Climax Jazz Band . ALBERT'S HALL - 481 Bloor St., W. Monday - Wed nesday - Kid Bastien. Thursday - Saturday - Jim Ab ercrombie. INN ON THE PARK - Leslie & Eglinton Ave. , E. Saturday matinees, various groups . SAPHIRE TAVERN - 14 Richmond St ., E . Jim Gallo way Band - nightly. BEVERLEY HILLS MOTEL - 1677 Wilson Ave. Saturday afternoon jam sessions. GEORGE'S SPAGHETTI HOUSE - 290 Dundas St ., E . October 6-11 Doug Riley Trio ; 13- 18 Moe Koffman; 20-25 Tony Collacott Trio; Oct. 27-Nov . 1 Alvin Pall . every /UnDAY 7-11 TUE/DAY 10-2 bar with no name 946 elmwood ave. at bidwell 7 �HERE lHES Bourbon Street E RS TORONTO This October at the Statler ( 41 6) 864 - 1020 EARL"FATHA" HINES & MARVA JOSIE Oct. 7 -- Od.19 DOWNTOWN Tues. - Sun. from 9 PM No cover Llt'e n Stre( l ttv WOODY HERMAN & THE THUNDERINCi HERD GAP MANGIONE Octobe r 6 - 18 Fri. Od. 2t1 GOLDEN BALLROOM one night only! October 20 - Nove mber 1 ALL YOU CAN DRINK! $15 PER PERSON Includes Tax & Gratuities Novemb er 3 - 15 PAUL DESMOND MILT JACKSON 856-1000 ext. 220 for reservations. Phon e Ah ead for Dinner Reservation s Din e & D ance 9 - 1 No Cover Free parking in the Statler garage The Statler Hilton a WO. Hassett enterprise A SPACE CONCERT SERIES - 85 St . Ni cholas St. Oct . 19 Stu Broome r ; Nov. 1 & 2 Anth ony Br ax t on Qu art et f eatur i ng Dave Hol land ; Nov. 15- 16 Don Pul le n. Call 964- 3627 or 929 - 5065 f or furth er inf 0r mat ionand ti cket s. SANDPIPER TAVERN - 76 St . Cl air Av e. , W. Every Saturday afternoon 2 t o 5 PM - Th e Av ante Garde Jazz Revi val Band . Admis s i on Free. 567 GALLERY - 567 Quee n St. , W. Hon ey Novak wi t h Bill Smith , Larry Dub in , Pet er An son, AI Mattes an d Ca sey Sokol . CECIL TA YLOR UNIT - Concert Burton Aud ., York Un iv . , Dovm sview - Oct. 30 . Ph one 41 6-667 -2370 . .. roche/ter JOHN LUCIEN & JOE BECK - Thurs ., Oct . 9; WEA THER REPORT & DAVID SANCIOUS - Sat ., Oct . 18. Bot h con certs 8 PM at Ro chester Auditorium Th eatre, 875 Main St . , E . , 454 - 7743 . MONTICELLO REST . - 800 Jefferson Rd. Barbara Carroll thru Oct . 25 . Junior Mance starts Oct. 27 . Cl osed Sundays . SARAH GARDNER'S NITE CLUB - 575 Jos eph AVf!., 325- 9505 . Shirl e y Scott Oct . 2-5; Mid-West Express Oct. 11 - 14; Houston Person & Etta James Oct . 23- 26 . Cover Charge . WINE PRESS - 1730 N. Goodman St. Telstar Oct . 10 & 11 ; Spider Martin Oct . 16 - 18. ARIGATO STEAK HOUSE - 2720 W. Henrietta Rd. , 46 1-4801. Jam session w/ Joe Romano Quartet Oct . 5 & 19; 8:30 - 12:30 . Musi c ians invit ed to sit in . Eastman Jazz Ensemble - Free concert at Eastman Theatr 8 Iyracu/e I DINKLER MOTOR LOUNGE - 1100 Jam es Street 472 - 6961 - thru Oct. 18 Ja ck Mahew. Oct. 20Nov. 1 Dorothy Donnigan. PINK PUSSY CA T - Ponde r osa PI . (N . Sy r.) 4551794. Jazz on Mon . nites w/ Steam . Nat L e vin e Sun. nite. CASA 01 LISA - 1625 Erie Bl vd., E ., 472- 9866Wed. & Sun . Marcus Curry; Thur s. & Sat. Bobby Hamilton. Fr i . Pe ter Mortenson T r io. WESCOTT INN - Wescott St. Mon. nights w/ Bobby Hamilton . JAZZ RADIO BUFFALO WBFO 88. 7FM MON. - FRI. Noon - 2 PM - Spirits Kn own & Unknown w/ various host . MON. - 10 PM - Jazz Revis ited. FRI. - Midnight - 3 AM - Round Midnightw/ BJR writ er John Hunt. 3- 6 AM - Pulse w/ Bill Besec ker. SA T . - 8 AM - Noon - Freedom Flight w / Yvonne Pri ce. Jazz Report appro x. 3 PM. Jazz By Reque w/ Pres Free land at midnight . SUNDAY - Noon- 2 - Jazz Contours w/ BJR Editor Bill Wall . 11 PM Inside the Changes w/ Bill Savino, Mid. -3 Roots , Rhythm & Sound w/ Charl es Smith. WEBR 970 AM .11 PM-Mid. - Jazz Nightly w/ Geo. Be ck; followed by night jazz w/ Warren Epps. WBLK 93.7 FM Sat . 10 PM - Mid. Jazz w/ Carroll Hardy . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3587 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 20 Date A point or period of time associated with an event in the lifecycle of the resource 10/1/1975 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Jazz. Music > Periodicals. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 20 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/220b6d779e2c312eda4b574169996d8b.pdf a044dd298d4ce2734ae5b8122353a0dc PDF Text Text !,~'fQllo j~zz ,ep~.!,V~~ 19; MlI ~7 . ) / ().l!J f"J \-1 lonnie liston smith Pianist Lonnie Liston Smith will appearthismonth the Buffalo Theatr e with his group The Cosmic Echoes. Th e concert, to be held November 14 at 8 PM, is sponsored by the U.U.A.B . Music Committe e under th e direction of Robi e Schliedinger . Also on the bill will be guitari st s Larry Coryell and Steve Kahn, and saxophonist Pharoa h Sanders and his grou p. The music of The Cosmi c Echoes is multidimens io nal , highly percusive and m elod ica lly colorful. Nat Hentoff tabs it as " sensuous serenity", the BJR has called it "music to lay back and get off on"; 'peaceful and t extured" . It is not th e indiv idual soloists, but th e group effort that attracts the mind and soul of th e listener . Aside from the Echoes, Lonnie is best known for his work with Pharoah Sanders and Gato Barbieri . The Sanders group recorded Astral Traveling, Smith's best known composition. In addition, he has worked with Rahsaan Roland Kirk, Leon Thomas, Stanley Turrentine, Mi les, Betty Carter, Joe Wi II iams, Art Blakey, Norman Connors and others . Smith has said "music is one of the ruling forces in the cosmos and I constantly stretch for the ultimate. Music should bring a message and I am but a messenger" . Try to get down to see him in concert, and perhaps pick up one of, his Flying Dutchman .lbums as well. Also - let's all thank Robie and U.U.A .B . for bringing consistently fin e contemporary jazz to Buffalo . B .W. at I CLUB SCENE Earl Hines and h is quartet, along with vocal i st Marva Josie turned the Statler's Downtown audiences on to some of the best, most dynamic and exciting jazz ever to be played in that club. At times his group sounded like a big band and the racially balanced " I~rowd spent almost as much time standing as sitting. Itut then, need I say more. I'm sure everyone made it down . Roland Kirk was a gas at the Fillmore Room . He ' s switched his raps from anti -white to anti -average white band and communicated well with the capacity audience. In addition, he played better and more than I've ever heard from him. A fine set as well came fr om violinist Michal Urbaniak 's Fusion with electroni c enri ched vocals by Ursula Dudziak . A U.U .A .B . production . The music is still going strong at Papagayo' s, Ericson, Tralfamadore, and No Name . Check out the ads for these clubs and new ones featuring jazz . Reviews of th e Herbie Mann- Geo . Benson, Chi ck Corea-John McLaugh I in & Woody Herman concerts w i ll appear next month . AJP NEWS The association for jazz performance has announced a series of workshops, clinics and sessions to be held in Buffalo . Open Sessions for professionals - Mondays 6 :30 9:30 , African Cultural Center, 350 Masten Av e.; and Thursdays 6:30- 9:30, Allentown Community Center, 111 Elmwood . Sessions for non- profess ionals - Satur days 2:30-6:30, St. Luke's Church, 335 Richmond at Uti ca. Young People 's Playing Workshop for Jr. High High School students Tuesdays, 4:30 - 7:30, North Jefferson Branch Library Aud ., 332 E . Uti c a St. Bas ic elements of music - op en to everyone - Saturdays 1- 3 PM - Allentown Community Center. All of the above are under the direction of Buffalo Jazz Ensemble members . For more information phone the AJP at 884-5165. CORRECTION Earl Hines' recent Statler appearance was not his first in Buffalo as stated in our last issue. According to the many letters we received, he appeared about 1970 at the Royal Arms (now Ericson). and he toured here with his orchestra many years earlier . NEWS Toronto's Bourbon Street was the location for three recent live recordings . Jim Hall, BarneyKessel & Paul Desmond each recorded albums for future release on A & M Records . A & M has started a jazz line with an impressive roster. At long last, the Thad Jones/ Mel Lewis album will come out of the vault to be released. �• 1975 - Buffalo Jazz Report N? portio~ of this pUblication may be reproduced wIthout wntten consent from the publisher. haircutterI Editor/Publisher - Bi II Wall Contributors - Tom Alabiso, Louis Bradshaw, Paul Gresham, Marty Hazen, John Hunt, Tom Mazzone , John Osborn, Paula Wall Leroy Jones Illustrator - Christine Engla Eber CorrespondeQts Rochester - Jim Laniok Syracuse - Jerry Stabile Toronto - Hal Hill Address correspondence to : Buffalo Jazz Report" 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 eri\~~ + IIf6b)illll'D<l1 59 Kenmore Ave. in basement of Haircuts Underground DA VID MA THEWS - BIG BAND RECORDED LIVE A T THE FIVE SPOT - MUSE MR 5073 Basically, this is just twelve of New York City's finest studio musicians getting together to record a live gig at the historic "Five Spot." It turns into some vibrant music with surprisingly fluid soloing by Frank Vicari on tenor sax, and Joe Shepley and Bert Coil ins on trumpet . Mathews' arrangements are tight and reflect a great deal of professionalism especially considering the short amount of time they had to prepare for this session . Very fine big band music. J .H. STANLEY CLARKE - JOURNEY TO LOVE NEMPEROR NE 433 The technical excellence of Stanley Clarke is well known and on th is album it is matched with versati1ity. Clarke's youth is betrayed in his fascinationwith commercial jazz-rock funk eg Silly Putty & Hello Jeff but his maturity on acoustic bass is exemplified in 2 tunes, Song to John (Parts I & /I) which he plays with acoustic John McLaughlin and Chick Corea. These cuts, dedicated to John Coltrane, are tightly integrated and refreshingly light . Concerto for Jazz/ rock orchestra alternates between sinuous synthesizer work of George Duke, who also plays numerous keyboard instruments, the electric guitar of Dave Sancious, and Clarke's bass and synthesized piccolo bass . Steve Gadd performs on percussion . A fine release . T.M . BARNEY PLAYS KESSEL - CONCORD 9 This is the first American recording of Kessel in several years, and after hearing this music you'll wonder why . The guitarist leads a septet here with such names as Victor Feldman, Jimmy Rowles and Herbie Steward . The program is well varied - with the raw funk of Down In The Swamp, to th e gorgeous ballad Love Of My Life; the red hot Sea Miner to the Latin Brazilian Beat. All musi c ians perform at a level well above average, espec ially Steward and Kessel . A final note - Barn ey compos ed each of the nine tunes on the album. S.w. ALBERT AYLER - WITCHES&DEVILS-ARISTA 1018 On Holy Holy the music takes me back to church hymn like . Albert's time concept is very good, playing broken poly-rhythms, and Henry Grimes sounds excellent-plucking his bass . Spirits is a well played composition with out of time stops. The music is Albert Ayler . L .J . ~vy 9 S I I Jazz ANTHONY BRAXTON - 5 PIECES 1975 -ARISTA4064 You Stepped Out of a Dream sounds as if the music came from just that, and is exc ellent. Dave Holland's tone is rich with sound. 647 BNK is played with dynamics and collective thoughts , and r eminds me of 77AR--36K from Braxton's New York Fall 1974. Trumpet ~ r Kenny Wh eel er blows like he's dashing across a pond . This musi c is another phase of fine Anthony Braxton compositional playing. L .J. DISCOUNT RECOJiDS Coupon worth TWO DOLLARS Off the Mfgrs. sugg. list price of any available Album at any of the 9 CAVAGES locations. I I Expires 12- 1- 75 I • SENECA MALL · • BOULEVARD MALL • COMO MALL I MAIN PlACE MALL • THRUWAY PLAZA • SOUTH SHORE • UNIVERSITY • LOCKPORT MALL...] L: ----2 836-1781 (corner of Wi ndemere) behi nd jewel ry store lecoldinga ~~,\\ 'a e re". SONNY STITT - MELLOW - MUSE 5067 Sonny's latest gets into a relaxed, good feeling groove . He chose some highly proficient musicians to work with - Barry Harris, Richard Davis and Roy Haynes; with the great Jimmy Heath added on tenor, soprano and flute . While the program is mostly "mellow", things move along well on A Cute One and How High The Moon. Although not as emotionally stimulating as his previous Muse and Cobblestone sides, Mellow towers high over Sonny's recent Cadet albums. B.w. �CHARLES MINGUS - CHANGES ONE - ATLANTIC SD 1677 CHARLES MINGUS - CHANGES TWO - ATLANTIC SD 1678 Changes One seems to represent a shift in em phasis for Mingus who has apparently put aside much of his angry dissonance of earlier albums in favor of the beautiful, provocative and dynamic Mingus melody. Still , there's pl enty of room for some great soloing by his current sidemen . Changes Two is a separate album of musi c taken from the same ses sions with th e same outstanding personne l. It shows that Mingus still has th e abil ity to bring out th e most in his co - worker s (Don Pull en, his impress iv e pia nist, has just r eleas ed a so 10 album) . Changes One C 1975 AtlantiC Reco rding Corp." A Warne r Com munications Company and/ or Changes Two will make an important ad9i tion to your Mingus collection . J .H. JULIUS HEMPHILL - 'COON' BIDNESS - ARISTA FREEDOM AL 1012 Highly r egarded alto saxophonist Jul ius Hemphill comes under what eve r heading you place Ol ive r Lake and Anthony Braxton . Characteristi c ally , 'Coon ' Bid ness is ext remely esoteric - each p ie c e usually r evolving around one repetitiv e theme , wh ic h pla ce s the emphasis on the soloist. The soloing is admi r abl e but melodic content suffe rs making this an album f o r those who savor expansive, exploratory jazz . 'Coon ' B i dn ess puts Hemphill on th e map as on e of th e avant gardists we will be hearing a lot more of. J .H. Produced by Stanley Clarke and Ken Scott �CANNONBALL ADDERLEY - BIG MAN - FANTASY 79006 Big Man is Cannonball's last work, and is a folk / jazz/ spiritual musical. It is the story of John Henry a big man. By classic American legend, John Henry was 99 feet tall and came to help his people, barely out of slavery, work on the C & 0 railroad . The roll of ·Henry is sung by jazz great Joe Williams, with four additional vocalists in support rolls . The music was composed by Cannonball and broth er, Nat, and is performed by a 19 piece ensemble including 'Ball, Don Menza, Roy McCurdy and Airto . This production was an extensive, time consuming project for Cannonball and is in no way limited in appeal only to a jazz audience . It is for everyone . A masterful work from one of the true greats of American music. B.W . DON ELLIOT - REJUVENATION - COLUMBIA PC 33799 The mellophone is not exactly the most common of jazz solo instruments. When you listen to Rejuvenation, however, you will be impressed by how comfortable Don Elliot makes you feel with it . You will also be impressed with the wide range of moods , types of arrangements and skill of musicianship . Cons idering Ell iot' s extensive jazz background (he played with Teddy Wilson, Terry Gibbs, and George Shearing not to mention having won eight Downbeat polls for mellophone) and his participation in a great many other areas of music and media, you should expect a lot of diverse sounds . You'll get them . J .H. W~(NGJAZZ ~ records Imports & Special Order Service A Different Record Store 288 Queen Street West, Toronto, Canada. M5V 2A1 (416) 363-3208 4 liSTEN TO BUDDY AT HOME BUDDY DEFAArlCO " fREE JAll-With: Victor Feldman John Chiodini Victor Sproles Joe Cocuzzo CHOICE CRS 1008 piano guitar bass drums AT CAVAGES & RECORD RUNNER OR BY MAIL - $6.00 POST PAID COOIC. Records 245 Tilley PI., Sea Cliff, N.Y. 11579 SEND FOR ·CHOICE NOTES·, A FREE NEWSLETTER ON CHOICE ARTISTS & RELEASE.S AZAR LA WRENCE - SUMMER SOLSTICE - PRESTIGE P-10097 For anyone familiar with the music of the great pianist McCoy Tyner, Azar Lawrence should be no stranger . This 23 year old has done the beautiful tenor and soprano sax work for McCoy for the last three years . At first acclaimed for his striking tonal resemblance to the late 'Trane, Lawrence has proven with Summer Solstice that his style is his own . His choice of co-workers on this album (Ron Carter-bass, Billy Hart-drums, Albert Daily and Dom Salvadorepiano) reflect his strong ability to lead the best. There are some exceptionally beautiful moments here . If you like his work with McCoy, you'll definitely dig Summer Solstice. J .H. LARRY RIDLEY - SUM OF THE PARTS - STRATA EAST 19759 BLUE MITCHELL - STRATOSONIC NUANCES - RCA APLI-1109 These two albums from a pair of jazz' contemporaries are similar inasmuch as they will both appeal to wide audiences, and each conta in extended, funky versions of Monic: tunes. However, while the Mitchell album often gets bogged down with funk cliches, the Ridley offering contains more original arrangements and musical expression. Each record features some fine personnel - Harold Land, Cedar Walton, Hampton Hawes and others are with Mitchell ; and, Ridley is joined by Sonny Fortune, Onaje Allen Gumbs, Grady Tate and Cornell DuPree . The Ridley date offers a better variety of tunes, including Duke's In A Sentimental Mood (a solo bass II I �performance from the leader} . Nuances contains compositions by Mitchell, Monk, Barry White and Stevie Wonder and the entire program leans toward soul music . While each album will, no doubt, sell well, I'd have to go with Sum Of The Parts. B .W . STANLEY TURRENTINE - HA VE YOU EVER SEEN THE RAIN - FANTASY 9493 A highly polished, easy listening affair with Stanley joined by Freddie Hubbard, Patri ce Rush en, Ron Carter, David T. Walker, Jack DeJohnette and Strings . I find it more similar to Pieces of Dreams than his more recent Fantasy release, but the Page Bros . are limited here to arranging and produ~tion. Included is Marlena Shaw' s You and Tommy Turrentine's Tommy's Tune. If you dig jazz of the commercial vein - this is gorgeous. B.W. BILL Y PARKER'S FOUfiTH WORLD - FREEDOM OF SPEECH - STRA TA EAST 19754 Th e drummer/ leader is joined by five well versed musici ans for this great set of pure, contemporary jazz. The vocals are done by Dee Dee Br idgewater and Donald Smith (of the Cosmic Echoes). Ronald & Cecil Bridgewater are on tenor andtrumpet;andCecii McBee is on bass . The only low point is Parker's op ening sol o on the titl e track - its too long and becomes tiresome . The rest of th e musi c , however, is well wr itten and performed and the album is worth your attention. B.w. WELCOME TO ONE OF THE LARGEST COLLECTIONS OF JAZZ IN THE COUNTRY Plus Prices Below Most Competition Incredible Selection - Low Prices University Plaza-fJflo. 25 Marshall St. - Syr. Elvin Jones - ·On The Mountain" & ·Live'" CHARLES TOLLIVER - THE RINGER - ARISTA/ FREEDOM AL 1017 This is music recorded in Europe in the summer of 1969 but it bears a striking resemblance to the most recent of Charles Tolliver's efforts on his own Strata East label. Tolliver's trumpet has been heard with the best of the mainstream jazz artists (Art Blakey , Jackie McLean, Horace Silver and others) but these associations have not kept him from explor ing the most contemporary of improvisational techniques. The Ringer highlights his ability as well as the abilities of pianistStan ley Cowell, drummer Jimmy Hopps and bassist Steve Novosel , to perform in both worlds with equal fire. J.H. P. M. Records Proudly Presents ON THE MOUNTAIN, recorded this year at Red Gate Studio, is an experience where the Trio sets the direction for tomorrow, with six original tunes. - :-----, r -.-1'-"N-J-O-NES--UVE---' ELVlNJONES LIVE was recorded ELl'l attheJohn Coltrane Memorial Concert at Town Hall, New York City, September 19,1971. I~ ~ Elvin Jones is "On The Mountain" with Jan Hammer and Gene Perla "Elvin Jones live" with Chick Corea, Frank Foster, Joe Farrell .and Gene Perla I' ' Also PMR-001 OPEN SKY Dave Liebman, Frank Tusa and Bob Moses pm avaikDie PMR-002 STEVE GROSSMAN "Some Shapes To Come" with Jan Hammer, Gene Perla and Don Alias PMR-003 OPEN SKY "Spirit in the Sky" Dave liebman, Frank Tusa and Bob Moses At Audrey & Del's. Cavages. Sample Record Shop & Record Runner. In Toronto at Jazz & Blues. Sam's & Wing Jazz. By Mai I - $6.50 from BJR. 1335 Main St .• Buffalo. N. V, 14209. 5 �ERICSON LOUNGE FORMERLY -THE ROYAL ARMS" E. R. NOVEMBER 7, 8, 9 2610 main BIRTHRIGHT fillmore NOVEMBER 14,15,16; 21,22,23 19 W.UTlCA 886-9163 LIVE TAPING NOV. 15th TONY BENNETT/BILL EVANS ALBUM - FANTASY 9489 Bennett & Evans are presented here in a personal, intimate duo setting. Much like an after hours session, the two musicians are sensitive and aware· creating and sharing. If you like the voice of Tony Bennett, you'll love this album. B.W. RICHARD DA VIS - WITH UNDERSTANDING - MUSE MR 5083 Bas:, :-:;t Richard Davis is a sought after musician whether it be for a symphony orchestra engagement or a jazz recording session. His ability to command respect in both worlds is a mark of his talent and dedication. With Understanding highlights Davis' arco bass work, blending skillfully with appropriately tasteful accompaniment from Chick Corea on piano, An Evening With KEllF-I J4RRETT QUN<rET SA TURDA y, NOVEMBER 29 8:30 P.M. - MASSEY HAll TORONTO Tickets $6.60, 5.50 & 4.40 Avai lable at Central Ticket Office, 132 Delaware Phone 856 - 2310 6 at wednesdilyS ACOUSTIC MUSIC lat@ nife snacks Happy Hour 4- 6 Daily sundrJys CLASSICAL MUSIC Sonny Brown on drums, an additional bass player Bill Lee , and guitarist Sam Brown . This LP was previously released on the Cobblestone label. J .H. ELVIN JONES IS ON THE MOUNTAIN; EL VIN JONES LIVE PM 005; 004 At last the master of jazz drums wi II be introduced to a whole new audience . On The Mountain is a trio date with (ex - Mahavishnu Orch.) Jan Hammer on pianos and moog synthesizer and Gene Perla on bass . For the most, it's very similar to the music of Chick Corea's Return to Forever, with ele ctric piano, and Moog playing a major role. Each tune is a standout and all are Hammer or Perla compositions . Aside from the two beautiful ballads, the tun es are full of energy (E Iv in has no shortage of that). Destiny, running 7-1/2 minutes, features a drums/ synthesiz er duet. Namuh boasts some exquis ite acoustic bass from Perla with Hammer on acoustic piano . The recording is clean throughout. This one is a must if you're into Corea, Stanley Clarke, Billy Cobham, Jan Hammer, Elvin Jones. Play it loud . The Live album was recorded at Town Hall at the 1971 John Coltrane Memorial Concert. With Elvin is Frank Foster and Joe Farrell (saxes & flute), Chick Corea & Gene Perla. Two tunes are heard - Shinjitu & Simone, with theformercontainingtracesofCorea's early return to forever stylings . It's excellent acoustic music with superb solos from everyone involved .. Elvin is a monster on Shinjitu . The sides run 22 & 23 minutes . Elvin Jones is a giant. Coltrane said that years ago. These albums will tell you why . BW. THE TATUM GROUP MASTERPIECES - PABLO RECORDS Eight records are available featuring the great pianist , Art Tatum. They can be purchased separately or as a boxed set (Pab!o 2625706). Depend ing on your choice of contexts and sidemen, you can be sure that each contains fine musi c. My favorites are Tatum/Ben Webster/ RedCallender/ Bill Douglass, (2310 737) and Tatum/Hampton/Edison/ Rich/ Callender/Kessel (2310 731), but then I've always liked Webster and Kessel. Another fine quartet side features Roy Eldridge, another is with Buddy DeFranco . Two discs feature Tatum w/ Benny Carter �.,d Louis Bellson, and the last is Tatum, Callender and Jo Jones . Not only has Pablo the good taste to make th is collectors music available, but they offer a substantial savings on the set . B .W . MARK MURPHY - MUSE MR 5078 Mark's third for Mus e is a total gem. With arrangements by David Math ews, th E: singer is hea rd in top form on several jazz classics and one original. You'll hear 'Tranes Naima, Hubbard's Red CIa)" Han cock's Maiden Voyage & Cantaloupe Island and Murphy ' s How Are You Dreaming. Al so, magnificent renditions of Body & Soul, Young & Foo lish and Empty Faces. Not only is Mal-k' s voi ce a stando'Jt, but each musician fares as well as he. The list in c ludes the Brecker Bros . , pE'rcussionists Sue Evans and Jimmy Madison, and David Sanbourn . There is soul, funk, blues and beauty, all in the pur " st ot form. If you follow Mark, you'll agr E'e with his f ep ling that th is is hiS best sin ce his River side yea rs. B .W. GA TO BARBIERI - EL GA TO - FL YING DUTCHMAN 1147 A fin e coll ection of prev iously issued Barbi er i . The lin eups featur e such notables as Lonn ie Liston Smith , Stanl ey Clarke, John Abercrombi e, Airto and Ron Carter . Only th e titl e track appears here for the first time . Th e 12 minute track is played by a 10 piece group whi ch includes the composer, Oliver Nelson. Overall, more gutsy and lessslickthanGato's ~~~~ . B .W. jazz is back EVERY WEDNESDAY NIGHT LIVE JAZZ tL~ep a q a y o EVERY MONDAY NIGHT NEW WAVE with BARBIE RANKIN Friday & Saturday Nights NO COVER 124 ELMWOOD AVENUE BUCK Y PIZZARELLI W/ .JOE VENUTI - NIGHT WINGS FL YING DUTCHMAN 1120 Half of this record is light, lyrical solo guitar from Pizzarelli . For the other half he is joined by violinist Venut i, and in two words - they swing. Bucky uses a seven string electric guitar from which he draws a very acoustic sound. An enjoyable, relaxing set rec ommended for all who enjoyed Venuti at the Statl er. B.w . .JOHN LEWIS - EUROPEAN WINDOWS - RCA APMI- 1069 Recorded in 1958, this is a re-issue of a Lewis' session with members of the Stuttgart Symphony Orchestra . John is heard on piano, with fellow MJQ members Percy Heath and Connie Kay, and two European woodwind soloists . The music is a classics/ jazz fusion and is not unl ike the MJQ recordings done with orchestras. Recommended for fans of Lewis and the MJQ. All six compositions are by Lewis . B .W. what;; happening buffalo area See ads . NIAGARA FALLS: Concert by Ron Casaro 's Jazz Experience, Nov. 14 - 8 PM - LaSalle High School . ACOUSTIC MUSIC MONDA Y NIGHTS BONA VISTA 1504 HERTEL every /UnOAY 8-12 TUE/OAY 9-1 bar with no name 946 ell'TlYIO()(j ave.at bidwell 7 �rbon HE~E treet THES TORONTO (416) 864-1020 This November at the Statler THE BUDDY DE FRANCO QUINTET ueen strel:.) '--t'1- Nov. 11 Nov.23 DOWNTOWN Tues. - Sun. from 9 PM No cover 0 MILT JACKSON November 3 - 15 JACKIE &ROY JIM HALL November 17 - 29 Nov. 25 Dec. 7 DOWNTOWN Tues. - Sun. from 9 PM No cover 00 JOE VENUTI December 1 - 20 Free parking in the Statler garage Phone Ahead for Dinner Reservat i on s Dine & Dance 9 - 1 No Cover The Statler Hilton a WO. Hassett enterprise roche/ter TOP OF THE PLAZA - Midtown Plaza - Nov . 10 & 11 Joe Venuti w/ M. & J. McPartland; Nov . 17 & 18 Wo ody Herman; Nov. 24 &25Bill Watrous (tentative); Nov . 30-Dec. 1 Count Basie; Dec . 5 Two Generations of Brubeck (tentative). SARAH GARDNERS NIGHT CLUB - 575 Joseph Ave. Nov. 6-9 Spider Martin ; 13-16 Sparkey & Midwest Express; 20 - 23 Jack McDuff; 27-30 Melvin Sparks . MONTICELLO - 800 Jefferson Rd . - Junior Man ce thru Nov . 22. BOB GREENE'S WORLD OF JELL Y ROLL MORTON Nev . 22, Eastman Theatre, 8 PM. Iyracu/e Information not received by presstime . toronto GEORGE'S SPAGHETTI HOUSE - 290 Dundas St., E. 923-9887 . Ted Moses Nov. 3-8; Moe Koffman 10-15; Bernie Piltch 17- 22; Howard Silverman 24-29; Ed Bickert Dec . 1-6. THE 4TH DIMENSION - 180 Queen, W. (above Bourbon Street) 864-1070 . Joe Williams Nov . 4-8; Jackie & Roy Dec . 8-13. A SPACE CONCERTS - 85 St. Nicholas St. - Don Pullen (solo piano) Nov. 15 & 16. Phone 416-929-5065 Nov. 30 - Mike Stewart (sax) & Keith Blackley (perc.) MICHEL LEGRAND W/ PHIL WOODS - Sat. , Nov . 8 8:30 PM - Hami Iton Place - Hami Iton, Ont. . GEO . SHEARING QUINTET - Thurs., Nov . 27 Seneca College, Toronto 8:30 PM 8 DIZZY GILLESPIE - Col onial Tav ern - starts Nov. 10 - fo r 1 week . SANDPIPER TAVERN - 76 St . Clai r Av e., W. Every Saturday afternoon 2 t o 5 PM - Th e Avante Garde Jazz Revival Band . Admis sion Free. 567 GALLERY - 567 Queen St., W. Hon ey Nova k with Bill Smith, Larry Dub in, Peter An son, AI Mattes and Cas ey Sokol . EGGERTON'S - Church & Gerrard St., E . Friday & Saturd ay nights 1:30 to 5:00 AM . AlVin Pall group plus gues t s. D.J .'s Bar - Hydro Bu ilding - Uni ve rsity Ave. & Coll ege. Six nights a we ek. Climax Jazz Band . ALBERT'S HALL - 481 Bl oer St ., W. Monday - Wednesday - Kid Basti en. Thur sda y - Saturday - Jim Ab ercrombie. INN ON THE PARK - L eslie & Egllnton Av e., E . Saturd~y matinee s, various group s. SAPHIRE TAVERN - 14 Ri chmond St. , E . Jim Galloway Band - nightly . BEVERLEY HILLS MOTEL - 1677 Wil son Av e. Saturday afternoon jam sessions. JAZZ RADIO TORONTO CWHO - 125 AM - w/ Jack Cole - Sat. 10 :30 PM 2 AM . CBL - 94.1 FM - Jazz Radio Canada - Mon.-Sat. Mid .- 1 AM, Music to Listen to Jazz By Sat. Aft . 2-4. CJRT - 91 . 1 FM - Jazz Scenew/ TedO'Reilly - Mon.Fri . 10 PM - 1 AM; Sat. 6 AM - Noon & 6-9 PM. CKOS - 94.9 FM - World of Jazz wi D. Lenni ck - Sat. 9 PM-Midnight . CKFM - 99 .9 FM - All That Jazz w/ P . McKellar Sunday 10 PM -6 AM . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3588 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 21 Date A point or period of time associated with an event in the lifecycle of the resource 11/1/1975 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Jazz. Music > Periodicals. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 21 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/ca25e799da9c85cf39a9e6640f9d0df9.pdf 7057ab8c0095609830453ea1e15ed382 PDF Text Text ~~'fQllo j!7LZ ,ep~.!t ML I p~ . \ 'd-'Y ;\ WBFO\~~ Early this month, November 30 - December 7, WBFO conducts its first fund raising drive. If you're not familiar with the station, it is public radio located at SUNY at Buffalo with jazz shows ai red seven days a week. The station offers the broadest, most complete jazz programing available to people in the Buffalo area . You'll get mus i c from Buddy DeF ranco to John Coltrane; Earl Hines to McCoy Tyner; Gene Krupa to Elvin Jones - all in stereo. Th ecompleteWBFO listing is printed on the back cover of this issue. At this time WBFO is asking listeners to donate money to aid in purchasing equipment, maintainingthe record library , etc. As the editor oftheBJR, and host of "Jazz Contours" (Sundays 12-2) I'm making a special request of every BJR reader to tune in to WBFO and listen to the programs offered. If you've not already done so , please consider sending in a donation whatever you can afford - to give the station the aid it so well deserves. Remember, there is no adver tisi ng on public radio. All monies must come from fund ing and donations . Membership begins at $15 and in return you'll r eceive WBFO's monthly program guide, the Buffalo calendar for 1976 showcasing Buffal o's lower West side through photographs by Milton Rogovin, and better listening . You ' ll feel good as well by knowing you've helped WBFO to serve the jazz community of which you are a part. Don 't let it be said that the classical audience is more involved than jazz people. Send a check for whatever you can part with to WBFO - 323 Norton Hall SUNY Buffalo - 3435 Main St . , Buffalo, N.Y. 14214. And yes - it is tax deductible . B .W. CLUB SCENE Live jazz is jumping all around town. Ericson Loung e featured jazz all month with E.R. & Birthright. Both groups drew well and should be back soon . Papagayo's is doing extremely well with one of Buffal o's most popular groups. The New Wave with vocalist Barbie Rankin packs em in three nights a week . We welcome the Bona Vista back to the jazz circuit and wish them continued succes s with their Wednesday ni ght sessions . DEC 1 .' 197 Mark Murphy 's engagement at the Cotion Club came at the same time as his new album on Muse Re cords . Murphy was great, but I itt Ie effort was put into promotion. Sad . The Shore Coffee House invites all jazz musi cians to drop by on alternate Saturday evenings 8-12 PM (De c. 6 & 20) to part icip ate in anopen session format . Everyon e is welcome. Coffee, tea, pretzels and admission are free. Located at "the church in the Shor line" - 200 Ni agara St . No Name jazz is sti II the rage for Sunday and Tuesday nights . They started it all and deserve all the business they can handle . Flight & Birthright played the Tralfamadore Cafe and the latter recorded some live tracks for their forthcoming second album . Friend and noted guitarist Stu Wiessman reported that the quartet at Jack Daniel's on Tuesday night destroyed him. His word is good enough forus - we'll be down . Buddy DeFranco returned to the Statler and was well received . He's got a fine guitan st in John Chiodini. Jackie & Royfollowedfortheirthirdengage ment . Then they're off to Toronto's Basin Street. The Bourbon Street (below Basin Street) brought in Milt Jackson who played to a packed house every night . We managed to squeeze in and were treated to some superb music . George Benson was a sa int at the Buffa 10 Th eatre in November . He had Buffalo's Ronnie Foster with him and they both jammed with Jaman at the Ericson after the concert . Herbie Mann was a bit of a letdown - especially after hearing Benson . B .W. A typically loud, high-speed set plagued by sound difficulties was given by John McLaughlin and the Mahavishnu Orchestra. As McLaughl in walked on stage he received a large and warm ovation from the packed house. By the end of his set, though, the enthusiasm for his music had diminished (not to mention everyone in the place suffering from ringing ears from the excessive volume) . Return to Forever featuring Chick Corea was marked by a beautiful selection of material , incre dibly tight performance and a very relax~d and happy atmosphere (the volume was never excessive). Each member of the group (Chick, Stanley Clarke, Lenny White III, and AI DiMeola) took turns introducing each other and the upcoming tunes . The acoustic section was outstanding and at the conclusion I thought the new Century would crumble from the well - deserved standing ovation. J.H. @ 1975 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the publisher. �Editor/Publisher - Bill Wall Contributors - Tom Alabiso, Louis Bradshaw, Paul Gresham, Marty Hazen, John Hunt, Tom Mazzone, John Osb(}rn, Paula Wall Leroy Jones Illustrator - Christine Engla Eber haircutterI Corresponde1Jts Rochester - Jim Laniok Syracuse - Jerry Stabile Toronto - Ha I Hill Address correspondence to: Buffalo Jazz Report 59 Kenmore Ave. 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 in basement of Haircuts Underground lecoldin8~ McCOY TYNER - TRIDENT - MILESTONE If you're into Tyner (and n~wadays who isn't) you'll be very much impressed with Trident. McCoy, Ron Carter & Elvin Jones perform flawlessly as usual and for the first time since earlier in the decade.' this trio has collaborated to come up with an obvious collectors item . Classic, not only due to the rarity of hearing these three giants on record together, but also because Tyner elected to employ the harpsichord and celeste to expand the nature and depth of his musical ideas! Trident IS eVidence of a great musician growing even greater . P .G. LENNY WHITE - VENUSIAN SUMMER - NEMPEROR NE435 Lenny White, who with Stanley Clarke forms the drive behind Chick Corea, offers a surprisingly fine release . Surprising because while the first 2 tunes become hung up in commercial funk, the rest of the album makes it worthwhile. The Venusian Summer Suite floats I ike Jul ian Priester's Love, Love - richly synthetic . Mating Drive and Prince of the Sea are high powered affairs exposing the likes of Larry Young (organ), Onaje Allen Gumbs (acoustlc/electnc piano), Larry Coryell (guitar), AI DiMeola (guitar) and Lenny himself. Its easy to see where the energy of Return to Forever originates . Both Coryell and DiMeola are featured extensively. T .M. 5:~:'- \'age DISCOUNT ~\P'! S RECORDS Coupon worth TWO DOLLARS I Off the Mfgr .. sugg_ list price of any available I I Jozz Album at any of the 9 CAVAGES locations. I Expires 1-1-76 I • SENECA MALL • BOUlEVARD MAU • COMO MAll I • MAIN PlACE MALL • THRUWAY PLAZA _ _• _ _•_ _ MALL IL..:. • SOUTH SHORE UNIVERSITY LOCKPORT .J 2 836-1781 (corner of Windemere) behind jewelry store THE PABLO MONTREUX SERIES Pablo's eight record series of Montreux Jazz contains some of the most exciting jazz to come along In some time. My favorite is Oscar Peterson's Big 6. Big they are - Milt Jackson, Toots Thlelmans, Joe Pass, LOUIS Bellson & Niels-Henning Orsted Pedersen . Jamming at its best with some unbeli evable moments. Thielmans harmonica is a gas . Next is Dizzy Gillespie's Big 7. Pass Toots Oscar & Louis are out, Dizzy, Eddie Davi~, Tom~y Flanagan, Johnny Griffin & Mickey Roker are on and more superb jamming is del ivered. Dizzy is marvelous. Griffin & Davis are a ~enor pair from way back and blow I ike they mean It . Next IS Count Basie Jam Session with Roy Eldridge, Jackson, Griffin, Pedersen & Bellson joining the Countfor more of the same . Included is a whole side of Lester Leaps In. Jazz at the Philharmonic boasts a front I ine of Zoot Sims, Clark Terry, Roy Eldridge & Benny Carter , Typical of the JATP sessions this one sWings like hell. Roy Eldridge, Dizzy & Clark Terry come up and form The Trumpet Kings, The three are JOined only by a rhythm section. A must for trumpet fans who dig swing and blues . Ella Fitzgerald comes up with a fine set backed by Flanagan, Keter Betts and Bobby Durham. The lady is sounding great and in high spi rits doing such tunes as Satin Doll, Caravan, Wave & How High the Moon. Joe Pass finds himself alone on stage and proceeds toturn out a vi rluoso solo guitar performance, his secon? so!o LP for Pablo. . Milt Jackson's set IS With Oscar, Niels & Mickey and presents the vibist in top form. Jackson & NielsHenning are, without a doubt, the finest performers throughout the series and this is one of the best records . For those who can't decide which record to buy, there's The Montreux Collection (2625-707) . This two record set contains tracks from each of the above sessions. However, none of these tracks appear on the records in the series . Again, my favorite tune is by the Oscar Peterson Big 6. Hats off to Pablo. B.W . JOHN COL TRANE and LUCKY THOMPSON Impulse has released a pair of twofers featuring two tenor greats . The Gentle Side of John Coltrane (ASH 9306-2) contains just what the title suggests. Most of the material was pulled from 'Trane's records �with Duke Ell ington (AS-30) & Johnny Hartman (AS-40), the remainder being mellow tracks from various other albums. A good package for 'Trane fans on a tight budget. Not the case with the Coltrane set, Lucky Thompson's .- Dancing Sunbeams (ASH-9307-2) is made up of long out - of-print material. It is a total re-issue of two of his ABC dates (111 & 117) recorded in early 1956. Lucky is heard in trio and quintet settings, each of which contains bass great Oscar Pettiford. My favorites are the trio tracks with Oscar and guitarist Skeeter Best. Great music . B .W. DAVID LIEBMAN - SWEET HANDS - HORIZON 702 Liebman (saxes, flutes), who came up through the ranks of ten wheel drive, Elvin Jone~ & Miles, has come up with the fifth album in his own right . As with the predecessors (w/ Open Sky& this group - Lookout Farm) it is a fine effort. There is a heavy eastern influence here - note Geo . Harrisons Within You Without You, whi ch fills half a side; again on Ashirbad and the title track, whi ch feature traditional Indian instruments tastefully mi xed with the more familiar guitar (J. Abercrombie) bass (Charlie Haden & Frank Tusa) and drums (Jeff Williams). Dr. Faustis is back to the west - featuring Richie Beirack on electric piano, Liebman on tenor and soprano, and an electrified Aber c rombi e. In short - very good listening . B.W. WELCOME TO ONE OF THE LARGEST COLLECTIONS OF JAZZ IN THE COUNTRY Plus Prices Below Most Competition Incredible Selection - Low Prices University Plaza-Erflo. 25 Marshall St.-Syr. Elvin Jones - ·On The Mountain" & ~ive· KEITH JARRETT - THE KOLN CONCERT - ECM 1064/ 65 An encore to Solo Concerts, Th e Koln Con cert once again shows Jarrett ' s abilit y to handl e th e sol n piano outing like only few can. His piano work here is pure artistry . Aft er a f ew minutes of listening , you'll be totally engulfed by th e music - something that can seldom be accompli shed by a sol o perform an ce. B ea utiful pian o musi c no matter what style or tast e you enjoy in music . J .H . AMT1A Now this extrordinary loudspeaker that has broken free from outdated, conventional technology with the Heil air motion transformer, has been further perfected to achieve virtually fautless accuracy over a substantially increased range. These significant improvements were achieved through the design of a powerful new twelve inch cast aluminum frame woofer and twelve inch, neopreme passive radiator. Come hear for yourself sound as clear as light. I tran/cendental aUdio, ltd. 773 Niagara Falls Blvd. south of Sheridan - 834·3100 9 East 4th Street, Jamestown, N.V 3 �JAN HAMMER - THE FIRST SEVEN DAYS - NEMPEROR NE432 Now that the synthesizer has been accepted as an instrument of unique value, its nl ce tohearthe master - Jan Hammer on his first solo release. Jan has jammed with numerous musicians on their albums , and always takes a dominant position (1istentoStanl ey Clarke, Abercrombie , McLaughlin , and Elvin Jones). Thi s is truly a solo release with only the violin of Steve Kindler added to four cuts. Jan plays acousti c and Rhodes ' pianos , and guides his moog through The First Seven Days. The album is beautifully prepared, making the Creation quiteatrip . T .M. RAICES - RAICES - NEMPEROR NE 434 A high spirited, Latin flavored release by Rai ces. The seven man group can be compa red to both Santana and Native Dancer by Wayn e Shorter . Th e group moves lightly, but very quickly, relying heavily on its percussion section. Juan Mel endez pi ays fl ute and soprano sax, while Kiho Mel endez adds the guitars. An enjoyable session. T .M . GIL SCOTT-HERON/BRIAN JACKSON - FROM SOUTH AFRICA TO SOUTH CAROLINA - ARISTA AL 4044 Gi I Scott - Heron continues as poet laureate to th e seventies. His unique voice can only compliment hi s lyrics as does the flute of Brian Jackson. This release is similar to others from the Midnight Band, but perhaps better. The I ineups the same as that on Th e First Minute of A New Day. The music offered is real and the album itself is "a toast to the people." T.M . Wf(NGJAZZ records ~ Imports & Special Order Service UJ'ed Jazz RecordJ' A Different Record Store 288 Queen Street West, Toronto, Canada. M5V 2A1 (416) 363-3208 4 CHRISTMAS MUSE five new releases MARK MURPHY sings Red Clay, Canteloupe Island, Maiden Voyage, Naima, Body & Soul, How Are You Dreaming - MR 5078 CARLOS GARNETT - LET THIS MELODY RING ON - MR 5079 ERIC KLOSS - BODIES' WARMTH - MR 5077 BUSTER WILLIAMS - PINNACLE - with Woody Shaw, Sonny Fortune, Billy Hart, etc. - MR 5080 HERMETO - with Flora Purim & Airto Moreira - MR 5086 At Record Dealers Everywhere. JIM HALL - LIVE - HORIZON 705 Guitar vi rtuoso Jim Hall has come up with another excellent album. This musi c was recorded live at Toronto's Bourbon Str eet (a familiar club to BJR readers) with bassist Don Thompson and drummer Terry Clarke . If Jim's previous Concierto caught him at an artistic high, then Live finds him at an inspirational high (with no lack of arti stry). Hall is simply a master, adaptable to any situation in which he is placed; and he's been heard in a diverse selection. This trio format, with two of Canada's best, brings forth each musician creating pure, light jazzat its best . B.W. THAD JONES & MEL LEWIS - SUITE FOR POPS HORIZON 701 At -last - the T J - ML album has come out of the vault . For what ever r eason A&M had for holding this musi c since 1972 - they are forgiven . Thi s is gr<:> at big band musi c. Its a tribut e to th e late Loui e Armstrong. All th e tun es were compo sed and arranged by Thad Jones except for Tol edo by Candlelight - by Gary McFarland . The band is captured at a time wh en the personnel roster was a who 's who in New York - th e Br idgewaters , John Faddis , Richard Davis, BillyHarper , Pepper Adams, Frank Foster, Roland Hanns, etc. Also, some fine vocal work from Dee Dee Bridgewater on the Great One. Everything you'll want is here excellent solos, screaming trumpet section & Jones' patent ed wandering sax section arrangements. A must if you have the sl ightest I iking for big bands . B .W. �SONNY FORTUNE - AWAKENING - HORIZON 704 Contrary to the notes, this is not Sonny's debut as a leader . His previous Long Before Our Mothers Cried on Strata East was a monster , & Awakenmg IS a wor:thy follow - up . Some of the same musi c ians are here- Charl es Sull ivan, Wayne Dockery , Chip Lyl es 81 Angel Allende, playing more of the same colorful, lyrical, often passionate jazz - 10adedwlthpercusslOn. Fortune Sui I ivan & Barron are th e prinCipal solo i sts end shi~e throughout . Sonny is outstanding on For Duke & Cannon (alto sa x) & Awakening(flute). Anoth er highlight is th e group ' s r endit io n of Jymic Merritt's Nommo . Th is one i s highly r ecomm ended. B .W. CHICK COREA - RETURN TO FOREVER - ECM 1022 Th is album has been around for a f ew years as an import and I would think that most peopl e have heard it by now . Recorded just after Chi ck's avant garde period, I still maintain that it is his best album to date. Stanl ey Clarke has never sounded better, and Joe Farrell's flut e and soprano work deserves all the praise in th e world . Fl or a & Airto are great as well , the latter heard on trap drum s as well as percussi on. Corea is at his best, both as a composer and mus 1ciano He is heard only on electric piano . This is simply beautiful musio: with aheavyBrazihan influence. It is cl ean, controlled and extremely well recorded . Chi ck says its h is most special RTF album , its my favorit e as well , and, with a few l istenings, you'll probably f eel th e same . B .W. 2IUentotnn lleatbers Custom Tailoring in Suede & Leather Clothing ~ Bags - Sandals Accessory Items Herbal Teas - Exotic Coffee Beans HERBIE HANCOCK - MAN-CHILD - COLUMBIA PC 33812 Hancock seems to have touched all bases with his latest LP for Columbia . Like Thrust, it is an album with enough funk to please the rockandsoul audience s and get him pl enty of airplay (he even includes Stevi e Wonder). But Herbie does not forget to in clude some tasty moments with tunes I ike Bubbles and Sun Touch for his avid jazz fol lowing . Man - Child sports a large assemblage of personnel with virtually the same nucleus as appeared on Thrust, inc lud ing th e outstand ing sax, clarinet and flute work of Benn ie Haupin . J .H. JAZZ is on the . . , .. 882-5633 77 Allen Itreet at SATTLER'S , .. JIM HAL BR UBEC K I L\o DESMOND I)A VI' 1ll{ 1I1lECK & PA U L D ESMOND 197 5, 'I' ll E D liET S -. SP 703 T HAD J ONES & ME l. LEW IS SU ITE FOR POPS SP 701 DA VE LI E BMAN SWEET H AN DS SP 702 ~ JI M H A ll LIV E ! :, SP 705 a limited offer SATTLER'S Records & Tapes 998 Broadway Boulevard, Seneca & Main Place Malls only $3.77 SON NY FO RTUNE SP 704 AWAK E NIN G 5 �ERICSON LOUNGE FORMERL Y -THE ROYAL ARMS" PHASE TU ~~~p a DECEMBER 12.13.14; 19.20.21 q a y o E. R. DECEMBER 26.27.28 & NEW YEARS EVE 19 W.UTlCA 886-9163 TRIP TWOFERS Three Giants (TLX-5038) features separate sessions from Dizzy Gillespie, Sonny Rollins & Coltrane. The first record is all Dizzy, from five sessions in '52 & '53 and features Buffalo's Lou Hackney on bass on 3 tunes . Record two is half Rollins ('57) & half 'Trane ('60). The 'Trane music was previously contained in Trip's Coltrane twofer and features McCoy Tyner, Steve Davis and Billy Higgins. Trio & Sextet (TLX-5040) features two sessions from Charles Mingus including such sidemen as Hampton Hawes, Dannie Richmond, Thad Jones and Columbia Records Teo Macero. Fine Mingus dating back to '54 & '57. Live Sessions (TLX-5041) by Lee Morgan is a live ELVIN JONES ON THE MOUNTAIN, recorded this year at Red Gate Studio, is on experience where the Trio sets the direction tor tomorrow, with six original tunes. eMB:QM Elvin Jones is "On The Mountain" with .Jon Hammer and Gene Perla ~ "EMn Jones Live" with Chick Corea, Fronk Foster, Joe Farrell and Gene Perta 6 TOM SAPIENZA TRIO W/Guest MONDAY NIGHTS NEW WAVE with BARBIE RANKIN TUESDAY thru SATURDAY NO COVER 124 ELMWOOD AVENUE 1970 recording with Benny Maupin, Harold Mabern, Jymie Merrit and Mickey Roker . Its the same personnel and the same time as Lee's Lighthouse date for Blue Note. Half of this was released before on Trip. B.W. BRASS FEVER - IMPULSE - ASD-9308 Brass Fever is a funk-tinged semi-big band date heavily showcasing the trombone. The list of bone players consists of Geo. Bonahan, Charlie Loper, Frank Rosol ino, Kai Winding & Garnett Brown. The best music is on side one - the blues Back at the Chicken Shack & the rocking Bach Bone, set off by flautist Buddy Coll ette . The music is well performed and nicely recorded. Good I istening, but no jawbreaker. B.W. SONNY STITT - DUMPY MAMA - FL YING DUTCHMAN Now this music swings! Sonny is heard in three septet situations, one trio and a duo . Just Friends burns for four sweet minutes leaving you asking for more . For Ben, done by Sonny & pianistMike Wofford, is beautiful - a fitting tribute to the late Ben Webster. Jason & the title track are hard driving, jam style blues with additional sax work from Pee Wee Ellis and Frank Strozier . Shelly Manne is on hand for each tune and is the perfect choice for drums. Very good Stitt . B.W. GERR Y NIEWOOD & ESTHER SA TTERFIELD l.. E~VlN JONES LM was recorded v -1'''-N-J-O-NES--LlVE------, LJ..;" 1 at the John Coltrane Memorial Concert at Town Hall, New York City, September 19,1971. pm LIVE JAZZ IN ALLENTOWN EVERY NIGHT Cavages. Sarrc>le Record Shop & Record Runner. Two of Chuck Mangione ' s co - workers have releas ed albums on A & M Records . Ni ewood, I feel, is th e best musician in the Mangione group ' and deserves this releas e. Slow, Hot Wind (3409) finds Gerry in the company of five first rate musicians, including Lew Soloff, Gene Perla, and Joe LaBarbera. The music is tight, clean, crisp, diverse and masterfully executed . And yes - lot of beautiful melodies. Gerry is heard on soprano, alto and tenor saxes and flute . Esther Satterfield's Once I Loved (3408) is very Mangione- ish. Chuck arranged and produced and is heard on flugelhorn . Gap Mangione is on piano and Niewood on saxes and flutes. A fine release from Esther - a beautiful voice . Included is Look To The Children. These albums were previously released on the Sagnoma label. B.W. �NORMAN CONNORS - SATURDAY NIGHT SPECIAL BUDDAH Connors presents some nice music here. Over several listenings, the three tunes with vocalist Jean Carn .hold.up the best. They are Dindi, Maiden Voyage " SJcm O,ver. The opening tracks on each side leave me rather cold - I've heard it all before. Akia fares well with Gary Bartz on soprano. Then there's Connors /Cwasi, with some acoustic piano from Herbie Hancock that ends far too early - a senseless premature fadeout. A good album that should have been better . Jean B .W. earn saved the date. KEITH JARRETT - BACK HAND - IMPULSE ASH 9305 Herewith is yet another chapter in Jarr.ett's history of great recordings. It was done at the same lession as Death & the Flower (Oct. '74), with his regular quartet augmented by percussionist Gui Iherme Franco. All the tracks are typical Jarrett compositions for quartet except Kuum - an expansive, improvised piece steadily driven by Charlie Haden's bass and percussion . Jarrett switches to wooden flute and osi drum . If you've enjoyed his previous few B .W. records, you'll like Backhand. AIRTO - IDENTITY - ARISTA 4068 A light, lively, rythmic album from one of the masters of percussion . Although Airto's vocals leave • bit to be desired the good feelings come across . Besides Airto, the other musicians are relative unknowns except for brief contributions from Shorter, Hancock and (of course) Flora Purim . Still there is WE'RE BACK TO JAZZ WITH JAMES CLARK McCOY TYNER Ron Carter Elvin Jones TRIDENT Milestone ~ome ~Ieasing In instrumental work on Identity similar venin to Dom um Romao's, Spirit of the Times. J.H. A DA Y IN THE LIFE OF BILLIE HOLIDA Y -DIFFERANT DRUMMER 1003 On this one, the title speaks for itself. It is a recording of one of her practice sessions with pianist Jimmy Rowles and bassist Artie Shapiro . Geared for collectors and avid Hoi iday fans, it also includes conversation between the music ians and Lady Day that reveals much of her personality. B .W . URSZULA DUDZIAK - URSZULA - ARISTA AL 4065 BILL Y COBHAM - A FUNKY THIDE OF SINGS ATLANTIC SO 18149 It may seem strange to present these two varied artists together, but their theme is the same . Both utilize their talents (Urszula's voice, Cobham's percussion) to entertain the I istener with funky tunes . Urszula Dudziak, introduced by Michael Urbaniak uses her voice as an instrument - at times she solos and at others she's a synthesizer . Thealbum is a dis~ play of instrumental effect . The Cobham album offers basically the same group that was disarrayed on Shabazz (live Cobham) , and the group got it together . Cobham remains an excell ent drummer, but he hasn't emerged the leader he should be . The best cut is Moody Modes on which the entire group improves . Check out Milcho Leviev on keyboards, and Alex Blake on bass . T .M. Live Jazz Friday & Saturday Nites Fine Food & Drink BIRTHRIGHT december 20 & 27 tralfamadore cafe 2610 main street 7 �HERE ~ 1 ES rbon E treet RS TORONTO (416) 864-1020 This December at the Statler DOROTHY DONECiAN She's back! The most exciting, the most dynamic female jazz pianist in the business. DOWNTOWN Dec. 9 -- Dec. 21 Tues. - Sun. from 9 PM JAMAN "An excellent group." No cover JOE VENUTI QUARTET December 1 - 20 "Talented, sophisticated, welldisciplined, highly versatile." DOWNTOWN Dec. 23-Dec. 28 JIM GALLOWAY QUARTET D ecember22-Janua~ Tues. - Sun. from 9 PM No cover GOLDEN BALLROOM 856-1000 ext. 220 for reservations. Phone Ahead for Dinner Reservations Dine & Dance 9 - 1 No Cover Free parking in the Statler garage. The Stotler Hilton 0 W. D. Hassett enterprise whatil happening buffalo area See ads . rochelter EASTMAN THEATRE - Friday, Dec. 12 - 8 PM Fre e Eastman Studio Orchestra . Wednesday, Dec . 31 (New Year ' s Eve) 8 PM - Preservation Hall Jazz Band - Tickets call (716) 325 1070. MONTICELLO RESTAURANT - Dec. 1 - Jan . 3 Dick Sampson Trio . J"yracuJ"e CASA DILISA - live jazz Wed ., Thurs ., Fri . , Sat . & Sun. DINKLER - call for schedule . PINK PUSSY CAT - Steam Monday night. JABBERWOCKY - S.U. Campus - 123 Waverly St. Dec . 8 S.U. Jazz Wkshp. & Band - 10 O.C.C . Stage Band . ~ toronto , BASIN STREET (above Bourbon St.) - Jackie & Roy Dec . 8-13 ; Ted & Cathy Moses Dec . 15-20. 8 3 GEORGE'S SPAGHETTI HOUSE - 290 Dundas St. , E. Dec. 8- 13 Moe KofffTl an; 15- 20 Phil Nimmon s; 22Jan. 3 Terry Logan. A-SPACE CONCERTS - 85 St . N ichol as St. - L eo Smith with Anthony Davi s & Wes Brown. Ph one 416 929 - 5065 . SANDPIPER TAVERN - 76 St. Clair Ave. , W. Every Saturday afternoon 2 t o 5 PM - Th e Avante Garde Jazz Revival Band . Admissi on Free. 567 GALLERY - 567 Queen St ., W. Honey Novak with Bill Smith, Larry Dubin, Peter An son, AI Mattes and Casey Sokol . , D .J.'s Bar - Hydro Build ing - University Ave . & Coll ege. Si x nights a we ek. Climax Jazz Band. ALBERT'S HALL - 481 Bl oor St., W. Monday - Wednesday - Kid Ba sti en . . Thur sday - Saturday - Jim Ab ercrombie. . INN ON THE -PARK - Le s l ie & Eglinton Av e. , E. Saturday matinees, vari ous groups. wbfo 88.7 fm MON. - FRI. No.on - 2 PM - Spirits Kn own & Unknown w/ various host . . MON . - 10 PM - Jazz Revis ited. . FRI. - Midnight - 3 AM - Round Midnightw / BJR writ er John Hunt. 3- 6 AM - Pulse w/ Bill Besec ker. SAT . - 8 AM - Noon - Freedom Flight w/ Yvonne Price . Jazz Report appro x. 3 PM . Jazz By Request w/ Pres Free land at midnight . SUNDAY - Noon - 2 - Jazz Contours w/ BJR Editor Bill Wa II. 11 PM Inside the Changes w/ B i II Savino. Mid. -3 Roots, Rhythm & Sound w/ Charles Smith. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3589 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 22 Date A point or period of time associated with an event in the lifecycle of the resource 12/1/1975 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 22 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/5ad00c32a4444d63581e682b609db2a0.pdf aa4c9728414be2b4bf698b392b3a2b2f PDF Text Text j~r~ffallo j!~~ trep~.!atAN ~~ L I I B~ CORRECTION La st month we said " Mark Murphy was great but little effo rt was put into promoti on, sad ." That stat ement was with regard to the club atwhi ch he appeared and in no way was it intended to indicate a lack of promotion by Muse Records. His new album on th e Muse label was, in fact, promoted very well. LIVE MUSIC c 0 ~ ~ ......, E M1l t Ja ckson, also known as " Bag s", has been a leading performer of jazz vibes for over two decades. Th is month he' II be performing in th e Statl er's Dow ntown Room , and if you ca n make it down you' II be in for som e great music. Jackson is perhap s best known for hi s work as a member of th e M odern Jazz Quart et. He was with the MJQ for twenty - two years until th e group di sba nded in late 1974 . He has, however, prol1ficly re corded as a leader . Many of h is older albums are sti II av ai !abl e on Atlanti c and Impul se. In th e la st two years he has recorded three albums for CTI whi ch were well r eceived by crit1cs and I i st eners a! ik e. Just two months ago Milt's Quart et r ecor din g from Montreux '75 was rel eased on Pabl o. Bags has been attracting large crowds at his many club and concert appearances throughout th e country . His sp eed, dexterity, lyri c ism and natural ability to swing are just a f ew r easons why . Also - he's a grea t bluesman . Judging from Mi!t's appearance, andtheonesco m ing up, I'd say that th e Statl er is broadening th eir Jazz policy . This should result in in c reas ed numbers of students and young jazz fans flowing into th e c lub . They are doing all th ey ca n t o attract eve ryon e - the pr ices for drinks are unbe li evabl y l ow , $3 min1mum on week nights . $3 per set on weekends and super jazz. Hope to see you there. See th e ad on pag e 8 for details. B .W. Eri cson Lounge featured good jazz throughout December. E.R. came back for two we eks following Phase Tu, a band made up of E.C.C. students. If anyon e is still unfamiliar with Eri c son, it's the old Royal Arms on W . Uti ca between Linwoo d & Main . A Buffal o jazz landmark. Ch eck it out . We wel come back th e Ede lweiss Hutte (the BJR' s first advert1ser) who had Jaman in November & Buffalo Jazz Ensem bl e guitarist Jame s Clark's group in December. It is loca t ed at th e entrance to Gl enwood A cres ski area in Gl enwood , N .Y. Th e New Wave con tinu es t o draw enormous c rowds at Papagayo- in th e All entown Mall onE lmwood. Th ey appear fi ve night s a week with the group's pianist, Tom Sapi enza, l eading a trio with guests on Monday nights . JAMAN & BIRTHRIGHT Two of Buffalo's best jazz groups delivered great performances throughout Dec ember . Jaman, at the Statl er's Downtown Room played a d1verse selection of material (acoustic & electric) that should pl ease any jazz fan. Tun es by Weath er Report, Marvin Gaye, George Benson, Duke E II ington & Jam an originals ar e all in the quartet's repotoir e. A unique arrangement of Maiden Voyage was well received by th e audi ence . Th e group i s well rehearsed, their changes ar e pr ec is e and smooth . Jaman, Greg Millar, Jim Kurzdorfer & Harry Pinder are th e Jam an Quartet. Try to catch them soon. Th e Tralfamador e host ed Birthright for thr ee nights, attracting large crowds. Joe Ford (alt o & so prano) is now a member of the new McCoy Tyn er Quint et, l eav ing th e saxophone work to Paul Gresham using (tenor & soprano). Th e night of th e 27th, a baritone player worked with th e group, which was later joined by pianist Onaj e Allan Gumbs and bassist Sabu Adeycla . Needl ess to say - th e band was on fire . Th eir new album is due out soon . B .W. THE NO NAME CONTROVERSY Th e No Name Bar at Elmwood & Bidwell was the Pioneer Club in th e now .widespread availability of li ve jazz. Lat e in Novemb er, however, they were in formed that th e live jazz would have to cease due to zoning rules. It appears that th e controversy was initiated by ar ea residents who have no use for th e Elmwood Bars. This type of attitude can kill an art - �form within a city. Jazz f ans and othe r club ownersM have already expressed a deep conc ern to save No Name Jazz (&Jack Daniel's- also affected). Meetings are being held this month and we' II let you know if you fl..O can help . Uu Elmwood is th e safest. liveliest street in th e city .~, Its peopl e who made it that way! B .W. I Edlfor/Publ1sh er- Bi ll Wah l Contnbutors - Tom Al abiso, Louis Br adshaw, Bil l Besecker, Paul Gres ham, John Hunt, L ero y Jone<;, Tom M azzone, John Osborn, Paula Wah l. Illustrator - Chri stine Engla Eber Correspondents Rochester- Jim Lant ok Syrac use - Je r ry Stabil e Toronto- Hal Hill Address corr espondenc e t o: Buffal o Jazz Report 1335 Main St ree t Bu ffalo , New York 14209 (716) 883 - 3909, Ext. 11 ® 1976 - Buffal o Jazz Report No por\i on of thts pub I ica\ion may be r epr oducnd without wntt en conse nt from th e pub lt sher. Circulati on - 15 ,000 tecotding~ NEXT MONTH Due to the I arge number of requests we have r eceived, the BJR wi II pub I ish a I ist of the fifteen best records of '75 in the February issue . Our record reviewers wi II vote from the a I bums revi ewed thr oughout I ast year. POLICY As stated in our first issue , it i s BJR poli cy t o review only th e best albums we hear each month . Spa ce in this publi cation is limited and we see no reason to waste it on something bad if we can use it for something good! From there, we try our best to describe the recording in such a way that everyone will understand what we're talking about. Your comments are welcome . BUSTER WILLIAMS - PINNACLE - MUSE 5080 Aft er years as a sideman with Herbi e Han cock, Mil es Davis, Th .~ Crusaders and oth ers, Bu ster Will tams has finally made his re cor ding debut as a leader . Pinnac l e is a no: ewo rthy example of ht s vir tuo stty as a ba ss ist, and a crea\ive composer, with th e ability t o front a group of out standtng mu stc ians . Th e musi c is similar in context t o that of Han cock's Mwandishi period, with th e additi on of some we l l executed voc al work on a f ew tun es . Woo dy Shaw is hea rd only on two tun es but shouldn't be mi ssr>d. Sonny Fortune i s hea r d throu ghou t. Don ' t ov erlook thison e! P .G 2 haircutter/ lfl. llfib1•m 59 Kenmore Ave. 836-1781 (corner o f Windemere) behind jewelry store in basement of Haircuts Underground THE MILESTONE TWOFERS Mil es ton e' s newest twofer r elea se i s ki cked off with a magnifi ce nt package from CANNONBALL ADDERLEY. JAPANESE CONCERTS (M - 47029) is a complet e re-issue of one of Ball 's all - tim e- bes t albums - Nippon Soul (Ri ve rsid e 477), as we ll as a full r ecord of un - issued musi c. Thi s 1963 sext 0t in cluded Nat Add erl ey, Yus ef Lat ee f, Jo e Zawinul, Sam Jon es & Lout s Hayes. This i s grea t, exc itin g Jazz and should not be missed. Of special inter es t (for m e- at least) i s th e low r egi st er blowing Nat deltv er s from hts cornet; and Lat ee f' s superb oboe work on Broth er John . Cannonball ts up t o ht s usual high level of artis try and th e rhythm sec t 10n i s impeccabl e. Th r> un issu ed tra cks are Work Song, Autumn L ea ves, D1zzy 's Bus iness, Primit1vo & J1ve Samba . A must if you enJOY Cann onba ll 's must c l A very mellow pa ck ag L• comes fr om WES MONT GOMERY Idl ed PRETTY BLUE (47030) Re cord on 0 places Wes with an orches tra arrang ed and co ndu ct ed by Jimmy Jones, whil e r ecord t wo tS a guitar, or·gan, drums format . Many of th e tun es wer e pop tun es of th e tim e ('59-'63 ) and all are lt ght, pl ay ed at s low t empo s. Musi c t o r el ax with . Wes, of co ur se , is always good . Th r· se records wer e pr ev tous l y issued as Fus1 on (Riv 472 ), Wes M ontgomery Trio (Riv 310) and van ous oth er s (stde 4). What might be t erm ed a Rtv ers ide anthol ogy has been issued f or th e lat e piantst BOBBY TIMMONS. MOANIN (47031) f eatures Bobby in six t r io and one quartet setting and th e musi c i s taken from six of his Ri verside albums Circa 1960-' 63. Thi s is some very fin e musi c from Timmon s, best known asapiantst for Art Blakey 's Jazz M essengers, and as th e composer of M oam'rJ- a jazz classic. Hi s style is pur e funk and blues. CLARK TERRY is in th e company of some giants on CRUISING (47032). This one's t aken from four Riverside discs going back t o '57 -' 59 . Side one is a quint et w ith Johnny Griffin and Wynton Ke lly . Next is a septet session with Johnny Hodges and Paul Gonslaves (fellow Ellingtoni a's). The four tunes are Elltngton standards. Side 3 is a quartet with Monk, Sam Jones & Philly Joe Jones. Th e last set is quintet with Don Butterfi eld on tuba. This is a superb pack age of musi c with an intere sting vari ety of personnel . All four of th ese albums r etail at $7 .98 . All are worth your att ention, espec iall y that Cann onball . B.W . �ROY ELDRIDGE - HAPPY TIME - PABLO 2310-746 Roy plays trumpet and sings on each track here and the result is indeed happy music . His phrasing is the same whether he blows or vocalizes - a trait often found in singing trumpeters . A good variety of tunes is offered, to name a few- Will ow Weep For Me, Makin Whoopie, I Want a Little Girl & All of Me . The addition of such extremely competent musicians as Oscar Peterson, Joe Pass, Ray Brown & Eddi e Locke only makes the party better . B .W. lonnie liJt.on nnith ·vil'ionJ' of a new world' gato barbieri ·elgato' Every FLYING DUTCHMAN album in stock- $2 off list price PLU/ Coupon worth TWO DOLLARS Offth eMfgrs. sugg.listpriceofony ovailable I I I Jou Album at any of the 9 CAVAGES locations. 1 Expires 2- 1-76 I e SENECA MALL e BOUlEYARD MALL • COMO MAll I I ... • MAIN PlACE MALL • THRUWAy PLAZA _J L.:.SO~SH~e ~RS~• L~O~LL SONNY STITT & THE GIANTS - NIGHT WORK BLACK LION 307 More good jazz from Sonny Stitt . He's paired with trumpet er Howard McGhee on thr ee of th e si x tracks . Satin Doll is played only by th e rhythm secti on of Walt er Bishop, Jr ., Tommy Potter & Kenny Clark e. Th e best musi c is f ound in th e two extended, hard blowing blues tra cks on sid e on e. Lo ver Man is sh ee r beauty; a sh owcase f or th e alto player wh o i s indeed in top f orm . Sonny ison e ofthe most r eco rd ed jazzm en and h1s average of good r ecords, suchasthis, is hi gh. Night Work was done in 1967. B .W. PATRICE RUSHEN - BEFORE THE DAWN- PRESTIGE 10098 The debut album from Patri ce , Prelusion (P 10089), was one of the best surprises of 1975. Out of nowher e surfaces a 19 year old pianist with an album of her own tunes. As good a set of Main stream as you'd want with players the I ikes of Joe Hender son. Dawn is more I ike what you ' d exp ect from the young lady . Its funky but i~s not disco music . Again, all th e tunes belong to her. The musicians on hand include Hubert Laws, Oscar Brashear & Harvey Mason . Josi e Jam es sings on one tun e. A high I ight is the spacy titl e tra ck . Laws sounds better on Jubilation than on his own r ecent disc . In all- a change indirection, but well done. B .W. KENNY BURRELL - ELLINGTON IS FOREVER FANTASY 79005 Kenny Burrell was one of the Duke ' s favorit e guitarists to perform and record with. In this doubl e album you'll see why as Kenny plays with som e of th e most sought after musicians in jazz (Jimmy Smith, Joe Henderson, Thad Jones, Snooky Young, Jerome Ri chardson) producing a tasteful tribute to th e musi c of E II ington. Th ere are moments that sound big band like as well as small ensemble setting s. Burrell's guitar is fluid and profound and is well highl ighted by the impressive cast of accompanists . Ellington is Forever is good listening all the way around . J .H. THE LOUIS BELLSON EXPLOSION- PABL02310755 Bellson presents an impressive big band herewith some heavily talented player s . Some of th e better known members are Blue Mitche ll, Snooky Young & Cat Anderson- all trump et players . However, it's th e sax work of Buffalo's Don Menza & Pete Christli eb that interests rpe the most. Menza's groove blues is, in fact, one of the best cuts with the sax section offering a solo of their own in unison . While "Explosion" may be overdoing it as a description, it is good driving music . B .W. 3 �BETHLEHEM IS BACK The first three re-issues of the Bethlehem catalogue are now available . The finest of Nina Simone/" ! Loves You Porgy" (6003) finds Nina playing all of her own piano, with bassist Jimmy Bond & Tootie Heath. She only sings 7 of the 11 tunes, the others showcasing her piano work . This is simply beautiful music . More vocal jazz comes with the Finest of Chris Connor (2-1001) - a two record set . There are many bright moments here, such as All About Ronnie & Lush Life. She's backed by the Vinnie Burke Quartet, Ellis Larkins' Trio, or Ralph Sharon's Group which includes such notables as Joe Puma andJ. J . Johnson . The Complete George Gershwin Porgy & Bess (3BP-1) comes as a boxed, three record set . Featured are Mel Torme, Frances Faye, Johnny Hartman & Frank Rosolino. Music is bytheDukeEIIington& Russ Garcia Orchestras, the Stan Levy Group and th e Australian Jazz Quintet. Much more Bethleh em is forthcoming . B .W. HERB ELLIS & FREDDIE GREEN - RHYTHM WILLIE -CONCORD 10 This is a rare studio re cording from the Concord Jazz Festival peopl e featuring th e guitars of Elli s & Green. While the bass and drums hit a steady 1- 2-3 - 4 throughout most of the album, the guitarists and pia nist Ross Tompkins engage in tasty interplay , exchanging solos and building on each other's ideas . Rhythm Willie offers some classy guitar musi c from two players who've been around a good long while. Also - its well recorded and th e pressings abov e averag e. B.W . I W rNGJAZZ "' records Imports & Special Order Service U.1ed Jazz Record.! A Different Record Store 288 Queen Street West, Toronto, Canada. MSV 2A1 (416) 363-3208 4 ERIC KLOSS - BODIES' WARMTH - MUSE 5077 Eric Kl os s is probably one of th e more consiste nt musi c ians around today . Bod1 es' Warmth, his third for Muse, is certainly descriptive of what happens here musically. This album displays , with excellent quality of recording by th e way, th e depth of Eri c's approach to h1 s musi c. Th e only non - anginal here is Scarborough Fair, wh1ch is tast efully don e in a fash1 on peculiar t o Kl oss alone . Kl oss' band, known as Si lverl1ght, is fr esh, modern and full of energy An abundance of creal IV i ty is evident th rouqhout. Bodi es' Warmth is worth your attent1 on. P .G. DEXTER GORDON - THE APARTMENT - STEEPLE CHASE 1025 Th e Apartment, r eco rded in Den mark , couldea5ily be Dexter's f1nest quart et r ecord 1ng s1nce Our Man In Pan s (Blue Note). Ba cked by Kenny Dr ew, Nhop and Tootl e Heath- Gordon blows mon? excil1ng, more and Tootl e Heath - Gordoro blows mort ' excd1ng, rr creativ e mus1c th an ever. He now play s the t0n0r l eft to h1m by the late: B en Webster, and no doubt Ben's sp1nt was with h1m on th1 s dc.te . Four tun es are stra1ght - forward, h1gh hea t cookers . On an album wh ere no po1nt IS a low po1nt - Sf'PCial mention shou ld be made of th e f1r st of two ballads . Old Folks is a magn1f1cent duo perform an ce by Gordon and bass1st Pede r sen. Check loca l stores or send $6.50 to CODA, Box 87 - StatiOn J, Tor onto M4J 4X8 Ontano . B W. ZOOT SIMS & THE GERSHWIN BROTHERS - PABLO 2310 744 Th e Ger shwin Brothers are aliv e and well on this r ecording , in spirit that is. Ten oftheirstandards are repr esented her e, such as Summerflme, !GotRhythm, The Man I Love & 'S Wonderful . If th er e is one word that could best descri be Zoot, heard only on tenor. il is - swings. On e li st ening will t e ll you that th e same adjective can also be used for Os car Peter son, Joe Pass, Geo . Mraz & Grady Tat e. So, if you have a weakness for Zoot, th e Gershwin s or swinging jazz - th is r ec ord is a must . B .W. CHARLIE BYRD - TOP HAT - FANTASY F -94 96 Byrd is a top - rat ed guitari st with 17 albums to h1s credit already . Top Hat puts h1m in a r elaxed, mellow mood relying exclusively on acousti c guitar . The acoustic instrument provides th e des ired effect; creating a decidedly Latin feel throughout most of th e album, as several of Byrd's albums have had in the past. Of note is his tr ea tment of Chick Corea's, Some Time Ago and Ant onio Carlos Jobim's , Aqua de Beber. Nat Adderly's fin e cor net wo rk (usually muted) is heard on most of the tun es. J .H. THE HANNA-FONTANA BAND -CONCORD 11 In Concord, California a jazz f estiva l is held each year amidst the f oo thills of th e Sierra - Nevada mountains. Great musi c, great atmosphere but a long distance for we Easterners to travel . However, the promoter, Carl Jefferson, co nt1nues to r eco rd th e per- �formances such as this septet I ed by Jake Hanna & Carl Fontana . The musi c has a good time f ee l - jam style, and it swings . Fine sol o ing from th e leaders, Bill Berry, Plas Johnson & Herb Ellis . The rhythm section is dead steady but pleasantly loose and th e musi c is well r eco rd ed . Good ingredi ents, andequally good results . B .W. PETER ROBINSON - DIALOGUES FOR PIANO AND REEDS - TESTAMENT T - 4401 Peter Robin son has ba cked up pop singer Shawn Phillips for a number of years after playing th e most influential rol e in the onc e existant "Contraband" whi ch recorded one "Europeon" sounding album under that name. "Dialogues ... " dates ba ck to 1972 and i s a quaint collecti on of 11 sh ort pieces (7 original) for a small ensembl e whi ch never numb ers more than on e piano and three reed pi ayers. Many of th e duet pi eces ar e expand abl e, but as th ey are, non e can be t erm ed anything less than exci t ing. Every second of thi s marve lous album is a tr ea t. Charles Orena, Alan Praskin , and B .B . Erni e Watt s are th e r ee d play er s. BARNEY KESSELL - BLUE SOUL - BLACK LION 310 This one is not among th e guitarist's best , but offers some good musi c. Three personn el groupings are li sted, including a trio whi ch account s for3 tunes . Some good blu es is f ound on side two with T eddy Edwards, Jimmy Rowl es and an unidentifi ed band . In short, an av erage album from an artist who's had some great ones. B .W. ~Uentotnn lleatbers Custom Tailoring in Suede & Leath er Clothing - Bags - Sandals Accessory Items Herbal Teas - Exotic Coffee Bea ns 77 Allen ftreet 882-5633 HERB GELLER - RHYME AND REASON - ATLANTIC 1681 Aft er 15 years of absen ce, saxophoni st Herb Gell er is back on wax . He's been living in Germany , wh er e he recorded this r ecord with seven European musi c ians . Thr ee tracks f eature vocals by the great Mark Murphy; and, the remaining tune issungby Earl Jordan . This is modern music with th e electronic instruments achi eving an almost acoustic sound . Its dynami c and easy to listen to . Each soloist performs admirably . Of sp ec ial merit are Gottfri ed Boettger (Moog) ~ Rob Franken (Arp & E. Piano) & Philip Cathenne (Guitar) . Good musi c -highly r ec ommended for Mark Murphy fans . B.W . JAZZ/'76 at SATTLER'S SfANLEYCLARKE JOURNEY TO LOVE Il l . ... , -r1 ' HERB GELLER SATTLER'S Records &Tapes 998 Broadway Boulevard, Seneca & Main Place Malls ~ Reason $4.47 only TAPES$5.47 !''I~Z~I~Z~I~Z~I~Z~I~Z.:I~~ NEMPEROR 5 �LIVE JAZZ IN ALLENTOWN EVERY N IGHT TOM SAPIENZA TRIO W/ Guest MON DAY N IGHTS NEW WAVE with BARBIE RANKIN TUESDAY thru SATURDAY NO COVER 124 ELMWOOD A VENUE THE PEACE CHURCH CONC ER TS - M UNN MUSIC UNIVERSE VOLUME 1 - CMC 00101 Anytime I play this record, a number of eyebrows raise questioning th e validity of "avant-garde" jazz . How anyone can immediately equate this record to the avant -ga rde is beyond this reviewer's capacity for an open-mind. First of all, many noted musicians of our time have predicted the gradual synthesis of all world musics into one global form . Secondly, Dr. Karl Berger is a discipl e of Don Cherry and OrnetteColeman, who have both been doing many "non-jazz" things lately . Berger also has many unique ideas ofhisown .... well, while I've been telling you what this record is not, the future has been rapid l y becoming the present and the world culture is here. Don' t miss it! B .B . EDITOR"/ COLUmn T wo last minute performances of top name ente r tainment have been booked in B uffalo that deserve your attent 1on. Trumpet great Sam Noto has been signed by Encson Lounge for 4 nights. Sam will be backed by Buffalo's Jaman Quartet and the event is sure to be a sell-out. He's been l1ving in Toronto and has recently released his f1rst aibum as a lea der on the Xanadu label. Stone Alliance wi II app ea r at the Tralfamadoro Cafe for two n1ghts . Steve Grossman, Gen e PerlA and Don A lias have each worked with Mil es Davi s & Elvin Jones. Gen e recently worked with Sonny Roll ins and recorded with Gerry N1ewood and David Li ehm an Don is, at present, amemberofBiood,Sweat & T ears. Th1 s ex pl osive tri o is the f1r st contemporary, nationally known Jazz group t o appear 1naclub s1n r" the Revil ot days . Th ey are all f eatured on St ove Gros sman's Some Shapes to Come on PM Re cords. It IS necessary that every jazz fan make an all out effort to attend these events. Future bookings of big name jazz - especially th e cont empor ary groups, depends on th e success of th ese presentati ons. Tho future is in your handsl Hop e t o see you !h er o B .W. ,.. THE TRALFAMADORE C,I\FE PROUDLY PRESENTS "STONE ALLIANCE" STEVE GROSSMAN tenor & soprano saxophones GENE PERLA electric bass DON . A LIAS drums, congas, bells & percuss1on A Jazz/ Rock/Latin Fusion from Three of the Most Creative Musicians in Contemporary Jazz. Each has Worked & Recorded with Mil es Davis & Elvin Jones. Don Al i as is Cu rrently with Blood, Sweat & Tea r s. Friday, January 23 & Saturday, January 24 twoshows 9&12 TICKETS $3 IN ADVANCE OR AT THE DOOR a..tralfamadore cafe 2610 main street 6 836-9678 at fillmore �WELCOME TO ONE OF THE LARGEST COLLECTIONS OF JAZZ IN THE COUNTRY Plus Prices Below Most co·mpetition Incredible Selection - Low Prices University PI aza -Bflo. 25 Marshall St.- Syr. Milt Jackson at Montreux- $4.97 HOWARD McGHEE - SHADES OF BLUE - BLACK LION 305 I rather enJOY thi s one. Recorded in 1961, its a program of pure, laid back Mainstream Jazz . Th er e' s a club atmosph ere on this studio r eco rding with good straight ah ead soloing from McGhee, Geo. Coleman and Juni or Man ce. Its th e blues tracks that fare the best, such as Arbee. A well rounded album of good l1stening musi c. B.W . LARRY CORYELL - PLANET END - VANGUARD VSD 79367 Planet End contains material that guitari st Coryell recorded with his two most dynamic groups . There are two out racks from th e 1969 recorded album Spaces, that feature Coryell, McLaughlin, Cobham andMiroslav Vitous. Th ere are also two cuts recorded with The Eleventh House. Eyes Of Love is an acoustic solo . This album shows what Coryell has done in th e past, and is probably best for those who haven't been exposed to him previously. T .M. FROM THE STEEPLE CHASE STABLES: CAPSULE REVIEWS H.H. KENNY DREW AND NIELS - HENNING PEDERSEN DUO - SCS 1002 Th e standard set by Drew is extremely h1gh on this r ecording, and young NHOP is a pure joy to hear. Hi s artistic leve l plac es him high among the leading jazz bassists around today. Drew plays electnc and acoustic piano on tunes like, Wave , Do you know what it means to miss New Orleans, plus ori ginals by Drew and Pedersen . KENNY DREW TRIO - DARK BEAUTY - SCS 1016 The Drew Pedersen duo is joined by that tasty drummer Alb ert Heath for this excursion into creative jazz interpretations of standards like It could happen to you, and Blues Inn a Drew original. The magic of this trio jumps out at you from every track on this album. KENNY DREW AND NIELS- HENNING PEDERSEN · DUO 2 - SCS 10 10 Drew stays with acou stic p1ano on this one, his control and interplay with NHOP on A Child is born and My shining hour convinces anyone that Drew is still a pianist of great stature. KENNY DREW SOLO PIANO - EVERYTHING/LOVE scs 1007 I think of Tatur.1, Hines, Powell and Evan s when I hear this set of standards and originals. Sheer j ny and masterful executions . HORACE PARLAN TRIO AND QUINTET -ARRIVALscs 1012 Another Ameri ca n pian1 st living in Europe, por " tras his strong rhythmic playing with Ed Thigp1n, ldrees Sui ieman, Bent Jaedig and Hugo Rasmus se n on this fine set. A happy setting for Parlan who has not be en heard from since around 1966. TETE MONTOL/U TRIO - CATALONIAN FIRE 1017 This incredible Spanish pianist is joined by Alb ert Heath and NHOP for melodic and inspirational interpretations of tunes such as Au Privave, Sweet Georgia Fame and his own Blues for Perla. scs TETE MONTOL IU SOL 0 PIANO -MUSIC FOR PERLA 1021 Montoliu, a disciple of the AI Haig, McCoy Tyner, Keith Jarrett school, sparkles with brilliance on this solo creation. Here's that rainy day, Yesrerdays and Tete originals What is it?, Circe and Apartment512 among other tunes on this album show imense talent that requires wider exposure. ANTHONY BRAXTON - IN THE TRADIT/ON-SCS 1015 Basically a B e- Bop set as opposed to the usual Bra xton. Superb support from Tete Montoliu, Niels Henning Orsted Pedersen and Alb ert Heath . Braxton is clearly outstanding throughout, especia lly on Marsh mallow. H.H. scs ERICSON LOUNGE FORMERLY ·rHE ROYAL ARMS" §amn()f() w/ the jaman qt. JANUARY 8, 9,10,11 *** JAMAN QUARTET JAN.15thru18 10 'til3 19 W. UTICA 886- 9163 JAM SESSIONS ON WEDNESDAY NIGHTS All Musicians Welcome 7 �Bourbo Stre• HERE~ THES TORO (416) 864- This January at the Statler Jack Maheu and The Salt Cit~ Six DOWNTOWN JACI< SHELDON & JAI<E HANNA DEC. 30 - JAN. 18 Tues. - Sun. from 9 PM No cover Janu ary 5- 17 Milt Jackson ILLINOIS JACQUET January 19- 3 1 DOWNTOWN JAN. 20 - FEB. 8 Tues.- Sun. from 9 PM No cover Phone Ahead for Dinner Reservations Dine & Dance 9-1 No Cover Free parking in the Statler garage. The Statler Hilton a W. D. Hassett enterprise buffalo area See ads . roche1ter SARAH GARNER'S NIGHT CLUB - 575 Joseph Ave . Manchilc1 Thurs., Fri , Sat. & Sunday nights. 1yracule CASA DILISA - live jazz Wed., Thurs., Fri., Sat. & Sun . DINKLER - call for schedule. PINK PUSSY CAT -Steam Monday night. SANDPIPER TAVERN - 76 St Cl a1r A ve. W Saturday aft erno on 2 to 5 PM - Th ,--. Ava nt" Jazz Rev1 val Band . Ad m iSS IOn Fr C!P 567 GALLERY - 567 Qu ee n St. W. Honey Nova Bill Smith, Lar r y Dub1 n, Pet er An so n, AI Mat t< Cas ey Soko l . D J.' s Bar - Hydr o Buil cl 1ng - Un1 verslly t Coll ege. Si x n1qhh a werck . C l1 m ax Jazz ALBERT' S HALL - 481 Bl uer St . W M ond ay nesd ay - K1 d B as t 1en . Thur scJ<J y Sa turday Ab er c r ombi e. INN ON THE PARK - L esl11· & Egl1n t on A ve Saturd ay mat1 n<:c> s , va n ous gro up ~Stan Ge tz - at t hC' Ramad a In n - Down sv1•·w wee k of Jan ua ry . toronto wbfo 88.7 fm ART ENSEMBLE OF CHICAGO - in concert Wed . Mon . -Fri. - Noon - Two - Spirits Known & Ur w/ various host s. Mon . - Fri. - Midnight - 3 AM. RoundMidnightw/ v osts. Monday Eve . 10 PM - Jazz Revisited w ; Schumach er _ Friday Eve. 3 AM - 8 AM - Pulse w/ Bill Be s Saturday - 8 - 12 Noon - Fr eedom Flight w/' Pri ce. Midnight - 6 AM - Jazz By Request"' Free land . Sunday - Noon - 2 Jazz Contours w/ Bill Wahl. PM Jazz R oots w/ Chuck Mancuso . Midnight - 3 Rhythm & Soundw/ David Ja cobs . 3 - 8 AM - Pr sively Your s w/ Mi chae l Vaughn Wils on. Jan. 21 at York University's Burton Auditorium . Tickets $5; $3 for students. Phone (416) 929-5065 for additional info. BOURBON ST. - See Ad. BASIN ST. (above Bourbon St.) TrumpDavidson(vo c alist ) Jan. 5-10; Jim Galloway 12-17; Boss Brass (Big Band w/Rob McConnell, Moe Koffman, Guido Basso , Sam Nato, Ed Bickert, etc . ) Jan . 19 - 21; Vick Dickenson Feb. 2-14 . GEORGE'S SPAGHETTI HOUSE - 290 Dundas - Gary Williamson Trio Jan. 12-17; Glen McDonald Quartet 19 - 24; Russ Little Ouartet26-31; Moe Koffman Feb 2-7 _ 8 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4280 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 23 Date A point or period of time associated with an event in the lifecycle of the resource 1/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 23 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/b38df565ba48d5736bf743b39785006a.pdf efcaa52023415add9a5ada47c6a9ce7a PDF Text Text 1/ L ML ;-::: t he gr oup's m cept1 on . He w1ll contmue h1 s work w1th them her e and on t he road 1n betwe en g1 gs with Tyn r r Loo kout fo r a new album from Tyn e r f e e~tunng Joe F ord; McCoy has to br th1nk1 ng about domg on <·. Jo e's second co - product 10n wdh B 1rthr1ght 1s rumor ed t o be r e l ease d 1n March. I '. (I 6~ ~- \CJ7L, joe ford I J--4 \ The lm es of peop I e that f o rmed at th e V 1ll age Vanguard every night for t hree weeks 1n Decr'mber to see Jazz ' number on0 p1an1st , M cCoy Tyn er , got a special tr eat . Buffal o saxophon1st/composer Jo e Ford had 1ust 101ned Tyn er's newly for mmq qroup and was demand1ng th e attent1on of all . B efore the three weeks ended, th e word from the fans and mus i Clans of New York was "Azar I S out and Ford IS in" Joe. born in Buffal o 1n May of 1947, began study Ing p1ano 1n th e thwd grade His aunt allowed h1m th e use of her alt o saxophon0 so he t ook advantage, expressing h1ms e lf fr ee ly w1th th e horn and fo r mally study1ng it 1n h1gh sch oo l He made h1 s i <' l evision debut dunng a J e rry L ew1s T e l ethon with col l eague Paul Gr esham of B1rthnght and Buffal o bassist Hayes Burnett , who now .heads th e B oston Art Ensembl e Whil e pur su ing stud1e s at Central Stat e in Ohio, Ford stud1 ed and work ed wdh Av ant - Garde saxo phonist Ken M ci ntyre, and al so found himself in th e musi cal company of th e controversial Sun Ra, and then with Charl es Mingus during th e famous bas s ist's bnef teachmg stay in Buffal o. He received much of h1s big band experien ce wdh res1dent l eaders Elvin Sheppard & C. 0 . Pri ce. Joe's popularity up su rg ed wh1l e app ea ring with the Buffalo Jazz Ens embl e I ast summer and I i terally mushroomed with th e r el ease of B1rfhnght 's album Free Spirits amd their many c lub app earan ce s at Ericson Loung e and th e Tralfamadore Caf e. He ha s been mus i ca I director and co - I ea de r of Buffalo ba sed Birthnght along with percussionist Nasara Abad ey and saxophon1st Paul Gr esham since BUFFALO NEWS BJR writer John Hunt has been named Buffalo correspondent for Downbeat magaz me . Thi s appo1nt ment should put Buffal o wher e it belongs 1n t erm s of nat1onal signif1cance jazz wise. John will be sub mitting 1nformatlon regarding coming events as well as domg l1 ve musi c rev1 ews of national int e rest . Th e BJR than ks Mike Healy of the Courier Express for th e fine feature art1cl e he did on us recentl v A.n art1cle also appeared in th e Buffalo EveningNev ;t month on our artist Chnstine Engl a Eber. If you can get near a radi o weekday aft ernoons . you might check out Th 1s lsRadJOon WBFO (88 .7 FM) . Hosted by John Hunt & Yvonn e Pn ce, the program conta in s music and int ervi ews onavarietyofsubj ects. Many of these are Jazz oriented such as a conversatiOn w1th Ir a Sabin - publ1sh er of Rad1 0 Free Jazz . Th e show is aired M onday through Fri day from 2-5, di recti y after Spints Known & Unknown. SYRACUSE NEWS The Syracuse Jazz scene is widening 1n scope and 1n number of locat1ons . Th e Cas a Di L 1sa rem a ins the Jazz hub of Syracuse with a more inclusive and well diversif1ed l me - up They have added two new bands to their five nights of jazz. the Straight Life Trio, and th e L ou M ent1 s Quartet . Straight Life is a young trio f eaturing a "Chick Corea" style and are acousti cally oriented, as are all th e Casa Di Lisa's attract1ons. The newest entree on th e club's menu is the L ou M ent1s Trio, who c an best be described as rhythm and blues based jazz . Marcus Curry, a Casa Di Lisa regular in th e past, was chosen as the opener for Syracuse's newest Jazz c lub, th e Spirit of 35. The excellent guitarist IS featur ed with his group, Wednesdays through Saturdays until Feb. 12 in the 35's beaut1ful surroundi-ngs. The Spirit of 35 also boasts being the home of th e WONO -FM 107 .9 all night jazz broadcasts ever y night except Sunday start1ng at 1:00AM from their spacious yet comfortable surroundings. The Dinkier L ounge, recently r emodeled, r emains an active source of "Golden Jazz" . Jazz rock ca n be found wherever the groups Steam or th e Dave Hanlon Trio are, currently at th e Under the Stone in Skan eateles. Syracuse' University's Jabberwocky will be booking jazz sometimes bigger names, and surpnses so be on the look out for their schedule, whi ch fea tur es th e Dan Carter Ouintet,aformerDizzyGillespie �sideman. Hopefully with this recent surge of jazz locally some one will be able to attract big name jazz on a regular club basis (and they are now the right sized, mterested clubs to do it). J.S . Edtfor / Publisher - B iII Wah I Contributors - Tom Alabiso , Louis Bradshaw, Bill B esecker, Paul Gresham, John Hunt, Leroy Jones, Tom Mazzone, John Osborn, Paula Wahl. Illustrator- Christine Engla Eber llr><ll llr>811~ haircutter Correspondents Rochester- Jim Laniok Syracuse - Jerry Stabile Tor onto- Hal Hill Addr ess corres pond ence to: 59 Kenmore Ave. 836-17S (corner of Windemere) behind jewelry store Buffalo Jazz Report 1335 Main Street Buffal o, New York 14209 (716) 88 3-3909, Ext. 11 ® 1976 - Buffal o Jazz Report No port1on of thi s publication may be reproduced with out wntten consent from the publisher. Circulation- 15,000 PRINTED IN U.S.A. CLUB SCENE The Tralfamadore Cafe took a giant step forward last month by booking Stone Alliance for two nights. The trio consists of former sidemen of Elvin Jones and Miles Davis and their music ref I ected those prestigious associations. Steve Grossman, tenor saxophone, I eft no doubt that he is one of the best few to carry on the spirit of Coltrane. It was possibly his best perfo rmance ever due to the trio situation and the fact that this was the pr emier appearance of the group. Don Alias was simply a monster. A power house of contro lied energy and masterfu I dynamics on trap drums. Oddly enough hi s main axe is congasl Gene Perla's electric bass work was lyrical and refreshing without being overpowering, distorted or overdone . Each note has a distinct meaning and he deserves the worldwide reputation he now enjoys. As a unit, Stone Alliance is highly energized, rhythmically complex and (by the 4th show) close knit. Their electrif1ed sound will soon reach the jazz fans of South America on their up-coming tour . All four shows were sold out (despite the weather ) and word is that they'll be back. Two groups that have been enjoying an accelerating I eve I of popularity are Spira Gyra & Flight. Each projects a '70s sound and is composed of excellent soloists. Try to catch them soon. The Cotton Club on Niagara Falls Blvd. has been featuring Spider Martin, who's been packing them in six nights a week . Spider is well known all over and should be heard by everyone. The Cotton Club will continue in the jazz format and we wish them the Qreatest success. . . . Sam Noto was up to his usual h1gh level dunng h1s four nights at the Ericson Lounge last month. He was superbly backed by Jaman-piano, Jim Kerzdorfer bass and Harry Pender -drum s. The audience, mostly composed of younger jazz fans, was treated to jazz classics and a good amount of Noto originals. How- 2 ever, s1nce the trumpeter is from B"uffalo and work here for years, I expected to see all of his older fa in attendance. Where were they? E.R. was well received at the Tra!famadore Cc and is expected back soon . Led by bassist Lou Mcintosh, the quartet has been gathering fans f months at the Ericson. Not only is their music gre< but they never fai I to communicate with the audienc a virtue many groups lack. The master vibist Milt Jackson opened his thr week engagement at the Stat I er Hi Iton's Downto1 Room on January 20th. He turned out a performan that wi II stay with everyone who attended for son time to come. His pianist was Carol Britto -fro Toronto. She's worked with him at Toronto's Bourb· Street and the two musicians have a great repo i r Equally proficient were bassist Frank Tateanddrun mer George Reed. The audience on that night w magnificent. They were there for one reason- to he the music. There was no talking - in fact, sto silence prevailed between tunes as the S.R.O. crm waited in anticipation. The energy level was high documented by the thundrous applause after eve solo, and, the music iteself. Bag 's appearance at Downtown has been a crus a' of th e BJR for some time. Nowwe'reready for Dizz LIVE MUSIC REVIEW- J . R. WIETZ J.R . Wietz, back from 2-1/2 years in Californ packed the Bona Vista for 8 days. Obviously enjoyi the warm audience, guitarist Wietz responded w some amazing work , while John Opat "fried" drums, and Gary White showed improvement on ba~ The final night had Jim Calire on keyboards c: sax. Hope they come back again! T. tecotding~ BEST OF '75 As voted by BJR's 7 record reviewers. 6 VOTES EACH McCoy Tyner - Trident (Milestone) Cannonball Adderley - Phenix (Fantasy) Wayne Short er- Native Dancer (Columbia) Elvin Jones is on th e Mountain (PM) MJQ- Last Concert (Atlantic) McCoy Tyner- Atlant is (Milestone) �5 VOTES Jim Hall- Concierto (CTI) 4 VO TES Elvin Jones - New Agenda (Vanguard) Woody Shaw - Moontran e (Muse) 3 VOT ES Sonn y Fortune - Awak ening (Horizon) Sh elly Manne - Hot Col es (Flying Dutchman) Steve Kuhn - Trance (ECM) Weather Report - Tal e Spinnin' (Col .) Pat Mart ino - Consciousness (Muse) Edd ie Henderson- Sunburst (Blue Note) Jackie M clean- Jacknife (Blue Note) Sam Ri vers- In volution (Blue Not e) Sonny Criss - Crisscraft (Muse) VOCAL Mark Murphy Sings - (Muse) - 4 Carmen M c Ra e I Am Music (Blue Note) - 3 BEST RE -ISSUE Cann onball Add erley - Japanese Concerts (Mile stone) - 3 ABERCROMB I E/ HOL LAND / DeJOHNETTE GATEWAY - ECM 1061 John Ab ercrombie has been featured on a good amount of records recent I y . Gateway is one of the best . All three of th ese musicians are among the top in their fi eld , but some of their work t ogether has been less than great - e.g . albums under DeJohnette's name. Here they carry off the trio situation with ease constant I y work mg off their own and each oth ers ide as . May Dance is an 11 minute trip in creative improvi - sat1on. Perhaps the best cut is Ba ck- Woods Song- a spaced out feature for Ab ercrombie with Holland and DeJohnette driving, steady and controlled. Much of Ab ercrombies work is heavily electrified, and ifthats your pr eference this album shoul d definit ely please you . B .W . JOHN LEE and GERRY BROWN - BLUE NOTE BN - LA541-G Drumm er Gerry Brown has teamed up with bassist John Lee and released a fine listening album . The music presented is along the I ines of Alph onse Mouzon, but a touch mell owe r . Eft Alb ert s is refreshing on el ectric guitar, with numerous individuals soloing on synthesizer - most notably Rob Franken and El event h Hous e's Mike M andel . Gerry Brown powers throughout, whil e funky John Lee lays the groundwork. The result is c l ean and fast moving . T .M . WILLIS JACKSON - HEADED & GUTTED - MUSE 5048 Th e second outing on Muse records for W i ll1 s Jackson is an enjoy abl e set of blu es y , soulful jazz . The word gutted in the titl e serves well as a de scripti on of Willi s' sound. It has gut s. Superb support comes from Pat Mart ino, Mi cke y Tuck er, B ob Cran shaw & Freddi e Waits. The blues tracks with Tu cker on organ and Pat 's straight ahead soloing capture my attention the most. Perhaps th e reason that so many of producer Don Schl itten's sessions are a success is that he allows the musi cia n to have hi s cho1ce of accompanying musi cians as well as material . Thi s on e is just good list ening B .W. JAZZ MUSTS! Chico Hamilton Ufancy Dancer" Montara Peregrinations Bobbi Humphrey Bobby Hutcherson lncludes:V-0/ Peregrinations SWeet Dreams/ It's About That Time Includes: Uno Esta You Make Me Feel So Good Fancy Dancer I Please Set Me At Ease lncludes :Camel Rise/ La Malanga Love Song / Utile Ang~ / Oye ComoYa PRESSURE SENSITIVE RONNIE LAWS 998 Broadway Boulevard. Seneca & Main Place Malls - l~< DONALD BYRD Places And Spaces Includes : Change / Night Whistler Just My Imagination / Dominoes entire stock blue note lp's &tapes 6.98{0) -4.77 ~ 7.98{E) -5.77 V ADD $1 FOR TAPE Blue 3 No; �WELCOME TO ONE OF THE LARGEST COLLECTIONS OF JAZZ IN THE COUNTRY Plus Prices Below Most Competition Incredible Selection - Low Prices University Plaza-B'flo. 25 Milrshall St.- Syr. Prestige Overstock - $2.97 ESTHER PHILLIPS- CONFESSIN THE BLUES - ATLANTIC 1680 This one takes us back to Esther's late 60's Atlanti c period. It is not, however, a re-issue. All of the tracks here are issued for the first time. Side one was done with a 17 piece orchestra led by Onzy Matth ews . For the most, the session is laid back and the tunes are short. By contrast, side two was done live at the Pied Piper with the quartetof Jack Wilson, Ike Isaacs, Chuck Rainey and Donald Bailey . Th e same date produced her Atlantic album Burnin(1565) . The highlight is the blues medley (Blow Top, Jelly Jelly & Long John Blues) running 10 minutes . Good vocal work from Esther, recommended especially for her new fans. B.W. W~(NGJAZZ records ~ Imports & Special Order Service Ured Jazz Recordr A Different Record Store JOE VENUTI Many people have seen violinist Joe Venuti duri his recent performances in Buffalo & Toronto. Ea of these albums should be of interest to his far From Concord records comes GEMS (CJ 14) pai ing Joe with guitarist George Barnes . Its a melod r romanti c set featuring the additional guitar (rhytht of Bob Gibbons with bassist Herb Mi ckman anddrur mer Jake Hanna . Venuti & Barnes are romanticis from way back and compliment each other with natural ease . The second release is the latest volume from J( VENUTI & ZOOT SIMS on Chiaroscuro (CR-14: Sim s in on tenor sax with a piano, bass and drur section. Trombonist Spiegal Wilcox is on one tun There's some ballad artistry here and the remaind swings hard . B .W. RALPH TOWNER - SOLSTICE - ECM 1060 This is one of those records you knowwill be go just by examining the personnel. Ralph Town er h gained a reputation for being a strong force on string and classical guitars. His work with Pa Winter and Oregon is most obvious in this music . J Garbarek (saxes & flut es) and Eberhard Weber (bas are gaining an international reputation for th eir uniq styles and consistently flawless and imaginative pe formances. Join them with the crisp and technical perfect drumming of John Cristensen and you've ~ Nimbus . A very European classics andjazzfusiont~ should please most everyone who enjoys good mus i B .W. PAT MARTINO - FOOTPRINTS- MUSE 5096 In its previous form, this was always one of rr favorite guitar albums. Originally issued as The Vi ! on the Cobblestone label (9015), Footprints plac1 Martino in pianoless quartet setting. While Pat pn vides an almost constant solo flow, guitarist Bobl Rose lays out some well-spaced chords. The rest up to Ri chard Davis & Billy Higgins, who perform t to their usual high level . Their credentials need n be questioned . Martino keeps no secretsabouthisdebttothe gre Wes Montgomery . It is most evident on this record . Montgomery composition, Road Song, is include• Other hot cuts are Wayne Shorter's Footprints at Pat's The Visit. Definitely something to check out you'r e into jazz guitar . B .\ l~st minute changes due to illness of JONAH JONES FliP PHILliP/ ROY ELDRIDGE 288 Queen Street West, Toronto, Canada. M5V 2A1 (416) 363-3208 4 february 10-15 february 17-29 The Stotler Hilton a W. D. Hassett enterpris• �NUMBER ONE Transcendenlal Audio is lhe Number One Yamaha dealer and service cenler in Weslern New York. Transcendental stocks and services a complete line of Yamaha equipment, including the finest receivers, integrated amplifiers and tuners. We also have in stock the revolutionary new Yamaha FET B-1 Amplifier, and the UC-1 Control Center. What's more, we are the only dealer in Western New York to carry the all new complete line of Yamaha Professional Equipment, including the PM-1000 16x4 Mixing Console and other Studio recording equipment. Sl>CEI •• , e YAMAHA Transcendental Audio pre-tests and completely checklists every piece of equipment it sells. Auto dealers call this pre-preparation , and charge the consumer for this service. At Transcendental Audio we provide this service without charge. Unlike other large, well-known audio dealers, Transcendental Audio services every1hing on the premises, rather than moving expensive, sensitive equipment to outside repairmen. We take an interest in servicing your equipment because we sold it to you . By keeping all facets of sales and service under one roof, Transcendental Audio insures a quality control unlike its competitors. Number One in sales·.... Number One in service. Tran1cendental Audio .Ltd. BUFFALO JAMESTOWN �THE BLUE NOTE RE - ISSUE SERIES JACK DANIELS 561 FOREST LIVE JAZZ ON TUES. & SUN. FEATURING PLAYERS FROM THE BUFFALO JAZZ ENSEMBLE NO COVER Acoustic Music Wed. w/ Phi I Dyl in ANDREW WHITE -COL LAGE - ANDREW'S MUSIC 14 Here's chapter fourteen from saxophonist Andr ew Wh ite. Once again he's with two members of the Blackbyrds - Kevin Ton ey & Keith Killgo, and bassist Steve Novosel. The material is varied- a Latm Dock at Papeta and the pop h1t Ma Chena Amour being included in Wh ites' usual program of driving acousti c jazz (all other tracks). Only two short compositions come from Andr ew . Other tunes include Coltrane's Just F or Th e L ove & Crescent, Mil es' Four and Wayn e Short er's Contemplation . As proven on earlier albums, th ese guys can play and deserve your attentiOn. White is on alto and t enor saxes. Ch ec k local stores or send $5 to Andrew's Musi c, 4830 South Dakota Ave., N.E . , Washington, D.C . B .W. 20017. Bourbon Street West Buffalo's Newest Live Entertainment Spot live jazz every wedn1day 10pm- 2am Also -Blues every Friday w/ Shakin Smith & His Blues Band 10:30 P.M.-2:30A.M. Jazz-Rock with Boujhill Overload every Saturday 10:30-2:30 $1 COVER- ANY DRINK FREE 584 GRANT near Forest 6 Ten new twofer re - 1ssues hav e come out tl month from Blue Not e. THE YOUNG RABBITS by the JAZZ CRUSADE (LA-530) is a gathering of mat erial taken from th• Pacifi c Jazz albums . Th e penod covered i s '62and th e regular group of "St1x", Felder , Sampl e c Hend erson i s join ed by such notables as Hubert Lav Joe Pass, AI McKibbon and others. All th ose inh ested in th e Crusaders musi c t oda y should check tl out. Its straight jazz - all acoustic of course ' strik1ng similantles ar e easily not ed despit e' group's change in direct1on - especially in th e tro bone work of Wilt on Felder. Some of the bes t mu is on side 3 - recorded live at the Lighthous e. M of the tunes are originals. A very hot it em, both f or musi c and sales con from CHICK COREA. CIRCLING IN (LA-472) i s co posed of previously unrel eased sessions in' 68 and' Sid e one is a trio situat1on with Miroslav Vitous; Roy Haynes; th e second I S with Dav1d Holland ; Barry Altschul; and the th1rd is Corea Holland; Anthony Braxt on with Chi ck doublmg o'n drums 1nstrument he handl es well). The last side is VI Cor ea, Holland, Braxton & Al tschul - th e gn known as Circle. Th1s period was a most creal and exploratory one for Corea and all the musi c he1 in is excellent. All the musi c is acousti c and only, non - or1gmal IS heard - Monk 's Pannonica. Two ye. lat er Corea formed Return to Forever . Some dynamite SONNY ROLLINS musi c is ave able on MORE FROM THE VILLAGE VANGUA (LA-475). All of th e musi c was r ecorde d on the sa day in 19 57 and Roll1ns IS pr esent ed in two t sett1ngs . Except for one tun e with Donald Bai ley Pete LaR oca, the saxophon1st is in th e company bassist Wilbur War e and a young Elvm Jones T music is on fire and is a must for Roll1ns fan s saxophone lovers in genera I . Th 1s is the same sess that produced A Ntght at th e V11/age Vanguard 1 81581) - a gr eat album r eleased nearly twenty ye ago. Al l of th e music here has never been relea~ BEGINNINGS (LA-531) pr esents some cia~ musi c f ea turing WES MONTGOMERY. F1ve sessic r ecorded in '57, '58 & '59 are r epr esented v differ ent mus1 c ians 1n c lud1ng Wes' brother s, Bu and M onk. Two tunes 1nc lude Freddi e Hubbarc age 17, making his f1rst r ecord ing . Even at th1s e< date, Wes is playing octaves, although rath er sp ingly. Th1 s set is simply loaded with great gu music from the best guitarist jazz has known . Hie re-commended . · We' II have reviews of the remaining twof e r~ this release in th e next issue . B SONNY ROLLINS - NUCLEUS - MILESTONE 9 With all th e disco musi c flooding th e mark thes e days, the first few minutes of this album w indeed a scare. Some of the music is funky, but t oo much soul (real soul - l et's not forget what it and 1s too gutsy to make it as disco. And then ther some straight ahead jazz typical of Sonny's w after his last "vacation" from the scene e.g. Az< & Cosmet and the beautiful ballad My Reverie. H �TUESDAY- Guitar and Bass Workshop (beginners) James Clark Delaware Park Casino -4:00-7 :00 PM Young Peoples Workshop -Jerry McClam- Jefferson Uti ca Library- 4 :30-7:30 PM WEDNESDAY - Guitar and Bass Worksh op (ad v anced) - James Clark - Delaware Park Casino 4 :00 -7: 00 PM Jam Sessi on - J err y M cClam - De laware Park Ca s ino- 7:00 - 10:00 PM THURSDAY - Wo r ksh op fo r Young Drummers Nasara Abad ey - Delaware Park Casin o - 3 :00 7 :00 PM FRIDAY - Latin Jazz Workshop - Joe Marfogl i a Delaware Park Casino - 7 :00 - 10:00 PM SATURDAY - Jazz Community Orchestra - AI T inn ey - St . Luke's Church - 2:30-5 :30 PM FEBRUARY JAZZ Espoy Spiryo Gyra Barney Perry Qua rtet [From • slackby rdsw) 14 20 21 28 & 27 E.R. Bir thright James Clark Fli ght tralfamadore cafe 2610 main street The A ssoc 1at10n f or Jazz Perf o rm a nce (AJP ) IS a not -f or -pro f 1t o rg amza t 1on f ou nded 1n 19 7 2 to w o rk towar ds de ve lop m g Jazz as an ome fin e support inc luding George Duke , Bob ;haw, Roy McCurdy & Raul De Souza . Of sp ecial IS Benn1 e Maupin on t enor sax , bass clarinet , Ia and lyri con . By th e end of side two, I'd con that its a good Roll ins album . If the funk tunes oned .are his idea of what disco music should like - others, who have sold their creativity, d take note . B .W . e n v ~r o nm e n ta l a rt f or m 1n t he g reat e r Buff a lo area Th r ough t he es ta bli shme nt of o n -go1 ng c l1n 1cs a nd wo rk sh op s for stu dent . non · pr ofess to na l a nd pr ofess ro n a l mus rc rans a n d the presentatton of free a nd pa rd co nce rts, the AJP see ks to e nn ch the cu lt u ra l e nvt ron ment of W estern New York W e inv ite yo u tOJO tn us 1n o ur eff ort s to w ork fo r the co n trnuance of t he Sp1nt of Jazz All A J P m embe r sh1ps 1ncl ud e 'ER ADAMS - EPHEMERA - ZIM RECORDS 2000 1pper Adams celebrates his tenth album as a r with a refreshing, straight ahead jazz album. nany years that this quartet has played together e setting or another with additions and deletions the way) is readily apparent by the time you've ed listening to any on e of the seven pieces dis d here. Pepper Adams, the master of the bari sax, really cuts loose letting us hear more of rilliant soloing than we ' ve heard from him in a t ime . The support Pepper gets from Roland ~on piano, George Mraz on bass and Mel L ewis ums speaks for itself . If you've found a l ack of skilled , acousti c jazz in your di et lat el y, th en your ears on Eph emera. J .H . anA JPT - Sh~rt - a n 8 " x 1 0 " repr oduc t ion of a portrai t sketch of 1azz grea t Cha rl 1e Par ker. d rawn f r om l1 f e 1n 1952 by AJ P membe r artiSt Joe M arf og l1a red uced adm i SSIOn to all AJ P prog rams partrcrpa tron 1n the AJ P Communrty Advtsory group - not1ce of all AJP events the sa t1 sfact1on of hav1ng he lped to bnng more Jazz to our area z )> s: m >CIA TION FOR JAZZ PERFORMANCE WORK~ PROGRAM SCHEDULE - SPRING 1976 '0NDA Y - The M odern Percus s ion En semble r a Abadey Af ro- Am erican Cu ltur al Cente r 9:30PM Coupon worth TWO DOLLARS Off the Mfgrs. sugg. list price of any availabl e z Album at any of the 9 CAY AGES locations. E xp i re s 3· 1-76 I I SENECA MALL • BOUlEYARD MALL • COMO MAll I • MAIN PlACE MALL • THRUWAY PLAZA ,SO!!!!!,.SH~• ~RS!!!..,• L~PO~LL_J 7 �Bourbo1 Stree HER~E ~ lHES TORON ( 416) 864- 1( This February at the Stotler Min Jackson DOWNTOWN NOW- FEB.B HOWARD McGHEE February 2 - 14 Jonah Jones DOWNTOWN PETE CHRISTLIEB February 16- 28 FEB. 11 - FEB. 29 Shows Tues. - Sun. from 9 PM No cover Free pa rk ing in th e Statl er garage. I Phone Ahead for D i nner Reserva ti ons Dine & Dance 9-1 No Cove r The Stotler Hilton a W. D. Hassett enterprise wlh1a~ 'gp lh1a ppen ii liilSJ buffalo oreo Se e ads. Niagar a Ron Cosaro Jazz Expenenc e - Big Band - Con ce rt Wedn esda y, February 18 at 8 PM . Nragara Wh eatfr0 ld Hrgh School . toronto CKOS- FM 94.9 new 3 hour show" From B ebop t o Now" f eatunng BJR' s Hal Hill . Saturday, Feb . 219 - Midnrght . Bourbon St .- Howard McGh ee & Pet e Chrrstlr eb (See ll'tl\. ON THE PARK LPs l ,,. & Egl rn tnn A ve Saturda y matrn"<'S, varrntJ'> <voup'>. SANDPIPER TAVERN - 76 St Clarr Av e W E Saturday afterno on 2 to 5 PM - Th 0 A~ ~nt~ C Jazz Revr val Band . Ad mrssron Fr "" 567 GALLERY 567 OuePn St, W . HonPy Novak Brll Smrth, Lar ry Duh rn, P etPr An so n, AI Malt <' Cas ey Sokol. rocheJter Eastman Th ea tre - 25 Years o f Brubeck (Desn Wright & Morello) plus 2 GeneratiOns of Bru Feb . 15, 8 PM . Th e New Jazz Ensembl e Feb . Eastman Jazz En semble Feb. 27 w/ guest B rll Watr Monft ce llo Res taurant - Jack Mah eu & Sact Cit Feb . 2 - 28. ad) Bas111 St. - 180 Queen St. (Abov e Bourbo n St.) Vtc Dt ckensonw/ Jim Galloway & Paul Rimst ead Feb . 2-14. Jtm Galloway Quartet Feb . 16 - Mar . 6 . George 's Spaghetti House - 290 Dundas St. , E ., Moe Koffman Feb . 2-7; Ted & Kathryn Mo ses 9 - 14; Sonny Greenwich 16-21; Sadik Hakim 23-28. A Sp ace Concerts - 85 St. Nicholas St. Sonny Green wich Feb . 7 - 8; Dollar Brand Feb . 20 - 22. Ph one 929-5065 . El Mocambo - 464 Spadina - McCoy Tyner - Feb . 2-7 . Mother Necessity Jazz Workshop- 14 Queen St ., E., 2nd Floor - jazz every night except Monday . Details next month. Stage 212 - Dundas & George Sts . - Buddy DeFranco Feb. 2-7; Gerry Mulligan Feb. 9-14. 8 fyrocufe Jabberwocky - 315 Waverly Ave ., S.U. Cam~ 423 - 4516. S.U. Jazz Workshop Feb . 12, Don C. Quintet Feb . 20. Dinkier Mot or Inn - 1100 James St. 472 - 6961 Rtchards Quartet w/ Maxtne Sulltvan Feb 9 - 14 · · w/ Carne Smtfh F eb . 16 - 21; Man on McPartla;d w/ Jimmy McPartland Feb 23 - March 13. Spirt! of 35 - Carn er Crrcle 463 - 3535 - Mi Currythru Feb . 12. Casa Di Lisa - 1625 Erie Blvd, East 472 - 91 Lou Mentes Wed., Straight Life Thurs ., Peter tenson Fri ., Straight Ltfe Sat . & Bobby Han Sun . 10-2. Under the Stone - Skaneateles - Dave Hanlon � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4300 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 24 Date A point or period of time associated with an event in the lifecycle of the resource 2/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 24 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/a3d526836dfd97e622fcf22a7040a5d7.pdf 8aed5f4c81c77c87cf4fd038dd60b956 PDF Text Text ~~ffallo j!ZZ tref<!o !i ML I ~~ \~ 1\o light such talents as Joe Farrell, Frank Foster, Chi ck Corea, Jan Hammer, Gene Perla, Steve Grossman , David Liebman and Azar Lawrence. The choice of Elv in Jones is appropriate sin ce he is partially responsible for the creation of the BJR. His music knocked me out several years ago in ~ Toronto, chang1ng me from a casual l1stener to an all _:,~ out Jazz nut. That was the beg1nn1ng. '}: To date, Elv1n has won the 1nternat1onal cnt1 c 's poll for the last 13 years, as well as countless other awards. He has been one of the most sought after \ mus1c1ans for record dates for years . A bnef example - 6 with McCoy Tyner, 3 w/ Wayne Shorter, 2 w/ Joe Henderson, 25 w/ John Coltrane, 3 w/ Sonny Rollins as well as 22 in his own name (including imports). In addition to the Tralfamadore concerts, Elvin will play a benefit concert at a nearby prison. Elvin has been playing prisons for some time, and believes that musicians should donate their services to help the people in society. . Hearing Jones in person is an unbelievable expenence. Below are a dew descriptions of Elvin - th e man and his music, by fellow musicians and critics. ' ELVIN JONES On the occasion of our second anniversary, the Buffalo Jazz Report is co-sponsoring the appearance of Elvin Jones, in co - operation with the Tralfamadore Clfe. Elvin, the master of jazz drums, wi II perform 8 shows (actually 8 2- hour concerts) - 2 per night on Mlrch 11, 12, 13 and 14. He will work with his regular .-rtet, consisting of Pat LaBarbera on saxes and illle, Ryo Kawasaki on guitar and David Williams on bias. The 8 club concerts should not only give everyone 1 chance to attend, but a I so a II ow us to keep ticket prices as low as possible ($4), as well as be sure that evtryor.e can see and hear the band (as opposed to being 40 rows back) . Elvin Jones is one of the most known and respected IIIISicians in jazz . He was the driving force in the ltpldary John Coltrane Quartet of the sixties, which also included McCoy Tyner and Jimmy Garrison . Since 1966 he has led his own groups, bringing to "Jones demonstrates his amazing abi I ity to churn and chug ferociously, while swinging delicately , while booting the soloists along firmly, while developing polyrhythmi c patterns and themes . When one hasn't heard Elvin for a time, it is rather overwhelming to be confronted with this phenomenon, a cross between an octopus, a comput er, and the percussion section of the 5th Army band .... which leaves the horn soloist in something of a quandry . Not being John Coltrane , how does the saxophonist comfort himself in the face of this devilish virtuosity by Coltranes drummer7" -Doug Ramsey Radio Free Jazz "Aion~ with his musical intuitiveness, El~in always lays 1t 1n the nght spot at the right time. And that makes me play better" . -Joe Henderson "Playing with Elvin spoils you for other drummers . " -McCoy Tyner "I especially like hisabilitytomixantJjuggle rhythms . He's also always aware of everything else that's happening . I guess you could say he has the abi I ity to be in three places at the same time" . -John Coltrane "He llas such a loose feeling. His time is always flowing, and because he keeps changing rhythms so ingeniously over the basic meter, he keeps recharging the soloist." -Freddie Hubbard "Jones set up an unprecedented barrage of primal energy which drove Coltrane toward heights no other saxophonist had scaled, but it was Elvin's more subtle �polyrhythmic orientation which gave the Coltrane quartet its unique lift. Elvin created a new speci es of rhythmic drive . It involved the superimposition of triple and duple meters and the simultaneous subdivision of both into an almost infinite series of fractional accents, rendered with absolute accuracy ." - Robt . Palmer, Rolling Stone "Elvin Jones is not just a drummer- he is a musical spirit; his playing expresses the highest plateau of self expression, spiritual expression, as well as musi cal expression. I've always felt the spiritual intensity that E I vi n expresses through his instrument." -McCoy Tyner I hope to see all of you at the Tralfamadore. Show your support for l1ve jazz and the BJR. We suggest that you buy ti ckets for the show of your choice in advance. Some shows are already on the way to being sold out. Also - ti cket holders wi II be admitted first and will get the best seats. Ti ckets are on sale at the Club and Record Runner . B .W. CLUB SCENE Milt Jackson continued to pack the Statl er's Downtown Room every night during his thr ee week engagement, and was followed by a swingin' Flip Phillips . F I ip was good, but the best performance came from drummer Marty Mor e ll, who recently left the Bill Evans Trio. At this writing Roy Eldridge is at the Stat I er. and I've not yet been ab I e to catch him . Jack Daniel's is back on the jazz scen e and is drawing large crowds on Tuesday and Sunday nights . Th ey feature members of the Buffalo Jazz Ensemble. The Tralfamadore Cafe was the scene for the r eappearance of Flight, and a performance by th e Barney Perry Sextet. Perry, a Buffalo guitari st, was a member of the Blackbyrds . The Bourbon St. - West is th e latest jazz edi t1 on featuring the music on Wed.n esday nights . Th e jazzrock group Boujhi Overload appears on Saturdays . Toronto News T oronto Jazz Musi cia ns have started a club called th e Mother Nec essity Jazz Workshop. Located at 14 Queen St., E., on the second floor, the club offers jazz six n1ghts a week - closed Mondays . Th e following format is followed: Big Bands Sunday, small groups the other 5 n1ghts. Cover charge is $3 for big bands, $2 for sma l l groups. No alcohol is served- beverages and sandwiches are ava i I ab I e and the atmosphere is friendly . This is a non-profit ventur e and everyone is wel co me . Th e Stan Kent on Orchestra wi II be in r esidence f or a clinic at York University , 4700 Keele Street , Toronto , Ontario from July 11 to 16. Last years clinic was a great success, and we look forward to even better things this year .from the band and of course th e students. For further information on enrollment please contact Mr. Jack Moore, Kenton Clinic, York Univer sity, at the above address. 2 II~ haircutter 59 Kenmore Ave. 836-178 (corner of Windemere) behind jewelry store Edtfor/ Publ1sher- Bi ll Wahl Contnbutors - Tom Alabi so, Lou1s Bradsha w, B Besecker, Paul Gresham, John Hunt , L eroy Jom Tom Mazzone, John Osborn, Paula Wahl . Il lus trator - Chnst1n e En gla Eber Corr espondents Rochester- Jim Lan1 ok Syr acuse - Jerry Stabil e Tor onto- Hal Hill Addr ess corresponde nce to: Buffalo Jazz Report 1335 Main Str ee t Buffal o, New York 14209 (716) 88 3 - 3909, Ext. 11 ® 1976 - Buffalo Jazz Report No por!l on of th1s publ1cat1on may be r epr oduc• without wrdten consent from th e publisher . C~t· culalion - 15, 000 PRINTED IN U.S.A. tecotdinga *Denotes small labels or imports. They ar e availab generally through Cavag es and Reco rd Runner Buffal o; Sam' s, Wing Jazz and Jazz & Blue s Centre Toronto . If you can' t find th em, writ e BJR. FREE PARKING AT /Am THE RECORD mAn /HERWAY GARDEn/ Best Domestic & Imported Jazz Records & Tapes Available Take Evnns Ave. Cutoff (QEW prior to 427 Hwy.) On Your Next Tr ip to Toron to Inquire About Our Discount C I ub Membership �CK COREA- THE LEPRECHAUN- POL YDOR 6062 0. change of pace for Corea . After three albums 1 the highly electric Return to Forever, Chick ;ents an album featuring his keyboard artistry, 1 assistance from Joe Farrell, Steve Gadd, Eddy 1ez, Anthony Jackson, a string quartet and vocal 1r. Also a brass section featuring Bill Watrous . typi cal ofCorea'swriting- very lyrical and Spanish ored. Corea is hea rd on a variety of instruments, mostly acoustic piano and synthesizer. Th e pron of tunes is balanced and diverse. This rel ease, uring Chi ck without any RTF members, boasts 1e bright, fr esh music . Through th e years, Corea aften ,changed his style of music. Could this be new direction/ B .W. JEBIRD New "twofer" reissues from Bluebird include STER MUSICIAN by SIDNEY BECHET (55'16) Vic (erison, Earl Hines, Sidney DeParis, Kenny Clarke , lie "The Lion" Smith and many others are on hand . various sessions were recorded from 1932 ~ 1941 . THE COMPLETE BENNYGOODMANVol. Ill (5532) > back t o 1936 and f ea tures the famous Goodman !position Stompin' at the Savoy and many more . The IAPLETE GLEN MILLER VOL . II (5514) consists 939 material; and THE COMPLETE ARTIE SHAW ~- I covers 1938 & '39. 0.11 these Bluebird recordings have surprisingly j sound quality and are collectors' musts. B.W. CHARLES McPHERSON - BEAUT'if.~- XANADU 115 An easy l1sten1ng album of popular standards from McPherson. The alto player is in a quartet setting with bop pianist Duke Jordan. Since Charles himself is bop-ish, you know what to expect. The music is reminiscent of Charles' early Prestige sessions, also produced by Don Schlitten . B .W. JIMMY HEATH - PICTURE OF HEATH- XANADU 118 Although Heath usually sounds best when paired with another horn (Art Farmer, Curtis Fuller, etc.) this is an enjoyable quartet session. The lyrical saxophonist is joined by Barry Harris, Sam Jones & Billy Higgins for a program composed of five Heath originals and a (typical Heath) version of the jazz standard Body & Soul. Jimmy Heath is a consisfantlygood performer and this record of pure music is no exception. He's heard on tenor and soprano saxes . B.W. TERJE RYPDAL -ODYSSEY - ECM 1067/ 68 Odyssey comes as a two record set with Rypdal on guitar, string ensemble and soprano sax . This is his regular working group consisting of organ, trombone, bass and drums . This is space music, most of the tunes being based on repetitive themes, not unlike recent works of Mil es Davis. The principal soloists are Rypdal and trombonist Torbjorn Sunde, while the others lay a bed of textures and/ or driving rhythms. This music is best heard late at night or by yours elf at high volume. Not bad. B .W. entire stock on sale $7.981ist-- $5.44 998 Broadway Boulevard, Seneca & Main Place Malls 3 �WELCOME TO ONE OF THE LARGEST COLLECTIONS OF JAZZ IN THE COUNTRY Plus Prices Below Most Competition Incredible Selection - Low Prices University Plaza-Bflo. All Elvin Jones LP'S- On Sale XANADU GOLD The KENNYDORHAMMEMORIAL ALBUM(Xanadu 125) is highly recommended for fans of jazz trumpet . Th e late Kenny Dorham, on this 1960 session, is in the company of Charles Davis on bart !'one sax, Tommy Flanagan, Butch Warren and Buddy Enlow. The musi c produced is simply fine on everyone's part and deserves your attention . Dorham was one of the unsung greats . BEBOP REVISITED, VOL . 1 (Xanadu 120) consists of 1947 & '48 recordings featuring Dexter Gordon (with Melba Liston), Fats Navaro (w/ Max Roa ch & Earl Coleman) and Chubby Jackson (w/ Terry Gibbs, Conte Cando I i & Denzi I Best) and is a good collectors piece . B.W . W (NGJAZZ records ~ Imports & Special Order Service U.1ed Jazz Record.! A Different Record Store Elvin Jones Tickets 288 Queen Street West, Toronto, Canada. MSV 2A1 (416) 363-3208 4 FROM CHOICE* Heading the new release from the small Choi • label is SNOOZE by JOANNE BRACKEEN(CRS -100~ The young pianist, who has often worked with J, Henderson & Art Blakey, has come up with an in pressive trio album joined by Ceci I McBee and Bi I Hart . There's excitement and dynamics in herTyne ish style and wi II no doubt be scaring many ma pianist very shortly . Included are Miles' Circle Wayne Shorter's Nefertiti and four originals. Also Old Devi I Moon, a tune recorded by McCoy Tyn himself more than ten years ago . The comparison the two versions is interesting. A second album is out for THE JIMMY GIUFFI THREE. RIVER CHANT(CRS-1011) is verysimilar the pr evious Choi ce release (CRS-1001)- acollecti of nine short pi ece s with an eastern influence. Jimr is on tenor, clarinet and flutes with bassist Kiyo~ Tokunaga and drummer Randy Kaye. STRINGS ATTACHED (CRS-1010) features pian AL HAIG and guitarist JIMMY RANEY. They're w two Ahmad Jamal sidemen, Jamil Nasser and Fra Gant . There's an intimate night cl ub atmosphere this laid back studio recording, and Haig & Raney pair from way back- recently re-united) soundgre. Some of the tunes - Freedom Jazz Dance, Dolpl Dance & Invitation. If you I ike vocalist IRENE KRAL, check out WHEI IS LOVE? (CRS-1012) . Its all I ight ballads with or Irene's voice and the piano of All en Broadbent. Bea tiful, late night by candlelight music. B. AL DiMEOLA - LAND OF THE MIDNIGHT SUfi COLUMBIA PC 34074 JOHN McLAUGHLIN - INNER WORLDS- COLUME. PC 33908 Return to Forever guitarist, AI DiMeola, offer! display of his talents and moods in Land of theM night Sun. First Stanl ey Clarke, then Lenny Wh roamed away from Chick Corea (all of whom appE on , . ·' album) to cut their own albums, and now Oil a. The songs include a spiritual J.S. Bl acoustic guitar solo, a spirited piano/ acoustic gui · duet (with Corea). and three Return to Forever f vored guitar pieces. Other guest performers inclt Alphonse Mouzon, Mingo Lewis and Steve Gadd percussion and Barry Miles on keyboards . The res is a riff-laden, rapidly shifting tempo producti Excellent for guitar enthusiasts. John Mclaughlin lets the Mahavishnu Orches dominate his latest release . He seems to be chang his style from one of highspeedpowerto instrumen effects . He plays with a guitar synthesizer and f1 quency shifter on most of the cuts. Narada Mich Walden provides much of the spark on drums, pi; and vocal. Stu Goldberg plays keyboards and Ra Armstrong adds bass and vocal. There is some me in this release, in that John Mclaughlin rema technically astute and Walden is a notable perform Highlights include All in the Family, 12-string acot tic guitar dominated In My L ifeand Eastern influent Lotus Feet. Stick with DiMeola for guitar this mor T. 4 �EPLECHASE RECORDS (DENMARK)* =rom Denmark comes VISITOR by a young quartet ed CORONARIAS DANS (SCS 1032) . Its heavily trified music, featuring the fuzz guitar of Claus I ing, encompassing jazz, rock and free form music . re are many good moments here, although the JP lacks cohesion attimeswhenBohling is up front . nice to hea r electric music that not overloaded "funk" . JEXTER GORDON'S dream has come true with '?E THAN YOU KNOW (SCS 1030) . Its his first >rding as a leader with a full orchestra and con s beautiful, easy music . Coltrane's Naima is 1eous, with Dex making his recording debut on ·ano after opening on tenor. The orchestra iscom!d of Danes and American expatriates and is led 'aile Mikkelborg . -=IRM ROOTS is the aptly chosen title for a set of ight ahead acoustic jazz from CLIFFORD JORDAN the Magic Triangle (SCS 1033). Jordan, on tenor and flute, is joined by Cedar Walton, Sam Jones Billy Higgins- a well proven rhythm section with y trio dates to their credit. Clifford is a strong, sy player and presents a well rounded album of ic here . It won't disappoint you. 'ianist KENNY DREW has come across with a •nd trio album titled IF YOU COULD SEE ME V (SCS 1034). If you have his previous Dark Beauty 6). you might check this out . Beauty is a better album, but the same trio continues to perform admirably. Drew's partners are Niels-Henning Orsted Pedersen and Tottie Heath. Finally , for LEE KONITZfreaks, LONELEE(SCS1035). Only two long tunes are heard - This Song is You & Cherokee, and its a fine, inspired alto sax performance from Kanitz . B . W. HERMAN SZOBEL - SZOBEL - ARISTA AL You're going to get alot of pl easant surprises as you listen to the first album ever by eighteen year old pianist, Herman Szobel. _M r. Softee on stde one sets th e stage by giving you gltmpses of hts early extenstve European classical training but also shows you very modernisti c jazz and even elements of _rock . Szobel's t echni ca l abi I ities are clearly supenor and Its no comcidence he chose people such as Keith Jarrettand French composer Martial Sola/ as his early postclassical influences. Listen closely to the outstandtng sax, clarinet and flute work of Vadim Vyadro. David Samuels doubles on vibes and marimba and stays right with Szobel note for note on some of the most intricate and complex jazz writing I've heard tn some time. Bassist Michael Visceglia merits close listening also . Musi c that challenges yourearstopay attention, and I'm sure they will. J.H . ELVIN JONES QUARTET ELVIN JONES- drums PAT La BARBERA- reeds; flute RYO KAWASAKI- guitar DAVID WILLIAMS - bass MARCH 11 thru 14 2 shows 9&12 tickets$4 ckets Available at the Tralfanadore & Record Runner, Wing Jazz in Toronto and at the Door. Advance Purchase is Recommended. --alfamadore cafe 2610 main street 836-9678 at fillmore 5 �JACK DANIElS elvin 561 FOREST LIVE JAZZ ON TUES. & SUN. FEATURING PLAYERS FROM THE BUFFALO JAZZ ENSEMBLE ELVIN JONES UVE NO COVER Acoustic Music Wed. w/ Phil Oylin ANDREW HILL - LIVE AT MONTREUX - ARISTA AL 1023 Andrew Hill's seventh album as a leader shows him to be a most abl e solo pianist. Although you will probably find him not as captivating a solo performer as a Tyn er or Jarrett this set, recorded in the summer of ' 75 at Montreux, is proof of Hill ' s highly polished piano skills . He utilizes a wide dynami c range in his playing but l eans toward the sedate , slow-tempo bal l ad . You will hear influences of contemporary pianists like Paul BleyinHill'sstyle.l'msurehedel iberately chos e three of his own original compositions out of th e four pi eces presented here to make this solo piano album stand apart from the many solo piano albums r e leased lately . Live at Montreux is peaceful, thought-provoking music by a keyboard artist whose career has now spanJ .H . ned well over a decade. Bourbon Street West Buffalo's Newest Live Entertainment Spot live jazz every wednrday 10pm- 2am Also -Blues every Friday w/ Shakin Smith & His Blues Band 10:30 P.M. -2:30A.M. Jazz- Rock with Boujhill Overload every Saturday 10:30- 2:30 $1 COVER - ANY DRINK FREE 584 GRANT near Forest 6 PMR-005 Elvin Jones is "On The Mountain" with Jan Hammer and Gene Perla on PMR-004 "Elvin Jones Live" with Chick Corea, Frank Foster , Joe Farrell and Gene Perla 11111 RECORD/. ENRICO RAVA - THE PILGRIM AND THE STARS ECM 1063 Rava is an Italian trumpet player who should I heard by everyone into contemporary jazz . He owa lot to Miles, and in fact, this music is reminisce of Miles' early 70's recordings. John Abercromb plays a major role on guitar, with Norwegians Pal Danielsson and John Christensen. The variety is wi - energized pieces, ballads, spac e tracks and a sho track of fr ee i mprovisation . Aber crombie is • acoustic and electric guitar . Rava plays without tl use of electronics and possesses a strong, clea full bodied sound . CANNONBALL ADDERLEY - MUSIC, YOU ALL CAPITOL ST 11484 Th ere's an awful lot of good live material to I found on Musi c, You All. This is the latest of the pos humously released Cannonball library and it is h long - time quintet of brother Nat, GeorgeDuke, Walt Booker and Roy McCurdy. There are technical flaw! George Duke's electric piano has quite a few dead a1 distorted notes in it and Mike Deasy's electric/fu guitar seems rather unnecessary. In short, its nottl best I ive recording I've heard. Don't be mislead, hm ever. Cannonball holds together this livesessionfro the Troubadour as only he is capable of doing . P. particular attention to The Brakes, Capricorn, Wa Tall and of course what the late Mr. Adderley has say between tunes. Cannonball was a true entertain• no matter what the setting and it goes without sayi1 he is one who will be missed for a long, long tim J. �consumers have to include such music in our over views of "jazz". B e- Bop is in th e past, that we can take for granted, but what of "Jazz" and th e grea t hentage it commands. To I ive on, it must evolve and redef1n e itself. The JCOA's two latest r e l eases circumvent the r ealm of th eir definition . Clifford Th ornton's fiv eyear proJect in the research and performance of West Af n c an music, Th e Gardens of Harl em, is much more than th e sum of its research. Surely, it's a recording involv Pd in the past, but to anyone l ending himself to th e hentage i I represen ts and I ist en ing int ently enough, it r eve als a deep underst.anding of the evolving world. Th e final cu t , "Blues City ", is " now" (each consecutive t une t ends to follow an evolving progression), and it has been "now" for the l'last two decades . All but two of the tunes are bas ed on vocal chants , and Thornton does his best to aim toward that objective in his scor ing. Th e soloin g, as on all JCO' s albums, is extraordinary. L eroy Jenkins, whose compos it ion For Players Only, is for more than th e musi cia ns, despite its titl e, has brought to the JCOA much of the creative energy behind Chi ca go 's AACM . Here th ey play under a "jazz" banner, abandoning alltheirformeradver s ity to th e use of that term. Jenki ns' pi ece is much more experimen t al than Thornton 's. It can be viewed as "now" music or "new" musi c, depending on whatev er world you are listening from. Th is mu sic is an evolving one and that audience whi ch can stay with it, can still remain comfortable calling it "jazz". B .B. march jazz i & 6 E. R. - 14 Elvin Jones & 17 Dr. Jazz 19 Vajra Oragami 26 & 27 Jerry Eastman Quintet 20 NOW OPEN FOR LUNCH tralfamadore cafe 2610 main street YORK MARY - ARI STA AL 1019 1ree former members of Maynard Ferguson 's md make up part of this tal ented young bunch of ians that c all th ems elves, New York Mary. I've wondering what became of pianist Allan Zavod leaving Maynard and also th e guy who played monster baritone sax solos, Bruce Johnstone . nswer is th ey've been gigging around with drum foe Corsello and anoth er former F erguson bassist Petrone in the B ig Apple for a year or so. With ldition of Donald Hahnontrumpetand Tim Breem itar, th ey became New York Mar y in late 1975 . nusic presented on this first album is decidedly but done with t aste, purpo se and a high degree of It's exciting, up - tempo jazz . Especia lly notey is th e title cut and a Zavod composition enSunrise. Definite ly , another fin e Aris ta album your attention . J .H. U. U. A. B. MUSIC COMMITTEE Presents a special evening with the :oRO THORNTON AND THE JAZZ COMPOSERS' ESTRA - THE GARDENS OF HARLEM - JCOA sonny rollins quintet Y JENKINS AND THE JAZZ COMPOSERS' ESTRA - FOR PLAYERS ONLY - JCOA 1010 ank God (I) that the Jazz Composers' Orchestra ecided not to phase ou t th e "jazz" in its titl e. many of today's revolutionary forces in "jazz" ayers who have abandoned that word altogether, egit1mate excuse do we "jazz" reviewers and t FRIDAY, MARCH 26 8:30PM clark gym s.u.n.y.a.b. main street campus Off the Mlgrs. sugg. I i sl price o I any avai I obi e Album ot a ny of the 9 CAY AGES locations. Expire s 4 • 1-76 I I iENECA MAll • BOULEYARD MAll • COMO MAU I e MAIN PlACE MALL • THRUWAY PLAZA ~SH~• ~RS~•L~PO~LL.J tickets-$ 3 students $4 non students and night of show Avai I able at Norton Tick et Office & Buff State. 7 �Bourbol HERE CJ THES Stree TOR ON" (41 6) 864 - 10 THI/ mARCH AT THE flATLER BUCKY PIZZARELLI March2-March 14 SPIDER MARTIN March 16-Ma rch 21 BARNEY KESSEL March 1 - 13 DIZZY Gl LLESPI E JOE VENUTI Follows March23-April4 Shows Tues. - Sun. from 9 PM No cover Phone Ahead for Dinner Reservations Dine & Dance 9-1 No Cover Free parking in the Statler garage. The Statler Hilton a W. D. Hassett enterprise EBERHARD WEBER -YELLOW FIELDS- ECM 1066 I have yet to hear an album with Eb erhard Weber on it that' s not fine. And, I can think of no bas s ist that is as easily recognizedasWeber,noteven Stanley Clarke . Its Weber's usual blend of jazz, ro ck and classical music with his unique l ead bass wand er ing throughout. Charlie Mariano, on soprano sax , is sound ing good again after some sour records f or BASF. Rainer Bruninghaus is on keyboards (el ect ri c and acousti c ) and th e often recorded Jon Crist ensen is on drums . The music is together, distinctive and ca pti vating . Check this out, especially if you ' ve come into jazz via Chick Corea, Weath er Report, etc. B.W . Preservation Hall Jazz Band - Hami I ton Place (Har ton) March 30, 8:30 PM . A - Space Concerts - 85St . Ni cholas St.- March 6 Anthony Braxton Tri o; March 14 - EricStachQuar 27-28 Sonny Greenwich; Apri I 10- 11 Oliver Lake& Bowie. Phon e 929 - 5065 . INN ON THE PARK - L es li e & Egltnton ' Ave., Saturday matin ees , various groups. SANDPIPER TAVERN - 76 St. Clair Av e., W. E Saturday afterno on 2 to 5 PM - Th e Avante G Jazz Revi va l Band . Admis s i on Free . 567 GALLERY - 567 Quee n St ., W. Honey Novak Bill Smith, Larry Dubin, Pet er Anson, AI Mattes Cas ey Soko I. roche1ter buffalo area See ad s. toronto Bourbon Street- See ad . Mother Necessity Jazz Workshop - 14 Queen St. , E . (March 4 - 6 - Br_uce Cassidy; 9 & 10 - Shelly Berger; 11, 12, 13- Alvin Pall; 16& 17- HowieSilverman; 18, 19, 20 - Terry King, 23 thru 27 Ted Moses; 30 & 31 - HMaiden Voyage H. CK TB - FM 97. 7 St. Catharines 8- 10 PM Sundays- J is for Jazz w/ Jack Cole . Monticello Rest. - Monty Alexander March 1 Keith Jarrett - March 26 at Eastman Theatre . PM w/ Eastman Studio Orch . (free). 8:00 PM ei solo or w/ group - Adm . $4. B .B. King - March 20 8 PM at Auditorium The (454-7743), 875 Main St., E. l'yracul'e Dinkier Motor Inn - 1100 James St . - Mari on & Ji1 McPartland - Feb . 23 - March 13. Casa Di Lisa - 1625 Erie Blvd. , East 472-981 Lou Mentes Wed ., Straight Life Thurs., PeterA tenson Fri ., Straight Life Sat. & Bobby Ham Sun. 10-2. Under the Stone - Skaneateles - Dave Hanlon ~ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4340 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 25 Date A point or period of time associated with an event in the lifecycle of the resource 3/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 25 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/29e6655f94bf18b2945987c12339c895.pdf 721eb174f7ed526ed8e6652fc2ff547d PDF Text Text 3 SCENE he big news on Buffal o lastmonthwasthe appear of three of jazz' greatest musi c ians on th e ir ;ct i ve instruments . h e four noght engagement of th e Elvm Jon es tet at th e Tralfamador e Cafe not only proved that o os stoll in t op form, but that Buffal o is will mg op po rt bog name co nt emporary Jaz z . Except for ors t show on Thur sda y no ght (due t o a fo w l ed up noon) th e band was on fore. he great DIZzy Gill espie will play th P Stat ler's otown Room th r ough Apnl 4; and Sonny Rollms 3 conce rt at U .B . March 26. Some words about · perf ormanc es next month . lso at th e Statl e r wer e Bucky Ptzzarel!t & R oy tdge. Ea ch was supe rb . Sp1der Martm 's set s wer e op onent ed for th e room and I mi ssed hi s f or mer 1mer Virgtl Day. h e Tra lfamadore cont1nued th eir week -e nd jazz th e best in l oc al group s, & Jack Dam e/ 's con t1nue s oe place t o be on Tu es . and Sun. noght s . Th e New ' wa s stoll on r esidence at Papaga yo. B ourbon St. offe r ed Jazz Wed . & Sat . ni ght s. -OR'S COLUMN d loke to thank all of you that came out to hear 1 Jones last month. I hope you enjoyed the music, you carr be assured that we will continue to bring ome contemporary jazz groups . ·he fact that Jones' Quartet only played one set show has drawn some cnticism. We didn't know he played the first show that his poli cy is to play set straight through without a break . Some were an hour and some went for two . As near as I j tell, audience parti c ipation played a major role e length of the shows . Both Elvin & McCoy Tyner w this pol icy . As the over - used cliche goes ve "paid their dues" andprefertofollowthis conformat to keep the attentoon and energy levels tantly climbing. Many clubs useawarm-upgroup , ve somply couldn't afford it . In the future, for Elvin lcCoy, we will if possible . 'egarding future concerts- it is always advisable oy lo ckets in advanc e. Th ere was pl enty of room for ? shows, but we hadtoturnpeopleaway on the last ts. Advanc e purchase assures you admission . s, of cou.rse, are forst come first serve - so Je as early as po ssible. Also, we' II be cutting o on the number of tickets sold to make th e cl ub ? comfortable. lvin said that it was one of the best engagements ~roup has had. "First clas s club and first class le" he said, and he asked me to thank all who ode d. f it was your first time to the Tralfamadore~·s great jazz to be heard every weekend. ~e welcome your comments. Write the BJR office . B .W . ML I 63 llJ z ::> ra: !9 ? ~ ft z>z 0(/) One of th e most excitong performers on th e jazz scene today os saxophonost Sonny Fortune. Whol e his maon onstrument is alto sax, he's equally profo c i ent on soprano and flute. Sonny worked with the Mongo Santamaria Band before joining McCoy Tyner's group that included Calvin Hill & Alphonse Mouzon . He recorded three albums with Tyner, then went with Buddy Rich for a short tome beofre getting the call from Miles Davi s whom he joined in 1974 . During Miles' many br eak s : Fortune worked as a leader with his own groups on the East coast. Hos associatoon with Davis ended in April of 1975, paving the way f or him to tour with h1s own qu 1ntet. Sonny's group consists of musicians f ea tur ed on his two albums as a leader . Trumpeter Charf esSullovan, on fact, has a fin e album of his own on St ra ta East titled "Gen esis". Kenny Barron or John Hi cks alt ernat e on poano , as both ar e in great demand else· wher e. Barron has three discs of his own on Mus e and is a longtime member of the Yusef Lat eef Quart et: Hocks was the original pianos! with Charl es Tolliver s Music Incorporated. His usual bass/ dr ums team is Wayne Dockery & Chip Lyl e, fineyoungmusicianswho add a good deal to the group's colorful , per cu ssiv e, ompassooned sound .. When not soloing, Sonny adds some extra percussoon as well, showing Santamaria's n �influence. Sonny Fortune wi II appear at the T ralfamadore Cafe Fri., Sat. & Sunday, April 23-25. Its part of the BJR Concert Series. There'll be two shows nightly at 9 & 12, with two sets per show. Tickets are $4, available at the Cafe & Record Runner. A week earlier, the Tralfamadore is presenting New York Mary, an excellent jazz / rock group made up of former members of the Maynard Ferguson Band . Shows wi II be at 9 & 12, Thurs . thru Sun., Apri I 15-18. See the ad in this issue. At the Statler this month you'll find the likes of Dizzy Gillespie, Gap Mangione & Earl Hines, non e of which nee ds an introduction. How's that for a month of Jazz! Illustration of Sonny Fortune by Sabrina Mayberry Smith. SELECT DISCS SONNY FORTUNE w/ McCoy Tyner Sahara- Mil eston e 9039 Song for my Lady- Mile . 9044 Song of the New World - Mi I e. 9049 w/ Miles Davis Big Fun- Col . 32866 Get Up With It- Col . 33236 Agharta - Col. As a Leader . Long Before our Mothers Cried - Strata East Awakening - Horizon 704 NEW YORK MARY New York Mary - Arista 1019 EARL HINES Another Monday Date- Pres tiqe 24043 At th e Village Vanguard w/ Eidridge - Xanadu 10 Grand Reumon- Tnp 5557 Tea for Two- Black Li on 112 Live in Buffalo - lmprov (soon to be r elease< BUFFALO NEWS Buffalo's pub I ic radio station, WBFO, conducts it second fundraising drive from Apri 14- 10. The statio programs a great many hours of jazz weekly rangin from Sidney B echet to Coltrane to the Art Ensembl of Chi cago . Tun e in at88.7 FM and pl edge your suppor' To quote Elvin Jones "our artform (jazz) needs thi kind of publi c support ." John Hunt, of BJR & WBFO fame, is spinning jaz discs at Birdie's 19th Hol e on Monday nights . Drop b and say hello, from 7- 10, on All en St ., just east< Mulligan 's brick bar . Th e Buffal o Jazz En sembl e presents a Sprin Festival Concert seri es at McKinl ey Audit orium, 150 Elmwood, April 11 & 25, Th e Sunday co nce rts wi II b held at 4 :30 PM and word is that there'll besom special guest stars! Th e BJE will also do a benef concert for WBFO on April 10 at th e Fillmore Roorr SUNYAB . The Shore Coffee House at the Church in the Shore line, 200 Niagara St . , f ea tures live entertainment i COLUMBIA SALE AT SATTLER'S Spec..lly Priced MILES DAVIS MAYNARD FERGUSON PRIMAL SCREAM AGHARTA 998 Broadway Boulevard, Seneca & Main Place Malls 2 entire stock columbia lp's &tapes 6.98(0}- 3.99 l98(E}- 4.99 ADD $1 FOR TAPE Columbia Records~ �•pen mike format. Jazz musi cians are invited to ' by alternate Saturday eves., 8 - 12 . Coffee, tea admissi on are free. Phone 842-0854 . :ORO NEWS 31 ue Note has announce d that "twofers" of pre•sly uni ssued sessions by McCoy Tyner and Elvin es will be out soon, as well as one from Ja ck1e Corresponden ts Rochester- Jtm Lant ok Syra cuse - Jerry Stabii e T oronto- Hal Htll Address corr espondence t o: Buffal o Jazz Report :oming soon from Gene Per la 's PM re cor ds i s a ! with Pat & Jo e LaBarber a. Peri a wi II be on bass 1 Toronto's Doug Ril ey on piano . Th e Sa voy Catalogue is being re-issued by Ari sta ords. The first batch will be along any time now . 1335 Main St ree t B uffalo, New York 14209 (71 6) 883-3909 , Ext. 11 ® 1976 - B uffalo Jazz Rep ort No port1 on of th1s publicat1on may be reproducr>d with ou t wn tten consent from th e publt sher. C1rcula\ton- 15 ,000 PRINTED IN U.S.A. or/Publisher- Bill Wahl lnbutors - T om Alabi so, Lou1s Bradshaw, B ill tecotding~:~ ecker, Paul Gre sham, John Hunt, Leroy Jone s. Mazz one, John Osborn, Paula Wahl. ;trator - Chn sttne Enqla Eber *Denotes small labels or imports. They are avai I able generally throuqh Cavaqes and Record Runn er in _ean. ~.t lb~lff thit 11~811~t~ ! New York Mary april 15-18; thurs. thru sun. An Exciting Jazz/ Rock Group featuring Former Members of the Maynard Ferguson Band. next ifs the Sonny Fortune Quintet april23 -25 fri. , sat. , sun. Fonner Reedman with McCoy Tyner & Miles Davis- Here with Charles Sullivan on Trumpet. tickets $4 per show- shows at 9 &12 nightly 2 JetJ' per J'how Tickets - at the Tralfamadore & Record Runner; Wing Jazz in Toronto. N.Y. Mary Tickets also at Norton Ticket Office. Attendance is Limited - Advance Purchase is Suggested. ', 2610 ma1n . street ralfamadore ca1e 836-9678 at fillmore 3 �DIZZY GILLESPIE "bahiana" $11.98 List NOW! 7.74 51 University Plaza Mon.-Sat. 9:30-9:00 716-837-2322 All Charges Buffalo ; ·sam's, Wing Jazz and Jazz & Blues Centre 1n Toronto . If you can't find them, write BJR. BETHLEHEM Th e most recent r e-issues .from th e B ethlehem vaults are discs by HERBIE MANN & CHARLIE SHAVERS. Early Mann (6011) is culled from four quartet dates recorded in 1954; back when Mann was play1ng Jazz . Most of the tracks f ea tur e guitan st Joe Puma . Herbi e plays tenor sax on Th e Influenti al Mr . Cohn . Very ni ce musi c. Well r ecorded. Th e Most lnttmate (6005) by Charlt e Shavers fpatures his trumpet stylings overafullstringorchestra . It's a set of light ballads . Th e ten tun es are all j az z standards. B .W. J \V((NGJAZZ ~ records Imports & Special Order Service UJed Jazz Recordf A Different Record Store ticketf: Jonny fortune &n.y. mary 288 Queen Street West, Toronto, Canada. MSV 2A1 (416) 363-3208 4 BILLY HARPER - BLACK SAINT - BLACK SA l 0001 * This is the first rel ea se from Italy's new Bl ; Saint records . The Billy Harper Quintet wasrecor in July of last year in Paris. Whil e not up to his p vious Capra Black (Strata-East), it's a good recc Onl y three tunes are heard, and pianist Joe Bon impresses me th e most on each. Harper & trumpE Virgil Jones perform well, despite a few accept< mistakes in ensemble passages. Bas sist David Frie is another standout. I quite enjoy Billy's Croc Ballet, heard previously on Lee Morgan' s last reco ing. Despite the few flaws - I I ike it. No doubt, will too if you like Harpers work. B BLUE NOTE TWOFERS A hot one is THE THIRD WORLD by pian HERBIE NICHOLS (LA845-H2). This trio music"' recorded in '55 & '56 and is more modern than m< of today's recordings. Nichols was a great writer well, all but one tune here were his . The co-compo! of Lady Stngs the Blues (Billy Hoi iday) died in H having receiv ed almost no recognition . These gr• r ec ordings are a must, especially if you're into Me or early Cecil Taylor . S1des from '53 & '57 areoutfeatunng LEE KONI & GERRY MULLIGAN REVELATION (LA532-f presents the alto/ baritone team with such notables Zoot Sims & Chet Baker in five and eight piece settino Many good moments are found here . BLOWIN' SESSIONS by COL TRANE/GRIFFI MOBLEY (LA521-H2) is the return of some gn tenor sax music that's been toolongunavailable . Sic one & two feature the three named above, previou: released as Blowing Session (BN 1559). Griff in super. Record two is a re-issue of Blowin' in Fr. Chicago (BN 1549) featuring tenor men John Gilmc & Clifford Jordan . Both sessions were done in 19! A treat. B .W. THE VISITORS- MOTHERLAND - MUSE 5094 This is the fourth album from the Grubbs Brothel and is right up there with the rest of them . While t~ are cousins of John Coltrane , their sound reminds 1 of Jackie Mclean's recent work & Buffalo's o Birthright. The music is modal and lyrical with ciE alto -tenor ensembles. The rhythm section of ~ Bonner, John Lee & Victor Lewis is bright, full< together, and the soloists perform with feeling c creativity. Good ingredients- a good record. B. KENO DUKE - CREST OF THE WAVE - TRIDEI' TRS-501 It's always refreshing hea ring acoustic instrumen amidst the increasing predominance of electronics today's music. Keno Duke, a drummer who deserv• more recognition, has put together an album of wei written, well-executed jazz with assistance fro George Coleman-tenor sax, Frank Strozier-alto sa: flute, Harold Mabern-acoustic piano, and LisleAtki, son-acoustic bass. Crest of the Wave shows Duke be a most able song writer and arranger besid• being a fine drummer. J .l �NEW MUSIC FROM WARNER BROS. GEORGE BENSON BRE EZIN' - IncUdes Fall/ Eyes/Neferti~/llkJe tkxaw Darid Sanborn RAHSAAN ROLAND KIRK THE RETURN OF THE S,OOOib.MAN !UtqOU Includes Sweet Georgia Brown Lowing You Giant Steps Antoolo Carlos JoiD Urubu bl.:kdt..-s LIJ,!I.l t'U\,16.1 \~ Correnlcza Main Place and Seneca Malls �II~ haircutter 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store FLORA PURIM - OPEN YOUR EYES YOU CAN FLY MILESTONE 9065 As the liner notes suggest, this is an album of celebration for vocalist Flora Purim . (The releas e of this album occurred just after Flora's recent release from prison) The music r efl ect s happin ess, posit1ve direction and her musical association with Chick Corea. The personnel on Open Your Eyes .. . include George Duke, Airto, Ndugu, Alphonso Johnson, David Amaro and Hermeto Pascoal - an extremely tight rhythm section complimenting Flora's vocals . The album waxes a bit too sweet at times but if you 're into the light, lyrical latin sound, this LP shouldbe yours. J.H . DIZZY GILLESPIE - BAHIANA- PABLO Here's two records of beautiful music from the trumpet great. He's in the company of a septet full of well versed musicians, such as Roger Glenn (flute & vibes) Al ex Gafa & Michael Howell (guitars) and drummer Mickey Roker - his long standing associate. The music is Latin tinged and easy going throughout. The lengthy tunes leave plenty of solo space. All of side four is donated to a sweet version of Dizzy's Olinga - a tune often done by Mi It Jackson. Very pleasant listening. B .W. PLAS JOHNSON - THE BLUES - CONCORD 15 Contrary to the title , this set is notal I blues . Plas blows his way through ballads and popular tunes as well, but it is on the blues tracks that the tenor man shines. Variety, however, makes for a balanced pro gram , and Plas ' sextet delivers with a full, matured sound . He's with Concord stalwarts such as Ray Brown , Herb E IIi s & Jake Hanna, and two newcomers Bobbye Hall on congas and pianist Mike Melovin . I especially dig that Parking Lot Blues! B.W. MILE DAVIS - AGHARTA - COLUMBIA PG 33967 Exciting live music from Miles recorded in F ebruary of '75 in Japan . Davis' trumpet is heard less than pr~viously: the Yamaha organ is rapid ly becoming his favorite fascination. Of note is the superb soprano and alto sax and flute work of Sonny Fortune who shines along with the rest of M iles' steady, young rhythm section. Agharta proves beyond a doubt that Miles is still Miles . J.H. 6 Mother Necessity Jazz Workshop 14 Queen Street, E. Toronto from 8-12 p.m. Telephone: (416) 368 - 097 April 1, 2, 3 ·Jim Blackley Quintet; 4 ·Mother Necessit Big Bond; 6, 7 • Chino (Bruce Pennycook); 8, 9, 10. Gor Williamson Trio; 11 • M. N. Big Bond; 13,14. lorne Kellet Quartet; 15, 16, 17 ·Ted Moses; 18 • M. N. Big Bar 20, 21 • John Swan Quintet; 22, 23, 24 • Mike Malone Quintet; 25 ·Humber Co llege Big Bond; 27,28 ·Marty Moreii / Gory Morgon; 29, 30, May 1 • Dove McMurdo Quint< JOE HENDERSON - BLACK MIRACLE - MILESTDr 9066 As with the recent Rol lins release, I gasped wh reading the personnel on the album . Some of t "disco -heavies" are here such as Oscar Brashe Geo . Bohanon & Harvey Ma son. But, l1ke Roll ins, J hasn 't flipped out. There's some funkymusi c here,t ds done w1th cre ativity in true Henderson form . Ar check his sweet version of Stev1e Wond ers My Chet Amour, and a return of Joe's own Gazelle. In sho an album with commercial possibiliti es, but no down for old Henderson fans. Hopefully, the jazzm who've gone to Disco will be influenced by Joe B .W. Sonny ' s efforts. DAVID DIGGS- SUPERCOOK - INSTANT JOY S-100 Supercook is the first album by David Diggs, relatively new addition to the young, thriving big b scene . Diggs is versatile as well as talented . He cor posed, arr anged and produced th e album besides pia ing piano, electric piano and drums . Crusaders gt tarist Larry Carlton is worth noting for his soloir Availabl e at $5 from lnternat1onal Record Servi< Bo x 383, La Puente, Cal1f. 91747 . J.H. KENNY BARRON - LUCIFER - MUSE MR 50 Lucifer is a more rhythmicallyorientedsoundth I had expected from Kenny Barron. As was the ca for all of the time he has been with Yus ef Late Barron 's piano work is tasteful and techni cally ace rate. This is his third album as a l eader and utilizes acoustic piano, electric piano and th e star ard com pi i ment of electroni c keyboards . Char. Sullivan on trumpet and Billy Hart on drums standouts . J .H. COLLIN WALCOTT - CLOUD DANCE - ECM 1C An East Indian atmosphere prev ai Is on this del album by Oregon's tabla/ sitarist . Th e choice of Jc Abercrombie, Dave Ho II and & Jack DeJohnette "' indeed a good one, blending in the ingredients modern jazz . In true ECM tradition, the recording impeccable. Mo st of the pieces are short with Wal e heavily featured, but often in duets with the other mu! cians. Recommended to those who enJOY Oregon & i Paul Winter Consort. B .W. �BUFFALO JAZZ ENSEMBLE with guest star - trumpeter APRIL JAZZ 2 The Hereafter 3 Espoy & 10 Flight 14 & 28 Dr. Jazz 15, 16, 17, 18 New York Mary 23. 24, 25 Sonny Fortune 30, 1 Coal itian SamNoto NOW OPEN FOR LUNCH Guest Host - GEO. BECK tralfamadore cafe 2610 main street SATURDAY. APRil 10 - 9 PM Fillmore Room, SUNYAB Donation $2 - All Proceeds to WBFO N-LUC PONTY - AURORA- ATLANTIC SO 18163 liolinist Jean-Luc Panty offers his second release !l.tlantic as a group leader . He has been recognized erhaps the finest on "jazz viol in" (Downbeat polls), recently was playing in the shadows of John aughlin and th e Mahavishnu Orchestra. This aldemonstrates that his recognition is well deserved 1e is onc e again emerging as the prominent force iol in . It is much more polished than his previous ase Upon the Wings of Music. His group is comdy different except for Patrice Rushen on keyds. This young pianist is given much more room hew her talent -- whi ch is superb . Guitarist •I Struermer (note h1s acoustic work on Renaice), Tom Fowler on bass and Norman FearringJn drums complete the quintet. The tunes on th e T1 are varied, and nice to relax t o. T.M. ELLA AND OSCAR - PABLO Both Ella Fitzgerald & Oscar Peterson have been given many recording dates recently by Pablo's (exverve) Norman Granz. What more can be said except that this is an intimate duo outing from two of jazz ' established greats . Of course it's good. B.W. THE NEW PHIL WOODS ALBUM - RCA BGLI-1391 Dynamite! Its not the hot Woods of Musique Du Bois (a great album on Muse). nor the plush Woods as heard on his recent outing with Legrand. A happy medium it is, with thealtosaxophonist'squartetjoined by a top flight orchestra on most of the tun es . Phi I arranged and conducted, leaving no doubt that he's th e man forthejob. Verytasty .l tsmostlyWoods originals, but then there's noteworthy versions of the jazz standard Body and Soul, and pop singer Janis la01's gorgeous At Seventeen. Clearly the best from Woods since the above-mentioned Muse disc . B.W. : BILL EVANS TRIO - SINCE WE MET- FANTASY 501 rhe open1ng grooves gi ve no indication that Since Met was recorded live at the Village Vanguard; her way of saying this r ecording is very high ity . Musi cally, B11/ Evans has never sounded ?r, espec1ally in the company of longtime comons Edd1e Gomez on bass and Marty Morrell on ns. Smce We Met expresses a feelmg that pian1st Evans has become a great deal more assertive in style and will probably cont1nue to grow and ngthen musically as long as he cont1nues to play. J.H. KENNY WHEELER - GNU HIGH - ECM 1069 Kenny Wheeler, a native of St. Catherine's, Ontario , is probably best known for his work in the avant garde realm with Anthony Braxton . Other credits are stints with Maynard Ferguson & Johnny Dankworth . Gnu High presents him as a leader with Keith Jarrett, Dave Holland & Jack DeJohnette. The three compositions · are his own, Kenny is heard only on flugelhorn, an.d the music is straight forward, unique, very listenable and often introspect ive. Its a relaxing and satisfy1ng album, and worth your attention. Wh eeler is undoubtably in charge, while in the companyofthree of 70'sjazz ' best. B.W . wlha~'~ lhappeniin~ Coupon worth TWO DOLLARS Off the Mfgrs. sugg. list price of any available :z Album at any of the 9 CAVAGES locations. Expires 5-1-76 SENECA MALL I I e BOUI..EVARD MALL • COMO MALL I • MAIN PlACE MALL e THRUWAY PLAZA ~ S0!!!!!_5H~• ~~S~•L~PO~LL_j buffalo area See ads . toronto Bourbon St. - See ad above . Basin St. (above Bourbon) - Olive Brown Apri I 5 - 17 . George's Spaghetti House- Moe Koffman April 5-10; Bernie Senensky 12-17; Brian Browne 19-24; Koffman 7 �Bourbo1 Stree HERE~ THES TOR ON (416) 864-10 downtown ... at the 1tatler GAP MANGIONE april 6-18 BOBBY HACKETT Thru April 10 EARL HINES FRANK ROSOLINO April april 20- may 9 DON MENZA April Shows Tues. -Sun. from 9 PM ~.N~ cover The Stotler Hilton a W. D. Hassett enterprise Chez Moi, 30 Hayden St. , - Saturday Afternoon Silverl eaf Jazzmen. Church Street Community Centre, 519 Church Street. Friday Night - Silverleaf Jazzmen. D.J. 's Bar, Hydro Building, University & Coll ege. Si x nigh"s a week - Climax Jazz Band . Executive Restaurant, 254 Egl inton Ave .. East - Satur days 2- 6 pm - John Dela Trio. Inn on the Park, Leslie & Egl inton Ave . . East - Satur day matinees - various groups . Mall oney 's, 85 Grenvi li e Street . Saturday afterno onsClimax Jazz Band . Th e Musi c Gallery, 30 St. Patri ck Street. Tue sday, Friday & Saturday at 9 pm -concert s with CCMC plus other s. Thursday nights - op en r ehear sals . Saturday aftern oons 3- 6 pm - Stu Broomer , B i ll Smith , Larr y Dubin . A Space, 85 St. Ni cho las St. - April 10 at 9 pm & Apnl 11 at 3 pm - Oliver Lak e and Joseph Bowi e. Phone 929 -5065 f or info . roche1ter Spectrum - Eastman Jazz Faculty Quintet -Sunday, Apri I 18 at Cutl er Student Uni on (adj . to Memonal Art Gallery). Ti ckets $1 .50, shows at8, 9:30& 11 PM . 26 - Ma y 8 Phone Ahead for Dinner Reservations Dine & Danc e 9-1 No Cover Free parking in the Statler garage. ~- 26-May 1; Alvin Pall May 3-8 . Bourbon St. - Sunday sessions from 6 :30 vari ous groups . Moth er Necessity Jazz Workshop- see ad th1s issue. Albert's Hall, Th e Brun swick, 481 Bloor St. , We st Monday - Wedn esday - Kid Bast ien; Thursday - Satur day - Jim Abercrombi e. 12-24 Eastman Jazz En semble - Mon . . Apri I 19 at 8 P Eastman Th eat re . Free & op en to th e publ 1c. Monroe Commumty Coll ege - Tu es . . Apnl 6 at 8 National Jazz Ens. f eat . J1 m my Kn epp er , Bill Good Joe Roman o, et c . Monti ce llo Res t. - Spi de r Martin Apr il 5- 24, Cl Wayn e & Joe Puma Apri I 26 - May 15 . Win e Pres s - Aurac le April 11 - 14 . Jyracu1e Casa Di Lisa - 1625 Eri e Blvd ., 472 - 9866 - J Farn sworth Wed.; Straight Life Tri o- Thurs.; P Mort enson - Fn .; Strai ght Life -Sat .; AnnFarnsw - Sun . Spirit of 35 - Carri er Circl e- 463 - 3535 - Dave~ ion' s Funk 'n Jazz Band - Wed ., Fri . & Sat. t Farnsworth - 5- 8 PM on Wed . , Thur s. & Fri . All n j'azz and breakfast every F n . and Sat . unti I 6, Under the Stone - Skaneatl as St eam - Tues .; 5! Parts - Thur s. Dinkier Motor Inn - 1100 James St. - 472 - 6961 -. Maheu thru May 1st . Orpheus - Butternut St. . - Spare Parts - Sun . and T1 English Inn - Hawl ey at C r ouseave. Marcus CL Tri o F r i. , Sat. & Sun . WONO FM 107 .4 - all night Jazz broadcast Mon. Sat. 1 - 6 AM . Ithaca- 1- 607 - 273 - 8866 Unicorn - 328 E . State St . - Apri I 10 - Ron Car April 15- Airto & Flora Purim ; April 30th (tenta1 Dizzy Gillespi e; (date not set) Jean-Luc Pont � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4341 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 26 Date A point or period of time associated with an event in the lifecycle of the resource 4/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 26 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/d256589607c24a2bc142382f5d23cec9.pdf b314046a632db079a149c5273814b70a PDF Text Text l!y~ffallo j~zz teP<!!t 11my arrison 3ssist Jimmy Garnson passed away las t month w York. Garnson was best known as a lc,ng t tm e Jer of the John Coltran e Quart et , al ong with 'Y Tyner & Elvtn Jon es . ? was born in Phtlad elphta on Mar ::- h 3, 1934 . He d ther e in l oc al gr oup s unttl he mo ved to New in 1958. He worked wtlh Coltran e f r om 1961 - 1967. Since that time he has worked wtth many bdnd leaders, including Elvin Jon es . One of jazz' greatest bassists, Jimmy was to play the John Coltrane Memorial Concert at Newport in New York next month - June 25, with McCoy & Elvin . Elvin's Quartet played at his funeral . H is death was a heavy loss to th e jazz world . I 14. �BUFFALO NEWS The Statler Hilton has init1ated ajamn1ghtor> th e•r normally "dark" Monday nights . They will use such local bands as NeVOt Wave, Existing Reality, Birthright, etc . Everyone is urged to drop by - no CO'.'er, no min1mum. Clar ence Senior High School stage band will present its 1976 Spnng Jazz Con ce rt on Fnday, May 7 at 8 PM in th e school auditorium, 9625 Main St . Ray Ri cker, from the Eastman School of Music will perf orm the sax solos . Admission is $1 f or adult s, 50~ ·for students and $3 for family . LIVE MUSIC REVIEW Th e Statler has had three hot acts in a row with Dizzy Gillespie, Gap Mangione & Earl Hines. Catch Earl ' s group if you can -they're great . H1s new album has just been rel eased - recorded I ive at the Statl <' r . Mark Murphy spent three weeks at Papagayo , drawing large, enthusiastic audience s. He us ed bas sist Sabu Adeyola this time, which made a maJor improvement over his last area appearanc e. He' s on " of jazz' best vo calists, and I hope you had a cha nc" to hea r him. Great mus ic filled the Tralfamador e last month . Two nationally known groups appeared - New Yor k Mary played tight, funky, commer c iall y ac ce~sib l " musi c - with a big band sound . Th e Sonn v Fortune Quintet was quite simply a mus1 cal h1 gh po 1r>t of my life. The music was on fire- with sax solos of up I n half an hour taking you outto pi aces you 've neve r been. It was a t1 ghtly. knd group, with exce ll ent sol n•sts in Ch 1p Lyl es , Cal v m Hill an d Mi chael Coc hrane Sonny sai d that the r eason that t hey pi ayerl so well is that the vibes wilh1n the Tralf amadore aud•ence< wer e foun d only at f our oth er jazz c l ubs in t toe country Elvin made a similar stat em ent I I" M ar ch. Sor> ny will be ba ck - don' t mis s h1ml Al so - El v1n want s t o come bad and we'll oh lig• h 1m 1n the fall. No co nce rts hav" be en sch edul " d in th e BJR Sen es f or May . We m ight have sornet h•.,g in Jun e. Your support of t hese co nce rt s I S a must i f t hey are t o con t1nue . SUMMER SCHOOL IN JAZZ AT NI CHOLS SCHOOL Buff alo area jazz enthus 1as t s shou ld not e th•s summ er's SUMMER MUSI C AT NI CHOLS pr0gra m at N1 cho l s School . One of t he h1 gh l1ghts oft 'e four week schoo l w1 l l be an In st rumen t al secl1 ~.: n l augh! pnrnanly by th e Bu ffa I o Jazz En se mbl e who w1 ll b0 Summer mus 1C ian s- in - r es 1dence at t he sc hoo l . Th e c our s~>s ar~ open t o a II int er es t ed h 1gh schoo l and co I I eg" stud ents Th e fol lowing are pO S'> Ibl e course sel r>c li on~ in tho Jazz section: Lecture- Sem1 nar Senvs, In str uctor, B .J. E .' s Sabu Ad eyo la Th e so c ial and h 1st on ca l r oo t s of Jazz w1ll be prnsent ed. MUSICIANSHIP II , In stru ct or, Ph 1l De Re A cou r se des1gned to acq ua1 nl t toe student wi!h pracli ca l notat 10n of pzz , ds var10us forms an~ chorda l structures ENTIRE JAZZ STOCK 998 Broadway Boulevard, Seneca & Main Place Malls ncn r:r\ Manufactured and Dtstrobuted by RCA Records » RCA LABELS D-4.44 E-5.44 LP'S �PERFORMING GROUPS udents will choose on e of th e fol lowing groups : A. Chamber En sembl e taught by Joseph D1 gab anrl lli e Seaton . B . Jazz Orchestra and sec tional workshop<:. Unrl<• r e d1rectlon of th e Buffal o Jazz Ens embl e th1 s gro up ill learn van ous styl es and improv1 <:a b or>al shlls THE GUITAR, In struct or , Jo seph D1 gat 1 A cour se 1n construct•on, minor r epai rs, van ou<; n1ngs and the us •• of el ectroni c deVICE'" with t he 11tar . Pn vate stud10 l essons an' al 5o av a1!abl r- and may ! schedu l ed w1 th th r· Ins t ructo r . St udents wh o w1 sh t o reg• ~ t e r or obta 1r> mo r0 1nfnrab on should ca l l (875 82 12) o r stop by N 1r hol" School i!tor Publish er- Bil l Wahl >ntnbutors - T om A lab 1so. L ou1s Br adshaw, B ill •seeker, Paul GrPsham. John Hunt. Leroy JonC><., , 'm Mazz one. John Osborn, Pa ula Wah l. ustrator - Chn s hne Enqla Eber >rn·s pondents Ror:hP'>tC'I - J1n1 Lan10k Syracus0 - Jp, ry Stabile Torunlo Hal Hill ldr r·~'> cor r<"-,pOr ll ll'nt r· tu Bu ffa/> Jazz Rep ort 1335 M a1n Strr•f'l Bu ffalo. New York 14209 (716) 881 3909. Ext 11 1976 Buffal u Jazz Report port 10n of th1s publ•ca t 1m may b£> rPproduc"d ithout wntt0n consent fr orn thu publ1shPr 1rculab on 15 ,000 PRINTED IN U. S. A . G ecotding~ ::ATHER REPORT - BLACK MARKET - COLUMBIA 099 W.R .'S lat es t IS a commercially marketabl e pro - ct . complete wdh fog horns and steam locomotives . 1t, 1f you've dug th1s group's work nght al ong, you & Zawinul sh1ne n' t be d1senchaned. Short er ·oughout, and compose most of th e tun es - all of 1ch ar e short er (no pun) than usual . Th eir gue sts :lude Don Al1as & Jaco Pastonus. Th1s on e should II- and with class. B .W. )B EMRY / GREG BOBULINSK I - THE TORTURED iOPHET - MERIDIAN M 1001'" Your interest is caught by the solo Afri ca n and ake drum in the op ening bars of the titl e cut and is aintained throughout an album of creat1ve jazz . 1ese are young musi ci ans; not the l east b1t afraid expenmentat1on , some of which does not succeed . 1e solo1ng by all. especially B obulmsk'. and Emry d the composing is admirable. The mus1c produc ed freer than much I've heard recently . The Tortur ed -ophet seems at limes t o lack cohesion but th e effort go almost entirely w i thout gudar or p1ano IS reeshlng. J H. FLOR~ IS FLYINGI M-9065 FLORA PURIM Open Your Eyes You Car. Fly • Milestone RETURN TO FOREVER - ROMANTIC WARRIOR COLUMBIA PC 34076 The t1ghtest perfor ming group over th e last f ew years has be en Return ta Forever. Th ey ha ve d1spl ayed a unique togetherness and oneness in their musi c Romantic Warri or is th e finest example of their musi c as an entity of the1r personality. Chick Cor ea has always been the group leader, but on thi s album each member leads throughout. Stanley Clarke gets fast er and clearer, so does Lenny Wh ite; AI D1Meola gl1des over the cl ean synth es izer and piano work of Cor ea No one song can be singl ed out, for they all are ve ry well performed . However check out the titl e cutwh1ch is mostly acousti c. This album is a must for Return to Forever enthusiasts, and can be enJoyed by anyon e who I istens . TM PASSPORT - INFINITY MACHINE- ATCO SO 36 - 132 Th ere is a certain immediately identifiabl e quality about the music of saxophonist Klaus Doldinger and his three German cohorts who make -up Passport. Perhaps its the ever - present but sublte r eve rb effect through wh1 ch K I aus plays his sax. Infinity Mach me is a slightly more improvisational sounding album in th e same vein as Cross - Collateral. Passport attempts di vergent mus1 cal formats here, rang ing from th e up t empo rocker Ju - Ju - Man to the subdued and beaut 1fu lly melodic ContemplatiOn. Anoth er unique album cover with well - performed jazz 1nside. J .H �SAVOY TWOFERS $4.97 Albums by J. Coltrane. C. Adderley, L. Young, C. Parker. M. Jackson, V. Lateef. etc. 51 University Plaza Mon.·Sat. 9:30 • 9:00 716-837-2322 All Charges PAT MARTINO - STARBRIGHT - WARNER BROS . BS2921 Guitarist Pat Martino displays another side of his capabilities with his newest album . Well recogniz ed as a guitarist with a sound like Wes Montgomery, Martino demonstrates here that he 's able t o extend his perfo rmance into different areas . Th ese include synthesizer-laden (Starbright and Eyes), jazz - ro ck (Blue - Macaw, Law, and Deeda), acoustic solo (Prelude) and guitar/ piano duets (on Wayne Shorter' s Nefert iti and Fall) . Gi I Goldst ein handles most of th e keyboard work . The highlight is Martino's acoustic guitar on Prelude. This album is well r ecorded and Martino's performanc e shines throughout. TM AT L~srl bjjt' t-shirts only $5- at record runner; tralfamadore 4 CHARLES TOLLIVER / MUSIC INC. & ORCHESTR , IMPACT- STRATA EAST 19757 Th is is simply one of the bitchin ist big band bums to come in some time . Tolliver & Stanley Co11 have teamed up with thr ee bassist s, four percussi1 ists and many of th e heaviest hornm en in New Yo Cats I ike Chas . McPhearson, Harold Vi ck, Ch Davi s, Geo. Col eman, Jam es Spaulding, John Fade Virgil Jones, Garnet Brown & Kiane Ziwadi to na a few . Th e titl e track opens and sets you straight. high volume it'll kno ck you off your seat l Strings 1 added for ex t ra color, and exquisit e solos come fr Spaulding , Vi ck, M cP hearson & Col eman, as well th e leaders . Check it out and play it loud. B. JAMES MOODY - TIMELESS AURA - VANGUAF 79366 Aft er some fin e recorded work for Mus e, Moo emerges with a different sound . Th ere's some fu here, but no disco sounds . Guitanst Roland Prine who comes from the Elvin Jones group, keeps f music clean an d loose . There's a good f ee ling he~ with Moody on soprano, alto andt enorsaxes( no flub Vanguard's Ed Bl and inked four of th e sev en tune Prince's Funky Jazz Walk sounds a lot l1ke Frat Fo st ers J<i7zboat - and it rocks. Some ni ce sounl emerge f rom the septet session; a worthwhile inves ment for Moody fan s. B .W. THE HEATH BROTHERS - MARCH IN' ON' - STRATI EAST 19766 Here we have on e of jazz' greatmusicalfamilies Albert, Jimmy & Percy Heath, with Stanley Cow~ joining them on piano . Each music1an contributes O! tune; and there's Ell1ngton's Warm Valley - wi Jimmy & Albert on flutes, bowed bass from Per and mbira (thumb piano) work from Cowell,aninstr ment he uses ext ensive I y throughout. Jimmy's Smil Billy (from Muse 5028) is reworked as an 18 minut 4 part suite filling side 2 - fantasti c. And, there another fine r eco rding of Stanley's Maimoun. Gre, l1sten1ng, well van ed - and each musi c ian is feature equally. B .~ BILLY COBHAM - LIFE AND TIMES - ATLANT so 18166 Over the I ast f ew years drummers have gott faster and more precise. They are trying to approa the technique displayed by Billy Cobham when t performed w1th the Mahav1shna Orchestra. It seem! as if everyone else was improving (eg . Lenny Whi· and Alphonse Mouzon) while Cobham was struggli~ Blaming it on poor management, Billy Cobham ha taken a step back, and is beginning to show his talen once again. Life & Times is the best Cobham hasp out to date and we can only hope for more (with U additi on of George Duke and Weath er Report's Alphon1 Johnson) . The personn el perform well throughout, bt no one can take this one from Cobham ; l1sten to Lil and Times, and 29for Cobham's precision . John Sec f1eld plays guitar and has some beau tiful solos (e! Siesta, and Song for a Fnend (Part 2) . Dawilli Gong adds keyboards and Santana's Doug Rau ch plays bas! There's more to come. Tl �AHSAAN ROLAND KIRK - THE RETURN OF THE ,000 LB. MAN - WARNER BROS. BS 2918 As with The Case of the Three Sided Dream ... , we re once again asked to join Rahsaan for a musical Jur through a mind that seems to possess a limitless apacity for new ideas. On The Return ofthe 5,000 lb. 1an Kirk's saxophone, flute, harmonica and stritch phone take us to Eulipia with stops along the way at oltrane's Giant Steps, Sweet Georgia Brown and ioodbye Pork. Pi e Hat. The usual steady performance regiven by his Vibration Society sideman , along with Jpearan ce s by Buster Williams - bass, Hank Jonesiano, and Howard Johnson - tuba who lend to the ~eling of energy and happiness. The linar notes by ahsaan offer explanations of the musical concepts Jt the musi c more than speaks for itself. J.H. .11ROSLAV VITOUS - MAGICAL SHEPARD- WARNER lROS. BS 2925 Miroslav Vitous presents an album which features ;uch notable performers as Herbie Hancock, Airto, lack DeJohnette, drummer James Gadson and voca ists Cheryl Grainger and Onike. The r esult betrays tassist Vitous' long relationship with Weather Report. "he music is synthesizer-spiced (ala Hancock) and he vocals of Grainger and Onike add another dimen:ion to the electronic sound . The percussion work is ine -- but that's to be expected with Airto and De lohnette . It is on the whole good, but limited perormance by Vitous . TM GEORGE BENSON - BREEZIN' - WARNER BROS . BS 2919 George Benson continues to be one of the recog nized masters on guitar in jazz. His talent goes beyond superb technique; its ca lied fe el in g. This latest release on Warner Bros. (he moved from CTI) shows Benson at his best. This album will appea l to most everyone who appreciates f ine jazz, in any form. Claus Ogerman arranged and conducted the strings which are laid back and add to the f eel1ng. Buffal o's Ronnie Foster plays piano and moog, Ph il Upchurch on bass, Harv ey Mason drums and Jorge Delto plays clarinet and acoustic piano. Th e entire album is fun to listen to, but catch Leon Russel 's This Masquerade which has George combining his voice and guitar beautifully; also note Dalto on piano . Benson's guitar playing is flawless throughout and this album is highly recommended for easy listening . TM DEXTER GORDON - BLUES WALK -BLACK LION 309 JOHNNY GRIFFIN- YOU LEAVE ME BREATHLESSBLACK LION 304 Here's a couple of excellent, straight ahead jazz albums from a pair of tenor greats. Both records were recorded in 1967 at the Montmarte Jazzhus in Copenhagen, and each features the impeccabl e rhythm section (a Danish favorite) of Kenny Drew, Niels Henning Orsted Pederson, and Albert Heath . Some of the Gordon session (different tunes) was issued a f ew years ago on Montmarte Vol . I. Th e musi c on these sides is great and highly r ec ommended . B .W. FIVE NEW SUPER RELEASES FROM STRATA·EAST. Impact Charles TolliverMustclnc ON SALE AT ALL 9 CAVAGES LOCATIONS Regeneratton Stanley Cowell March tn0n ' Heath Brothers Montsm MtltonMarsh Step by Step John Gordon Hear the contemporary musician in control of his own music on the artist owned label. �ERICSON LOUNGE II~ haircutter 59 Kenmore Ave. 836 -1781 (corner of Windemere) behi nd jewe lry store STANLEY COWELL - REGENERATION - STRATA EAST 19765 Stanley's come up with a gem this itme Its on<> of the fmest displays of musi c featunng tradit iOnal Afn can Instruments that th1 s reviewer's heard. Ma non Browns wooden flute IS a treat! Cowell is heard mostly on kora and mbira (thumb piano); Ed Black well on parade and waterdrum. Th ere's vo cal tra cks. a p1ano / ha rmon1ca blues, and tunes that'll bnn g t o ming Africa and th e deep south. Th1s r ecord is good from the start and wi II cont1nue to grow on you. Refreshing. B .W. ALPHONSO JOHNSON - MOONSHADOWS - EPIC 34118 Weather Report 's bassist presents h1s f1 rst r elease her e, offenng some good moments . Unfor tunat el y, at t1mes he falls into the funk sound-al1kes catego ry , caus1ng th e album to be unbalanced. How ever. the date 1s saved by beaut 1fu I tun es the l1 kes of Amartef 10 & Involuntary Bl1 ss, aid ed by Fl ora Pun m an d Gary Bartz . A s a funk album, 1\s not bad . It JUSt seems a shame not t o use th1s impressive personnel roster mor e creatively. B .W. elvin ELVIN JONFS UVE PMR-005 PMR-004 Elvin Jones IS "On The Mountain" w1th Jan Hammer "Elvin Jones Live" with Chick Corea, Frank Foster. Joe Farrell and Gene Perla and Gene Perla on IIRI RECORD/. 6 FORMERLY ·rHE ROYAL ARMS" JackMcDuf1 and the Heating System May 20-24 Wed.- Sun. 10 :30 ·· 3:30+sunday afternoon 5··8 19 W.UTICA 886-9163 ANTHROPOLOGY - ZIM 1002 Zim r ec ords is a new company wh1 ch IS rel easi1 albums from the Bril1sh Spotl1ght label 1n th e U. Thi s rei ease f eatures Chari ie Park er on most tun with the Metronome Jazzmen . One track IS done Sarah Vaughan plus Rhythm . Thr ee tun es featu Tadd Dameron and h1 s Orch estra w/ Ward ell Gr and Kenny Clarke . Most of th 2 mus1 c is a 1947 rae broadcast with surprisingly good aud1o quald y. T work of Park er & L enn1 e Tn stano IS th e bigge t real . Spotl1ght has an 1mpress1ve catalogue averse and w e wi sh Z im th e best. Av ailable through Z11 Box 158, J en cho, N . Y . 11753, if not 1n the store B .W . JACO PASTORIUS - EPIC 33949 Here's a well diVPr s 1f1 ed album f rom bass1 st Ja1 Pastorius. He opens w1th a bass -conga duet of Chari Parker's Donna Lee, goes t o a soul - 1sh tun e f ea tu 1 mg Sam & Dave, through vanous other adv enturrs su< as Herb i e Han cock's Sp eak Like a Ch1ld, and sev• orig1nals in vanous group setlings Herbi e Han co• (acousti c & elec tri c) and Don Al1a s are f <>a tur • throughout ; other gue st s being Wayn e Sh ort er, Hube Laws and L enny Whil e. Ja co 1s a suprrb bass1st wt has lot to say. and does it well B ~ TERRY PLUMER! - HE WHO LIVES IN MAr PL ACES - AIRBORNE AR C 1 * An impressive cast of musicians join bassist Ter P lumen to produce jazz similar texturally and styli tica'lly to early Weather Report. Th e expansive, inn vative ideas expressed here are a good dea l ah ead their time for 1971, the r ec ording date of this L Herbi e Hanco ck on keyboards, John Ab ercrombi e guitar , En c Gravatt - percus s ion and M1 chael Sm on drums provid e tasteful support for th e acous' bass work of Plumen who prov es hims el f worthy more attention . J. *D enot es small labels or 1mports Th ey are availab general I y thr ough Cavag es and Reco rd Runn er Buffal o; Sam' s, W1 ng Jazz and Jazz & Blues Centre Toront o. If you can ' t f 1nd th em, wnt e BJR . �BILL EVANS offers a masterpiece entitled SYMBIOSIS (BASF 22094) . This should've been out a year ago, but is well worth the wait. He's with an orches tra led by Claus Ogerman and all the arrangements and compositions are his . *From composer FRED TOMPKINScomes SOMESVILLE (Festival 9002) . Some of the musi c leans toward classical Avant e garde, and some is driving Mainstream . Featured are David Liebman, Steve Grossman, Gene Perla, Lenny White & a thundering Elvin Jones . Also, theN. Y. Woodwind Quartet. If you can't find it, check with Fred at 155 .W. 68th St. , N.Y. C. 10023. HERBIE MANN'S SURPRISES (Atlantic 1682) is really no surpris e. It's basi ca lly more of th e same "new Mann". featuring C i ssy Houston. Ther e's a f ew good tracks on this one, which fares better than his last efforts. If you dig disco jazz, one of the finest albums in that vein is TAKIN' OFF by DAVID SANBOURN(War ner Bros.). One of the worst is THE MAN INCOGNITO by ALPHONSE MOUZON (Blue Note) . (Sp eaki ng in terms of creativity) . MONISM by MIL TON MARSH (Strata-East 19758) has been out for a while, but it's new to me . The composer/saxophonist (currently in residence in Buffalo) leads a big band and a nine piece ensemble through six of his own compositions - from mellow to "outside" . A featured soloist is Reynold Scott the baritone man who recently performed with Birth right. Good pure music . B.W. . may Jazz 12 14 15 & 22 Dr. Jazz Persuance Flight Spira Gyra 26 28 & 29 June 4 & 5 9 Dr. Jazz Existing Reality Coalition Dr. Jazz tralfamadore cafe 2610 main street THEN THERE'S new one from HORACE SILVER titl ed SILVER VOOD (Blue Not e 581-G) whi ch will pleas e you if ve Irked hrs latest two albums. He performs two lS with a quint et backed by a horn section . A good m that' II set your foot in motion . It moves - all vay throughout each side. dso from Blue Note comes a debut r elease from 1rist EARL KLUGH (LA 596 - G). You may relber hrm playong acousti c guitar with Geo. Benson ). and I'd strongly r ecom mend this one to George's He's backed by a huge band , but he's up front 1e way. Lov e those Latin tun es' His acousti c work rper. lrumm er Norman Connors has come up with his . whr ch he calls YOU ARE MY STARSHIP(Buddah ). Th ere's frve beautiful, easy listeningjazztunes two sli ck soul tunes, sung by M ichael Henderson Phylli s· Hyman. Well recorded. Gary Bartz is a wed solorst. li g band fr eaks should check out the NATIONAL Z ENSEMBLE (Chraroscuro 140) . Led by Chuck ?Is, the band boasts such t alenb as Sal Ni stico Jim Kn epper, with Brll Evans and L ee Konllz as t - solorsts for 1 track each. 'ranist MIKE WOFFORD, known for hrs studio : and as a member of Sh elly Manne' s group, has ? up wrlh SCOTT JOPLIN INTERPRETATIONS '76 . Dutchman 1372). lis half solo piano and half fri o me & Chuck Domant co) feafunng eight Joplin tunes 1e work - mteres fmg and relaxing. 1 Coupon worth TWO DOLLARS Off the Mfgrs. sugg. list price of any available zz Album ot any of the 9 CAY AGES locations. Expires 6- l-76 • SENECA MALL • 80ULEVARD MALL • COMO MAll e MAIN PlACE MALL e THRUWAY PLAZA • • MONDAY NIGHT JAZZ downtown .. at the Jtatler FEATURING THE BEST IN W.N.Y. GROUPS new wave MAY 10 auracle MAY 11 birthright MAY 24 I I NO COVER 9- 1 NO MINIMUM COME AS YOU ARE Free parking in the Statler garage. I ~ SO~SH~ ~RS!!!,._ L~PO~LL.J The Stotler Hilton a W. D. Hassett enterprise 7 �Bourboll Stree1 HERE~ T ES TORdl'lli (416) 864-10.: downtown .. at the 1tatler JACKIE and ROY may 11-23 RED RODNEY Thru May 8 JAMAN may2s-3o GERRY NIEWOOD May 10-29 HARRY •sweets• EDISON May 31- June 12 Shows Tues. - Sun. from 9 PM No cover Phone Ahead for Dinner Reservations Dine & Dance 9- 1 No Cover Free parking in the Statler garage. The Statler Hilton a W. D. Hassett enterprise buffalo area rocheFter Se e ads . Monticello - Chuck Wayn e & Joe Puma thru May Gap Mangi one May 17 -2 9 . Nazareth Art Center - 4245 East Av e. Gerry Niewc June 5, 8 & 10:30 PM . Cont act MSI Prod ., 168 Durn toronto Bourbon St. - See ad. Basin St . (above Bourbon) Jan e Harvey May 3-8, Jimmy Witherspoon May 10-22, Jacki e& Roy May 25 Jun e 5. George 's Spaghetti House - /an McDougall May 1015; Guido Basso 24-29; Rob McConn ell 31-June 5. Albert's Hall, The Brunswick, 481 Bloor St ., WestMonday-Wednesday - Kid Basti en; Thursday - Satu rday - Jim Abercromb ie. Chez Moi, 30 Hayden St. , - Saturday Afternoon Silverleaf Jazzmen. Church Street Community Centre, 519 Church Street. Friday Night - Silverleaf Jazzmen . D.J. 's Bar, Hydro Building , University & College . Si x nights a week - Climax Jazz Band . Executive Restaurant, 254 Egl inton Ave ., East- Satur days 2-6 pm - John Dela Trio . Inn on the Park, Leslie & EglintonAve ., East - Satur day mat i nees - various groups . Malloney 's, 85 Grenvi li e Street. Saturday afternoon < C I i max Jazz Band . The Music Gallery, 30 St. Patri ck Street. Tuesday, Friday & Saturday at 9 pm - concerts with CCMC plus others . Thursday nights - open r ehearsals . Saturday afternoons 3-6 pm -Stu Broomer, Bill Smith, Larry Dubin . 8 Stree t. Fyracul'e Casa Di Lisa - 1625 Eri e Bl vd., East , Wed . - A1 Farnsworth/ Thur s. -Straight Lcfe Trc o/ Frc . - Pe M ortenson, Mik e Sol azzo , and Mik e Dalfo/ Sat Straight Life Tri o/ Sun . - Ann P Farn sworth . AI guest spots percodi cally by Fran.z Stagnitta . Sp1rit of 35 - Carri er Circle- Wed. & Thur s. - Co• tion, Fri. & Sat . - Dave Hanlon's Funk 'n' Jazz Ba Fri . & Sat. 2-6 AM - Breakfast 'n' Jazz (record inc Under the Stone - Skaneatel es -Tues .- Stea m, ThJ -Dave Hanlon's Funk 'n' Jazz Band. Dinkier Motor Inn L ounge- lnMaySaltCity Si x/Ch Conno rs/and Freddy Col e- Call f or dates . Onondaga County Civi c Center - May 23 - Ramt L ewis . Ithaca - The Um corn - 607 - 273 - 8866 or 272-2: May 2 - Charles Mingu s May 9 - Stan K enton Full jazz sch edul e not availabl e at pres s lime. 0 for additional act s. Radio - WONO 107 FM Jazz Show 12 :00 - 3:00 (exc ept Sundays) Tel evisi on - Tues. 8:00 PM - Mark of Jazz Chan 24 (PBS) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4342 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 27 Date A point or period of time associated with an event in the lifecycle of the resource 5/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 27 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/7da130191fd4437b70c7daa70e591d6b.pdf 6df3b2987cb5b0457ba19c7fc8e121b5 PDF Text Text JUN -,~ M 5 buffallo ja~~ rreporrt ~ june1976 issue 28 ML I p~ BILL €\J~NS Scandanavia's Edison award and Japan's swing JOurnal awara . Evans, who last appeared in Buffalo in 1973 at Bemo Crockett's Revilot, will work with his bassist of nine years Eddie Gomez, and drummer Elliot Zigmund. The Rendezvous Room is perfect for such an event, as it seats a large number of people, everyone has a great view and the acoustics are excellent. Tickets are priced at five dollars for the night and are on sale now at the Recorri Runner (University Plaza). These dates fall amidstthe "Buffalo Jazz Workshop• week at the Statler. Beginning with an all star jam session on Saturday, June 12 w/Marian & Jimmy McPartland, Herb Hall, Buddy Tate & Vic Dickenson; through Marian's closing night on Sunday; the open jam session on Monday; Charlie Byrd's opening night Tuesday; to the Evans concerts Thursday & Friday. A list of these events and times is advertised on page 6 of this issue. There wi II also be workshops with the name musicians i.n the hotel. In addition, many local musicians wi II be performing at various times throughout the week. Unfortunately, as this issue is being written, all the information has not been gathered, as more additions are made daily. Keep an eye on the newspapers and an ear to the radio for updated information. Prepare yourself for a heavy week of jazz. This .month the Buffalo Jazz Report will present the Bill Evans Trio as phase three of the BJR concert series. Evans will be presented on Thursday & Friday, June 17 & 18, at the Rendezvous Room of the Statler Hilton. The room is accesible by descending a flight of stairs, to the right of the lobby, immedic!ltely inside the Delaware Ave . entrance. Bill Evans is one of the best known and most respected pianists in all of jazz . Born in 1929, Evans began studying the piano at 6, viol in at 7 and flute at 13. In 1950, he graduated from college (he had received a music scholarship) and joined the Herbie Fields Band . From '51-'54 he played flute in the Fifth Army Band. In '59 he recorded with Miles Davis, John Coltrane and Cannonball Adderley the classic album KindofBiue. That same year, he left Davis to form his own trio . To date, more than thirty albums have been issued under Evans' name. Miles Davis once said ·1 sure learned a lot from Bill Evans . He plays the piano the way it should be played. • And, to quote the late Cannonball Adderley, Evans has "rare originality and taste• . He has won the Downbeat critic's poll five times. To date, he has been on the receiving end of five Grammy Awards. In '68 he won the melody maker (England) award, and in '69 Editors note: Feel free to dress as you like at the Statler. At the Evans Concert we will refund one dollar to everyone wearing a Buffalo Jazz Report T -shirt. (How's that for an incentive to run out and buy one?) MAY IN REVIEW The Statler Hilton's "Jam Night•hasproventobe a splendid idea. Existing Reality kicked it offwithmanyof Buffalo's finest sitting in. E.R. is the perfect group for a jam format and the night was a great success. New Wave, on the following Monday eve, didn't invite the many musicians present to join, until the last set, but Auracle rectified the situation a week later and the 'full house partied all night. Auracle is an excellent band from Eastman School of Music and hopefully they'll be back soon. As I write it is five days before Birthright's appearance and I look forward to it, as I do to the release this month of their second album "Breath Of Life" . Drop down on a Monday night and check this out. There's no cover and no minimum and; as always, no dress code. The Tralfamadore stayed with local groups last month presenting excellent jazz-as usual, on Friday & Saturday nights. Some of Buffalo's best bands were featured - Flight, Spira Gyra & Existing Reality. Jackie & Roy returned to the Downtown Roam for two weeks. The highly polished vocal team was followed by the great Jaman - one of our favorites- both as a person and a musician. �r£) 1976 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the publisher . PRINTED IN U.S.A . tecotdine~ McCOY TYNER - FLY WITH THE WIND- MILESTONE M-9067 The McCoy Tyner stamp is clearly on Fly With The Windfrom the famil1ar Tyner piano veracity and dexterity to the tnll of the stnng and woodwind sections . McCoy has utiliz Pd orchestral arrangements before but never with such boldness and cohes i veness . His musical themes se e>m mor" sun' ly stated here than with his previous use of an orchestra , where th e strings and woodwinds became pre> dominant instead of complimentary . It's been yearssinceBillyCobham'sdrumming and Hubert Laws' flute have been as tast ~: ful as th ey are hPre Another memorable album from one of the acknowledged masters of the piano . J .H THE VERVE TWOFERS The release of six Verve twofers took me by surprise . The Verve catalogue had been unavailable for years . Now Polydor owns the label and we can look forward to some great r ecordings . BILLIE HOLIDAY- The First Verve Sessions (VE-2 - 2503) captures Lady Day in 1952 & 1954 with a variety of bands, in cludmg such names as Oscar Peterson , Barney Kessel , Fl,ip Phill1ps & Charlte Shavers. Some more is heard fr-om Billie on JAZZ AT THE PHILHARMONIC (VE-2 - 2504). Record one i s a July 1944 JATP Concert with J .J. Johnson , Illinois Jacquet, Les . Paul & others with Nat King Cole on piano (and a great ptantst he was!) . Record two is the Billi e Holiday concert in duo, trio and septet settings in 1946, in L .A. Excellent sets have been re - issued for CHARLIE PARKER (VE-2-2501) and LESTER YOUNG (VE-2-2502). The Parker sides go back to 1948-1950, featuring Bird w/ strings and me dium to small band settings . The group on side 4 includes Dizzy & Monk . Two sessions are heard from Pres, recorded in '52 & '56 . Most of the tunes are long for the vintage (6 & 7 mtnutes) and the bands stretch out . This is one of my f avorit es . Musicians included are Teddy Wilson , Oscar Peterson, Barney Kessel & Ray Brown . The legendary pianist BUD POWELL (VE-2-2506) is represented in various '49-'51 recordings in trio and sol o sets . Buddy Rich, Max Roach, Curly Russell & Ray Brown are on hand . DIZZY GILLESPIE- The Sonny Rollins/SonnyStittSessions (VE-2-2505) is a gem . The tunes run up to 14 minutes and the music is simplyexcellent . SessiononeisDizw/ Rollins . sessi on two - Diz w/ Stitt , and the third is Diz w/ Stitt and Rollins The year was 1957. Included are Gillespie originals Wheatleigh Hall, Sumphin' Con Alma & Haute Mon' and four other tunes Also - these pressings are excellent, and packaged in plastic lined sl eeves . B .W. CHARLIE BYRD -June 15-27 "DOW NTOW N" BUFFALO NEWS A greaf place to spend Tuesday, Friday & Sunday nights is the Port East located at East Ferry &Grider Sts . There's live jazz from 10 PM and vegetarian food is served . Check it out soon! We thank Chris Renninger, Editor of Sabin's Radio Free Jazz for the fine article on Buffalo Jazz, and his coverage of the Statler, Tralfamadore, BJE, WBFO, lmprov Records & BJR . Jazz groups wishing to participate in the June-Teenth Fes tival , June 18, 19 & 20 should contact Mr . Roosevelt Wardlaw at 854-0110. The Festival wi II be held on Jefferson Ave . between Best & East Ferry Sts . EDITOR & PUBLISHER- Bill Wahl CONTRIBUTORS Tom Alabiso, Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone , John Osborn, Paula Wahl. ILLUSTRATORS- Christine Engla Eber and Sabrina Mayberry Smith. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Jerry Stabile Toronto- Hal Hill Address correspondooce. to : Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext . 11 grover washington "mr. magic" esther phillips w/ beck deodato "prelude" only$3.47 ~~ 51 University Plaza Mon.·Sat. 9:30 • 9:00 59 Kenmore Ave. 716-837.2322 All Charges 836-1781 (corner of Windemere) behind jewelry store 2 �OLIVER NELSON - A DREAM DEFERRED - FLYING DUTCHMAN CYL2 - 1449 A Dream Deferred is a widely-scoped look at the creations of one of the best arrangers of our time . Oliver Nelson who pass ed away late in 1975 was capable of adapting to many different musi ca l surroundings . He wrote scores for movi es, tel evisi C1 sen es , large jazz bands and for small groups; in th e process writing provocative melodi es I ike Stolen Moments whtch appears on this album. Nelson himself was a gifted alto saxophonist who could play with lyricism and profi c ien cy. He seemed to coax the be st from his co- worker s and as an exa mple ch eck out the alto solo by Johnny Hodges on Black, Brown and Beautiful. It's obvious from this well - produced doubl e album that Oliver Nelson gave much f o r only hav,eing 43 years t o shar e his mu;;ic with us. J H. MAGNUM ENTERTAINMENT PRESENTS HERBIE mANN &familvof featuring mann cissy houston IRA SULLIVAN - HORIZON 6 Sullivan is a multi -instrumental ist who is adept and equally profi cient at playing soprano and tenor saxes, flute and trumpet. His first album in t en years showcases h is tal ents in solo, duo, trio, quartet and quintet settings in a variety of musi cal style s . You'll hear the gorgeous My Reverie, the avant - garde Slightly Arched , Fats Waller's Jitterbug Waltz and more. Guitarist Joe Diorio is on hand ; Jaco Pastorious and Don AI ias are heard on the fast moving Portrait of Sal LaRosa. Although I'd have liked to hear more from the full quint et, it is an album of pleasant listening and chaning moods . B .W. Shea's Buffalo Theatre Sunday, June 13-7:30PM THAD JONES/MEL LEWIS - NEW LIFE - HORIZON 7 Since the T J/ ML Orchestra had an album rel eased a few months ago - I didn't expect this! An even better treat was th e musi c inside . I'd have to say that it's the band's best to date song for song - the album's a monster. A maJOr factor contributing to its success is th e incredible soloing of baritone saxman Pepper Adams . As usual- Thad composes and arranges , except for one tun e each from Cecil Br idgewater and Jerry Dodgion . A very worthwhile investment for big band fans . B .W. Tickets avai I able at the Shea's Buffalo Box Office, Amherst Tickets Unlimited at the Eastern Hills Mall, Central Ticket. U.B. and all Festival & Ticketron Outlets. PAUL DESMOND QUARTET - LIVE - HORIZON 10 If you've ever caught Paul Desmond at Toronto's Bourbon Street, . you' II know what to expect here . In fact, if you were there tn Oct . '75, you're probably a part of this recording. Desmond coaxes gorgeous mel odies from his alto, while gui tarist Ed B ickert, bassist Don Thompson and drummer Jerry Ful _ler provtde the necessary rhythm and solos of th e highest caltbre - check out My Funny Valentine. For nostalgia sake there's a version of Take Five. Th is 2-record set offers excellent, laid back, melodic music with superb recording quality . B .W. MAGNUM ENTERTAINMENT PRESENTS STEVE MARCUS - SOMETIME OTHER THAN NOW - FLYING DUTCHMAN BDL 1-1461 Steve Marcus backs himself with Steve Gadd on drums, St eve Kahn on guitar and Don Grolnick on keyboards . Theresult is a fast moving and fine album. Marcus plays electric soprano sax (sounds I ike a viol in) throughout, and is probably th e least present figure. Will Lee adds electric bass. The album is another example of jazz-rock and probably one of th e better ones . Kahn and Mar cus play well together. Don Grolni ck's keyboards, though not always noticeable, are r efreshin g when they are. Steve Gaddis excellent. Highlights are The Riles of Darkness and Candles, both incidently f eature Marcus mo re than the other cuts. T .M . with THE BUFFALO STATE JAZZ ENSEMBLE Shea's Buffalo Theatre Sunday, June 27- 7:30pm Tickets available at the Shea's Buffalo Box Office, Amherst Tickets Unlimited at the Eastern Hills Mall, Central Ticket, U.B. and all Festival & Ticketron Outlets. A MAGNUM PRODUCTION 3 CANNONBALL ADDERLEY - LOVERS - FANTASY F - 9505 Lovers is the result of the last Cannonball Adderley recording session. It reflects, as always, a desireto incorporate th e " new" sounds with an ever present feeling and respect for the past . Th e title cut, written by Cannon's nephew Nat Adderley , Jr. (who performs 'Jn piano) was recorded after Cannonball's fatal stroke. There is a pervasive mood on that parti cular cut of wanting to carry through a musical idea but no longer having the true ce nter (Cannonball) to work around. A s a result , Lovers seems to lack inspiration . The rest of the al bum, however, moves well and againremindsusthat Cannon ball gave us all he had to give . J.H. �Two 1957 sessions by YUSEF LATEEF are available on MORNING (Savoy 2205) . The sextet includes Curtis Full er, Hugh Lawson & Louis Hayes . This on e' s among Lateef's better wor-k . Two '56 dates with MILT JACKSON t itled SECOND NATURE (2204) f eature the finetenorwo rkof Lucky Thompson . This is one of the best in the release - a must for Jackson fans . A round-up of various bands is found on THE CHANGING FACE OF HARLEM (2208) featuring 10 gr-oups recor-ded in 1944. Fr-om th ere we go to '45 & '49 with fine tr-i o wor-k from ERROLL GARNER on THE ELF (2207) . A final note - as opposed totheorig1nal Savoys, th e Ar ista/ Savoy pr-essings are excellent. B.W. SUPPORT THE BJR bjr t-shirts DAVID LIEBMAN/RICHARD BEIRACH - FORGOTTEN FANTASIES- HORIZON 9 Duo albums often don't come off very well . Forgotten Fantasies is not one of thes e . . .. its a masterpi ece. Li ebman and Beirach sound better as a duo than with th eir- gr-oup Lookout Farm. Beirach 's thoughts , melodies and t echnique are impeccable. Liebman is a firey performer equally profi cient with ballads and is highly inspired here. The r esult is a piano / saxophone (and flute) duet r ecordi ng that should not be missed . B .W. record runner; tralfamadore THE SAVOY TWOFERS Aristas premier release of the Savoy Catalogue is headed by JOHN COLTRANE & WILBUR HARDEN/COUNTDOWN (Savoy 2203) . Harden is heard on flugelhorn and composed all the tunes. 4 of the 8 selections have never been issued previously. Great, great music - well r ecorded . The year was 1958. Highly recommended! CANNONBALL ADDERLEY /SPONTANEOUS COMBUSTION (2206) is made up of three 1955 sessions including 'Ball's re cording debut. Very tasty music throughout from the great alto-ist. Again - well recorded . Two historically important sets have been issued for LESTER YOUNG (Savoy 2202) & CHARLIE PARKER (2201) . The first covers four sessions in 1944 & 1949; almost all the tracks are issued with one or more alternate takes . The Bir-d package covers six sessions from '44 - '48, and most of them include Miles Davis . Except for- 9 tunes on the Young LP , all the music has been previously issued. JIMMY RANEY- THE INFLUENCE - XANADU RECORDS 116 This seems to be a good month for- bringing talented but secluded musicians into the I i mel ight. Guitarist Jimmy Ran ey at 48 years old releases hisfirstasa leader since 1964. Ran ey is acknowl edged by such notabl es as Grant Green, Jim Hall , Wes Montgomery and Pat Martino as an influence to th eir- own styles . Obviously on that fact alone, thi s album deserves attention. Sam Jones on bass (note Cello Again this issue) and Billy Higgins on drums complete th e trio. Rightfromtrack 1, I Love You the tr-io swings on a I ight, hard dr-iving tempo. Raney is superb thr-oughout (note the solo pi ece The End of a Love Affair) and Jones and Higgin s couldn't be better. Thi s r-elease is a tribut e to the work Ran ey has done and wi II continue t o do . Beautiful . T .M . TWO FROM OSCAR OSCAR PETERSON IN RUSSIA (Pablo 2625-711) is a two recor-d live concert recorded in Tall1n, Nov . 1974. Peterson is featured solo piano, as a duo w/ bassist Ni els Pedersen, and with his tr-io (add Jake Hanna). The pianist was , no doubt, highly inspired f or- the occasion and it's r-eflected in the music . A mor-e laid back live-in-the-studio date is available on A RARE MOOD (BASF MC 20668). Peter-son is in the company of Ray Brown and Ed Thigpen . Except for- two cuts - its slow and easy. Both r-ecor-ds ar-e good examples of Peter son's wor-k . B .W. a lot of people have been waiting a long time for the second blrthri9ht album .... the wait is over! MICKEY TUCKER - TRIPLICITY - XANADU 128 Mi ckey Tucker- 's keyboard pi aying (acousti c p 1ano and organ) is clear cut in phrasing and attack . As is evidenced heavily on Triplicity, Tucker- can handl e and in fact seems to rel ish mixing up rhythms, tempos and moods all with in one piece. This requires skilled accompaniment from Gene Perla/ bass, Jimmy Ponder/ guitar and Eddie Gladden/ drums . Tucker 's solo piano compositions, however, are alsohandl edbeautifully . Whether on piano or organ, Tucker pr-oves he deserv<? s more attention. J .H. ) bilthlight "breath of life" from birthright AT YOUR LOCAL STORES OR SEND $6 TO BIRTHRIGHT. P.O. BOX 514, BUFFALO, N.Y. 14240. 4 SAM JONES - CELLO AGAIN - XANADU 129 Jazz cello? Don ' t be turned off, this man can cook . Sam Jones is a noted bassist who has wor-ked with Mil es, Dizzy , Monk Oscar Peterson , etc.; he hasn 't recorded on cello for 14 y~ars. After hearing this latest release one should agree that's far too long .. Jones accompani ed by Charl es McPherson on alto sax, Barry Harris on piano, Billy Higgins on drums and bassist David Williams can only rece1ve pra1 se for h1s mellow cello work . It's difficult to single out any tunes for they all are fine examples of Jones' talent . Williams (who appeared here with Elvin Jones) prov1des some really f1ne bass to compliment Jones throughout. McPherson play~ only on a few tracks, but is clean when he does -- note Angel 1n the Night (which also displays Jones and Williams together .) All in all a long overdue release, w1th some of the smoothest sounds avai I able. T .M . �SMILE, YOU'RE ON HORIZON. DAVID LIEBMAN RICHARD BEIRACH Forgotten Fantasies THE REVOLUTIONARY IRA SULLIVAN ENSEMBLE The People's Republic THAD JONES MEL LEWIS New Life ten years, Sullivan records again as a multi-instrumentalist group leader. anniversary of the band and to Village Vanguard owner Max Gordon . PAUL DESMOND The Paul Desmond Quartet Live $3.99 Rare in-clu b D esmond, recorded live at Toronto's Bourbon Street. MORE TO SMILE ABOUT FROM HORIZON: Sonny Fortune Awakenlnl!,* David Liebman Sweet Hands* $5.98 list ~SERIES ON A&M RECORDS T had & Mel Suite For Pops* Brubeck & Desmond 1975: T he Duets* Jim Hall Live !* $3.39 998 Broadway Boulevard, Seneca & Main Place Malls �88.7FM LIVE BROADCASTS marian me portlandSat.,June 5 9PM from the Statler Phil ochS Memorial Concert Sat. June 12, 7:30PM (pre recorded) charlie byrd Sat, 19th 9PM/Statler BUFFALO'S IMPROV RECORDS Bill Hassett's lmprov records has come up with two new releases . EARL •FATHA• HINES LIVE AT BUFFALO (lmprov 7114 ) was recorded I ive at the Downtown room I ast year with Hines ' regular group . Combine Earl 's masterful piano, Eddie Graham's driving drums, Harley White's solid bass and the sexy sound of Rudy Rutherford's reeds and (marvelous) Marva Josi e's voice and you've got an album that should please anyone with an ear for music. It'll turn a whole new audi ence on to "F atha" . The release of this album is another milestone for the Buffal o jazz scene . Play it loud! TONY BENNETT SINGS 10 RODGERS & HART SONGS (lmprov 7113) finds the singer backed by the Ruby Braff-George Barnes Quartet for a program of ten of R. & H.'s finest . Th e music is satin smooth (as you'd expect from Braff/ Barnes) and Bennett's voice is in great f orm. B.W. WALTER BISHOP, JR . - VAL!.. EY LAND - MUSE MR 5060 With this December 1974 recording , pian1 st Walter Bishop, Jr. displays th e di stinctive style that made him an integral part of band s led by Charli e Parker, Mil es Davis . Jacki <? McLean , Donald Byrd and Art Blakey . Valley Land i s an al lacoustic , trio setting for Bishop' s piano accompani Pd by st eady performers Billy Hart on drums and Sam Jones on bass . Bi shop has great vitality and shows some new i de as , r efi Pc t ing hi s desire to expound upon and not m er el y live with his days of bebop gl ory . J .H. JOHN GORDON - STEP BY STEP - STRATA EAST 19760 Th e l ead song on side two is titl ed No Tricks/No Gimmicks , whi ch pretty much explains th e musi c of trombonist John Gordon . His debut release is an impres si ve set of straight forward, hard blowing jazz . He's join ed up front by Charles Tolliver/ trumpet and Roland Alexander/ saxes and flut e P i anist Stanley Cowell is always good - this session bei ng no exc ept ion. But, the leader of th1s sextet i s c l ea rly Gordon, who comes on strong both as a soloist and composer . B .W. CATALYST - A TEAR AND A SMILE - MUSE MR5069 It seems like some of the best solo groups provided th e best background f or some noted performer . Catalyst fits this mold . With Tyron e Brown on bass , Eddie Green on keyboards , Onaje Sherman Ferguson on percussion and Odean Popl e on tenor sax, flute and alto flut e Catalyst forms a tight sound ; Brown, Green and Ferguson played tightly behi nd Pat Martino for quite a whil e. Thi s lat es t rel ease is we ll done and deserves recognition·. Th e cuts rang e from sweet and mell ow (A Tear and a Smile, and A Prayer Dance) to boogi e, from th e Brazi lian Bahia and SpanishSuiteforAibenizto TheDemon (Pts 1 and 2) . Eddie Green's piano and synthesizer work is pl eas ing and com pliments the sax and flut e of Pope . Sharon Scott is the vo calist featured on A Prayer Dance . Th e Suite for Albeniz displays Tyrone Brown ' s compositi on an d arrangem ent tal ent s. A f i ne release . T .M . THE BUFFALO JAZZ WORKSHOP WEEK at the statler SAT., JUNE 12-M. McPARTLAND TRIO* 9-1 SUN.,13th-WORKSHOP/JAM w/ marian+ jimmy mepartland, herb hall, buddy tate, vic dickenson * 4pm-1am (TERRACE ROOM) MON.,14th- OPEN JAM SESSION* 8-12 TUES., 15th-CHARLIE BYRD opens for 2 weeks*9-1 BILL EVANS TRIO THURS. 17th, 8:30pm FRI.18th,9:3Q pm RENDEZVOUS ROOM- TICKETS $5 AT RECORD RUNNER & TRALF. CAFE ONE PRICE FOR THE NIGHT. PART OF THE BJ R CONCERT SERIES. COME AS YOU ARE- $1 REFUND IF YOU WEAR A BJR T SHIRT (EVANS CONCERT ONLY). �A1other Necessity Jazz Worlfshop JUNE JAZZ 14 Queen Street, E. Toronto from 8·12 p.m. Telephone: (416) 368-0971 4&5 Coal i tion 18 & 19 New Wave Dr. Jazz 23 Dr. Jazz 11 & 12 Spyro Gyra 25 & 26 Existing Reality July 2 & 3 Atmosphere 9 JUNE SCHEDULE 6 Mother Necessity BigBand 8, 9 Bill Graham 10.11.12 Alvinn Pall Quintet 13 Humber Col. Big Band 15, 16 Dharma-Song.. w/ Munoz tralfamadore cafe 2610 main street 29, 30 Rose Sidgwick Quartet, feat. Cathy Moses PRESTIGE TWOFERS Heading the r ecent r e- issues from Pres ti ge i s a set from KENNY BURRELL & JOHN COLTRANE (P - 24059) . The dates wer e re cord ed in · 57 & ·58 and f eature pi anist Tommy F I anagan . A sextet sess ion inc lude s t r umpet er ldrees Sul ieman . Th i s is excell ent musi c and i s h1ghly r ecomm ended. ZOOTCASE comes from ZOOT SIMS (P-24061) presenting th e sa xman in four di ffer ent sess ion s c irca '50- ' 54 . As you would expect from Sims - th e mus ic swings . He's with hi s blow ing partner AI Cohn for 4 tun es. Th e lat e OLIVER NELSON i s r epresent ed with IMAGES (P - 24060). I' d st ro ngl y sugg es t t h 1s on e not onl y for Nelson's follo we r s. but al so to fans of En c Dolph y , who ' s f eatured heavi ly thro ughout . Origin ally i ssu ed on th e New Jazz label , th ese s ide s wer e r ec o rd ed in ' 60 & '61 an d st1 ll sound fresh today . Next. we go back t o th e y ears 1950 Next. we go back t o the years 1950 - 1955 with GENE AMMONS STORY : THE 78 ERA (P - 24058) . El even sessions are sampl ed her e with musi c ian s such as Sonny Stitt , Benny Green & Cec il Payne . A coll ectors package . We understand a second volum e will foll ow . CENTRAL AVENUE by WARDELL GREY (P - 24062) is a r e- pa ckaging of th e Wardell Grey Memorial Album (Prestige 7343). Th e t enor man is heard with f1 ve groups , and sev eral well known j azzm en inc luding Dexter Gordon, Sonny Criss . Art Farm er , Sonny Clark & Hampton Hawe s ; re corded from '49 - '52 . B .W. XANADU GOLD J.R. Monterose/Straight Ahead (Xanadu 126) is a 1959 dat e led by tenor saxophonist J .R. Monterose with a classic rhythm section composed of Tommy Flanagan/ piano, the late Jimmy Garrison / bass and Pete LaRoca / drums . Monterose is another example of a truly innovative American jazz musician who went to Europe for lack of work in the States . His style is lyrical and pleasing and with a rhythm section like this, you'll hear the expected fine performance . The Sonny Clark Memorial Album (Xanadu 121)givesus the 22 - year old pianist, Sonny Clark, in an after hours party turned - taping session recorded in Oslo, Norway in 1954. Re cordings at this time in history were less than perfect but Clark's substantial dexterity and grace comes clearlythrough . There is a good amount of rare solo piano which gives us a c lose look at Clark in an uninhibited, relaxed atmosphere conducive to open-ended jamming and some fine interplay later on with Simon Brehm / bass and Bobby Wh ite/ drums . J . H. every HANNIBAL & SUNRISE ORCH . - BASF 22669 Hannibal (Mar vin P et er son) has come up with a first clas s disc . H1 s trump et soun d is mu ch cl ean er and controll ed than on prev 1ous albums - and he com es up with bett er ideas . P ian1 st Mi chae l Coc hr ane (in town r ecently w/ Sonny Fortune) plays a Tyn er - i sh pi ano, an d compos ed Revelation. Drummer Mi cha el Car v in and bas s i st Staffo r d James are sol id and t oget her . Th 1s 15 a per cussi on l aden, well r ounded album of po st - Co ltrane j azz. B.W . MONDAY night D8"'1\1T8\WI ~i':\\age5 DISCOUNT ~MY - 17,18,19 Wray Downes Trio 20 M. Nee. Big Band 22. 23 China (B.Pennycook) 24,25,26 Ted Moses 27 M. Nee. Big Band at the Jtatler RECORDS - FEATURING THE BEST IN W.N.Y. GROUPS Coupon worth TWO DOLLARS Off the Mfgrs. sug g. list price of any available Jon Al b u ~. at a ny of the 9 CAY AGES locations. NO COVER 8-1 NO MINIMUM Expires 7- 1-76 COME AS YOU ARE e SENECA MALL e •BOULEVARD MALL • COMO MALL • MAIN PlACE MALL • THIIUWAY PLAZA SOUTH SHORE e UNIVERSITY • LOCKPORT MALL The Statlet Hilton a W. D. Hassett enterprise 7 �Bourbon HERE COME THE STARS Street TORONTO (416) 864,-1020 downtown .. at the .rtatler Marian McPartland HARRY EDISON Thru June 12 ZOOT SIMS June 14-26 JUNE 1-13 ART FARMER June 28-July 10 Charlie Byrd Phone Ahead for Dinner Reservations Dine & Dance 9- 1 No Cover JUNE 15-27 Basin Street (2nd floor) Shows Tues. - Sun. from 9 PM No cover JOE WILLIAMS - June 7- 19 MAXINE SULLIVAN - June 21 -July 3 The Statler Hilton a WQ Hassett enterprise what~ nesday, July 7 - Silverleaf Jazzmen & Terry Logan Quartet. For further information, call 924-1373. Ontario Place- L.A. Four w/S . Manne, B. Shank, R. Brown and L. Almeida July 3. Oscar Peterson July 10, Stan Kenton July 5. happening BUFFALO See ads. PHIL WOODS ROCHESTER Nazareth Art Center - 4245 East Ave . Gerry Ni ewood June 5, 8 & 10:30 PM . Contact MSI Prod . , 168 Durnam Street. QUARTET JULY 23, 24 & 25 SYRACUSE No Information at press time . RENDEZVOUS ROOM, STATLER BJR CONCERT SERIES 114 TORONTO Bourbon St. - See ad . Basin St. (above Bourbon) - See ad . Albert's Hall, The Brunswick, 481 Bloor St. West - MondayWednesday - Kid Bastien; Thursday - Saturday - Jim Abercrombie. Chez Moi, 30 Hayden St. - Saturday Afternoon - Si lverleaf Jazzmen. Church Street Community Centre, 519 Church Street. Friday Night - Si lverleaf Jazzmen. D.J.'s Bar, Hydro Building, University & College. Six nights a week - Climax Jazz Band. Executive Restaurant, 254 Eglinton Ave., East- Saturdays 2-6 pm - John Dela Trio . Inn on the Park, Leslie & Eglinton Ave ., East- Saturday mati nees - various groups . Mal Ioney' s, 85 Grenvi lie Street. Saturday afternoons - C I imax Jazz Band . The Music Gallery, 30 St . Patrick Street. Tuesday, Friday & Saturday at 9 pm - concerts with CCMC plus others . Thursday nights - open rehearsals . Saturday afternoons 3-6 pm - Stu Broomer, Bill Smith, Larry Dubin . jazz on the Lake - Wednesday, June 9 - Jim Galloway's Metro stampers & Ultimate Sound; Wednesday, June 2_3 - Jim Abercrombie's Vintage Jazz Band & Gmn1 Grant Oumtet and Wed- JAZZ RADIO WBFO- 88.7 FM (Stereo) MON. THRU FRI. - Noon-2 - Spirits Known & Unknown w/ ~ Danny Floyd (Mon .); Leon Pettigrew (Tues .); Paul Gresham (Wed .); Pat Feldball (Thurs ); Paul Smith (Fri ). Midnight 'till 3 AM - Round Midnight (heavi est jazz on Tues .. Thurs . & Fri .). MONDAY EVE. - 10 PM -Jazz Revisited . SATURDAY - 3 AM - Pulse w/ Paul Wandel; 8 AM -NoonFreedom Flight w/ Yvonne Pri ce; Mid. - 6 Opus in Modern Music: Jazz by Request w/ Pres Freeland . SUNDAY -Noon- 2- Jazz Contours w/ BJR editor Bill Wahl; 11 PM - Jazz Roots w/ Chuck Mancuso; Mid . - 3 AM Roots Rhythm & Sound w/ David Jacobs; 3-6 AM Progressively Yours w/Michael Vaughn Wilson . WEBR - 97.0 AM WREZ - 94.5 FM (Simulcast) Mon. thru Sat. 11 PM-Midnight - Jazz Nightly w/ Geo Beck . Mid. -6 AM - Jazz all Night w/ Warren Epps WBLK - 93.7 FM Saturday Night - 10 PM- 1 AM - The Sound of Jazz w/ Buffalo's premier jazz D.J. Carroll Hardy . 8 WUFO - 1080 AM Sunday Afternoon - 6 - 8:30 PM - Jazz w/ Robert Mouzon . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4343 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 28 Date A point or period of time associated with an event in the lifecycle of the resource 6/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 28 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/321f14fa8534811685b727b0e761f2ec.pdf fa697ef80dbd29dac2d3d9f63b0b8ec6 PDF Text Text fV-J buffallo jaxx trep0fi 6 july '76 issue 29 free c .£f3<2.R. ~~ =:-= == !~ = - ; --- L-= . Phil Woods is no strangertoanyonewho'sbeen into jazz for more than a year _ This month th e BJRwill pres~t Phil Woods as th e last concert of th e BJR Seri es until fall. Woods, one of jazz ' great alto - players, was born in Spring field , Mass . in 1931 . In ' 48 he moved to NYC and studi ed for a year with Lenni e Tristano . Th en he did some work with the bands of Charli e Barnet , Jimmy Raney & Dizzy Gill espie. In ' 57 he worked around NYC with Buddy Ri ch & Quincy Jones among others . In the spring of 1962, hewenttothe Soviet Union as a member of the Benny Goodman Band ; and also worked with Dizzy Gillespie at the Monterey Jazz Festival that same year . Noted jazz critic L.e onard Feather. wrote in 1960 that "Woods has inherited the (Charlie) Parker style and modified it to his own ends more successfully than almost any other alto man except Julian (Cannonball) Adderley . He plays with soul, fire, melodic ingenuity and complete command•. continued in.1ide �your continued support . Again, there is no dr ess code for our concerts at th e Stat ler. For more information, consu lt the ad in this issue. Phil Woods- Select Discography Early Quintets - P restige 7673 European Rhythm Section - Live at Frankfurt Jazz Fest. Embryo 530 New Quartet - T estament 4402 Musique Du Bois - Mus e 5037 Images - RCA BGLI -1027 New Phil Woods Album- RCA BGLI - 1391 bjt' t-shirts record runner; tralfamadore PHIL WOODS here this month continued Although he now uses only alto sax, he won the TPWR critic's poll in Downbeat for clarinet in 1963. As a composer, he wrote Rights of Swing recorded in 1960forCandid Records . His Piece for Alto and Piano and Three Improvisations for saxophone quartet were both performed at Town HalL In the late sixties, he moved to Europe where he formed a quartet known as the European Rhythm Machine. It was a modern firey group with some excellent albums to their credit. He also recorded with The Alpine Power House which was a big band made up of jazz ex-patriates such as Dexter Gordon . That disc is available only on German BASF . After returning to ·the U.S ., he recorded an album for the West Coast Testament Label . His quartet at that time was laden with electronics, not unlike early Weather Report. Then is was a strai!flt ahead quartet session ; then an en counter with Michel LeGrand, and then the superb new Phil Woods album, reviewed in the BJR in April of this year. Woods won the '75 Downbeat poll for alto sax . He'll appear in Buffalo July 23, 24 & 25 . The concerts will be held at the Rendezvous Room oftheStatler Hilton, where we pn:sented Bill Evans last month . Woods will appear with his regular quartet, with which he's worked for some time . The quartet consists of Mike Melillo on keyboards (who worked previously w/ Sonny Roll ins). Steve Gil more on bass (he also works w/ Thad Jones/ Mel Lewis) and drummer Bill Goodwin, who was a charier member of Gary Burton's orig ina I quartet and also works w/ Chuck Israel ' s Jazz Ensembl e. And, of course, theres Woods on alto sax. You can rest assured that the music of the Phil Woods Quartet will be on fire (we haven't let you down yet have we) . Make it a point to drop by and help keep this important concert series going . Our fall lineup will be a knockout, but we need 59 Kenmore Ave. EDITOR & PUBLISHER - Bill Wah l CONTRIBUTORS Tom Alabi so, Louis B radsha w , Bill Besecker, Paul Gresham, John Hunt , Tom Mazzone , John Osborn, Paula Wahl . ILLUSTRATORS- Chri stine Engla Eber and Sabrina Mayberry Smith . CORRESPONDENTS Rochester - Jim Laniok Syracuse - Jerry Stab i I e Toronto- Hal Hill Address corresponden ce. to: Buffalo Jazz Report 1335 Main Street Buffalo, New York. 14209 (716) 883-3909 , Ext . 11 rg 1976 - Buffalo Jazz Report No portion of thi s publication may be reproduced without writ ten consent from the pub I i sher . PRINTED IN U.S A . JUnE In REVIEW The Ericson Lounge hosted the Groove Holmes Trio for four nights . Their music, featuring organ, piano, synthesizer and drums, was much better than his re cent albums. Additional enjoyment came from his vocalist, who knows how to sing th e blues . Birthright fill ed the house for th e Statler's jam night, and was invited back. for a week. at the end of the month. They were 836-1781 (corner of Windemere) behind jewelry store 2 BI LL EVANS Photo by David Wahl �edly on e of jazz ' finest pianists and I hope she returns soon . Th e All Star Jam Session atth e Statler f eatured such names as Herb Hall , Buddy Tate, Helen Humes, Major Holly, Vick Dickenson, The McPartlands and local musicians. A great night. Th e Bill Evans Trio was magnificent during their two night stand at th e Statl er 's Rendezvous Room. Th e concert was part of th e BJRSeries,andwear egratefulto all of you who attended . We ask your continued support in this series . The Rendezvous Room turned out to be a fabul ous place fo r th e concerts . Great acoustics, seats for everyone , no minimum and great music makes for a very worthwh ile evening. The Charlie Byrd Trio packed th em in at the Downtown Room. Byrd is a great technician, doing versions of Latin and pop tun es in solo , duo and trio settings . Both Byrd and Marian McPartland re corde d I ive albums for lmprov records last month . EDITOR./ COLUmn EDDIE GOMEZ Photo by David Wahl followed by the Jerry Eastman Quartet with Joe Ford. Then it was Jaman, followed by E.R. Check it out - its the place to be on Monday nights . The Tralfamadore Cafe, quickly becoming nat iona lly known as one of the fin est pi aces to play, continued t o book th e best in local bands Friday & Saturday ni ghts. Check out Dr. Jazz a tasty combination of Dixi eland & Jugband musi c. The Port East is going strong at Ferry& Grider on Thurs., Fri . & Sun . nights with vegetarian fo od and jazz from 10 PM . Marian McPartland was back with her tri o. Sh e is undoubt - You've probably noticed that the BJR has grown. We will remain with the current large sheet size, but the number of pages wi II depend upon advertising volume. The BJR has always been a free publication, and can continue that way with your help . We ask that you support all of our advertisers who make this magazine (we now feel quite comfortable in calling it a magazine), and we ask that you support the BJR Concert Series so that we might continue to present the best in contemporary jazz on a regular basis. Its up to each and everyone of you to support live jazz, which, by the way, is offered cheaper in Buffalo than almost any other city . We'll continue to give you our bestall the time. All we need is your continued support. Bill Wahl 3 "JACK DANIEL'S CONTINUES AS THE PLACE TO BE IN BUFFALO, SUNDAYS AND TUESDAYS" ... bjr SPYRO GYRA • • STILL HERE AND GOING STRONG Jack Daniel's FOREST NEAR ELMWOOD �When You Are In Toronto This Summer, Be Sure To Visit The Jazz and 8lue.1 Record Centre 893 Yonge ftreet Dickenson and they were memorable evenings. I think a word of thanks is due to Bill Hassett who gave us that last chance to hear Bobby at the "Downtown" . Bobby was born in Providence, Rhode Island on January 31st, 1915, son of a blacksmith - one of nine children . He's left us now, but I still hear him. P.S. Wait till Gabriel hears this one! M.L. 416-929-5065 recordf. bookf. magazine.1. jazz information - import fpecialift alfo: Ufed and budget recordf Jazz Specialists For 17 Years BOBBY HACKETT'S BEAUTIFUL SOUND STILLED AT 61 Practically every musician no matter what there style would be is quick to admit that one of the most beautiful trumpet tones in the world came from the horn of Bobby Hackett . Bobby passed away last week, but he will always be remem bered for that sound . It was simply beautiful. Though primarily identified with Dixieland, his mainstream mello style was portrayed in many settings, from Dixie to gigs with Dizzy, recording mood albums with strings . He was a favorite of vocalists like Tony Bennett because of his pretty obligato backups . Though he made his name as a trumpet player, he was also a very proficient guitarist and was heard in rhythm section of the Glen Miller Orchestra . Bobby's tones were last heard in this area just a few short weeks ago at the Statler ·Downtown". The group included Vic a lot of people have been waiting a long time for the second blrthrlg,ht album .... the wait is over! ) bilthdght "breath of life" from birthright AT YOUR LOCAL STORES OR SEND $6 TO BIRTHRIGHT. P.O. BOX 514, BUFFALO, N.Y. 14240. ~----------------------------~ 4 BUFFALO SCENE We received a postc ard from saxophonist Spider Martin informing us that he's changed his band . The new instrumen tation is sax , trombone, guitar, bass and drums, and he's pl aying all his own charts . The band will appear at the Statler this month . By the way , the postc ard came from Bermuda, where the band was working. We apologize for being a bit harsh on New Wave last month r egarding their appearance at th e Statler jam session . It seems that they didn't know of th e open jam format until late in the evening . Th eir popularity certainly hasn't chang ed they packed th e Tralfamadore fo r two nights last month. THE SYRACUSE SCENE Dave Hanlon's Funky Jazz Band is probably Syracus e' s best and most en ergeti c jazz ro ck ensembl e. It is a young band , fo r m ed in spring by Hanlon as a v ehi c le to play th e musi c that he wanted to hear and play. When th e band was begun th ey stuck to many of the promin ent compositi ons of Joe Farrell , Billy Cobham, Mil es Davi s and oth er jazz - rock arti st s. Thi s musi c is still the basisoftheirsound,butrecent month s and p e ~onnel chan ge s have brought th e Funky Jazz Band o ri g ina I musi c that is as exc iting as th eir mento r's musi c . L eader Dave Hanl on has been a promin ent personality on th e Syra cuse musi c scen e for many y ears, playing in th e Larry Arlotta Tri o , Dove, and Steam (on e of Syracuse's first jazz ro ck bands, originally formed by Hanlon). Hanlon has also toured th e country pi aying drums in various show bands and was a guest drummer - tea cher with Louis Bellson in a Cali fornia drum clini c held by B ell son . Hanlon originally met Be ll son as a student in one of th e c lin ics held in Syracuse and was honored by th e invitati on to play in th e California Clini c. Although Hanlon is th e " nam e" per sonality of th e group, the other m embers ar e all equally as well known in th e area . Joe J ewe l , guitar, attract s much of th e attenti on of th e audi ences with hi s exciting and always energ eti c playing. John Kane, on reeds , is probably the m ellowest player in th e group, and its most competent soloist, rounding out the funk with hi s various sa xes and flute. Jack Holton and Eri c Mill er formerly of Spare Parts ar e th e two newest members of th e group. Holton has added a new spark to th e group's already polished sound with his gutsy bass playing, andMill erhasadded new dimension t o the formerly pia n:..-les'> 9"·-'0J P with hi !' p laying and writing. Th e or iginal aim s of th e group we-re io us ed tn e new jazzrock m edium (whi ch Hanlon beli eve s I S mor e than a fad , but th e styl e of th e future , just as bebop took over from swing) for the attributes of both the freedom of expression in jazz and th e excit ement of the beat and power of rock . Judging from th e beauty of th eir musi c and the s ize of th e crowds week after week wh erever they are playing, th ey are not only the area's best but could be on e of th e country's best with time and J .S. exposur e. �1HE HISIORIC SAvat JOHN COL1RANE· WILBUR HARDEN COUNIDOWN YUSEF IA1EEF MORNING THE CHANCING Ma OF HARLEM WAIDNGFOR $7.9811st ONLY $5.44 998 Broadway Boulevard, Seneca & Main Place Malls �BIRTHRIGHT - BREATH OF LIFE - FREELANCE FS-2 Having written the liner notes for this LP, I'd have to have a lot of nerve reviewing it as well -that is, unless it was a monster. It is a monster. Their first album - Free Spirits, received its very first review in the BJR . Since then it received a rave feature review in Coda, and nationwide airplay . Their second effort is even better . Joe Ford (now with McCoy Tyner), Paul Gresham& Nasara Abadey are the only remaining original members . Whereas they used to pick up other pi ayers for gigs, this group has been together for over a year . This music depicts a group that not only works together , but feels and creates as a single entity - Birthright. They still reflect their strongest influences - Coltrane, Miles, Shorter, Tyner, etc., but incorporate these influences into their own sound - as easily recognized as the sounds of the above masters. Birthright has grown and will continue to do so . Vocalist Beverly Sims - in the Dee Dee Bridgewater vein , is a valuable addition - both as a singer and composer. Guitarist Greg Millar, pianist Tom Schuman and bassist Gerry EIStman are all skilled, highly creative musicians, performing on both acoustic and electric instruments. They are fine composers as well - Shuman's Travis is a standout . To cut this review short (?) I'd recommend this album to everyone who enjoys contemporary jazz. It is polished , melodic, fresh and completely original. I might add- its very well recorded and the pressings are clean . Check the local stores , or send $6 to Birthright, P.O. Box 514, Buffalo, N .Y. 14240. Tell your friends- Birthright deserves attention . B .W. ANT HONY BRAXTON ANTHONY BRAXTON- CREATIVE ORCHESTRA MUSIC 1976ARISTA AL4080 I first became aware of Anthony Braxton in Feb . 1~73 via the ECM album, Circle . He struck me then as a very ·Jynamic performer . Only much later did I become aware of his inten sive involvement in the theoretical restructuring cf modern music. This man is already on par with the likes of George Russell and Ornette Coleman for his contributions in defining new I im its and structur es for the " creative improvisor" . He introduces his third concept of phrase repetition on this album. Likewise the rest of this fresh and delicious album is a vehicle for other unique approaches to improvised playing. Side One, Cut Three presents a launching pad for improvised "parade" music. Many of the other compositions are heavy on textural counterpoint, but there are also many "handles" forthe graspings of non - avant-garde listen ers, which leads me to believe that this album would serve as an excell ent stepping stone for the would be "new music" enthusiast. Anthony is featured on all reeds, while the remaining soloists include such notables as Muhal Richard Abrams, the Bridgewater's, Kenny Wheeler, B.B . Roscoe Mitchell and a number of the CMF associates. THE JOHN PAYNE BAND - BEDTIME STORIES - ARISTA AL 1025 Bedtime Stories gets off to a fast , funky start with Snow but by the first bars of the second number, Fancy Free, the John Payne Bnad gives us the first of many pleasing surprises with a turnaround in mood and style . Payne ably handles the tenor and soprano sax as well as flute and shows why he has been a busy .s ideman and studio musician for the past several years . Scott Lee deserves mention for his sensitive acoustic and electric bass work. The keyboard playing of Louis Levin as back up and as soloist is impressive and he has written three of the seven tunes contained here. The sound of the JPB is modern, exciting jazz blending with a certain amount of rock feelings to produce music which should make these . virtual unknowns into known and respected musicians before long. J .H . EVERY PHIL WOODS ALBUM IN STOCK .... . $4.37 ~~ 51 University Plaza Mon.-Sat. 9:30- 9:00 716-837-2322 All Charges 6 88.7FM MON. THRU FRI. - Noon-2 - Spirits Known & Unknown w/ Danny Fl oyd (Mon .); Leon Pettigrew (Tues .); Paul Gresham (Wed. ); Pat Feldball (Thurs .); Paul Smith (Fri ) Midnight ' till 3 AM - Round Midnight (heavi est jazz on Tues .. Thurs . & Fri ). MONDAY EVE . - 10 PM -Jazz Revisited . SATURDAY - 3 AM - Pulse w/ Paul Wandel ; 8 AM- NoonFreedom Flight w/ Yvonne Price ; Mid . - 6 Opus in Modern · Music: Jazz by Request w/ Pres Freeland . SUNDAY -Noon - 2- Jazz Contours w/ BJR editor Bill Wahl; 11 PM - Jazz Roots w/ Chuck Man cuso ; Mid . - 3 AM Roots Rhythm & Sound w/ David Jacobs; 3- 6 AM Progressively Yours w/ Mi chael Vaughn Wilson . �KEITH JARRETT There is not much doubt in the minds of jazz fans and critics alike that Keith Jarrett is one of the most gifted creators and major influences of 70's jazz. He 's been recorded in many contexts, from solo piano, to situations with classical orchestra, to avant-garde jazz quartet. The latt er cate gory comes c losest to describing the first of his two latest releases. MYSTERIES (Impulse ASD-9315) finds Jarrett with his regular quartet consisting of Dewey Redman/ tenor sax, Charlie Haden/ bass and Paul Motian/ drums, with Guilhermo Franco on percussion. I figure this one to be recorded at the same session as his two previ ous albums (Oct. 1974) due to th e exact same personnel and similar sound. This is fine Jarrett, from the slightly "out" Rotation, to th e pensi ve Everything That Lives Laments; th e percussion / musett e/ wood en flute piece Flame to the extended title track Mysteries - all of it is the great music we've come to expect from the 31 year old pianist. Jarrett is not only known in a straight jazz context. His classical and jazz abilities both appear on ARBOUR ZENA (ECM 1070). Here he's in th e company of Norwegian saxo phonist Jan Garbarek, bassist Charlie Haden and a most effectively arranged string orchestra, composed of members of the Stuttgart Radio Symphony Orch . All of th e music (as on the above reviewed "Mysteries") here is compo sed by Jarrett . You probably have an idea (as I did) of what to expect. You're right - but, its much better . Musi c to please both jazz and classical listeners - and it can't be labeled. (It comes close to being a Maxfield Parrish picture) . Since Jarrett has stopped performing solo, if you can catch him he'll be in one of the above groups . He's touring with each, whichever it is - don't miss him . B .W. tran1cendental 773 Niagara Falls Blvd., Buffalo (just South of Sheridan) 0, ltd. 9 East Fourth Street, Jamestown 1-487-4445 �ELVIN JONES - THE MAIN FORCE - VANGUARD 79372 Elvin's second Vanguard release presents his current working group - as it appeared in Buffalo in March. Also on hand are guest artists Steve Grossman , Dave Liebman, Frank Foster, AI Dailey and two percussionists . Ryo Kawasaki's Salty Iron opens as a rocking vehic~ for Ryo 's guitar and Liebman's soprano . Sweet Mama {also on Jones' Lighthouse disc) boasts exquisite solos from David Williams and Grossman, and an extended, very controlled barrage of solo virtuosity from Elvin . As with Salty Iron, the group bridges the gap between jazz and rock with an abundance of creative class on Wi II iams' Mini Modes. Almost everyone solos as we are treated to a ten minute trip, not unlike the music of Weather Report & Miles, but with that patented E I vin sound. Perhaps the most unique tune is Song of Rejoicing After Returning From a Hunt- a 15 minute excursion into the jungles of Africa. The tune was adapted by Elvin from the Djoboko r~ythm of the Ba - Benzele pygmies . Percussion plays a lead role here, with Elvin constantly soloing, along with Angel Allende and others on assorted percussion . Pat LaBarbera's fluie opens the song, with statements coming from Grossman, Foster, Wi II iams & Kawasaki . Gene Perla deserves a hand for arranging . In summary - this album shows again why Elvin Jones is the Main Force in jazz percussion . It will be well received by connoisseurs of jazz and rock alike, with Elvin making no compromises as a pure jazz musician . B .W. RED RODNEY - THE RED TORNADO Its more hip jazz, from trumpeter Red Rodney . For this, his third Muse release, he delves into areas beyond be-bop, and he's gone past the usual quartet format and added Bill Watrous on trombone, and Geo. Young on tenor sax and flute. Roland Hanna, Sam Jones & Billy Higgins make up the rhythm section . This is a smooth, tight full sounding band full of fine soloists. Red Tornado is another above average release from the ever growing Muse catalogue . B .W. ELVIN JONES DAVE BURRELL - HIGH WON/HIGH TWO- ARISTA AL 1906 Pianist Dave Burrell seems to be a member of a whole breed of musicians who have imaginativ e ideas but lack the technical finess to carry them through . Although considered to be a subscriber to the "avant Garde" school of jazz, he maintains a higher degree of order on this double album than most others in this class. Included on High Won/High Two is the controversial drummer , Sunny Murray who delights in ignoring conventional m eter unti I there is I ittle discernable rhythm at all. East Side Colors which takes all of side three, shows bassist Sirone (Norris Jones) to have a great deal of skill as evidenced by his lengthy and inventive solo . This double album contains some fine moments but would probably have produced a higher overall standard of music if shortened to one album . J.H. elvin ELVIN JONES UVE PMR-005 PMR-004 EMn.Jonesis "On The Mountain" with Jon Hammer and Gene Perla "Elvin Jones live" with Chick Corea. Fronk Foster. Joe Farrell and Gene Perla on 1..1 RECORD/. 8 THE REVOLUTIONARY ENSEMBLE - THE PEOPLE'S REPUBLIC - HORIZON- A&M Sp-708 Leroy Jenkins, Sirone, and Jerome Cooper have played together since 1970 and have produced three independent albums which have rarely been sold outside of New York City . This is their first national release, and hopefully there will be some newly inspired head -turning toward this new concept in trio playing. Violinists in jazz are like lions in the desert ; they are kings outside of their kingdom who must adapt completely to the new medium lest they be swallowed by the heat . As a result, there are very few around. Trios featuring a violinist backed by bass and drums are even fewer . Yet I date say that the Revolutionary Ensemble wi II withstand the heat and be with us for a long time, not only because they are unique, but because their music takes us to familiar places. Their exodus takes us away from NYC and up into ouier space where, looking back, we can see the intermingling of the world and all its peoples. You ' ll see what I mean by playing the record through once, and th en playing it again reversing the order of 8 .8 . the bands . It works. �bjr concert series PHIL WOODS QUARTET JULY23, 24& 25 9pm thats fri., sat.&sun. in the air-conditioned RENDEZVOUS ROOM-STATLER HILTON advance ticket/ J'4. at record runner, fe.1tival t norton union,u.b. no minimum no dress code neKt month PAT MARTINO AUG. 27&28 in the fall ELVIn JOnEJ & much more �CATALYST RECORDS A new jazz label has popped up with four initial releases . The finest is PROJECTING from HADLEY CALIMAN (Cat . 7604) . He's often been heard playing tenor sax in disco horn sections . Here he's with an acoustic quartet playing seven originals . His work reminds me of another West Coast tenor man - Joe Henderson. Caliman proves himself a gifted saxophonist, soloist and composer. AHMAD JAMAL - RECORDED LIVE AT "OIL CAN HARRY'S" (Cat. 7606) is the best from the pianist since his Impulse years . It's a quintet recording, with his trio augmented by guitar and conga. Four extended tunes are heard - 2 ori ginals, Poinciana and McCoy Tyne's Effendi. GEORGE MURIBUS - BRAZILIAN TAPESTRY (Cat. 7602) and FLIP NUNEZ - MY OWN TIME & SPACE (Cat. 7603) are Latin flavored discs . The Muribus is the better, with the pianist joined by Michael Howell (guitar) for two tracks and a gato-ish tenorman Vince Denham for the opening cut . Side 2 is acoustic trio only . Nunez , on piano and vocals, sounds like a Latino Marvin Gaye. If you can dig that, pick it up. Catalyst plans more discs soon, from Gary Bartz and others . B .W. SONET RECORDS From Sweden comes five new ones from Sonet Records . For guitar fans ther e' s a I ive album from BARNEY KESSELJUST FRIENDS (SNTF 685) . Its a driving trio session, recorded live in Stockholm in '73 with Kessel backed by Sture Nordin & Pelle Hulten on bass & drums . Its up there w/ his better Black Lion dat es . Great guitar jazz . THE BOP SESSION (SNTF 692) features Dizzy Gillespie, Sonny Stitt, John Lewis, Percy Heath, Max Roach & Hank Jones and is a be-bopper ' s deli9ht! Someofthebop session standards are here such as Blues n Boggie. SONNY STITT is back, along with ART BLAKEY & THE JAZZ MESSENGERS on IN WALKED SONNY (SNTF 691). The 1975 N .Y.C . session f eatures Dave Schnitter/tenor sax, Bill Hardman/ trumpet, Walter Davis, Jr ./piano and Chin Suzuki / bass . Its typical Jazz Messengers, and the first recorded Blakey since '73 . From LEE KONITZ comes OLEO (SNTF 690) . Its a 1975 trio session and features the trio Konitz used at Gregory's Place (N .Y.C.) - Dick Katz/ piano and Wilbur Little/ bass. This is great I i stening from a r ei axed Konitz very intimate and easy. Konitz is on alto and soprano saxes. Some superior stuff comes from AL COHN & ZOOT SIMS. MOTORING ALONG (SNTF 684) was recorded in Europe in 1974 with Horace Parlan/ piano, Hugo Rasmussen/ bass and Sven Erik Norregaard/ drums and finds the t enor men highly inspired, both in dual horn ensembles and soloing . This and the Kessel disc are my favorit es. Sonet Re co rds are hard to find , but worth looking fo r . Check the major stores . B.W. ARCHIE SHEPP - MONTREAUX ONE - ARISTA-FREEDOM AL 1027 The Montreaux Jazz Festival always seems to bring out stellar performances by the world's best jazz artists . It's reassuring to hear Shepp's tenor playing is no exception to this rule and is at such a high level after a period of relative in activity on record. There is thoughtful playing all the way around by Beaver Harris on drums and Cameron Brown/ bass . It's a swinging session recorded at Montreaux , Switzerland last July with a most responsive audience. There is notabl e trombone soloing from Charles Majid Greenlee. A beautiful treatment of Billy Strayhorn's Lush Life proves that Shepp can handle the old standards with the best of them. Shepp has the ability to take you "out• with his playing but on Montreaux One he is content to give us straight ahead blowing that's pleasing and tasteful . J.H. mile. 1hort1 Some 1956 DUKE ELLINGTON is available on THE BETHLEHEM YEARS, VOLUME ONE (Bethlehem 6013). This is the band that included Clark Terry, Ray Nance, Johnny Hodges & Paul Gonslaves . The "finest of" CARMEN McRAE (6004) also comes from Bethlehem titled YOU'D BE SO EASY TO LOVE. The album features Mat Mathew' s Quintet w/ Herbie Mann on sax and flute. From MARLENA SHAW comes JUST A MATTER OF TIME (Blue Note LA 606). This one's rather disappointing and is Marlena's worst effort to date . The producers obviously had a hand in this pop-ish disc . Some pleasant baritone sax work comes from CHARLES DAVIS on INGIA! (Strata East 7425) . His lyrical sound fits well with the septet, which includes Louis Hayes & David Wi II iams . Noteworthy work also comes from guitarist Louis Davis and pianist Ronnie Mathews. LOU DONALDSON is back, big -bucking his way into the disco kettle with A DIFFERENT SCENE (Cotillion 9905) . It has a nice cover but Lou's done better on previous scenes. THE ESSENTIAL LOUIS ARMSTRONG (VanguardVSD 91 / 92) is a 2-record set with some fine trumpet and vocal from Louis' septet. It was done live in Paris in 1965. ART BLAKEY Mother Necessity Jazz Workshop 14 Queen Street, E. Toronto from 8· 12 p.m. Telephone: (416) 368-0971 fine jazz nightlyCeHcept monday) lO ~-----------------------------------------• THE L .A . 4 - CONCORD 18 This second rel e ase for th e L .A . 4 is quickly becoming my favorite of all the r ecords from the Con cord jazz people . The 4 consists of Laurindo Almeida on guitar, Ray Brown on bass, Bud Shank on saxes & flute and Shelly Manne on drums . There's a wide variety of materia I here - Jobim 's Dindi, Sonny Roll ins' St. Thomas, Dizzy ' s Manteca and Joaquin Rodrigo' s classic Concierto de Aranjuez (whi ch Almeida recorded w/ the M.J.O. in 1966). What gets to me is the feeling that each musician expresses through his in strument individually and collectively, especially on Concie rto. Each of th ese men is a master of his instrument and this album presents each of them in top form . B .W. �SACKVILLE RECORDS Sack vill e is a Canadian Label distributed by Coda Publica tions of Toronto . Th ey are dedi cated to pure jazz music , thus th e artists are abl e to record exactly what th ey want. The label has a diverse selection of albums , falling into many styl es of the music we know as "jazz• . For Dixieland folks we have two fine recordings . THE JAZZ GIANTS (3002) . The personn el is Wild Bill Davison, Buzzy Drootin, Herb Hall , Claude Hopkins , Benny Morton and Arvel! Shaw . These men are indeed giants of Di xieland Jazz and the musi c her e leaves no doubt about it . Hopkins , Shaw & Drootin are back for the second release HERB HALL QUARTET (3003) . Hall (who was in Buffalo last month) is the brother of anoth er clarinetist Edmund Hall . He hai Is from New Orleans and with a I is ten ingto this record he'll take you ther e. Both records are excellent Dixieland sessions from start to finish and each is recommended. Some easy I ist ening piano duets come from DON WEWLL & WILLIE THE LION SMITH (2004)pr eviously issued as Exclu sive 501, these two masters compliment each other so well that it often sounds as though they share the same mind. Some solo - piano, Dixieland style, comes from CLAUDE HOPKINS titled SOLILOQUY (3004). This is Hopkins ' first solo disc and is a personal, often intimate affair . One of the solo piano masters can be heard on TEDDY WILSON IN TOKYO (2005). Recorded in 1971 for Japanese Phillips, this was one of thos e hard to get Japanese recordings unti I Sackvi lie acquired the rights . If you ' re into the Kansas City sound, check out JAY McSHANN on THE MAN FROM MUSKOGEE (3005). The violinist i s joined by Claude Williams, Paul Gunther and Don Thompson for an enjoyable set of jazz and blues . Dig Jay's vocal on Mary Ann . The latest solo piano releases come from African pianist DOLLAR BRAND - SAGNOMA (3006). recorded in 1973, and Charl es Mingus pianist DON PULLEN (3000), done in February of last year . Each is an accurate example of the artist's work . I especially I ike th e Pull en LP . He's an excellent pianist de serving of far more attention . One of ANTHONY BRAXTON'S finest efforts comes under the title TRIO AND DUET (3007) . The format is obviously trios and duets , with David Holland, leo Smith and Richard Teitelbaum . Side one is r eed , trumpet & synthesizer improvisations, while the second is up - to - date be - bop with alto and bass . THREE IS COMPANY (2007) comes from r eedman Jim Galloway, pianist Dick Wellstood and percussionistPeteMagadini. There are some great sounds here for traditional jazz fans . Galloway has been living in Toronto for some time , wher e this set was recorded . Finally - for big band fans we have THE ATLANTIC SUITE (2008) from clarinetist PHIL NIMMONS. This is modern big band music from Nimmons' 16 piece group made up mostly of young Canadians. Nimmons composed and arranged the musi c. This has become one of my favorite big band records . Sackville Records are produced by jazz editor/ critics John Norris & Bill Smith . If you can't find the one you want, they'll send it to you for $5 .98 postpaid from Coda, Box 87, Station J, Toronto M4J 4X8, Canada . B .W. DAVE BRUBECK - All THE THINGS WE ARE -ATLANTIC This is the finest effort from Brubeck in years . Most of side two is composed of a Jimmy Van Heusen Medley, whi ch is a rather intimat e trio outing featuring five of the composers tunes. Jack Six is on bass, with Alan Dawson on drums. As good as the trio music is , the real treat is side one , which finds Brubeck mixing with Lee Konitz, Anthony Braxton , Jax Six and Roy Haynes. Konitz is heard on Like'-Someone in Love, Braxton on In Your Own Sweet Way, and both on All the Things You Are . T.he music is sheer delight, as these two great alto-ists and the rhythm section ar·e full of inspiration . Another high point is a Brubeck / LKonitz duet version of Don't Get Around Much Anymore. This one is definitely recommended . B.W . �\ \ GREG WATERS- MISSION Greg Wat ers is an unknown musi cia n who took me by surprise . His album consists of 4 tun es , with Greg on tenor, alto and soprano saxes and (a h1p) clarinet. Th e musi c is clea n, crisp and dri ves (it swings too!) . Wat ers has mast ered his instruments and plays with speea and lyri c ism . Guitarist Art Devilliers deserves a ment1on - his work being tailor - made to fl! Greg's style. Of th e many se lf - produced LP's I've heard recently -this is one of th e best . Availabl e from NMDS/ JCOA - 6 West 95th St., New York, N .Y . 10025 . B .W. THE BLUE PATH - TARIKA BLUE- CHIAROSCURO RECORDS CR 141 The Blue Path is Tarika Blue's inaugural release and offers some really fine music . The group includes guitarist Ryo Kawasaki (who appeared herewith Elvin Jon es), Phil Cl endeninn on piano and Marvin Blackman who plays tenor and soprano sax . These three provide the main thrust, and th e background is provided by Kavin Atkins on drums , Bradi e Spelle r on percussion and Barry Coleman on bass . Clendeninn recorded a couple of albums with Ryo in Japan . Marvin Blackman does most of the lead on soprano and is nicely polished. The musi c can be compared to Wayne Shorter flavored Weather Report, but it goes beyond their electronic sound to include more swing . Sunshower features Ryo more than the other cuts. Rovelation moves with alternating solos by Blackman on tenor, Ryo and Clendeninn, Coleman's bass is most evident here . Another high lig,t is Atkin ' s hard driving Sun Thru Winter . The sweetest cust however is Downtown Sound and Blackman, Kawasaki and Clendeninn again are featured . This album is highly rec ommends both for its music and sound quality . T .M . STAN BRONSTEIN - OUR ISLAND MUSIC - MUSE MR 5072 Probably only a few (if any) remember Elephant's Memory, a group of the mid-1960's . This album features founders Rick Frank on drums and saxophonist Bronstein. Th e quartet is complete with John Muscat on bass and guitarist Steve Tarshis . Th e musi c is Latin-jazz-rock flavored and good . Both Bron stein and Tarshis are featured solois ts, while "guest" Walter Davis handles the el. piano. TM RYO KAWASAKI STANLEY TURRENTINE - EVERYBODY COME ON DOWNFANTASY 9508 Since moving to Fantasy from CTI Records some four dis cs back, Turrentine has been following the path of commercial jazz . Stanley, however, deserves a good deal of credit for being able to sell tons of records without succumbing to the di sco fever . There's not a disco beat to be heard here as he soul fully glides through eight easy listening tunes, heavily backed by strings , horns and no voices . As usual , Stan is the only soloist, but he receives tastefu I rhythm support from Harvey Mason, Joe Sample & other studio regulars . This is late night, dim light music from a man who knows how to do it. B .W . Photo by David Wahl 12 DAVE PIKE - TIMES OUT OF MIND - MUSE MR5092 V ibist Dave Pike's f1rst Ameri ca n rel ease in 10 years is an exciting, fast - moving affair. T echni ca l prec ision i s demonstrat ed throughout by all th ose in cl uded in th e album. Tom Ranier play s keyboards, t enor and alto sax, all with ability Ron Eschete on guitar moves right along with th e background of Ted Hawk e on drums and either Luther Hugh s or Harvey Newmark on bas s. Kenny Burrell jams on two tun es adding even more v1rtuosity, especially on th e t1tl e track . The album never stops as Pike i s a mast er ofh1s in strum ent, and demonstrat es hi s t echnique. Ran1 er on piano i s superb and Hughs is equally able to push P1k e. Th er e is some Latm flavor here and note well th e samba, Djalma . Thi s album hopefully will bring Pik e out of r elative seclus1on for hi s t al ent is too much T .M. to keep silent. �THE ELEVENTH HOUSE WITH LARRY CORYELL- ASPECTSARIST A AL 40n Lar:ry Coryell offers another album heavily laden with electric / rock guitar . Unfortunately this album is repetitious of the sound of the previous two Eleventh House albums with no notable differences - except not as good . Mike Mandel on keyboards and synthesizers is the only original. John Lee on bass and Gerry Brown on drums (their own album on Blue Note) cannot fill in forMouzon . TerumosaHinoreplace Michael Lawrence also inadequately. Coryell has gotten more into commercial funk thereby setting himself up for more money, and less talent . The only notable cuts are Rodrigo Reflections (an acoustic duet with guitarist Steve Kahn) and Mike Mandel's Woman of Truth and Future. TM ' BERNIE SENENSKY - NEW LIFE - PMR - 006 New Life represents many things but above all it is clearlydefined acoustic jazz (with the exception of one electric tune, "Beloved Gift". It represents Canadian pianist Bernie Senensky's first effort as a leader . Bassist Michael Donato and long-time Bill Evans drummer Marty Morell round out the trio. New Life reflects many moods; from the freeswinging New Life Blues to the introspective, subdued Ronnie. Senensky's left hand subtlety punctuates the thoughtful and fluid leads of his right. Bernie Senensky has been a sideman with the likes of Phil Woods, Art Farmer and Joe Williams and here displays why Canadians take such pride in him . J .H . ESOTERIC CIRCLE - JAN BARBAREK with TERJE RYPDALARISTA-FREEDOM 1031 George Russell began The Lydian Chromatic Concept of Tonal Organization and tenor saxophonist Garbarek and guitarist Terje Rypdal were two of h is aspirants, Esoteric Circle recorded in Norway in 1969 shows how Garbarek (who has played recently with Keith Jarrett) and Rypda I (who has recorded a few albums on his own) forged their present styles. The album is free -form at times, but never beyond recognition . TRALFAMADORE CAFE Presents Direct from the Big Apple THE PETER FISH BAND main at fillmore ADMISSION $2.50 836-9678 NO MINIMUM Traneflight is short, but features Garbarek at his best. The title track is equally notable as is Nefertite. This release also feature Scandinavian's Arild Anderson on bass and superb drummer Jon Christensen . This interesting and unique album was previously issued on the Flying Dutchman label. T .M. PETER FISH - THE SILVER APPLE - ELLIPSOID 01 * This debut release features pianist Peter Fish ~oing five of his own compositions. Fish is a superb young player, heard here on both acoustic and electric versions of the instrument. No less noteworthy is flautist Andrew Strasmich, who's melodic improvisations are heavily featured throughout. Vocalist Jay Clayton sings no lyrics, but instrumentalizes in the same fashion as Urszula Dudziak (of the Urbaniak group). I'd like to hear more of saxman Courtney Winter, who's rare solos add needed guts to the music . In short - well written, well played, and very listenable contemporary jazz . B.W. FRIDAY NIGHT IS JAZZ NIGHT AT CAVAGES UNIVERSITY STOREI * jazz played all night* hear all the latest new releases the entire stock of code 'D' (s~i;t8 ) jazz is on sale every friday night for just $4.88 IT HAPPENS EVERY FRI.- CAVAGES UNIV. �JULY JAZZ 7, 21 Dr. Jazz 16,17 Coalition 23,24ER 9,10 Pursuance 30,31 Peter Fish 2, 3 Atmosphere tralfamadore cafe 2610 main street wlh\at~ 111\appenting BUFFALO See ads . MARK MUR PH Y- at St. Georges Table COMING JULY 6th MARK MURPHY To The Lounge At ROCHESTER Auditorium Theatre - Spectrum w/ guest artist Freddie Hubbard. July 16, 8:30 PM. Phone 454- 7743 . Eastman Theatre - Chuck Mangione, w/ Gap & E. Satterfield & Orch . - Aug . 7, 8 PM. Eastman School of Music presents "Arranger ' s Holiday" w/ Joe Williams July 30, 8:15 PM at East. Theatre. Gene Bertonlin, & Mike Moore Aug. 4, 8 PM at Cutler Union, 560 Univ . Ave . Monticello Rest. - Jack Mahey & Salt City Six July 5-31 . Ray Bryant Aug . 2-14 . WXXI Concerts - All 2 PM - Spectrum July 11, Mike Arena's Little Big Band July 18- at Manhattan Sq . Park . July 25 Petrus & Birthright at Memorial Art Gallery, 490 Univ . Ave . Also, Superbone & Bertoncini/Moore on Aug. 1. Rain date for these events is Aug . 8. SYRACUSE Casa DiLisa - Erie Blvd ., East - Wed . -Ann Farnsworth; Thurs . - Straight Life Trio; Fri . - Peter Mortenson Trio; Sat . & Sun . -Frank Stagnitta . Spirit of 35- Carrier Circle - Wed. IIBEX; Fri. & Sat. - Dave Hanlon's Funky Jazz Band; Sun. - Jam session with th e Funky Jazz Band . Shifty's- Burnet Ave . -Wed . -Straight Life Trio . Dinkier Motor Inn - James St. - George Gireaux or call for schedule . Old Stone Mill - 3 Fennel St ., Skanealas - 685-3783. July 8Stan Kenton; August 12- MaynardFerguson;August18 - Buddy Rich ; Every Thurs. - Dix ie land Update 9 to 1; Every Fri . & Sat. - Soda Ash Six 9 to 1. Under the Stone- Skaneatlas - Every Tues. - Steam. Soor Grapes - Auburn- Wed . Dave Hanlon's Funky Jazz Band . Bachelors Ill - Utica -Monday Dave Hanlon' s Funky Jazz Band . Onondaga County Civi c Center - 424-8210 - Sat. , July 178:30 PM - Preservation Hall Jazz Band of New Orleans . 8T @(10fl&e8 JTHBLe Delaware & North Six Nites a Week ~•ULY Tuesday thru Sunday 6 to JULY 31 ~----------------------------------------_J TORONTO George's Spaghetti House - 290 Dundas St. , E. - Jerry Toth 4 (July 5-10); Alvin Pall 4 (July 12 - 17) ; Bruce Cassidy 4 (July 19-24); Moe Koffman 5 (July 26.-31) . Bourbon St. & Basin St. - See ad. Jazz on the Lake (Cruises) - Jim Abercrombi e's Vintage Jazz Band - July 21, w/ Uitimate Sound . Phone (41.6) 924-1373. Ontario Place - Oscar Peterson - July 10. 14 continued on page 16 �HELP AMERICA'S MUSIC! JAZZ! JOIN THE WORLD JAZZ ASSOCIATION Promote Jazz Around The World! A Non-Profit Organization Founded For The Purpose Of Bringing Together Art istic And Commercial Aspects Of Jazz, To Promote The Present , The Future , And To Recognize The Past Contributions To The World Of Jazz. World Jazz Association 1373 Westwood Boulevard Suite 203 Los Angeles , California 90024 Phone : (213) 477 - 1569 My application an-:J check for membership !n WJA IS enclosed. World Jazz Association 8 SCHEDULE OF MEMBERSHIP DUES INDIVIDUAL Annual Professional ........ . . .. ...... . $ 15.00 Annual General ... .. .. . ............... $ 10 .00 Life ..... .. . .. . ..... . . . ...... . .. . ..... $100 .00 ORGANIZATION Business .. . ............. . .. . ......... Radio Station ... ........... ........... Music Publisher .. . ............. . ..... Educational Institution .. . ........ . ..... Radio - Non-Commercial (Programming Jazz) Complimentary Amount enclosed $ - - - · Nam e ------------~-------------------------------------------Address - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - C i t y - - - - - - - - - - - - -- - - - - - - - - State / Country - - - - - - - - - - - -- - - - - Zip ___ _ $500 .00 $100 .00 $100 .00 $100 .00 �HERE COME THE STARS Bourbon Street 16 TORONTO (416) 864 - 1020 downtown .. ot the Jtotler EXISTING REALITY july 6-11 ART FARMER Thru July 10 SPIDER MARTIN MARVIN STAMM July 12-24 july 13-25 MILT JACKSON July 26-August 7 Shows Tues. - Sun. from 9 PM No cover Phone Ahead for Dinner Reservations Dine & Dance 9- 1 No Cover MONDAY NIGHT JAM SESSIONS NO COVER 8-1 COME AS YOU ARE Basin Street (2nd floor) DOCTOR MUSIC - The Statlet Hilton a W. D. Hassett entwprise Albert's Hall, The Brunswick, 481 Bloor St. West - MondayWednesday - Kid Bastien; Thursday - Saturday - Jim Abercrombie. Chez Moi, 30 Hayden St. - Saturday Afternoon - Silverleaf Jazzmen. Church Street Community Centre, 519 Church Street . Friday Night - Silverleaf Jazzmen. D.J.'s Bar, Hydro Building, University & College . Six nights a week -Climax Jazz Band. Executive Rest.aurant, 254 Egl inton Ave ., East - Saturdays 2-6 pm - John Dela Trio. July 5-10 DAKOTA STATTON - PHIL NIMMONS & NINE & 6 - July 26-31 Inn on the Park, Leslie & Eglinton Ave. , East- Saturday matinees - various groups. Mal Ioney' s, 85 Grenvi lie Street . Saturday afternoons - Climax Jazz Band . The Music Gallery, 30 St . Patrick Street. Tuesday, Friday & Saturday at 9 pm - concerts with CCMC plus others . Thursday nights - open rehearsals . Saturday afternoons 3-6 pm - Stu Broomer, Bill Smith, Larry Dubin . , ·~ /UPPORT LIVE ffiU/IC ' buffalo jazz tepott 1335 rrdn strOO: Wfobnl:JJL1209 PERIODICALS ! BINDERY SJ6 LOCKWOOD MEMORIAL LIBRARY S.U. N.Y.A.B. BUFFALO, Nt 1421~ THIRD CLASS MAIL July 12-24 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4360 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 29 Date A point or period of time associated with an event in the lifecycle of the resource 7/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 29 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/b6fbdde2bcb736a88ecd454042523289.pdf 803d6b607f527806fb5e20e6d3764996 PDF Text Text IV buffallo ja~~ trepoit ~ ougu1t "76 i11ue 30 free (c; 76 . george benson Guitarist George Benson has be en considered a prem1er jazz artist for more than a decade. In that time he's recorded just as many well-re ce ived albums andcometocommand much respect from the musical community. But, like a lot of jazz musicians, Benson 's route to wher e he is today wasn't necessarily that direct . Originally from Pittsburgh , he's been living in New York since 1963. He did his first r ecord (for RCA) back in '54 or ' 53, then later he sang with a vocal singing group in the late 50s . "Then I formed my own rhythm and blues group which featured organ, baritone and trombone . I've always had funny combinations in my groups because I've never realized a set pattern for a band. I beli eve if you can play, you can play with anybody . It can be a whistler, if the cat can play ." Benson began playing at age eight. His ukulele performance in a ghetto candy store drew raves and subsequently led to gigs at local parties and carnivals. Before he was in his teens he'd cut his first single and by fifteen he was contr ibuting high falsetto vocals to a Frankie Lyman-styl ed vocal group. Though he did it well, singing wasn't destined to be Benson's key to musical success. Before long , he switched to guitar and joined amateur bands in Pittsburgh . Instead of following rock and R & B models, the young Benson looked to jazz for his inspiration, listening to guitarists Charlie Christian , Wes Montgomery, Hank Garland and Grant Green . "I cou I d te II by the f i rs.t records I heard by each one of them that they were very v ital to music . Green because of his lyriCism, Montgomery because of his knowledge of the instrument, his approach to harmony and theory. Hank Garland for his fire and t echnique and Charlie Christian because he could swing so hard and not lose his feeling ." He was 20 when Jack McDuff invi"ted him to join his band. McDuff's bag was funky R & B but his repetoire included jazz pieces. "R & B was natural to me but the jazz tunes involved a lot of chord changes and I had to be more alert to play them; I began to I ike the challenge of inventing something new, as opposed to playing just for feeling ." I �In 1965 Benson left McDuff to form his own band with Lonnie Smith on organ, Ronnie Cuber on barito ne and dru,;,mer Phil Tu~ner. Off to a flying start, Benson's solo work led to a success1on of albums _(for Columbia, A & M and CTI), that has defmed h1s as _a steadil~ progressing, richly rewarding career. H1s ~lbums w1th Fredd1e Hubbard, Stanley Turrentine, Esther Ph1 II 1ps and Hank Crawford, not to mention solo sets 1 ike Bo~y Talk, ~eyond the Blue Horizon and the Grammy -nominat ed Wh1te Rabb1t have both established Benson's credential s and contributed to th e growth of instrumental jazz . Benson's achievements have won him th e Playboy All -Star Poll, a Gra~my nom1nat1on and the long -sta nding support of a loyal followmg . S1gnmg w1th Warner Bros . in late 1975 George Benson would seem to be moving in the direction of both increased popularity and continued artistic success. His first Warners album , Breezin', was released early in 1976. It is now one of the best selling albums in the country. Benson will be appearing in Buffalo on August 6 at the Buffalo . Theatre. The concert will be presented by Magnum ~nterlamment. For more information, consult the ad in the 1ssue . Its always wise to pick up tickets in advan ce . EDITOR. PUBLISHER - Bill Wahl CONTRIBUTORS Tom Alabiso, Louis Bradshaw, Bill Besecker, Paul Gresham , John Hunt, Tom Mazzone , John Osborn, Paula Wahl. ILLUSTRATORS- Christine Engla Eber and Sabrina Mayberry Smith . CORRESPONDENTS Rochester - Jim Laniok Syracuse - Jerry Stabile Toronto- Hal Hill Address correspondMce. to: Buffalo Juz Report 1335 Main Street Buffalo, New York 14209 (716) 883 - 3909, Ext . 11 ©1976- Buffalo Jazz Report PRINTED IN U.S A. No portion of this publication may be reproduced without writfen consent from the publisher. NEWS The Port East, Grider & Ferry, has announ ce d that jazz will continue on Tuesday & Sunday nights , but not on Thursday . Fine vegetarian food is served, and musi c starts at 10. As of July 11, Birthright hassold400copi es of their second album Breath of Life in the Buffalo area . In the jazz market, that's a lot of records, especially since it's only been out for six weeks. In this issue you'll find a feature on the local jazz group Spyro Gyra and a blues column by WBFO blues announcer Ron Weinstock . This is some of the needed expansion all owed us by J'pyro gyro photo: michael ketter II~ haircutter 59 Kenmore Ave~ 836-1781 (corner of Windemere) behind jewelry store the large format, now in its third month . We will also prin.t some of the negat1ve record rev1ews people have been asking for, prev1 ously cut due to lack of space. LIVE 114USIC REVIEW Omitted this month in lieu of Spyro Gyra feature. Words about Mark Murphy, Phil Woods & Spider Martin will appear in September . SPVRO GYRA It's been nearly eleven months since jazz began its reign every Tuesday and Sunday at Jack Daniel's on Forest Ave . Since that overcast evening in September, Buffalo 's music scene has experienced growing pains and not all of the formative changes have been for th e better. A consta nt , however, has been th e endurance and maturation of the group that has fi lied th e Tuesday and Sunday slot all these months at Jack Daniel's: Spyro Gyra. At the time of that first gig, Spyro Gyra was a quartet consisting of Tom Walsh/dru ms, Jeremy Wall / Fender Rhodes electric piano, Jay Beckenstein/ t enor, alto and soprano sax, and Jim Kertzdorfer/ bass . Sin ce th en the group has grown to a quintet and has rotated various members butth e formula has remained th e same: tightly executed, uptempo Jazz with decided rhythmic rock overtones . Parall els can be drawnbetweentheir sound and that of th e Crusaders, Tom Scott, Herbie Hancock and Wayne Shorter. Most readers of the Buffalo Jazz . Report are aware of drummer Tom Walsh 's recent departure from Buffalo to join the rock group America as th eir percussio nist. Immediately after Walsh left for the Am erica tour( th ey'rec urrently touring th e Ori ent), John uDuffy" Fornes moved into fill the drumming vacan cy. He work ed with Spyro Gyra for some time th e n left and was replaced by Hari Pinder, a respected drummer in the �Buffalo area, who is w ith th em now . P inde r mi xe s rhythms with great fin es se, using h is traps wi sely and pr oddi ng each sol o i st on with unexpect ed but timely interj ection of accents. Another current r egular , guitar ist Fred Rapallo, has becom e known for hi s suc c in ct, B enson esqu e sol os and his Philadelphi a Flyers has he wear s r el igi ously as he occ upi es his seat t o the far left of th e stage. Lat ely, h is share of sol o tim e has in creased along with hi s confi den ce and pi aying ski II s. Th ere 's al so th e distinct po ssibility you might see Tom Schuman sitting in from tim e to time on th e Rhodes . Gerry Eastman is also a f r equent guest on eith er bass or guitar , providing Eastman and Schuman are not busy with th eir duti es in Birthright. The mainstays of Spyro Gyra and th eir chi ef spokesmen are Jay Becken st ein and J eremy Wall with Jim K ertzdorf er being the quiet, imperturbabl e, ro ck steady bassist he has always been . Besides th eir involvement with this group, Jay and Jeremy have oth er activiti es in th e works that bear m ent ioning. Jay is a half partn er in Cross Eyed Bear Records, a com pany based in Buff al o with th e stated purpo se of uti I i zing Buffalo's talent and producing all original mate rial. A ccording to Jeremy Wall , " It's a producti on company that uses th e r esources of th e Buffal o area to get nati o nal exposure fo r Buffalo musicians and th e Buff alo area." Cross Eyed B ear has r eco rded (at Star Trak Studi os in Clarence) a r eady - to - mast er t ape of Spyro Gyra whi ch wi II get finishing t ouches in New York City and will hopefully be ready for r elease as th e groups first album in th e near future . It' s all original material writt en by Spyro Gyra and includes Paula, Mallet Ballet, Leticia and Pygmy Funk among oth ers whi ch have become familiar to patron s of Jack Daniel ' s and another of their favorit e club s t o play in , th e Tralfamadore Cafe . Some of jazz' fin est musi cians hav e come from Buffalo (Grover Washington, Jooni Booth , Jim Hall, Mel L ewis , Ronni e Foster, Bob Mill ite ll o and Mik e Migli ori to name a f ew) . Cross Eyed Bear Records hopes to c apture som e of this abun dance of tal ent on r ecord before th ey are for ce d t o leave in search of somewh er e el se t o re cord. Just what Buffa lo needs t o com pi im ent th e thr iving I iv e jazz musi c scene. Jay Beckenstein , Jeremy Wall and Tom Walsh are former m embers of the Buffalo Jazz Ensemble and were participants in last summers concert - in-the-park series which turned some 31,000 people on to jazz . The reason they left is simple enough - th ey felt it was, " .. .time to be movin ' on ." Wall wrot e and arranged many tun es for the ensemble in cluding the parts for all instruments for one of the pieces used in r ehearsal of the Buffalo Jazz Ensemble and the Buffalo Phi I harmoni c Orchestra for a scheduled performance that un fortunately never materialized. The BJE, by the way, is in a curr ent lull but is still active . Spyro Gyra r ef I ects the solid background each member possesses : Walsh's work with S.U .N .Y .A .B.'s Creative Associates and th e Buffalo Philharmonic Orchestra; Wall's training at the California Institute of the Arts; Beckenstein's perfor mance with th e S.E.M. Ensemble and the House Rockers; Kertzdorfer's appearnace on Birthright's first album and his current gig with Jaman. Their music which Jeremy Wall says, " . . . is closer to jazz than anything else," continues to grow as do the crowds each Tuesday and Sunday at Jack Daniel's . Buffalo is a town rich in musical resources . Spyro Gyra is an index of those resources and a giant step towards capitalizing on them . John H. Hunt tecotdinga GABOR SZABO - NIGHTFLIGHT - MERCURY 1091 After doing two fine albums for CTI and one commercial but acceptable one for Salvation (a CTI subsidiary), guitarist Szabo has moved to Mercury . The result is Nightfl ight, and if this album was the result of hard work, it wasn't on Szabo's part . While he had previously done pop tunes with artistic originality, he's succumbed to disco - tied sounds (complete with vocals) that give you no idea of just how good he really is . I' m afraid that if you're a Szabo fan, the only thing that Nightflight will do for you is make you grab one of his older sides from your coll ection for a r eturnflight to the turntable . B.W . "JACK DANIEL'S CONTINUES AS THE PLACE TO BE IN BUFFALO, SUNDAYS AND TUESDAYS" .. bjr SPYRO GYRA • • STILL HERE AND GOING STRONG Jack Daniel's FOREST NEAR ELMWOOD �CATALYST- JAZZ FROM JAPAN SERIES Catalyst Records' second release is made up of five albums previously available in Japan on the JVC label. CARMEN McRAE ALONE - AS TIME GOES BY (7904) finds the singer recorded live at the Dug, (in Tokyo). accompanted only by her own piano . This intimate, relaxed set was recorded in 1973 and is among the best of her recent recorded works . A similar situation is heard on HELEN SINGS, TEDDY SWINGS (7903) featuring vocalist Helen Merrill and pianist Teddy Wi I son. Again the music is relaxed, wtth the pa1r accompanied by piano and drums . JAZZ MESSENGERS '70 (7902) is an excell ent album from ART BLAKEY, featuring his regular work!ng group of that time Two members of this band - saxophoms Carlos Garnett and .p ianist Joanne Brackeen now have albums of th~ir own . Bill Hardman is on trumpet and Jon Arnet 1s on bass mcluded are versions Moanin', Whisper Not, A Night in Tunisia and the humorous Blues March. Garnett's What the World Needs Now is Peace and Love is a standout . Check th is one out. Fine work from everyone. . . Vocalist KIMIKO KASAl and p1an1st MAL WALDRON team up for One For Lady (7900). This is my favorite of the three vocal albums in the release backed by bass and drums , Kasa1 and Waldron deliver refreshingly original renditions of eight tunes, most of which weremadepo"pularbylady D.ay . Komiko ' s sexy, breathy vocals are all in near perfect Engltsh . Waldron, of course, is a former Holiday ptantst . FUJI comes from the TERUMUSA HINO SEXTET (7901). a very popular all Japanese group . Since jazz is more popular in Japan than perhaps anywhere in the world, o.ne should never underestimate the Japanese jazzman. The mustctanshtphere IS good, with each plaxer working his tail ~ff- the mus1c moves . Reaction is a franttc cooker, as IS FUJI. Be and Know sounds like a Pharoah Sanders imitation, but is good listening. A Child is Born is a mild version of Thad Jones ballad highlighting Hino ' s trumpet -he shines. In all - not terribly original - but a good record from a super trumpet player. I've seen JVC/Japan's catalogue and look forward to future releases . By the way -- Catalyst pressings are clean . B . W. When You Are In Toronto This Summer, Be Sure To Visit The Jazz and 8lue1 Record Centre 893 Yonge ltreet 416-929-5065 record1. book1. magazine!. jazz information M Import 1pecloli1t ol1o: u1ed and budget record' Jazz Specialists For 17 Years BUDDY RICH- SPEAK NO EVIL- RCA APL 1-1503 Having convinced himself he is the greatest drummer in the world, Buddy Rich apparently does not fee l th e need to create responsible music anymore . Ri ch is jumping on the disco band wagon as so many big bands, and small bands for .that matter, have been doing of late . He squanders the wealth of talented musicians such as Jon Faddis / trumpet, Wayne Andre/trombone, Kenny Barron/ piano and Lew Soloff/ trumpet who despite the format somehow manage to reveal what they can do, if only for fleeting glimpses . Put on this record and teach yourself the L .A . Hustle. J .H. CHICO HAMIL TON AND THE PLAYERS - BLUE NOTE LA622 After some rather raunchy albums for Flying Dutchman and Blue Note, Chico is back with some good sounding music . He's got many of the same musicians as on the previous Peregrinations (BN 520). but no vocals or "sweetening arrangements ." Instead, he plays more drums , and there's room for some noteworthy solo work from saxophonist Arthur Blythe and guitarist Rodney Jones, as well as Hamilton himself . A round of applause is also due conga/ percussionist Abdullah, who works well with Chico - master of tom-toms . All eight tunes were written by Chico. This record is recommended both for originality and fine musicianship . Its refreshingly different; not funk, not mainstream - just percussion loaded good listening jazz. B.W . WOODY SHAW - LOVE DANCE - MUSE MR 5074 Parallels can be drawn between this November 1975 recording and one made a year earlier, by Shaw entitled The Moontrane. The writing, playing and arrangement of Love Dance is similar in texture and overall approach. Woody Shaw's trumpet solos are clear and concise while he allows his sidemen ample room to strut their stuff, which they gladly do. This is a spirited recording session with Jackie Mclean's son Rene Mclean on alto and soprano sax, Billy Harper/ tenor, Joe Bonner/piano, some tasteful trombone playing from Steve Turre and a throbbing rhythm section of percussion led by Guilherme Franco/percussion and Victor Lewis on the traps . Additionally of note is the bass soloing of Cecil McBee who sounds at home with Woody no matter what the meter, style or tempo - and their is much diversity here . J .H. BOBBY HUTCHERSON - WAITING - BLUE NOTE LA 615 Bobby Hutcherson is an under - rated, under-payed , and under-promoted musician who deserves to be heard by every contemporary jazzfan. With the many records to his credit, he's played many "styles" of jazz, from avant-garde to lushly orchestrated moody pieces . Waiting often finds him rocking I ightly, generally with repetetive rhythm I ines acting as a cushion for the soloist . Most of the tunes have slight commercial po~sibilities for hip FM stations . All but two tunes come from bassist James Leary, but the majority of solo work is donated by Bobby, on vibes and marimba, and saxophonist Emanuel Boyd (Boyd also did some fine work on Woody Shaw's "Song of Songs" alpum on Contemporary) . While the music is not highly energized and exciting, it is consistantly good listening from a master vibist. B .W. 4 THE BLUE NOTE RE-ISSUE SERIES Three albums of previ ously rel eased, but (except for the Monk package) long unavailabl e music comes from Blue Note. THE LONIOUS MONK - THE COMPLETE GENIUS (LA579) gives you Monk' s compl ete output for Blue Note is<>ued under h i s own name (he did some trac ks for Sonny Roi!tn s wht ch aren't included) . Th e si x sessions were r ecorded from 19471951, and the tunes ar e presented here in order by session <> (it makes sense but is not always done) . This is gre <~t Monk, aided by such peopl e as Mili Jackson, Kenny Dorham, Art Blakey, Lou Donaldson, Max Roach, Sahib Shihab anrJ many more . Most of the thirty tunes are Monk' s, and th e re co rdinq quality is good. Bop alto saxophonist ART PEPPER is featured 001 EARLY ART (LA 591) . Pepper is a fine player, but little known and i s certainly deserv ing of this package (he recently cut a new side for Contemporary records that should be out soon!. Mus1 c is collected here from thre e session s Cir ca '!:;6-7, or •rJir.al!y cut for the now defunct lnt r o & Jazz West labels . Some of th e f ea tured artists are Joe Morello, Sh~liy Manne. RedNorvo, Leroy Vinnegar & Jack Sheldon . If you dig West Caast bop - check this out. Some 1969 JEAN-LUC PONTY i s b C~ck out uncerth c; tit le of CANTELOUPE ISLAND (LA 632). The f i rst r ecorrl was crig; nally released as King Kong (Pactfic j azz), and contai11s four groupings of Ponty with some of h is Frank Zappa cohorts doing one Ponty and ftve Zappa originals . Most of the musi c is simi lar to the electric jazz/ ror:k sound Ponty is into now . Music for Electric Violin & Low Budget Orch . fills most oi side two and is very much I ike th e Mothers of Invention, conduct ed by ian Underwood. Cello, viola , bassoon, oboe and French horn are included . Record two is a straight jazz session r ecorded live in Hollywood. Ponty iswitharhythmsect10n, which worked as the Geo . Duke Trio - Duke. John HeJrd & Dick Berk . A highlight is the violinists treatment of H . Hancocks Cantaloupe Island. More often than not, this live session swings . Note: Two other records from this release are unissued material by McCoy Tyner & Elvin Jones, and are revi ewed in length in this issue . B .W. �It's BLUE NOTE MONTH at Sattler's! GENE HARRIS In A Special Way Including: Theme For Relana/ Zulu Love For Your Love ~- CHICO HAMILTON BOBBY HU1'CHERSON Wailing Including: Mr. Sweets Hooch/Abdullah's Delight Sex Including: W:itng I Prime Thougu Searchin' The icne Isrr~~:.~••~• RONNIE LAWS Fever Including: lets Keep It Together FeveVA11 The Time From Ronnie With love codeD 6.981ist ll1E BUJ[ NOT£ $4.44 ME· ISSUE~RIES Ttll-.u!:I'OOTI::tiUI!IoSU£S£111£S CANTELOUPE ISLAND ART PEPPER THELONIOUS MONK THE COMPLETE GENIUS EARLY ART code E 1.98 list 998 Broadway Boulevard, Seneca & Main Place Malls $5.44 BLUE NOTE HITS A NEW NOTE! �bjr t-shirts record runner; tralfamadore CONTE CONDOLI & FRANK ROSOLINO- CONVERSATIONRCA TPL 1-1509 Here's an album that was r ecorded and previously available only in Italy . It f eatures two of this area's best known Italian hornmen, who often played the same circuit as Sam Noto, etc. This 1973 session is smooth, pure bop, featuring a trumpeter & trombonist who've played for countless big bands and record dates . All but one tune (Star Eyes) are theirs, including the title track - a scat singing affair . The leaders perform admirably both in solos and ensembles, and the rhyth m section keeps it all moving with ease. Pure, acousti c music - well r ecorded. B .W. STEVE KUHN - RAINDROPS - MUSE MR 5106 Raindrops is a four - year old live recording done at Folk Cit y in New Yo rk . Pianist Steve Kuhn is presented here in a quartet f orm at with the support of highly regarded bassist George Mraz, percussionist Sue Evans and Bruce Ditmas on drums . Thi s album's release comes after th e release of Trance (recorded in 1974) wh ich earned Kuhn many new fans . Kuhn's distinctive style, which can be straight or highly improvisational depending on th e mood, comes through whether he performs on th e acousti c, th e e lectr ic piano or switches from one to th e other in mid -song as he does on sev eral cuts . Raindrops is somewhat l ess inspiring than his most recent previous recording but illustrates that Kuhn co nt inued to evolve. This album wa s previous ly released as Cobblestone 9020 . J.H . ELVIN JONES - THE PRIME ELEMENT - BLUE NOTE LA-506 Although this twofer was r e leased as part of th e Blue Note r e- 1ssue sen es, it is all unrel eased material -hence a sepa rate revi ew . Record one was r ecorded in 1973 with an 11 pi ece group including Steve Grossman, Frank Foster, Pepper Adams, Gene Perla, Cornell Dupree, Jan Hammer and four percussionists . The high energy l evel and relatively loose format is set by the opening track, whi ch includes a Grossman solo similar in intensity and more similar lyri ca lly to hi s Zulu stomp solo (h ea r Grossman's Some Shapes to Come -PM002). Inc identally - I disagree with the I iner notes which say its Foster's solo . Currents/Pollen presents a section with only moog, bass & drums , prec eedin g Jones On the Mountain album by two years . Hammer plays moog off and on throughout the record, as he, Perla and Jon es are alone again on the titl e track . Whims of Bal is a strange 5/4 , w ith solos from Adams, Fo st er & Gross man followed by a solo moog interlude and a fr ee blowing horn segment. Record two is more straight ahead than the first, done in 1969 . The septet f eatures Joe Farrell, Geo. Coleman, Lee Morgan, Wilbur Little & percussioni sts Candido Camero and Miovelito Valles. Of special merit here is Farrell's flute work and Morgan ' s mutted trump et on Once I Loved, Elvin's constant energy flow, th e inspired hard core bl owing of all three hornm en, and th e exce llent recording job by Rudy Van Gelder . In all, its typ ica l of Jon es' 67-69 Blue Note record ings, augm ent ed by the l at e great L ee Morgan . This packa ge is well worth the money! B .W. FRIDAY NIGHT IS JAZZ NIGHT AT CAVAGES UNIVERSITY STORE! * jazz played all night* hear all the latest new releases the entire stock of code 'D' (s~i;t8 }jazz is on sale every friday night for just $4.88 IT HAPPENS EVERY FRI. CAVAGES UNI\1. �.Mother Necessity Jazz Workshop GR AT IAZZ every fri. & sat. 14 Queen Street, E. Toronto Aug. 1 Aug. 3, 4 Aug. 5, 6, 7 Aug. 8 Aug. 10, 11 Aug. 12, 13, 14 Aug. 15 Aug. 17, 18 Aug. 19, 20,21 Aug. 22 Aug. 24,25,26,27,28 Aug. 29 Aug. 30, 31 ~ight tralfamadore cafe 2610 main street McCOY TYNER - COSMOS - BLUE NOTE LA 460 Cosmos comes as a two record set, consisting of three previously unreleased sessions . As is usually the case, all the tunes were written by McCoy . The first record opens with the original version of Song For My Lady (Milestone 9044) . This particular outing finds Tyner with bassist Herbie Lewis, drummer Freddie Waits, Harold Vick and AI Gibbons on reeds and a string quartet directed by Kermit Moore . This version is much tamer than the most recent, with the strings heard only at the beginning and end . The same group is used for Cosmos and Shaken, But Not Forsaken. The strings are effective, but not as interesting as those on Tyners most recent release Fly With the Wind. Although its not I isted, I presume Harold Vick contributes the flute work. Two tunes feature the trio of Tyner, Lewis & Waits, two musicians McCoy used on other Blue Note sides in '68 & '69. The first tune burns, the second rocks and each contains excellent drumming from Waits . The three remaining tracks find the above mentioned trio joined by Gary Bartz/ alto and soprano sax, Hubert Laws flutes and Andrew White / oboe. I find these tracks the most interesting due to the great work of Bartz, and the flute work of Laws, before he became commercialized. Again, Waits is on fire. White's oboe is clean and strong and a very positive addition to the music on Forbidden Land and briefly on Hope. This session was done in '70. Some very good Tyner. B .W. what'D happening BUFFALO See ads. • This is the first of a series of columns which will include both live blues in the area, and recent recordings. WBFO-FM provides the Buffalo area with the only regular blues programming. Shades of Blue with Babe Barlow is heard Saturdays from 10 PM to Midnight. I do both Bon Ton Roulet as part of This is Radio on Wednesdays (3 PM) and Ramblin' with the Blues on Thursday evenings from 10 to 11. Other folk programs on WBFO do have feature blues (though not exclusively_). Listed in this column will be any regular blues programs m Mother Necessity Big Band John Forrest Trio Bruce Harvey Mother Necessity Big Band Howie Silverman Quartet Ron Small (vocal) w/ Joel Shulman Humber College Big Band Lorne Kellett Trio George McFetridge Trio Mother Necessity Big Band Ted Moses and Guests Mother Necessity Big Band Rob Piltch Trio any city the BJR services . The Belle Starr is the only place in the Buffalo area that is bringing in blues bands from out of town. The Buddy Guy-Junior Wells band appeared in May, and Muddy Waters was there in early July. Both groups played well and were well received . Hopefully some Buffalo bars may follow the Belle Starr and bring in some Chicago bands . Locally Shakin' Smith continues at the Buena Vista Wednesday and Saturday evenings. 1976 has seen the release of a number of very fine albums . Robert Jr. Lockwood and the Aces, Blues Live in- Japan (Advent 2807) is the finest of the three albums that Lockwood head I ines. Formerly a guitarist with Sonny Boy Williamson and Little Walter, as well as being Robert Johnson's stepson, Lockwood is a bri II iant blues guitarist, playing in a jazz-flavored style, and sings in a straight forward fashion that brings new life to such standards as 'Stormy Monday' and 'Worried Life Blues'! An added treat is Louis Myers vocals, slide guitar on Anna Lee and his harp playing on 'Little and Low' behind Lockwood's vocal . Mr. Johnson's Blues (Mamlish S-3807) istheonlyAmerican release of Lonnie Johnson's recordingsfromthe20sand 30s. A well-programmed album, it provides variety in material and setting . Lonnie Johnson is featured both as a singer and accompanist and plays notonlyguitar,butpianoand violin . Also heard are Eddie Lang, Texas Alexander, Clara Smith and Victoria Spivey. An extremely important release which should make many familiar with one of the pioneers in jazz and blues. Among other albums, Otis Rush's 1st album in 8 years Cold Day in Hell (Delmark DS-638) is one of the finest blues albums in recent years. Rush sings and plays with incredible intensity. Highly recommended to fans of B.B. King- styled blues . Hound Dog Taylor's posthumously released live album Beware of the Dog (Alligator 4707) captures the infectious quality of his rocking blues and boogie . Hewill be missed. The James Cotton Band's LiveandontheMove(Buddah BDS 5661-2) also is an album of boogie which also should have wide appeal. I find the album a I ittle too frantic and the music too hurried though many of you will probably find it to your liking. EDDIE HENDERSON - HERITAGE - BLUE NOTE LA 636 Trumpeter Henderson's previous Blue Note album, Sunburst, was voted as one of the best records of '75 by BJR reviewers. His current effort is almost as good. Eddie was a member of Herbie Hancocks sextet when the albums Mwandishi, Crossings & Sextant were recorded . Since then, he has carried on the sound of that band (though a bit mellowed) while Hancock has become increasingly more commercial. His long time associate trombonist Julian Priester is on hand, as are Hancock's Paul Jackson/bass and Mike Clarke/ drums. The most outstanding work comes from Patrice Rushen/keyboards and synthesizer, Henderson, and HadleyCaliman. Caliman, who is heard on bass clarinet, soprano sax and flutes, can play his tai I off when producers allow him to, and he sounds great here. One difference between Heritage and Sunburst is that Paul Jackson's bass work is no match for that of Buster Williams and Anthony Jackson. This one is recommended for fans of Herbie Hancock, Weather Report , etc. B.W. BLUE/ by ron weinJ'tock from 8-12 p.m. Telephone: (416)368·0971 7 TORONTO Albert's Hall, The Brunswick, 481 Bloor St., West. Monday Wednesday - Kid Bastien, Thursday-Saturday - Jim Abercrombie. Chez Moi, 30 Hayden St . Saturday Afternoon - Silverleaf Jazzmen. Church Street Community Centre, 519 Church St. Friday night Silverleaf Jazzmen. D.J.'s Bar, Hydro Building, University & College . Six nights a week- Climax Jazz Band plus guests . Executive Restaurant, 254 Eglinton Ave ., East. - Saturdays 2-6 PM - John Dela Trio. Inn on the Park, Leslie & Eglinton Ave ., East- Saturday matinees - various groups . �Bourbon GEORGE ·BENSON Street TORONTO (4 16) 864 - 1020 MARVIN STAMM Thru August 7 MILT JACKSON August 9- August 21 DON MENZA Aug. 23- Sept. 4 Phone Ahead for Dinner Reservations Dine & Dance 9- 1 No Cover Basin Street CARRIE SMITH (2nd floor) - August 2- 14 BOBBY DOROUGH - August 16- 28 LIVE IN CONCERT Friday, Aug. 6th 7:30pm Shea's Buffalo Theatre *** SPECIAL GUEST STAR AI clarreau *** Tickets on Sa1e Now at: Shea's Box Office. Amherst Tickets in the Eastern Hills Mall. Festival and Central Ticket Outlets. Norton Hall. Audrey & Del's. Sam the Record Man in the Falls & St. Catherines & Eaton's in Toronto. A MAGNUM PRODUCTION Malloney's, 85 Gr envill e Str eet . Satur day Aft e rnoons -Climax Jazz Band . The Music Gallery, 30 St . Patri c k St rePt . CCMC co n c ~ rt s every Tuesda y and F r! day . Normandy Roorn, We stb ury Hot e l , 475 Yonge Str eet. Jim Gall oway, Paul Rirnst e ad Band, Mond ay thr u Thurs day . Metro Stompe r s - Friday and Satu n Jay . Ontario Place, Aug . 7 - Ro b Mc Co nn e ll' s Boss Brass and Aug . 14 - Ch;Jc k Man gione. Mother Necessity Jazz Workshop See ad . Jazz on the Lake · We dn e sday , Aug . 4 - No rm Be rn a rd ' s Ultimat e So und and Ji m Gall oway s Me tr o Sto mp e r s (Norm is a Buffal oni an) . We dn e s da y, Aug . 18 - a s above . We dn e sday, Se pt . 1 - Norm Be rnard 's Ulh r.l atP Sou nd and Silver-l e af Jazz Band. For furth e r info r mat i0 n and r ese rvati o ns pl e ase call (416) 924 - 1373 . JAZZ RADIO : TORONTO - OSHAWA - ST . CATHERINES OAKVILLE -HAMIL TON Monday thru Friday - 10 pm to 1 a m - The Jazz Sc ene w/ Ted O' Re illy - CJRT FM 91.1 . 12 mid. to 1 am- That Mid'light Jazz - CBL FM 94 . 1. Friday - 10:30 pm t o mid . - MaJ Or Prog r es sion-; - CBL AM 740. Saturday - 6 am t o 1} noo n - Th 0 Jazz Sce ne w/ Te d 0' Re illy - CJRT FM 91.1; 2 pm t o 4 pm - Jazz Radi o Canada w/ Lee MaJor and Mary N e l s o ~ CBL FM 94 . i; 6 pm to 9 pm - Jazz in Conce rt w/ Te d O'R e illy - CJRT FM 91 . 1; 9 pm t o mid .World of Jazz w/ !1avi d Le nn1 c k , Paul F is he r , Hal Hill & othe r ho s t s - CKQS FM 94".9;"11 pm to mi d . - Sout1d of Jazz - CKDS FM 95.3; 10:30 pm t o 2 am - Jazz w/ Ja ck Co le - CHWA AM 1250; 1:.! mid . t o. 6 :30 am - Musi c fo r Night Peopl e w/ Paul Fisher (n ew show) - CKQS FM 94.9 . Sunday - 8 pm to 10 pm · J is fo r Jazz ·.v/ Ja ck Col e CKTB FM 97.7 and 10 pm t o 6 am - AI! th at JaZ? w/ Phil McKellar - CKFM FM 99 .9. Monday thru Saturday - "Musi c fo 1· Ni ght Peopl e" with ho st Paul Fi s he r on radi o CKQS-FM 94 .9 12 mi rl. to 6 am, Saturdays mi d t o 6;:30 am . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4361 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 30 Date A point or period of time associated with an event in the lifecycle of the resource 8/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 30 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/df546b4eff49b7290776a295342a373b.pdf 19a0a4bb1877d15a79871cae35cc4c76 PDF Text Text buffallo jazz tepott sept '76 issue 31 free GERRY NIEWOOD also in this issue WBFO �GERRY NIEWOOD Gerry Niewood, after eight years as. the saxophonist with Chuck Mangione is on his own and leadmg h1s own group . On September 10, 1'1 & 12, the Tralfam~dore Cafe, Main at Fillmore, will present the Buffalo prem1er of the Gerry N1ewood Quartet . In reviews of Mangione albums the BJR has mentioned that Niewood is the most impressive musician in the group whether it be a quartet or orchestra recording . Similar statements have been made by reviewers and critics coast to coast. Niewood, who is equally adept at tenor and soprano s~x~s and flute, graduated from the Eastman School of Mus1c 1n 1970. While a student at Eastman, he became a regular member of the Chuck Mangione Quartet. Since graduation he assumed the hectic schedule of the quartet after Mang1one. reached commercial success. The group worked steadily do1ng concerts, club dates and jazz festivals throughout the U.S. , Canada & Europe . During the groups mfrequent breaks, Gerry would be found as a featured guest with the bands of Buddy Rich and Louis Bellson. For the last two years, Niewood has won the "talent deserving wider recognition~ c~tegory for soprano sax in th~ Downbeat international cnt1c s poll. In the latest readers poll he came in #12 on soprano. & M Records recently released Gerry's first solo album Slow, Hot Wind. Some of his guests on that LP were Gene Perla Lew Soloff & Joe LaBarbera. He has also been makmg recent appearances with Chuck Israel's National Jazz Ensemble . Some background information on members of the N1ewood quartet would certainly be in order: Vibist David Samuels is a graduate of Berkeley Colle.ge of Music, and has performed in concert .and recorded w1th Gerry Mulligan. He has also w.o~ked w1~h Jack1e & Roy . Samuels recorded with another v1b1st Dav1d Fnedman on .a gorgeous album of trios and duets titled Winter Love, Apnl Joy on Japan's East Wind label. Rich Laird is well known to anyone who followed J.ohn Mclaughlin's Mahavishnu Orche.stra. He was the ongmal bassist for that group and remamed a member until It disbanded in 1974. He has also worked and recorded w1th Buddy Rich and Jeremy Steig . Drummer Ron Davis was an original member of the Chuck Mangione Quartet, and can be heard on the quartet's Live album. He has .also worked with Gap Mang1one, Bill Watrous, Jackie & Roy, Gerry Mulligan and Arnie Lawrence . . . Niewood is a musician with awsome control of h1s mstruments. He plays with graceful charm, vivid ideas and bnght intensity. His Buffalo appearances w1ll undoubtedly be met by large crowds . Try to be a part of it. The Tralfamadore will limit the attendance to facilitate a comfortable atmosphere, so don't worry about being overcrowded. . . . For additional vital information, see the ad 1n th1s 1ssue . 59 Kenmore Ave. Flanagan Trio- with Bobby Durham & Keter Betts. Last appearing in Buffalo 2 years ago in a benefit concert for Buffalo General Hospital, MissFitzgerald'sSeptember17th performance at Shea's Buffalo wi II help raise funds for the Community Residence Program of PEOPLE, Inc., - a local agency which provides services for mentally retarded adults. Since its incorporation in 1971, PEOPLE, Inc. , has act1vely developed and maintained a Community Residence Progr~m for mentally retarded adults as an alternative to institutionalization- a practice which is considered damagmgto an est1mated 98% of retarded individuals . As set up by PEOPLE, Inc. , the Community Residence Program is best described as a hostel system which provides room, board, supervisory and supportive services . Each of the five hostels currently operated by the agency are designed to accommodate 7-12 retarded individuals in a harmonious community settmg and funct1on 1n partnership with a variety of vocational, educational, andrecreational services available to the retarded . Miss Fitzgerald's interest in helping those less fortunate stems froms her first heartrending visit to a hospital for retarded children while she was in Chicago fora concert several years ago . Since that time Ella - with the Tommy Flanagan group in tow - has dropped in at such facilities regularly. In speaking of benefit concerts during her visit to Buffalo 2 years ago Miss Fitzgerald said, "We all have to get a great feeling from helping other people. I do it because it comes from the heart. I cam from a poor family, as did many big artists. You can't walk away from that and not look back." Tickets for Miss Fitzgerald's performance at a cost of $6.00, $7.50, $10 .00, $12 .50 and $25 .00 are currently available through the following ticket outlets: Shea ' s Buffalo Box Office, Amherst Tickets Unlimited, Festival East, Norton Hall T1 ckets, !;Juffalo State Ticket Office, Fredonia State Ticket Offi ce, Sam !le Record Man in St. Catherine's and Niagara Falls, and Eatons Attraction Ticket Office in Toronto . A portion of ti cket costs are tax deductible. A Discography Gerry Niewood - Slow Hot Wind (A & M) Chuck Mangione - Bellavia (A & M) Chuck Mangione - Chase the Clouds Away (A & M) Esther Satterfield - The Need to Be (A & M) Esther Satterfield - Once I Loved (A & M) Chuck Mangione - AI ive (Mercury) Chuck Mangione - Quartet (Mercury) Chuck Mangione - Land of Make Believe (Mercury) Chuck Mangione - Together (Mercury) Chuck Mangione- Friends & Love (Mercury) ELLA FITZGERALD TO APPEAR AT SHEA'S BUFFALO Ella Fitzgerald, inimitable First Lady of Song, returns to the Buffalo area after a lengthy absence, to appear 1n concert at the Shea's Buffalo Theatre, Friday evening, September 11, 1976 at 8:30 p.m . The legendary Miss Fitzgerald is scheduled to perform a 2 hour benefit concert backed-up by the Tommy 836-1781 (corner ol Windemere) behind jewelry store 2 �CANADIAN/U.S. JAZZ OJ SWAP On Sunday, September 12 . Canada and th ,' US . (or rno:-P. specifically St. Cathannes & Buftal o) wil l e Ychang ~ jaz: OJ'.;, for one hour . . Jack Cole, one ot Ontario ' s promin ent jazz announ r~ rs . wli I do an hour segment on Jazz Contour~. hc> :.>rd every Sunday from Noon- 2 on WBFO-FM (88 .7). Buftalc. Host of Jazz Contours, and BJR Editor/ Publ!sh<>r Bill Wahl will do an hour of Jack's Show, J . is for Jazz, aired Sunday n1ghts from 8-10 PM on CKTB- FM (97. 7) St. Catharines . Cole has hinted that his segment will highlight Canadian jazz artists . Any Buffalonian who's been to Toronto knows that there are many excellent jazzmen to th e nort~ . Wahl is remaining secretive, but has let out the fact that Birthright and Jam an wi II be on the agenda . Cole is heard weekly on stations in Toronto and other Canadian cities as well as the St . Catharine's program . . Residents of both cities involved in the exchange should fmd the programs interesting and informat1ve . Credit for the idea goes to Jack . now in his own element . This band burns with excitement. Most of the tunes come from Spider's own book and the band is into it . One of the most striking things about the group is the presence of young vibist Joe Locke who's melodic facility is nothisonly forte. Upon his cue to solo, Locke bursts into an additional display of speed and control, often utilizing four mallets to great effect . . Drummer T.om Whalee has shown a marked improvement s1nce the prev1ous band - he is the only holdover. Guitarist Tom Riz~o and bassi~t Steve Davis played with skill, although they don t .seem as mvolved as the other three. Davis , who recorded w1th John Coltrane on the My Favorite Things album, should cons1der sw1tchmg back to the acoustic model as he appeared to feel limited on the fender . Rizzo's guitar offered an extra cost of color the piano-less group. And then there's Spider. Standing tall and straight, front and center, w1th one leg bent at the knee, singing his heart out on the tenor . It all felt good . It was good - very good. It can only be better next time they're in town. B .W. BJR CONCERT SERIES CANCELLED Due to a lack of attendance at the last three presentations, the BJR Concert Series has been temporally cancelled. Shows were presented by Elvin Jones, Sonny Fortune, Bill Evans and Phil Woods. Planned appearances by McCoy Tyner, Pat Martino and others are not financially feasible . Your comments and letters are welcome. B.W . GEORGE BENSON AT SHEA'S BUFFALO George Benson performed his Breezin' album before a packed Shea's Buffalo . The crowd was satisfied once they heard Benson sing Thie Masquerade. Benson's guitar, while excellent when he played it, was sacrified for his voice. With crowd approval, the set was short, but it gave the Buffalo aud1ence a chance to see Benson and native Buffalonian Ronnie Foster in action . Benson's voice is good, but more guitar would have been in order . T .M. SPIDER MARTIN - DOWNTOWN ROOM Spider Martin's new group made its premier Buffalo appearance late in July at the Statlers Downtown Room. The degree to which this new quintet is superior to the first is unbelievable at first, but after a tune or so one realizes that his previous organ/ vocal group was just a mistake . Spider is PHIL WOODS- RENDEZVOUS ROOM The Phil Woods Quartet played three nights in the Statler's Rendezvous room as part of the BJR Concert Series . The best performances were on Friday andSundaynights , as Woods played with masterful control and melodic finesse . His experienced group of Mike Melillo, Steve Gilmore& Bill Goodwin "JACK DANIEL'S CONTINUES AS THE PLACE TO BE IN BUFFALO, SUNDAYS AND TUESDAYS" ... bjr HEAR SOME OF BUFFALO'S FINEST JAZZMEN SPYRO·GYRA returns in mid·september Jack Daniel's FOREST NEAR ELMWOOD �all had room to stretch out, getting into some "heavy bop" Woods was a bit put out on Saturday due to the I i ght attendance and blatant lack of interest in reviewing the show by the local newspapers . He ' s played to full houses and received rave reviews in every other city on the tour. We thank everyone who came and hope you enjoyed the music of this classic artist. B .W. EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS Tom Alab1so, Louis Bradshaw, Bill Besecker , Paul Gresham , John Hunt , Tom Mazzone, John Osborn, Paula Wahl . ILLUSTRATORS- Chri stm e Engla Eber and Sabrina Mayberry Smith. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Jerry Stabile Toronto- Hal Hill Address correspondeo ce to : Buffalo Jazz Report · 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 r~) 1976 - Buffalo Jazz Report No port ion of th1 s publ1 catt on may be reproduced wllhout wr i tten consent from the publ1 sher . PRINTED IN U .S A . jazz radio in buffalo wbfo88.7fm Photo by Mi choel Ketter PHIL WOODS in dCt1o n 4 Veteran WBFO announcers Babe Barlow , Ed Smith, Pres Freeland , and Paul Smith are acutely aware of the jazz heritage on WBFO which extends back to the year 1962. Today, as general manager Marvin Granger acknowledges, "WBFOhas more jazz and more kinds of jazz than ever before. " Ably serving its function as the original public radio station in Buffalo, more and more people are turning to WBFO for jazz . The statement by Granger represents much more than just the simple fact that WBFO now programs over seventy (70) hours of jazz per week . It means WBFO is the largest programmer of Jazz in Ohio , Pennsylvania, and New York outside of New York City . It also means WBFO moved in at pr ecisely the correct time and now completely fills the void created by the sale of WEBR and WREZ in terms of providing jazz to the avid Buffalo audience . Buffalo has cometoexpectjazz at 11 pm each night (courtesy of "Jazz Nightly" with George Beck on WEBR) and this tradition now is carried forth by WBFO . The live jazz music scene continues to thrive but to maintain it, solid jazz programming on at least one station in a market the size of Buffalo is an absolute necessity . WBFO answers this need. Direct and indirect benefits to WBFO have already been seen as a result of t,he 70 hours of jazz which went into effect July 1. Record companies across the country are now paying serious attention to our station and responding with vastly improved and more personalized service. In laymen's terms , this means the newest jazz releases are arriving at WBFO and jazz artists can expect their recordings to be played in Buffalo. This benefits the whole community by encouraging the artist to perform here. Record sales are a large part of any jazz musician's income and as such airplay and number of jazz hours per week are treated very seriously by record companies and music1ans . It should come as no surprise, then, that jazz celebrities are eager to appear on WBFO and have willingly accepted in vi- �tations to appear for interviews on the afternoon musicmagazine show, "This is Radio" (2-5 pm Mon. through Fri.). People like Gene Perla, Jack McDuff, Richard "Groove" Holmes, Spider Martin, Marian McPartland, Sonny Roll ins, Phi I Woods, Ryo Kawasaki, George Benson, Bruce Johnstone, Rick Petrone, Joe Corsello, Mark Murphy and a long list of Buffalo· based musicians have done interviews since January of this year . Groove Holmes, Spider Martin and George Benson have additionally done personal endorsements for the station and expressed their desire to help us in our fund raising activities. Jazz has always been an artform filled with generosity and reciprocity. stand ourselves John H. Hunt Director of Jazz Programming wbfo* jazz .programs Mon .-Fri. Noon-Two "Spirits Known and Unknown" Mon . -Fri . 11pm-Midnight Mon. "Modern Jazz : The first 20 Year" -Dick Judelson Tues . "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" - Paul Smith Thurs. "In Concert" - Ed Smith Fri . "The Hot and The Blue Art" Dave Benders Mon.-Fri. Midnight-3 am '"Round Midnight" Mon.: John Miller Tues. : Bill Besecker Wed.: Paul Meyer Thurs .: Paul Ericson Fri . : Babe Barlow Saturday 3am-8am "Pulse" -Paul Wandel Sam-Noon "Freedom Flight"- Yvonne Price Midnight-Sam "Opus in Modern Music: Jazz by Request- Pres Freeland Sunday : Noon-two "Jazz Contours• -Bill Wahl 11pm - midnight "Jazz Roots• - Chuck Mancuso Midnight-3am "Roots, Rhythm and Sound"- Dave Jacobs 3am-8am "Progressively Yours" -Michael Vaughan Wilson For more information about jazz programs, call Pam Reed at _831-5393 for a complimentary copy of the WBFO program gut de . Photo by Michael Ketter GEORGE BENSON & JO HN HUNT dt and maybe appreciate ourselves." Amen. WBFO Jazz programming on WBFO covers la wtde range of tastes and styles from New Orleans to the avante garde to the most current releases. As the station's overall schedule (including classical and folk/blues programming) has become more solidified, we find listeners tuning in for specific shows but also broadening their own horizons to listen to most of the oth er jazz programs as well . A complete listing of all jazz shows will be included at the end of the article. We also take pride in our engineer ing staff and their ability to present I ive performances by jazz artists both from our well-appointed studios and from the site of the performance . During the past eight months, chief engineer Mark Fruehauf and his crew have prepared jazz groups (and folk, bluegrass and chamber groups as well) for live broadcast from our studios as part of "This is Radio " and "Prelude." Probably the finest achievement , though, has been our series of live broadcasts from the Statl er Hilton "Downtown" room . We've broadcast I ive performances of Milt Jackson, Dizzy Gillespie, Marian McPartland, Spider Martin, and Chari ie Byrd. This series wi II continue during the fall / winter season with another impressive I ine-up of jazz stars from the Downtown. (See ad for times and dates). In addition to the "Downtown" broadcasts, we've also done live remotes from the Fillmore Room of Norton Union at the University of Buffalo. Concerts by the Buffalo Jazz Ensemble, Spyro Gyra and other Buffalo-based groups have been broadcast from this location with more planned in the future. At this point in the development of music in Buffalo, it is probably appropriate to philosophize a bitontherole of WBFO, jazz rad io in Buffalo . Elvin Jones stated , in a recent WBFO interview with Bill Wahl, that jazz needs the kind of support that pub I ic radio supplies . Elaborating on this theme and quoting Marvin Granger once again, "Jazz (andblues)are our main indigenous musical forms as a people . As public radio it's part of our purpose to explore, to cultivate and to educate. The more the American people know and feel the music that has come out of our experience as a people, the more we wi II under- the great SONNY FORTUNE might return oct. 15 ··17 (to the trolfomodore) 88.7FM LIVE BROADCASTS FROM THE STATLER JONAH JONES 9/7 MILT JACKSON 9/21 KENNY BURRELL 5 10/5 from 9 m * in stereo �recordrg; ROLAND PRINCE - COLOR VISIONS - VANGUARD 79371 Roland Prince is an exceptional guitarist who never fails to add a new and colorful dimension to the music whenever he plays . He's previously been heard with Elvin Jones, Jack McDuff, James Moody & Stanley Turrentine. On this, his first, album, Prince comes forth as a leader, with four of the seven tunes his own . The material chosen is diversified and interesting, practically forcing you to listen to both sides straight through with each listening. Prince's solos consist of well placed notes with long open spaces alternating with bursts of qu1ck single note runs and improvisations with minor chords . He sticks with a straight, clean electric guitar. Among the many talented musicians on hand are Randy Brecker, Joe Farrell, Frank Foster, Bob Cranshaw, Kenny Barron & Buster Williams. Other composers represented here are John Coltrane and Ed Bland. The two standouts are Genevieve & Red Pearl - both penned by Prince . If you like jazz guitar, trysomethingfresh - Roland Prince . B.W . KENNY BURRELL - SKY STREET - FANTASY F-9514 If my count is correct, this is Kenny Burrell's 23rd album as a leader and as one of jazz' most consistently proficient guitarists. In an age when many musicians of lesser calibre are selling themselves at the expense of their abilities, Kenny remains true to himself. The sound o.f Sky Street is contem- KENNY BURRELL- starts Oct. 5 DOWNTOWN ub. student association presents porary without resorting to disco-funk leaving h1m plenty of room to stretch out and reveal his noted quickness of finger. Sky Street has less of the great swinging associated with Burrell's guitar but he still produces the same smooth tone and speed that goes with his name. Jerome Richardson, whose work as a sideman and member of various horn sections is well "vinylized", is heard on tenor and soprano sax and flute and contributed two of the four compos it ions . Kenny's most recent performance in Buffalo at the Buffalo State jazz fest ival last spring was proof that he's even more dynamic I ive than on record . I look forward with great anticipation to his upJ .H. coming stay at the Downtown room . and SONNY STITT - STOMP OFF LET'S GO - FLYING DUTCHMAN 1538 Sonny's second F I ying Dutchman date presents two very different sounds. Of the four pieces , two sound like a hip , well produced jam session . They are typical jam tunes - Perdido & Duke's Place. A Latin feel takes over for the remainder, Little Suede Shoes, by Charlie Parker, and Samba De Orpheo. The basic personnel is Jon Faddis & Lew Soloff/ +rumpets, Frank Owens/ piano , Bucky Pizzarelli / guitar, Richard Davis/ bass and Louis Bellson/ drums . Percussionists are added for the Latin tunes. Stitt , heard on alto and tenor, sounds great, and has come up with another 'super record . Check out those screaming trumpets on Little Suede Shoes. B.W . FRIDAY, OCT. 8 10pm··1=30am students 75¢ others $1.25 special prices on beer tickets on sale sept. 27 at norton union 6 GRANT GREEN- MAIN ATTRACTION- KUDU 29 It's been four years since Grant Green ' s last record . Though most of his later recordings have been commercial, the music has generally been good . Unfortunately, all we have here is boring, plastic funk with some occasional, short guitar solos from Green and more un i nspired flute work from Hubert Laws . This might be alright to dance to or talk over, but its tough to listen to. B.W. �DAVID SANBORN- WARNER BROS. 2957 As disco/ funk albums go, Sanbor-n's first album was one of the best . His second is better. Perhaps the reason he does it better than his thousands of competitors is that he feels the music rather than playing mindless riffs . He makes good use of such talented sidemen as bassist Herb Bushier, and allows them solo space . The voices are only used on a few tunes, but effectively only on one . Another, 7th Ave. is simply a driving, well organized, well played funk tune . The result is an album that's mostly commercial funk yes, but probably too good to pass as disco. Good party music. B .W. THAD JONES/MEL LEWIS AND MANUEL DeSICA AND THE JAZZ ORCHESTRA - PAUSA PR 7012 We have here the debut of the Italian arranger, composer and sometimes vocalist Manuel DeSica, leading one of the best big bands anywhere, that of Thad Jones and Mel Lewis. The credentials of Thad and Mel's band are unquestionable (1#1 in the Downbeat' s most recent critics poll) and the personnel contained on this LP make it a must for big band fans . DeSica seems able to bring out the best of musicians like Pepper Adams, Billy Harper, Ron Bridgewater, Roland Hanna, Jon Faddis and many oth~rs with inspired composing and intelligent arranging . This is an album recorded in 1973-74 of Thad and Mel with a different but enjoyable Italian twist. J.H . LAURINDO ALMEIDA - LATIN GUITAR - DOBRE 1000 Some people are probably aware of this incredible Latin guitarist through his collaboration with the M .J .Q ., titled (oddly enough) Collaboration, on Atlantic. This trio record places him in the forefront on a splendid set of twelve tunes . Pianist Mike Lang and percussionist Chuck Flores are Almeida's partners for the informal sounding session, all performed on acoustic guitar. Side one is Latin jazz ; side two leans towards classical, with all the com positions on that side by BraziliancomposerRadamesGnattali . Very l ight and very tasty. B .W. JO HN KLEMMER- Sept .18 at U B ERIC DOLPHY - JITTERBUG WALTZ - DOUGLAS 6002 The musi c in thi s two record set has been issued several times before on the Douglas, FM, VJ & Trip labels . Now the two '63 sessions are available togeth er from a label that appears to be reactivated . The music is as great now as it was 13 years ago, w/ such notables as Woody Shaw, Bobby Hutcherson, Richard Davis, et c. Dolphy 1s heard m solo, duo and larger group sett ings, in cluding a nine piece band hP.ard on Burning Spear . A very good addit1on to your Dolphy coll ec ti on, or a good place to start. B .W. • DUKE ELLINGTON - JAZZ VIOLIN SESSION- ATLANTIC 1688 Here ' s a must for jazz violin fans . Recorded in Paris in 1963, it is the first issue of a session presenting the Ellington band with thr ee great violinists . The names Svend Asmussen, Stephane Grapelli & Ray Nanceshouldringabell . All the music is by Ellington or Strayhor-n and all solo s are performed by th e violinists . Th e band ranges in size from sextet to ten pieces, B .W. including th e vi olinists. FITZGERALD & PASS- AGAIN -PABLO 2310-772 This is the second volume of duo music from Ella Fitzgerald & Joe Pass . The fourteen tunes are intimate, first rate performances . Pass, heard on acoustic guitar, is sensitive and very much an equal partner . Especially recommended to Ella's fans. I just wish the pressing was quieter. B.W. RAHSAAN ROLAND KIRK- OTHER FOLKS MUSIC- ATLANTIC 1686 Now this is excellent Rahsaan . There's no gimmickry here (although Kirk is one of the few cats that can get away with it) as he runs through seven tunes, only one of which is his own composition . There's variety - Charlie Parker's Donna Lee for some bop , -the lightly swinging standard That's All, the haunting Anysha, the straight forward cooker Arrival, Frank Foster's 3/ 4 time Simone and more, all done in true Kirk fashion and originality. Among the supporting musicians are bassist Mattathias Pearson, pianist Trudy Pitts, drummers Roy Haynes & Sonny Brown, pianist Hilton Ruiz and trumpeter Richard Williams. Kirk plays his usual arsenal of instruments - tenor sax, flute , manzello , stritchaphone, reed trumpet, harmonica and percussion . This is pure Roland Kirk , with much of the color and life of a live Kirk performance . By the way- Simone is a standout . This one is recommended . B .W. GEORGE BENSON - GOOD KING BAD - CTI 6062 Guitarist Benson releases this album while he has the hottest selling album in the country . This disc contains material recorded pre-Warner Bros. and has the usual CTI production with innumerable performers making a contribution eg Ronnie Foster, Steve Gadd, Eric Gale, Mike Brecker, Steve Friedman, Joe Farell, David Sanborn, etc . The theme of the album is a tribute to author-arranger David Matthews. Benson really demonstrates his R & B background and tunes are basically pop . A fine production, however none of the players are 9iven room to move including Benson . I hope this, plus Breezin , aren't what Benson is limiting himself to, for although his talent shows through he sure doesn't require the T .M. heavy arrangements. 7 AZAR LAWRENCE - PEOPLE MOVING - PRESTIGE 1099 People Moving is Azar's third record as a leader to date. It is also the least interesting. Lawrence seems to be heading in the direction of commercial success- either he needs the money or just doesn't care . There is some faidy decent jazz here, but Harvey Mason ' s funky drums or voices often disrupt the proceedings. If you I ike Azar, check out h is best disc Bridge into the New Age. If you dig funk w/ voices, this one ain't bad . B.W . �JAN GARBAREK/BOBO STENSON QUARTET - DANSERE ECM-1-1075 Keith Jarrett opened his Camegie Hall Newport Jazz Festival concert this June 28 by introducing thef1rst United States appearance ever by Jan Garbarek. This gifted young saxophonist has established a quietly powerful styleofplaying on mlmerous ECM recordings both as a leader and sideman, in the process moving himself everclosedothetopof his profession Bobo Stenson's serious piano com pi iments Garbarek's sax in a way that is controlled yet free enough to move easily through six original Garbarek compositions on Dansere. Bassist Palle Daneilsson another frequent ECM recording artist and Jon Christensen/drums round out this well-balanced quartet, each of whom were on Garbarek's earlier ECM recording entitled Belonging. Dansere is a step further in the evolution of the Garbarek/Stenson Quartet, another sterling pressing, and more reason why Garbarek's first United States appearance will most assuredly lead to many more . J H FREDDIE HUBBARD - WINDJAMMER - COLUMBIA 34166 It seems that Freddie Hubbard has gonA down the tubes; at least as far as jazz 1s concerned. Windjammer has very little to offer. Only the title track and Neo Terra offu any kind of serious music. Unfortunately, they are thet\'l•o shortest tunes on the album. For the most, he's chosen studio musicians rather than his working group to make sl,ck, f,.nky , repititious music, complete with a vocal chorus and the di-;co drums of Steve Gadd. Freddie's licks are also beginni11g to become redundant. B .W. SIN6S fOR ..PI:OPL[" PAT METHENY- BRIGHT SIZE LIFE - ECM-1-1043 Gary Burton writes the liner notes on this album explain,ng the enthusiasm of the young (21 yrs .) guitarist Pat Metheny who adds an electric 12-string guitar to his quintet. Now Metheny releases his first album picking superb musicians to form his trio. Jaco Pastorius on bass and Bob Moses on drums compliment Metheny's floating rythmic 12-string naturally. The album provides excellent l1stening for even when the tune is fast there is a sensation of relaxation, eg Unquity Road. Each cut displays Metheny's talent, but it is actually the trio that shines through. The title track gives insight into what follows, and each cut allows one to get more involved . A fine release and the recording quality (originally released as an import) is excellent. T .M. Friday, September 17, 8:30 PM Sheas Buffalo Theater Super Songstress Fitzgerald sings and swings with the Tommy Flanagan Quartet. A bluesy, jazzy one-night-only showcase, of the style and songs that have captivated two generations. Tickets: $25, $12.50, $10, $7.50 and $6 available at Amherst Tickets Eastern Hills Mall, Festival Tickets, US's Norton Union, Buffalo State, Sam the Record Man in St. Catharines and Niagara Falls, and Shea's Buffalo Box Office (847-0050). ...... Benefit People, Services to the retarded adult, inc. RAY BROWN'S BAG- CONCORD CJ 19 Bassist Ray Brown is one of the most worked and recorded musicians in all of jazz. Therefore a recording in his own name is a rare treat. Brown uses two different groups on Bag. The three quartet tunes are with John Collins- guitar, Dave Grusin- keyboards and Jimmie Smith - drums. The remaining four cuts have Blue Mitchell & Richie Kamuca up front, with Art Hillery and John Guerin on piano and drums. The "Bag" is a mixed one, with Ray covering many styles of jazz. A high point is A Time For Love, with Brown soloing over Grusin's synthesizer textures. Over all, this is a tight, well recorded album offering the work of a super bassist . B.W. FREDDIE HUBBARD - ECHOES OF BLUE -ATLANTIC 1687 This is nothing more than a sampier of Hubbard cuts from two of his Atlantic albums, recorded in the late sixties. In fact, all but one tune were included in a similar package The Art of Freddie Hubbard. It's good Hubbard, although I don't know why they chose these tunes again. However, if money is tight (and when isn't it these days) records such as this is a good way to build a compact but chronologically com pi ete collection. B.W. GERRY MULLIGAN MEETS ENRICO INTRA - PAUSA 7010 Aside from the Mull igan/Chet Baker reunion concert (CTI 6054, 6055), this is the only new Mulligan in several years. Unlike his previous records, this is not an album of swinging baritone. Recorded in Oct. 1975, while he was living in Italy, this is a melodic, often graceful set of music. Enrico Intra composed all but one tune and plays piano. The remaining instrumentation is saxes and flute, bassoon, guitar, bass and drums. All the musicians are Italian. Two of Intra's tunes are mild, floating ballads, seemingly tailor-made for Mulligan's singing baritone . Gerry's Rio One , a bossa nova, finds the leader in full swing over a thick bed of percussion. He debuts on soprano briefly in closing. All of side one is occupied by Nuova Civilta, a suite-like tune of many moods bridging jazz, classical and rock music. Although it threatens to at times, it doesn't lose your attention. I'd venture to say that this album won't cause Mulligan to shed any of his older fans, and it should win him some new ones. B.W. 8 CECIL PAYNE - BIRD GETS THE WORM - MUSE MR 5061 Muse is one of the few remaining record labels that will usually not tamper with the desired sound of the artist. Case in point is Bird Gets the Worm by baritoFle saxaphonist and flautist Cecil Payne, recorded in February of th1s year . Payne has opted to remain with the bebop sound he was a part of in a band led by Dizzy Gillespie instead of synthesizing and electrifying his music as in currently in vogue. It might be observed here that Payne has lost some the crisp intonation of his bebop days. The use of Payne's long time associate Duke Jordan on piano and Buster Wi II iams, who is a noteworthy bassist as well as a leader in his own right, was no accident . Bird Gets the Worm vibrates with the authentic swinging Payne apparently was trying to create. J .H �JAN HAMMER GROUP - OH YEAR? - NEMPEROR RECORDS NE 437 The winner of Downbeat magazine critic's poll on synthesizer, Jan Hammer offers another release that follows his superb The First Seven Days . Unfortunately this new album bears I ittle resemblance to the latter . Steven Kindler, who was the only other player besides Hammer on the last album, plays v iolin, and quite well. Tony Smith plays drums and Fernando Saunders adds bass . The outcome, though Hammer's synthesizer work is up to its usual high standard, is rather poor . The majority of the tunes sink into funk'-rock with vocals included. Evolove is an exception however, with some high powered soloing by Kindler and Hammer - - but this one cut doesn't make an album . Hammer' s Red and'Orange is also recorded, but the version played by Abercrombie, Hammer and DeJohnette on Abercrombie ' s album Timeless is better. T .M . ART BLAKEY - BACKGAMMON - ROULETTE 5003 Recorded in March of this year, the latest side from Art Blakey's jazz messengers leaves me with mixed feelings . Some of the tunes, such as Third World Blues and Uranus sound fresh and stimulating. However, at times the band doesn't appear to be putting a lot of effort into the music . Saxophonist David Schnitter is a good, powerful player; but on Whisper Not he carries his Dexter Gordon influence too far with direct quotes from Dexter' s horn . Blues March is recorded for the up - teenth time and lacks interest. Namfulay is an interesting drums/ vocal/bass Afr ican tune reminiscent of his '60's Afro-drum ensemble work . Albert Dailey, Bi II Hardman & Chin Sizuki round out the group. B .W. SEPTEMBER IS ECMRecords MONTH AT THE VERVE TWOFERS Heading the list of four new twofers from the Verve label is BILL EVANS/TRIO, DUO (V 2509) . Record one is a re-issue of Trio '64, with Gary Peacock and Paul Motian. Its good Evans, although none of his own tunes are included . What really adds to the attractiveness of this set is that the second record is lntermodulation - th e great Evans - Jim Hall duo session of 1966. All in all, this is a very worthwhile investment, with some out of the ordinary Evans music . Evans is back on STAN GETZ -THE CHICK COREA/BILL EVANS SESSIONS (V 2510) . One disc was formerly titled Sweet Rain, rec . in 1967. Getz is joined by Chick Corea, Ron Carter & Grady Tate. The program features two Corea tunes Litha & Windows. Corea is heavily featured , although it's clearly Getz ' date. The other record is a previously unreleased session with Bi II Evans, Ron Carter & Elvin Jones on one side ; Evans , Richard Davis & Jones on the other . Meetings such as these are a rare occurrence (although Evans and Jones happily got together this year at Newport) and should be heard . Evan's Funkallero is among the six tunes . Highly recommended . GEORGE GERSHWIN: PORGY & BESS (2507) by ELLA FITZGERALD and LOUIS ARMSTRONG was done back in 1957, and is a classic performance and little more need be said . Aside from that, it sure beats th e Mel Torme/ Francis Faye version! It makes more sense as well. THE NORMAN GRANZ JAM SESSION (2508) is a I ive concert organized in 1952 featuring some of the greatest jazzmen of all time . Three sides contain one long jam tune each, while the remaining one has ten ballads in medley form, showcasing each of the ten featured performers. They are: Barney Kessel, Chari ie Parker, Ben Webster, Johnny Hodges; Oscar Peterson , Ray Brown , Flip Fillips, Charlie Shavers and Benny Carter. The drummer is J .C. Heard and the music is as good as the lineup . B .W. y c E Recordings of extraordinary quality. Artists of exceptional talent: Keith Jarrett, Gary Burton, Ralph Towner, John Abercrombie, Jan Garbarek, Dave Liebman, Eberhard Weber, Chick Corea, and many others. Free to follow any direction. THE K~LN CONCERT :1[~~ KEITH JARRETT ··:h-...•::;\;-·~~!i!:)ji.tl!·" KEI1H .IARREn t\! ::. ·~-r ·';!~ ~~ · ·.~1{\), -::)~r;~. ~J~·:~"Jj\ Jr" .•~ :"·".~-~'\n ~.:-~~!· ;,,. . ,,.~......,. •' .• ~ -~ ~ .w.·wwEK ·!~t· ECM SALE PRICES: 6.981ist NOW·4.49 11.98 list NOW 7.99 Isn't it time your library included ECMthe most beautiful sound next to silence. CAYAGES SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA �PABLO, RCA & FLYING DUTCHMAN MONTH AT SATTLER'S! D-4.44 - .44 LP·s 998 Broadway Boulevard, Seneca & Main Place Malls RCII �3 FROM ENJA We just received three records from the ENJA label . They've . been out fo...- a few months, so you may have run acl"oss them in the bins. · LIVE AT THE FESTIVAL (2030) features tunes from four groups, recorded in Yugoslavia in '70, '72 & '73 Bill Evans does a 15 minute version of Miles Davis' Nardis w/ Eddie Gomez and Tony Oxley - its hot. A sweet duo treatrnent of Round About Midnight comes from Swedish vocalist KarPn Krog and bassist Ari ld Andersen . The Archie Shepp quintet run through the straight ahead Sonny's Back. Lastly, a lengthy modal tune,...-creators, comes from the Bobby Hutcherson/ Harold Lnad quintet featuring the fine drumming of Joe Chambers . A good uvarious• album with four interesting cuts . FATHER TIME (2056) comes from bassist Frank Tusa. He's heard with his fellow members of Lookout Farm - David Liebman, Bedal Roy, Richard Beirach & Jeff Williams. All six tunes are Tusa's, performed in duo through quintet formats . The sound is more a "live• sound than Farm's ECM & Horizon discs, & Liebman blows withfireontwocuts. This one reminds me of Da.v id's Japanese records and his efforts w/Open Sky, the _latter of which included Tusa, Well written , well played mus1c. Check out Doin' It - Liebman's in his glory. · Bobby Jones gives us a straight forward trio set titled HILL COUNTRY SUITE (2046) . Accompanied by George Mraz/ bass & Freddie Waits/drums, the former Mingus tenor sax/ clarinetist glides through four originals . The trio plays well but lacks spark . Perhaps they' d do bettPr "live" . American ENJA pressings have impro•1ed, but not enough. If you get a bad one- don 't be afraid to return it. B .W. JAZZ NITEE with geo. beck has a new home! 11:30 pm ··12: 30am mon. thru fri. STEREO 106 WADV 1970 (previously on Contemporary & Glendale) and is another good effort. His sound her-e is more contemporary, and he's added moog and str-ing synthesizers to his acoustic and electric pianos . Most notable among the members of the sextet are Sam M~st - tenor- sax and flute, Bobby Shew - trumpet and Don Alias - congas. Frank's son, drummer Steve, is steady but over plays on the funky tunes . In all, not as good as Frank's earlier Taurus but a worthwhile consideration forhisfollowerswhodon'tmi~dsome added B.W . funk . Should be played loud. MICHAEL MANTLER/CARLA BLEY - 13/ 3/4 (WATT 3) What Michael Mantler and Carla Bley have continiJally proven with each of tl">ei r own unique musi cal approach t? s is that two people can come from the same social and artist1'~ environment of the past 10 years or more (they ·ve been living together for that long) to produce two quite different musical philosophies which are echoed in all of their writing The pressures of theil· maintaining a creative level with their own music while overseeing both the financial and artistic affairs of the JCOA/NMDS would most certainly have an effect on any musicians' philosophic outlook. These pressures should provoke similar results , yet the latest music offered by each using the same basic mudium (piano/ orchestra) is still startlmgly different. Bley sets up a traditionalist motif on the piano in 3/4 and embellishes it quite untraditionalistically with a sma_ll _orchestra . The music is beautiful and at t1mes blatantly femmme. It soothes and makes one content. It is the music of sweet dreams . Manti er on the other hand, employes two orchestras, one which maintains an Eastern-likedronewhilethe other attacks - Godzilla like - from the extremes of the frequency range, to create a music both troubled and searching . It conjures nightmares. If there is ever to be an album meant to prove that the sexes are equally endowed in artistic ability but B .B. quite different in their approach, this is it . BIRTHRIGHT - BREATH OF LIFE - FREELANCE FS-2 Having written the liner notes for- this LP, I'd have to have a lot of ner-ve r-eviewing it as well - that is, unless it was a monster . It is a monster. Their first album - Free Spirits, received its very first review in the BJR. Since then it received a rave feature review in Coda, and nationwide airplay . Their second effort is even better . Joe Ford (now with McCoy Tyner), Paul Gresham & Nasara Abadey ar-e the only remaining original members. Whereas they used to pick up other players for ·gigs, this group has been together for over a year. This music depicts a group that not only works together, but feels and creates as a single entity - Birthright. They still reflect their str-ongest influences - Coltrane, Miles, Shorter, Tyner , etc ., but incorporate these influences into their own sound - as easily recognized as the sounds of the above masters. Birthright has grown and will continue to do so. Vocalist Beverly Sims- in the Dee Dee Bridgewater vein, is a valuable addition - both as a singer and composer. Guitarist Greg Millar, pianist Tom Schuman and bassist Gerry Eastman are all skilled, highly creative musicians, performing on both acoustic and electric instruments. They are fine composer-s as well -Shuman's Travis is a standout. To cut this review short (?) I'd recommend this album to everyone who enjoys contemporary jazz . It is polished, melodic, fr-esh and completely original. I might add- its very well recor-ded and the pr-essings are clean. Check the local stores, or- send $6 to Birthright, P .0. Box 514, Buffalo, N .Y. 14240. Tell your friends- Birthright deserves attention. B.W. HAMPTON HAWES - THE CHALLENGE - RCA JPL 1-1508 Hampton Hawes' life is a story of rising above personal tragedy instead of crumbling beneath its weight. The Challenge is i:1 no small measure another victoryforHawes; a solo pi::mo album of extreme skill , taste and listenability. Hamp fir-st caught my attention on an album where he perfor-med on the electric piano live at Montreux . His most recently released material, however , has been primarily acoustic and reveals. as only the acoust1c can, great inner reserves of piano technique that come through, whether accompanied or- unaccompanied . His left hand is especially str-ong and provides a gr-eat base of support for- the gr-aceful r-ight hand leads. Solo pi ano albums ar-e fr-equently pompous and bor-ing. The Challenge is neither , and shows Hawes to possess dexterity in many styles fr-om neo-Baroque to ragtime and swing. J .H. FRANK STRAZZERI -AFTER THE RAIN- CATALYST 7607 Frank Str-azzeri is no slouch, either as a pianist or as a reco,rding artist . This is his fourth record as a leader since /----~ 11 " ~ ·1'-( \)If ~ '- \ • ' ~ will Sonn~ Fortune be bock in mid ··october? �SONNY STITT- STARDUST- ROULETTE 5002 For some strange reason, Roulette records has chosen to re - release the Stardust album . It' s no better the second t i me around . It is a ' 67 recording of Stitt on varitone with a 13 piece band . The arrangements are weak and the 12 short tunes offer very little to excite even the casual listener. There's much, much better Stitt available. B .W. DEXTER GORDON & JOHN COLTRANE - BETHLEHEM The first of two Bethlehem re-issues released last month is DEXTER GORDON - The Bethlehem Years (BCD-6008) . Dexter never fails to sound good, as he does on this 1955 recording with Kenny Drew, Leroy Vinnegar & Larry Marable. The recording is clear and crisp - a must to capture Gordon's deep , hard tone . This album was originally issued as Daddy Plays the Horn - a Gordon tune done here in a nine minute version . Also- there ' s Bird's Confirmation. Dexter Gordon was a major influence onJOHNCOL TRANE. Turning Point (BCP-6024) was done in 1957, with material from two different sessions . Here's the breakdown . Twotracks w/the Art Blakey big band, two quintet tracks from the Blakey band - with Coltrane & Donald Byrd up front, and three septet numbers from a different session w/ Byrd, Frank Rehak, AI Cohn on baritone. That should be I is ted on the jacket, but it' s buried in the I iner notes . Good Trane in a mixed bag production . B .W. JOHN COLTRANE GARY BURTON QUINTET - DREAMS SO REAL - ECM 1072 Since Burian's move from Atlantic to ECM, he has put out seven albums - each a bit different - each a masterful work. The music of pianist/ composer Carla Bley is the feature here - all six tunes are hers . Bley i s one of todays finest composers, noted for works ranging from near avant garde to moving passionate melodies to straight rockers . All are played with sensitive execution by Burton, Mick Goodrick , Pat Methany, Steve Swallow & Bob Moses - Gary's quartet of abouttwo years now. Perhaps not Burton's most universally appealing ECM release, but an excellent record by any standard . And- a fitt ing tribute to Ms . Bley, which she well deserves . B.W . DE XTER GORDON JACK REILLY - TRIBUTES- CAROUSEL CLP 1002 Tributes is a low key solo piano outing for a virtually undiscovered ·talent, Jack Reilly. Embodied in his style are th e influences of George Shearing and George and Ira Gershwin; swinging jazz as well as ragtime , classical and pop flavors . His right hand is not terribly dexterous orflashy but the overall effect is well - conceived . All but one of the ten compositions are Reilly originals dedicated to some of his favorit e composers like Ben Webst er, Coltrane, Zoot Sims, Lee Kanitz and the Gershwins . He does a stirring rendition of Someone to Watch Over Me with a hat tip to Gershwin . Th e placement of Mi cs and recording techniques leave something to be desired for a studio album (it sounds more I ive than it should) but his feeling and skill for the piano come through . J .H. YUSEF LATEEF -THE DOCTOR ISIN ... ANDOUT- ATLANTIC 1685 Lateef's previous few Atlantic releases have had virtually little to offer . Even the live 2-record set was below par . His newest offers some interesting music - such as his floating oboe work on Hellbound. Over all, it's a lighthearted, often very humorous record that fits its title well. Its funky through out, but most of the funk has some guts . If you've I iked Lateef's work right along, you'll love thisrecord. lfyou gave up on him, I'd suggest you try to hear this before you buy it. B .W. 12 �THE PRESTIGE/MILESTONE TWOFERS Fantasy Records, originators of the jazz "twofers". has gone nuts this month. Their new release consists of no less than twelve twofers of long unavailable matenal. Now - to begin . PRESTIGE From Mlt.ES DAVIS comes GREEN HAZE (P -24064). dating back to 1955. Two sessions are offen~ d. each of which includes Red Garland/piano and Philly Joe Jones /drums. Session one is a quartet setting with bassist Oscar Pettiford originally issued as The Musings of Miles (Prestige 7007). The second record finds Oscar rep I aced by Paul Chambers with the addition of John Coltrane, originally titled Miles (P-7014) . This package simply contains two excellent Miles Davis recordings with superb sound quality . Tenor man HANK MOBLEY is heard on MESSAGES (P24063) . His co-workers here are trumpeters Donald Byrd and Kenny Dorham, pianists Barry Harris and Walter Bishop with bassist Doug Watkins and drummer Art Taylor. Both sessions were done in 1956, and are heard here as complete re-issues of Mobley's Message (P-7061) and Second Message (P-7082) . Mobley, a former member of the groups of Miles Davis. Art Blakey, Max Roach, Horace Silver, etc ., sounds in good form here delivering straight ahead music. One of the finest records in this release comes from pianist MAL WALDRON. ONE AND TWO offers the pianist in three sessions, Circa' 1956-7, with such notables as ldrees Sulieman, Gigi Gryce, Bill Hardman, Jackie Mclean, John Coltrane & Sahib Shihab. Coltrane is heard only on record two . The most noteworthy music comes in the form of ballads, such as Yesterdays and the especially intriguing Waldron treatment of Billie Holiday's Don't Explain . Waldron was Billie's accompanist for almost three years ('57-'59) and is also well known for his work with Eric Dolphy and Booker Little. Originally Mal 1 (7090) and Mal 2 (7111) . EARLY BONES (24067) is a kind of Prestige trombone anthology. Five sessions are included with tunes featuring trombonists J.J. Johnson, Kai Winding, Bennie Green and J .J . & Kai together. Among the rosters of musicians are Sonny Rollins, John Lewis, Brew Moore, Chas. Rouse, & Gerry Mulligan. Recorded from '49-'55, this music was previously on various Prestige and New Jazz 10" LP's and 78's . PHIL WOODS is . certainly a deserving candidate for reissues, and he gets one titled AL TOLOGY (P-24065). Both sessions find Phil joined by another alto player-Gene Quill and they both blow their tai Is off. Record one contains four long jammers (three inked by Woods) while the second has eight shorter tunes - six Woods originals , and one each from Miles & Sonny Rollins . Previously Pairing Off (7046) and Phil & Quill (7115), these classic '56 & '57 meetings are hot. The Davis & Rollins tunes are from Bird Feathers (New Jazz 8204) . HOUSE OF BYRD (P-24066) comes from trumpeter DONALD BYRD . The first disc is a re-issue of Two Trumpets (P-7062) - a sextet date with Art Farmer & Jackie Mclean . The second is a quintet co-led by Phil Woods who wrote four of the six tunes, formerly The Young Bloods (P -7080). The year was 1956. Good music, Woods is brilliant. MILESTONE Heading off the six from the Milestone label is one from THELONIOUS MONK. IN PERSON (M-47033) is a re-packaging of two of Monks Riverside albums . The first is the classic liE TA4tJ;.1M4DORE CAFE ksents liE The former Chuck Mangione reedman w/DAVID SAMUELS/vibes, ex-Mahavishnu Orch. bassist RICK LAIRD, and RON DAVIS/drums. FRI. & SAT., SEPT. 10 & 11 -10pm / SUN., SEPT.12 -9 pm $4 Cover charge for the night· no minimum· low prices Tralfamadore Cafe 2610 main street 836-9678 at fillmore Special Offer to Out- of- Town Jazz Fans: Rooms at the Statler Hilton $14.25 per person -Twin Occupancy $12.00 per person -Triple Occupancy $20.75- Single Occupancy Includes: Room (1 night), Continental Breakfast, Free Parking, Tax & Gratuities. Fill out coupon and send with check for concert tickets & room(s) to Tralfamadore Cafe c/o Bob Lawson. NAME..__ _ _ _ _ _ _ _ _ NO. ROOMS REQUESTED SINGLES_ DOUBLES_ --------------TRIPLES ADDRESS CITY_ _ _ _ _ _ STATE ARRIVAL DATE ZIP_ _ _ __ DEPARTURE DATE �along, right on time, leaving nearly all the solo spots for the saxophonists. They use it well . Tf\js certainly isn't up to the calibre of the Stitt/ Ammons sessions.• but. it is good be-bop from two hornmen who feel each other and act accordingly. In all its a good record and worth looking into . B .W .1ept. jazz t,15,29 Dr. Jazz 3, 4 Flight 10,11,12 Gerry Niewood Qt. 17, 18 Paul Greshcn Qt. 24.25 Mujahid folk n· blue.1 'J. 7, 21 8, 22 9 Laura Heisler John Brady Linda Ncnius & Bill Edwards Sid Krupkin 14 16 23 28 30 MIKE ARENA PRESENTS LITTLE BIG BAND - LUANA LA 1020 . A variety of styles and moods, each executed in a tasteful and pleasing manner can be found within this LP. Mike Arena, according to Harry Abraham's I iner notes, has been leading assorted big and not-so-big bands for several years in the Rochester area . There are times when this album swings , time when it's pensive and times even for a Latin tune , Mambo Niente, the opener on side one. Little Big Band is both contemporary sounding and able to emulate and do justice to older styles like Basie and Ellington . Soloing by tenor and soprano sax and flute man Joe Romano, another Rochester jazz man, is bold and skillful and he occupies more solo time than any other member including Mike Arena, a tenor saxaphonist himself. A balanced album of big band material , well-recorded, wll pressed all the more impressive when you consider its on an i ndependent label. J .H. Nan Hoffman Ed O'Rielly Bo Borri ns Blues Band John Marino Phi I Di lion tralfamadore cafe 2610 main street and much in demand Orchestra at Town Hall (R1v . 300). This live 1959 performance places Monk at the helm of a 10 piece band, with people such as Donald Byrd. Phil Woods , Chas . Rouse & Pepper Adams - each of whom deliver excellent solo work . A previously unissued "Encore" version of Little Rootie Tootie is included for an added treat . Record two is a sextet date recorded I ive at the Blackhawk (R iv . 323) in 1960. The lineup is Joe Gordon/trumpet, Chas . Rouse & Harold Land/tenor sax, John Ore/bass and Billy Higgins/ drums. While not the mastery of Town Hall, its good Monk . This set is a must for all Monk fans. Two BILL EVANS albums are available again on SPRING LEAVES (M-47034) . Recorded in 1959 & 1961, this is the legendary trio of Evans, Scott LaFaro & Paul Motian. Any record by this trio is good music, so if you're into Evans you'll want to check this one out . Original issue- Riverside 315 or 1162, and 351 . One of the best known and most recorded tenor teams is JOHNNY GRIFFIN and EDDIE •LOCKJAW• DAVIS. A sampling of five of their Riverside albums is titled THE TOUGHEST TENORS (M-47035) and is a good investment . This is gutsy, funky, soulful, bluesy and straight ahead hard blowing all in one. Ben Riley is on drums throughout with pianists Junior Mance, Horace Parlan & Lloyd Mayers, and bassists Larry Gales & Buddy Catlett. Griffin & Davis recently cut a side for German BASF which is just as delightful as these 1960- 62 sides . A taste of five more Riverside discs is issued for trumpeter KENNY DORHAM underthetitle of BUT BEAUTIFUL (M-47036) . Dorham, who- recently passed away, was a true great of jazz trumpet; and beautiful yes, among many other descriptions of praise. The years '57, '58 & ' 59 are represented, with Dorham assisted by such greats as Sonny Rollins, Abbey Lincoln, Cannonball & Curtis Fuller. Luckily, the two best sessions are the most heavily featured . SKINS (M-47038) comes from MONGO SANTAMARIA. Recorded in '62 & '64 and or iginally issued as R iv . 3530 & 423, this music is very heavily Latin oriented. Its a bit too much for me. Included are Hubert Laws & Chick Corea. The last i s from ElmoHope,whichl ' venot received . Thusno comment. Whew! B .W. RICHARD KAMUCA 1976 - JAZZZ RECORDS 104 Kamuca is a tenor saxophonist with the Merv Griffin band who has worked with Woody Herman, AI Cohn & Stan Kenton, to name a few . Here the L .A . based musician delivers a delightfully swinging quartet set and proves himself a very capable leader and soloist . Guitarist Mundell Lowe compliments Kamuca well, and is especially strong on chording . The overall sound portrays a band that is fluid, likes to swing and is very much aware of the beat . B .W. ZOOT, ELDRIDGE & BENNY CARTER ON PABLO Norman Granz' Pablo records has released three more records from as many jazz mainstays. All three are in true Pablo condition - pure acoustic jazz with an informal , good time feel . ZOOT SIMS records an entire album on soprano saxophone, cleverly titled SOPRANO SAX (2310- nO). Backed by Ray Bryant, Geo. Mraz & Grady Tate, Sims swings throughout. His soprano . sounds more I ike a clarinet than most other players, but Zoot started on clarinet and may prefer that sound . Trumpeter ROY ELDRIDGE comes up with WHAT IT'S ALL ABOUT (2310- 766) . He's got some great soloists here in Norris Turney, Bud Johnson & Milt Jackson (side 2) ; and, of course, himself. The menu is ballads, blues, bop and Bossa Nova and its served up right . Turney & Johnson (saxes) deserve special mention . BENNY CARTER, the great altoist who has influenced Cannonball Adderley & countless others , is in !jOOd form on THE KING (2310-768). The set is split between ballads and up-tempo, with a blues at the end . Among his partners are Milt Jackson, Joe Pass & Tommy Flanagan. Though never exciting, it is well performed music with some soul -always a good ingredient . Carter has been under-recorded of late , and I trust Pablo will remedy that . B .W. *Jazz twofer - a two record set of reissued or never released material with lengthy, authoritive liner notes, photos , discographical details, and usually sold at a special 7.98 list price . SONNY STITT & RED HOLLOWAY- FORECAST-CATALYST 7608 Here's some hip be-bop for you . Sonny Stitt , who needs no introduction, is paired with Red Holloway - an alto and tenor player who' s led his own groups for years, as well as doing stints with such other leadersasBenWebster, Lionel Hampton, Gene Wri!ttt & Jack McDuff. Stitt, heard only on tenor, sounds more gruffy than usual. In fact, his work on I'm Getting Sentimental Over You sounds startlingly similar to the work of his late friend & partner Gene Ammons. The rhythm section of Art Hillery, Larry Gales & Clarence Johnston just grooves 14 JOE TURNER WITH MILT JACKSON - ROY ELDRIDGE NOBODY IN MIND- PABLO 2310-760 A new Joe Turner album is an event that should please both jazz and blues fans . Joe is one of the few singers that can straddle both worlds with ease . As a blues singer he is a standard to compare others with and one that can lay back with a jazz group without losing the convict ion in his singing. From blues standards such as " How Long, How Long Blues" to his own "Nobody in Mind" Joe signs with guts and substance . With the exception of a rather stiff bassist and drummer he receives fine support . Jackson and Eldridge play with taste and wit, showing their own links to the blues tradition. Pee Wee Crayton and J .D. Nicholson show the abi I ity to lay back in their playing characterisitc of West Coast blues artists . Crayton's playing, reminiscent of the late T -Bone Walker, hopefully wi II make a lot of people be aware of one of the finest blues guitarists around . Definitely after hours music . R. W. �ELVIN JONES "the main force" $3.97 ~~ 51 University Plaza Mon.-Sat. 9:30-9:00 716-837-2322 All Charges recommend Living Blues. It contains articles, news, interviews (the latest issue has a great one with Charl es Brown) and an extensive review section . Subscriptions. whi ch cost $4 .00 for 6 issues, should be sent to Living Blues Publications, 2615 N. Wilton Ave., Chicago , Ill. 60614. Locally th e Record Runner will be carrying current issues . MI LT JACKSON- stdrts Sept 21 DOWNTOWN whattl happening buffalo area See ads . BLUE/ by ron weinrtock By the time you r ead th1s B .B . King will have been at Melody Fair, and James Cotton and Muddy Waters wi II have been at the Outside Inn in Angola so that August was a pr<?tty good month for Buffalo as far as bringing in blues from out of town. Bobby Bland will be at Kleinhans September 13 and you should check him out even though I find his latest record ing with 8.8. King Together Again ... Live (ABC Impulse ASD9317) somewhat of a disappomtment . There are good moments, but the music lacks focus and somet1mes drags, especially on 'Feel So Bad' On e other compla1r.t is B .S .' s guitar work wh1 ch I haven't really l1ked s1n ce th e late 60s wh en h1s playing be came choppy. These two are among the maJor blues art1sts of today but I would suggest you seek out there earlier record ings if you don't have th em . It is n1 c e, though, that this is a straight blues set, with no 'di sco· touches. Mr. Blues is a new smal i label and its initial release by Good Rockin' Charles Edwards (MB 7601) is a fine on e. Marred by somewhat sl oppy ba ck ing, Charles is a f1ne relaxed singer and harp player who turns in a set of convincing performances. Th e songs in c lude a couple of originals as well as songs from Little Walt er , J irnmy Rogers and both Sonny Boy Wi II iamsons. I will, from t1me t o time , survey the releases of small labels that have been out for awhile, but may not be familiar to you. Trix is one of those I abel s and have issued a number of fine albums with a country blues orientation . Front and Center (3301) by Eddie Kirkland, one time sideman with John Lee Hooker (and Ot1s Redding) displays his country blues talents . "Eddi e' s Boogi e Chillen is a fine reworking of John Lee's classic and "Jerdine" features chilling bottleneck . Frank Edwards is an eccentric guitarist whose Done Some Travelin' (3303) in c ludes a stunningly original "When the Saints Go Marching In" taken at a very slow tempo with bottleneck accompaniment . Robert Jr . Lockwood's Contrasts (3307) show him in a country blues setting as well as with his own jazz-oriented group with Mauri ce Reedus on tenor . The dominant influence on his country sid<>s are h1s st epfather Robert Johnson . The band sides range from the mellow "Forever on My Mind" to,the boppish instrumental "Majors. Minors & Ninths" . Finally for those interested in reading about the blues I u. u.a.b. mu.tic committee pre.tent.t folk guitarist STEVE GOODMAN with .tpecial gue.tt .. jazz .tatcophoni.tt · mer J•ohn klem and band SI\TURD11\V' SEPT.18 HI H J, 8:30pm /clark gym /main .tt.CampU/ TICKET/ : /3 • 50 .It uden t .I /4.50 non ...ftUdent.f available at norton ticket office (U.b.) and buff. J'tate. 15 • - - - - - - - - - - - - - - - - - - - - - - -. . �Mother Necessity Jazz Workshop 14 Queen Street, E. Toronto Sept. 1 2, 3. 4 5 7, 8 9,10,11 12 14, 15 16, 17.18 19 21 . 22 23, 24. 25 26 28. 29 30 Bourbon Street from 9 p.m. to 1 a.m. Telephone: (416) 368-0971 TORONTO (416) 864 - 1020 Dave McMurdo Quintet Wray Downes/ Dave Young Humber College Big Band George McFetridge, Laurrie Pall Alvinn Pall Quintet Moth er Necessity Big Band John Mc Garvie Pat LaBarbara Quintet Mother Necessity Big Band Herb Marshall Quartet Ted Moses and guests Mother Necessity Big Band Joe Brown Quintet Frank Fal co BILLY BUTTERFIELD September 7- 11 BUCKY PIZZARELLI September 13- 18 BLUE MITCHELL Sept. 20 - Oct. 2 The New Wave Phone Ahead for Dinner Reservations Dine & Dance 9 - 1 No Cover & Barbie Rankin FRI.& SAT. NIGHTS From SEPT.10 9=30-1=30 Basin Street (2nd floor) HOLIDAY INN RESTAURANT 620 Delaware Ave. 886·2121 TORONTO Grossman's Tavern - 379 Spadina Ave. Fridays and Saturdays from 8 pm. Saturdays 3 pm ., Kid Bastiens Camelia Jazz Band . Jazz on the Lake - Wed ., Sept . 1 - Silverleaf Jazz Band & Ultimate Sound . Revolving Dining Loune, CN Tower - Nightly - Paul Adamson Quartet w/ Gary Gross pno, Terry Quinn bass, Don Vickery dms . Garden Party - 82 Avenue Road - Joel Shulman (ne:Joe Saye) Sunday session with guests, phone 961-1114 for information. Albert's Hall, The Brunswick , 481 Bloor St. , West. Monday Wednesday - Kid Bast1en, Thursday - Saturday - Jim Aber crombie. Chez Moi, 30 Hayden St . Saturday Aft ernoon - Silverleaf Jazzmen . GROOVES HOLMES - Thru Sept. 11 BILL EVANS TRIO - Sept. 13- 18 HELEN HUMES - Sept. 20- 25 PHIL NIMMONS N'NINE plus 6 -Sept. 27- Oct. 9 Church Street Community Centre, 519ChurchSt. Friday nightSilverleaf Jazzmen . O.J.'s Bar, Hydro Building, University & Colleg e. Six nights a week - Climax Jazz Band plus guests . Executive Restaurant, 254 Eglinton Ave., East. - Saturdays 2-6 PM - John Dela Trio . Inn on the Park, Leslie & Eglinton Ave ., East- Saturday matinees - various groups . Malloney's, 85 Gr- r,nv 11le Str ee t . SattJr day Aft ernoons - Cl imax Jazz Ban d. The Music Gallery, 30 St. Pat r- 1< k St n:,P t . CCMC com." rt " every Tu es d11y and F ~!d -.y . Normandy Roorn, Wes tb11ry Hot el . 475 Yonge Str Pc t . J1 ~ Gall 'lway , Paul R11nst ..,ad B and . M or·.d3 Y t ~n 1 Thur sda y M et1-o Stamper- s - Fnjay an d Satu r day : Ontario Place , Aug . 7 - Rob M cCnnnpll 's B oss Br- ass an d Aug. 14 - Ch;Jck Man gione . Mother Necessity Jazz Wor-kshop S•-·•? ad. The Greatest JAZZ in the World "live" at the recorded on Iii records U()W~T()W~ JONAH JONES Sept. 7-19 MILT JACKSON Sept. 21-0ct. 3 ·Tony Bennett· Earl 'Fatha' Hines· Marian McPartland • Bill Evans· Statler Hilton 107 delaware ave. 856 .. 1~~-~ two more w.d. hai'J'ett enterpriJ'eJ' � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4380 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 31 Date A point or period of time associated with an event in the lifecycle of the resource 9/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 31 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/181e9b55647aef5617197871f70df4f0.pdf cc9384172a16d170e4e7e538cbba353a PDF Text Text II ocr M l ~ 1979 buffallo JGXX tepott OCTOBER '76 1//UE 32 FREE Kenny Burrell· also: Carroll Hard8 interview One of the world renowned masters of jazz guitar will bring his quartet to the Statler th1s month. Kenny Burrell will be in residence at the Downtown Room from Oct. 5 through 17. As a child in Detroit, Michigan, Kenny remembers "being surrounded with music and love. I came from a very loving family where everyone pi ayed an instrument and tried to sing." He first studied piano with little enthusiasm but got excited about the guitar when he was 12. Encouraged and coached by his older brother Billy, an accomplished guitarist, Kenny played both bass and guitar in the high school dance band led by Louis Cabrerra. His hometown still claims him·. "Native son Burrell has always been mentioned in tones of adulation around Detroit," boasts Bob Carr in the Detroit News, "and now it seems to be nationally unanimous that Kenny is our guitar I aureate." A Bachelor of Arts degree in composition and theory from continued in.1ide �~----~-~ JAZZ IMPORTS! japan, italy, sweden, germany, england ... ~~~ 51 University Plaza Mon.·Sat. 9:30 • 9:00 59 Kenmore Ave. 716-837-2322 All Charges Wayne State, classical guitar study with the eminent Joe Fava, and playing in local Detroitbandsandgroupsof his own readied Kenny for his first road tour immediately after graduation- -as a member of the Oscar Peterson Trio. Subsequently, he has recorded and played with Tony Bennett, Nat Cole, Sammy Davis, Jr., Aretha Franklin, Ray Charles, Lena Horne, Sylvia Sims, Benny Goodman, John Coltrane, Stan Getz, Dizzy Gillespie, Duke Ellington, Sonny Rollins, Freddie Hubbard, Ron Carter, and many other major artists. Burrell has dozens of his own albums still available in the catalogue. His most recent efforts have been on Fantasy records, as well as "two-fers" on Prestige. This is an event to catch. Hewasa hit at the Buff State Jazz Fest a couple of years back, and I'm sure he will be this time around as well. Kenny Burrell on Fantasy: F -9514- -Sky Street F-79005--EIIington Is Forever F-9458--Up the Street, 'Round the Corner, Down the Block F-9427--Both Fee on the Ground F-9417--'Round Midnight 836-1781 (corner of Windemere) behind jewelry store PHIL DiRe MOVES WEST Musical director of the Buffalo Jazz Ensemble and director of the AJP has moved to California. On the coast, he plans to team up with another Buffalo saxophor ist Don Menza, and fo.rm a California Jazz Ensemble. Noted pianist AI Tinney is now musical director of the BJE. A better choice could not have been made. We wish Phil the best of luck with his new endeavors. STATLER RE-ACTIVATES JAM SESSIONS The Statler's Monday night open jam sessions, which were so popular earlier this ·year, have been started up again. Various local bands are featured as a nucleus, and all musicians are invited to drop down and sit in. Piano and drums are provided, but others should bring their own instruments. Among the groups to perform in recent months are Mujahid (led by Sabu), Birthright, New Wave and E.R. There's.no minimum and free cheese and crackers are served. On Prestige: P-24059--Kenny Burrell/John Coltrane P-24025--AII Day Long & All Night Long P-7578--0ut Of This World P-7532--Kenny Burrell Quintet P-7448--Best of Kenny Burrell P-7347--Crash P-7308--Biue Moods JAZZ SEMINARS- w/Michael Kleniec on Saturdays, from 4-6 pm. $15 per series (4 sessions) starting Oct. 2 (3:30 registration) at the Bonnie Sandison Dance Studio, 111 Queen St., East, Toronto. Tel. 362-6784 studio or 961-8474 res1d_ence. Session 1: the Blues; Sessions 2: Afro-Lat1n Jazz; Sess10n 3: Modal Jazz; Session 4: Avant Garde Jazz. kenn~·s latest! F-9514 KENNY BURRELL Sky Street & Fantasy 2 GERRY NIEWOOD AT TRALFAMADORE . The former Chuck Mangione reedman, Gerry N1ewood, played to a full house on each night of his 3 day engagement at the Tralfamadore Cafe. His quartetconsistedofexcellentyoung musicians David Samuels/vibes, Jeff Berlin/bass and Ron Davis/drums.\ The music touched on everything from melodiC ballads to energized pieces such as Jan Hammer's Thorn C?f ~ White Rose. I figured this band would be good, but they turned out to be better than my expectations. The audience rea~t~s favorably each night, and it seems that everyone loved ~erlln k basswork. I find him better than the advertised bass1st ~~c Laird, and Berlin had only been with Niewood for three 1;:w: �r MILT JACKSON- DOWNTOWN Milt Jackson returned to the Statler's Downtown Room for two weeks on October 21. Bags played better than I had ever heard him previously· either at the Statler or Bourbon Street. As good as he was, he had problems with his drummer (whom I presume he'd never met) and the bassist was steady, but rather bland. Pianist Carol Britto was in good form as she & Bags m.ade .the night a success, despite the boisterous, unattentive portion of the audience which kept drawing a shhh from the m!'lny who were there to hear music. . . Knowing Jackson, I'm sure he resolved all difficulties .by the first weekend. He'll be there through October 3, followed by Kenny Burrell.· B.W. ~ t :.:: LOUIS ARMSTRONG FEATURED Throughout the month of October, THE HOT AND BLUE ART, Fridays at 11 pm on WBFO (88.7 FM). will feature recordings by the internationally known archetype of jazz musicians Louis Armstrong. Producer David Benders announced the special series, saying, "Louis Armstrong had to come before Charlie Parker and John Coltrane and some of the other people that y-ounger folks today relate to better than Armstrong. He played things on the trumpet that people couldn't play before him." The radio series will focus primarily on early recordings from the 1920s and '30s, and vocal duets with Ella Fitzgerald. Arriving in Chicago in the 1920s, Armstrong was "a green kid" from the so-called birthplace of jazz New Orleans. He amazed all his fellow musicians with his technique and inventiveness, quickly establishing himself as a jazz leader. Before his death in 1971 at age 71, Armstrong was known around the world as this country's "Ambassador of Jazz." "THE HOT AND BLUE ART's role is to focus on the classics - the original performers, the innovators. That's Louis Armstrong," Benders added. · The public radio station operated by the State University of New York, WBFO features jazz programming each weeknight beginning at 11 pm. "JACK DANIEL'S CONTINUES AS THE PLACE TO BE IN BUFFALO, SUNDAYS AND TUESDAYS" .. bjr SPYRO GYRA IS BACK! I l I Jack Daniel's FOREST NEAR ELMWOOD �the charts. Reed not only had many hits on the R&B charts but also regularly made the pop charts. The lazy two-guitar-bass boog1e shuffles with Reed's slurred vocnls and shrill har'Yionlca were hypnotic in effect and had wide appeal. The Rolling Stones, Elvis Presley, Charl1e R1ch and the Blues Project were among the many artists to record his songs. Jimmy Reed is Back (ROOTS 1001) was released just a few months ago and is typical Jimmy Reed, playing his usual style with perhaps even more enthusiasm than usual. A rer:ord' which was leading to his comeback, has unfortunately becom~ now a part of the legacy he left us. The "Big Boss Man" is no more. I will be featuring Jimmy Reed's music on Ramblin' With the Blues, Thursday, October 7 at 10 PM on WBFO. Ron Weinstock FREE PARKING AT /Am THE RECORD mAn /HERWAY GARDEn/ Best Domestic & Imported Jazz Records & Tapes Available Take Evans Ave. Cutoff (QEW prior to 427 Hwy.) On Your Next Trip to Toronto CADENCE The American Review of Music Cadence is a relatively new monthly magazinP edited by Bob Rusch. I've only seen issues #3 &9, containing 32 & 48 pages respectively. Cadence features a healthy amount of jazz and blues record reviews, often highlighting many small labels or self produced records. The reviews are well written so that the average I istener can understand them; as opposed to the technical confusing variety in Downbeat. You'll also find interviews withnameartistsanda potpourri news column which contains interesting information though it's difficult to read. That is really the major complaintthe type is done on a typewriter and is r:educed to a very small, thin s1ze; and the articles are all "continued" on different pages in a way that makes no sense. The magazine size is 5-1/2 x 8-1/2, and is stapled. Content, however, is the biggest asset to a magazine. If you want a sample copy send to Cadence, Rt. 1 Box 345, Redwood, N.Y. 13679. B.W. Inquire About Our Discount Club Membership PAUL GRESHAM QUARTET Some of the most memorable mus1c to go down in the Tralfamadore (in my mind) came from the Paul Gresham quartet last month. Gresham, heard on tenor and soprano saxes, played with more fir·e and feeling than he usually does with Birthright. Tommy Schuman premiered the cafe's new baby grand doubling on moog and leaving his electric p1ano at home. One of the biggest factors contributing to the qual1ty of the music was the impeccable rhythm sect1on of Schuman, Buddy Fadale and Virgil Day. For the most, the band stuck with modal tunes consisfing of originals and works by Coltrane, Shorter, Miles, Joe Henderson, etc. B.W. SONNY FORTUNE RETURNS The former saxophonist with McCoy Tyner and Mi I es Davis, Sonny Fortune, will return to Buffalo Oct. 22,_ 23 & 24. Fortune played some of the most intenseandexc1t1ng mus1c this city has heard in years last March, and is one of the most talked about jazz players by those who saw him. He'll have a quintet with trumpeter Cecil Bridgewater, formerly with Thad Jones & Mel Lewis. He'll be at the Tralfamadore, don't miss him. RCA RECORDS TEAMS CLEO LAINE AND RAY CHARLES FOR NEW "PORGY AND BESS" RECORDING The new "Porgy and Bess" team, singers Ray Charles and Cleo Laine-- who arrived from Britainforthe task of recording Gershwin's celebrated folk opera, working for the first time with Charles, the man they call the Genius. Ms. Laine is not left out when it comes to professional compliments, critics have titled her "the world's greatest singer." For the RCA Records album, "Porgy and Bess" she proved her versatility by singing parts that composer George Gershwin originally wrote for male singers and also performed songs intended for other females in the opera. This unique "Porgy and Bess" will be released by RCA sometime in September. JAZZ ON WADV WADV - 106 FM - has opened its doors to two new jazz shows. George Beck, heard for some time on WEBR & WREZ. has moved his show to the high powered FM stat1on. His show, Jazz Nitely, can now be heard on WADV from 11:30 PM 12:30 AM Monday through Friday. In addition, announcer Joe Vendetti is doing jazz every Sunday evening from 8 till midnight. Many jazz announcers have specialties. Becks is big bands, and Vendetti's is vocals. EDITOR & PUBLISHER- Bill Wahl Tom Alab1so, Lou1s Bradshaw, Bill CONTRIBUTORS Besecker. Paul Gresham. John Hunt, Tom Mazzone, John Osborn, Paula Wahl. ILLUSTRATORS- Christine Engla Eber anrl SabrinaMayberr;y Smith. PHOTOGRAPHER -Michael Ketter· INTERNATIONAL SOUND EXPERIENCE Stereo dealers from Western N.Y. and southern Ontario wi II be getting together to display a vast array of equipment from almost every manufacturer on Oct. 10, at the Executive Enterta.inment Complex, 4243 Genesee Street. The "sound experience" will include continuous live recording sessions w/various local groups, 12 hours of films, talk shows and demonstrations, and the stereo mall. It will run from noon until midnight and the only cost is a one dollar parking fee per car. If you have any questions on equipment or sound reproduction, this is the time to ask. The complex is located across from the Buffalo Airport. BLUESMAN JIMMY REED DIES AT 51 Jimmy Reed, the very popular bluesman, died in his sleep in late August, while out in California for some engagements. Reed had recently resumed playing and recording after a five year absence due to a variety of factors. For some unknown reason, Reed's death was ignored by the media with the exception of Paul Harvey's nationally syndicated radio program. Reed was born in Leland, Mississippi in 1925 and first recorded in 1953. "You Don't Have to Go" was his first hit record and for the next decade his records were constantly on CORRESPONDENTS Rochester - Jim Laniok Syracuse- Jerry Stabile Toronto- Hal Hill Address correspondence. to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 r~) 1976- Buffalo Jazz Repor-t . No portion of th1s publ1calion may be r·eproduced wdhout wntten consent from the publ1sher. PRINTED IN U.S A. 4 Saxophonist Joe Ford (of Birthright) spent part of July'at Fantasy records' Berkeley California Studios. He recorded ,as a member of the McCoy Tyner Quintet for the pianists n\)W album to be released on Milestone, a Fantasy subsidiary Ga.rY Bartz was a guest artist for the date. �r Speaking of Fantasy, National Sales Mgr., David Lucchesi, informs us that they've i mporled 63 R iversidetitles ft·om Victor Music Industries of Japan. They are Japanese pressings, with original covers and liner notes in English, retailing for an incredibly low $6.98 list! Fanta·sy has released some of these incredibly low $6.98 I ist! Fantasy has released some o tiil es as Milestone twofers,· so choose wisely. The move to import these classic sides was spurred by collector's requests. Among the artists represented are Cannonball Adderley, B iII Evans, Mark Murphy, Thelonious Monk and Philly Joe Jones. We'll have words about many of these next month. P.M. Records has just released two discs by Canadian artists; Don Thompson - Country Place and Doug RileyDreams. Up-coming releases are by Steve Grossman, Pat LaBarbera and Stone Alliance. Birthright has sold over 1,000 copies of their second album Breath of Life, and it's still going strong. Inner City records will be distributing the Danish Steeplechase label in the U.S. and Canada, with the first batch due this month. The label includes recent material by Dexter Gordon, Anthony Braxton, Rene McLean, Jackie McLean, Buffalo's Billy Gault and many others. TRALFAMADORE ANNIVERSARY The Tralfamadore Cafe is a small, quaint basement club, lo.cated across from "Dan Creed" at Main & F iII more. The club celebrated its first anniversary the weekend of Sept. 10, with the Gerry Niewood Quartet supplying the music. . Since its opening in '75, the cafehasbeen a mecca f0r local jazzfans every Friday & Saturday night. The best local bands are consistently featured, and the clubs modest 80 seats are usually all filled. In addition to the music, the-cafe offers tasty array of alcoholic and non-alcoholic drinks, and an excellent selection of beers and wines (including the famous knock-outBass Ale). Owners Ed & Bob Lawson have kept drink prices at an unheard of low level, regardless of entertainment costs. An example - Stroh's light & dark on tap for 50 cents! Check out the cafe's food as well, including the "disco" sandwiches. But the main attraction at the club is the_ music, the atmos- phere and the people. Each of the big name groups that have appeared there have made similar comments. Sonny Fortune menttoned that the Tralfamadore was one of the best five clubs · in the country to play_ Its due to the audience acoustics owners and "vibes" in general. Also on his list of five is th~ Vi II age Vanguard & Lighthouse. Fortune mentioned that these clubs bring out the best in musicians. Elvin Jones simply said "first class club - first class people". I ran into Jones at the. jazz showcase in Chicago where he was telring some people about "The Tralfamadore in Buffalo - one of the places to play." Steve Grossman, Gene Perla & Don Alias, collectively known as Stone Alliance, Buffalo's Birthright and many others have made similar remarks. To fill the need for more name jazz in Buffalo, especially the contemporary variety, the Tralfamadore w,ill be the home for big names this fall. The biggest name of all is the legendary tenor titan Dexter Gordon, who will visit the cafe for 3 nights in November on a short 6-week U.S. tour_ Sonny Fortune knocked out everyone who saw him in Apri I, so he' II be back this month. Trumpeter Woody Shaw will be in with an all-star quintet in December, and possibly Jack De Johnette and John Abercrombie in January '77. Every other weekend you can hear. area bands such as E.R., Coalition, Spyro-Gyra, New Wave, Flight, Mujahid, etc. There is, however, one problem. With80seats it is difficult to present name groups without doing two shows. So, the Lawsons dumped the big tables and bought small round ones, increasing the seating capacity to 120. Now, with some turnover, it is possible to charge one door pric.e for the night, a policy to be tried out this fall. There is never a minimum for food or drinks. Last month the Lawsons purchased a baby grand piano to increase even more the clubs potential for drawing name groups. If you've been to the cafe I'm not telling you anything you don't already know. If not, you'll find it a friendly, lively· and comfortable place to hear great music without spending a fortune. Be a part of it, and help keep this important jazz club going. Drop by for some jazz on Friday & Saturday, folk on Monday thru Thursday or classical _music Sundays. B.W. Buffalo State Student Union Board presents an evening with McCoy Tyner . also appearzng Gerry Niewood Friday October 15 8:00 New Gym 3.00 State and UB students 4.50 others tickets are available at Buff State ticket office and Norton Hall ticket office at~UB funded by ylmr l!SG maiUlatory actit,ity fee . .______________------=-=========--=--=----=-=----:..;_:- ===~-- -___ ---~---~-·---~ -_-~_=-=--=--=--=--=~_,;;.._----~~ �CARROLL HARDY SPEAKS with Bill Wahl On Labor Day I telephoned this area's Prime Minister of jazz radio announcers to arrange an interview. Some two hours later I arrived in the Boston Hills, Carroll Hardy _greeted me and ushered me inside. For the next few hours, we talked and partied somewhat informally, and the following is some of which transpired. Wahl: How and when did you get into radio? Hardy: Roughly 26 years ago I was in college, and having grown up listening to the great early radio- '30's and '40_'<:, I always thought it'd be nice to be a radio announcer. They d1dn't call them disc jockeys then; you were an announcer. So while 1 was in school at Hartwick College, down in Oneonta, N.Y., I'd hang around the radio station. Between classes I'd do a show or sweep-up, whatever. This was about the fall of 1950, and in 1951 a full time job came up, my G.l. benefits had run out, I figured I'd lived off the family long enough and it was time to go to work. So I went into radio at WOOS in Oneonta at a big $35 a week. You did everything- music, news, sports you name it. The news cast used to be rewording the newspaper as you read it. So at that point, I went into radio full time; literally fell into it. Wahl: When did you first come to Buffalo? Hardy: In July of '53 a guy I went to coli ege with in Oneonta was working at WKBW. I had broken him into radio in Oneonta and he called me and asked if I'd come to Buffalo. Being from HARDY & WAHL 6 Photo by David Wahl the New York City area, I thought Buffalo was out on the west coast somewhere. I gave my notice in Oneonta, and came to WKBW. Between then and now, I've been in Buffalo all but five years. Wahl: You did a jazz show at WEBR right? Hardy: I did a show at WEBR, in fact I did a jazz show at WKBW. I did all nights fora while at KB, and I'd sneak in some of the forbidden jazz & blues at around 3:00 in the morning, Back then, KB was #8 in the market, its #1 now. Wahl: Where did you go from KB? Hardy: I went to WHAM in Rochester forthreeyears, doing jazz andjustabouteverythingelse.lbecamear expert in station identification. NBC would give you 70 seconds for 1.0. and WHAM would give you 30 seconds of copy to stretch into 70 seconds. Of course you don't do that now! I tried for two years to get them to go all-nights for jazz. Eventually they did with Bi II Ardis and then Harry Abraham. But I wanted that a 11-n i ght jazz show so bad I cou I d taste it. Wahl: Then it was back to Buffalo? Hardy: Yes, I came to WEBR on Sept. 21, 1959. I remember the date because I started work on my birthday, otherwise I'd never remember it. At that time, Joe Ricco was doing jazz central. About 1961, Joe went to, I be I i eve, WGR. So the station was going to completely do away with all jazz programming. But to keep me happy, they gave me jazz central on Saturday night. Then it was ext~nded to Sunday night because a drive- in theater was the sponsor, and they wanted a jazz program to play on their speakers before the movie. So as summer came and the days got longer, the show was extended unti I 8 or 8:30.'.1 started in at 6:30. I did jazz shows at EBR for about nine years. Wahl: Was itatthispointthatyougotinto record promotion? Hardy: Right, I went with Transcontinent and Lennie Silver use to call on me at KBW to promote his records when he was a promotion man. I'd been offered a job at Capitol, but turned it down. When WEA, Warner/Electra/Atlantic, opened an office in Cleveland they needed bodies in this area. It sounded good, and they were offering more money than I was making, so I took if. Wahl: So how long have you been with Atlantic, and where else have you worked besides Buffalo? Hardy: It's been almost six years since I went with WEA. I was transferred to Massachusetts to be a regional marketing manager for Atlantic in the New England area. Previous to that actually, I had worked briefly in the midwest doing pop promotion. But they did away with that system, and then the regional marketing system, and they asked me if I'd come back to Buffalo. Wahl: Did you have to take a crash course in rock? Hardy: Definitely! My radio background had been M.O.R. and jazz programming, so I really had to take a crash cour~e in what was happening in rock 'n roll. The money is made 1n the world of rock n' roll -that's where the records are soli:!. But I'm a blues freak anyway, and the blues gave me a better understanding of what was happening in the rock of the day. Wahl: When you returned to Buffalo, how did you get into your present show at WBLK? I �-------~-----~----- Hardy: After a couple of months, Frank Lorenz asked me if I'd do a jazz show. I put him off for a while, but then finally ·gave in. This is really my s.e.cond time around at BLK. I did a show for the Hound Dog in'70or '71. At that time I'd become really bored, got out of radio for awhile and just coll.ected and listened. My show now is never done l1ve, I may f1n1shta~1ng half hour before the show begins, but I never do d l1ve. Wahl: That's aired on Saturday nights? Hardy: Yes, it runs from 10-1, Saturdays. Wahl: Didn't you work in Canada for a while? . Hardy: I did a show for CKFM, and I'd go up and tape four one-hour shows at a shot. It got kind of crazy go1ng over the Peace Bridge with a trunk-load of records. · Wahl: Jazz radio seems to be booming now. Hardy: It sure is. WBFO has the most extensive programming in this area, including a lot .of specialty show~. Joe Vendetti is back at WADV, Geo. Beck IS at WADV now w1th h1s liour of 17-pieces or over. Up until WEBRwent publi.c, Warren Epps did a fine job all n1ght. Now I hear WEBR will be programming jazz late night. But JUSt about any t.1me of the day, you can find someone playing jazz on the a1r. That's a brg change from years ago. Wahl: You're quite happy with Atlantic? · Hardy: Oh yes, definitely. I did radio long enough and really enjoy what I'm doi.ng no:-v .. In radio you can't be 30 seconds late. There's nothing l1ke s1tt1ng at a red l1ght two blocks from the station and your 60-second theme goes on the air. Now I can be five minutes late! ' Wahl: As a veteran announcer and jazz fan, what do you feel was the best live performance in Buffalo in the last year? Hardy: Well, I missed Sonny Fortune, and from what l'~e heard, I wish I hadn't. But the performance that stands out 1n my mind is Elvin Jones at the Tralfamadore. I hadn't seen Elvin since his days withColtrane,andlwas absolutely amazed by the energy of·this man. Ten minutes of that and you'd have to carry me off the stage. And he surrounded himself by some excellent young musicians. The music was enough to blow you right away- the intricacy of it. And it's hard to bel1eve that the man is almost 50.years old! a Mother Necessity Jazz Workshop 14 Queen Street, E. Toronto from 9 p.m. to 1 a.m. Telephone: (416) 368~0971 Oct. 1. 2 ·Frank Fa I co 3 Humber College Big Band 5, 6 Gary Morgan Trio 7, 8, 9 Kathy Moses and Friends 10 Mother Necessity Big Band 12,13 Rob Piltch Trio 14, 15, 16 Erich Stach New Art Ens~mble 17 Mother Necessity Big Band 19,20 Terry King Quartet 21, 22,23 CHINA 24 Mother Necessity Big Band 26,27 John Macleod Quintet 28,29,30 Alvinn Pall Quintet Wahl: You might have another chance with Sonny Fortune! Hardy: No way I'll miss him this time! Carroll Hardy is the most known and respected jazz radio announcer currently residing in the Buffalo area. He is now a promotion man for Atlantic records, covering Buffalo, Rochester, Syracuse and Erie, Pa. You can hear him Saturday nights on The Sound of Jazz 10 PM- 1 AM, WBLK, 93.7 FM. Bill Wahl is the editor and publisher of the Buffalo Jazz Report, and is the host of "Jazz Contours" - heard Sundays from Noon - 2 on WBFO 88.7 FM. ELLA AT SHEA'S BUFFALO At 5:15 PM on the night of September 17 I received a call from Ella Fitzgerald's long-time pianist, Tommy Flanagan., asking if I could find a drummer by 8:00 PM to replace Bobby Durham who was unable to make the Buffalo concert due to iII ness. Nasara Abadey (drummer for Birthright) graciously incredible jazz at pantastik records JIM HALL COMMITMENT M\ RECORDS ~ PANT~STII< records* 978 elmwood �agreed to fill-in and performed like he belonged there, without any rehearsal. Ella was herusualvivaciousselffor th1s benef1t concert and received two standing ovations from the nearly sold-out Shea's audience. Keter Betts was a stand-out on bass once the early sound difficulties were straightened out. Special guest for the evening was trumpeter Roy Eldridge who entertained and played his ax l1ke a man half his age. Ella st1ll reigns as the finest ofjazzvocalistsandher love for mus1c and for people shines through. J H. OREGON/ELVIN JONES - TOGETHER - VANGUARD VSD 793n When this combination was first heard, I couldn't imagi'le a more unlikely, imbalanced union. The Eastern mystir:;sm of Oregon plus the raw power of Elvin Jones. Of course, one can never underestimate the unique talent of Elvm --he can drive anyone. This release is nothing short of excellent in every way. Elvin is given a freehandbehmdthe_ t1ghtly woven harmonies of Oregon: Ralph Towner on gu1tars and p1ano, Colin Walcott on tab\ as and congas, free form bassist Glen Moore, and Paul McCandless is excellent as usual on oboe, English horn, bass clarinet and flute. It's always difficult to single out tunes from an album of this quality. Just be assured, this collaboration offers really fine music throughout. The album is more than a high powered Oregon, it is a virtual consummation of musical talent. T.M. SONNY FORTUNE -WAVES OF DREAMS- HORIZON People who've witnessed Sonny-Fortune perform live know what an exciting, creative, skillful artist he is and how well he relates to his audience. Until Waves of Dreams, however, this dynamic contact with the home listening audience had ~ot yet been achieved. Sonny's up-tempo openmg select1on, See1ng Beyond the Obvious, lets you know he's found the handleto bringing his music to you through records that wasn't quite there with either Long Before Our Mothers Cri.ed (Strata-East) or Awakening {Horizon); although both proved Sonny could play his saxes and flute. Chip Lyle on drums is tasteful as always; without flash, creatmg a noticeably pleasing backdrop. Charles Sui I ivan's trumpet provides melodic, punctuated accompaniment to Sonny whenever called upon to solo or state the theme. The electric and acoustic piano of Michael Cochran comb1nes quick, sure-fingered soloing with subtle, chorclally-cornplex camping. This is Sonny Fortune's most complete recorded effort to date; as communicative as his live performances as a leader and his live and recorded appearances with Miles Davis and McCoy Tyner. (See ad for October performances at Tralfamadore Cafe). J.H. JACK DeJOHNETTE'S DIRECTIONS- UNTITLED - ECM 1074 Every music form, or art form for that matter, has a host of extremely talented people who don't getthegeneral recognition they deserve. One of these is drummer/pianist/composer Jack DeJohnette. Jack has done about 5 records for Prestige/Milestone, and two for a Japanese label (with him only on piano). Held over from the previous Direction's LP are guitarist John Abercrombie and saxophonist Alex Foster. The group's sound is tighter, more lyrical and more inside thantheir earlier work. Flying Spirits is a 14 minute, spacy tune h1ghl1ght1ng John and Alex. There's high energy funk in Fantastic, and floating melodies and harmonies in Vikings, with DeJohnette playing tenor sax. They head out on the intenseStruttin, a~d come back in for a more melodic, percussive sound on MornmgStar- with some fine acoustic piano from Warren Bernhardt. This is superb, well recorded music, typical of ECM. This band may be in Buffalo in January. They'll be in Rochester and Toronto this month. B.W. world's record record store is coming to buffalo! STEVE KUHN- ECSTASY- ECM-1-1058 Steve Kuhn's abilities in a quartet or quintet setting are well-documented inc\ uding a brief unrecorded stint with the late John Coltrane.· Ecstasy represents his first solo piano outing and reveals a pensive, un-affected styleofplaying_which is wholly original sounding. He flows throughh,scomposd1onal ideas logically, taking you through hills and valleys of mus1cal excitement. Kuhn's solo piano sound seems more class,callyinspired than anything else with little of the swing or rhythmic diversity of his previous recordings. The open1ng seled1on, Silver, sets the tone for the remainder of the album w1th 1ts somber serious overtones and humorous, hopeful undertones. Ecstasy is characterized by a relatively slow pace allowing plenty of time to execute his inspirations. (See ad for t1me and date of his October appearance). J.H the largest selection of jazz records ever seen ... BLEY /CONNORS/GIUFFRE - QUIET SONG - IMPROVISING ARTISTS 373839 The title aptly describes this set of ten pieces, performed tunes are quite short - 50 seconds; one to three minutes, featuring one of the artists with interplay from the others. Ofthe longer selections, Duet is just that, betweenConnor'sclass1cal guitar and Giuffre's airy flute. Quiet Song (9:47) 1sa l1ght, very melodic piece for acoust1c and electr1c p1ano, gurtar and saxophone. Connors (formerly with Return to Forever) shows his stuff on this record, and is heard only on acoust1c gu1tar. Quiet Song is a tranquil, artistic work presenting these three musicians of quite dissimilar backgrounds. L1sten attentively. B.W. watch for the grand opening of the GATO BARBIERI -CALIENTE -A & M 4597 The third world saxophonist's most recent waxing portrays a much slicker commercialized sound than his previous work. Gato is at the head of an 11-piecegroup of studio musicians, aided by a string orchestra. He's still sticking mostly wdh Latin tunes mostly ·his own compos1t1ons except for one each by Santana, 'H. Alpert & Leon Ware, the last two of which offer little in either composition or performance. Gato takes all the solos here, and the overall concept of the album is similar to Stanley Turrentines recent records for Fantasy. Pleasant, easy listening music. B.W. RECORD THEATRE ~------------------------------~8 , .,, �· · - - - - - - - - - - - - - - - . . . ....t ANTHONY BRAXTON - SAXOPHONE IMPROVISATIONS/ SERIES F- INNER CITY {IC1008) Anthony Braxton attempts so hard to make it as easy as possible for his followers to understand what he is doing. Each album will limit itself to a singular concept and Mr. Braxton will write extensive liner notes explaining his approach. Here he continues his alto saxophone improvisations begun on his album "For Alto Only". He asks the listener to approach it somewhat academically, like a "language study". Each piece has been set to work only within an unyielding structural frame which composer Braxton pndes himself in creating. This "frame" plus the alto itself are then "exploited" (it is interesting to note he uses this word rather than "explored") by performer Braxton in order to create the emotional atmosphere not inherent in composition itself. There are compositions dating all the way from January '68 to "late" '71. The most interesting piece, JMK 80 C7 N7, concentrates initially on a tonguing technique which ultimately extends itself to become the dominating rhythm of the ensuing 17m inutes. B B. u. b. student association presents and ~~w~oo ~~w~~ BUD SHANK - SUNSHINE EXPRESS - CONCORD 20 Primarily an alto player (doubling on flute), Bud Shank has been a part of the California Jazz scene for quite some time. I've recently become interested in his music through his work with the L.A. Express - a quartet with Shelly Manne, Laurindo Almeida & Ray Brown. The "Sunshine Express" is a solid quintet of West Coast players. Shank often reminds me of Phil Woods for his fluid yet sometimes gutsy alto sound. Young trumpeter Bobby Shew is a technically advanced musician to say the least. The choice of material is diverse. Ballads, out and out swingers and a minor model piece (dedicated to Coltrane) etc. Drummer Larry Bunker does a top notch job of driving the band throughout. The overall sound is clean and full -a very spirited performance. The ensemble work of Shank & Shew deserve special mention, as does their solo work. Good listening with that "studio musician" ·sound. B.W. FRIDAY, OCT. 8 10pm··1:30am FILLMORE ROOM, NORTON UNION ' I students 75¢ others $1.25 special prices on beer tickets on sale sept. 27 at norton union Troubadour in L.A. It's not disco- it does have a good beatit might make you dance and its very well recorded. Take it from there. B.W. TIM WEISBERG- LIVE AT LAST- A & M 4600 As far as Tim Weisberg albums go, this is his best Tim's flute sound has never impressed me much, and neither have his "improvisat-ions" (if you can call them that). He plays what might be termed as instrumental rockwithjazzovertones- and in that context he does it well. His band·is caught live at the ! I ,-,1. 1 11 RON CARTER - YELLOW & GREEN - CTI 6064 Bassist Ron Carter is one of those musicians who is totally adaptable to any given situation. On his previous albums as a leader, he's done a variety of material from pure Mainstream to funk. Yellow & Green presents Carter in many of the different styles of jazz, alwaysfocusingonhimasa leader- on acoustic, electric and piccolo bass. Highlights are his solo rendition of Willow Weep for Me and Monk's Epistrophy w/Kenny Barron and Monk's former drummer Ben Riley. Most of the music is acoustic, except for the only funk oriented tune here - the title track. A good effortfrom Ron- aimed at bass fans. One final note CTI pressings have become quite noisy. B.W. 9 KENNY BURRELL - SKY STREET - FANTASY F-9514 If my count is correct, this is Kenny Burrell's 23rd album as a leader and as one of jazz' most consistently proficient guitarists. In an age when many musicians of lesser calibre are selling themselves at the expense of their abilities, Kenny remains true to himself. The sound o.f Sky Street is contemporary without resorting to disco-funk leaving htm p·lenty of room to stretch out and reveal his noted quickness of finger. Sky Street has less of the great swinging associated with Burrell's guitar but he still produces the same smooth tone and speed that goes with his name. Jero~e Richardson, ..who~e work as a sideman and member of vanous horn sect.tons ts well "vinyl ized", is heard on tenor and soprano sax ~nd flute and contributed two of the four compositions. Kenny's most recent performance in Buffalo at the Buffalo Statej<!ZZ festival last spring was proof that he's even more dynamic I ive than on record. I look forward with great anticipation to his upcoming stay at the Downtown room. J.H. �.----------11 A-33005 : The Refined Tecac. 1 Teac's been refining this basic 10112" reel tape deck for 20 years now, continually keeping it current with state-of-the-art performance. It's becoming legendary in reliability. That's what happens when you make things that don't break easily. The A-33008 just keeps on working. That's the least it will do. The outside limits rest in your hands. So if you've been refining your recording talents, you're probably ready for the A-33008. Why not drop by for a demonstration? Get a first-hand look at a very refined tape deck. i"\ I I II I I I t I The leader, always has been. tronJcendentol audio, ltd. 773 Niagara Falls Blvd., Buffalo (just South of Sheridan) CEDAR WALTON - FIRM ROOTS- MUSE 5069 Pianist Cedar Walton has, for some time now, been one of the most sought after musicians for record dates. His partners here, Sam Jones & Louis Hayes, share the same distinction. Firm Roots finds the Walton Trio recorded live at the Saratoga Room in Rochester. From start to finish this is an all-stops-out, straight ahead session with no time for slow ballads. Even You Are the Sunshine Of My Life is taken at a faster tempo than the norm. The 2 acoustic tracks are better recorded and more stimulating than the 4 electnc. The best music is on side one- each tune burns. Walton, Jones & Hayes are inventive, strong and tight throughout. In short - this is one hell of a rhythm section. B.W. PAT MARTINO- WE'LL BE TOGETHER AGAIN - MUSE 5090 A very different concept for Martino. After many straight jazz records for Prestige & Muse, and one jazz/rock disc for Warner Bros., the guitarist is recorded with only electric piano as accompaniment. Its a I ight, reflective set - gracefully performed with Martino nearly acting as the only solo1st. Gil Goldstein sensitively lays down a bed of chords and well placed single notes. His only solo spot is on the third section of the suite Open Road. A good choice for light but serious listening or romantic activities. B W. I ! , I I , TEAC® 834-3100 1 9 East Fourth Street, Jamestown 1-487-4445 PAUL BLEY - ALONE AGAIN - IMP. ARTISTS 373840 There are the masters who get their deserved amount of recognition, and the masters whogounnoticedbyalmost everyone but the hard core music freaks. Pianist Paul Bley is one of the I atter breed. This solo piano album should bean instantturn-on to anyone who hears it. The subtle beauty and profound musical wisdom that Bley projects through his fingers has been captured permanently on this collection of seven pieces, written by Paul & Carla Bley and Annette Peacock. Keith Jarrett fans should note that Bley was doing stuff Keith does now in 1964. Hear it from the source - check out Bley. He may demand more of your undivided attention, but he deserves it. B.W. JOACHIM KUHN - SPRINGFEVER - ATLANTIC SO 1695 German keyboardist Joachim Kuhn is accompanied by rising artists like guitarist Philip Catherine, bassist John Lee and drummer Gerry Brown. This combination does not confine itself to funk-jazz, though it is present egMorning. Kuhn takes this opportunity to demonstrate his ability-- usually confining his work to electric and acoustic piano. Springfever is an acoustic solo cut, one of the best tunes on the album. Coryell's Eleventh House bassist Lee and drummer Gerry Brown p~.o­ vide their usual hard driving, funk oriented backup, while Catherine adds a bit of color with his hamonious style. The album on the whole is nice, though it lacks excitement. T.M. RALPH McDONAlD - SOUND OF A DRUM - MARLIN 2202 This is one of those records produced for commercial PAUL BLEY/ORNETTE COLEMAN -LIVEATTHEHILCREST success that might make it - if the. music were better. - INNER CITY 1007 Perhaps the company executives should look at Grover Although recorded in 1958, this is the first American reWashington's albums. They sell and the music is good- and in lease of this I ive date. It is said that this record is the earliest the same vein. Grover is heard here on one track, the title example of free jazz. That may be an exaggeration, but the tune, which is one of the best tunes, though marred by a bit too music is certainly progressive for the period. There's some much funk in the orchestration. The other decent cut is Me excellent soloing from the leaders, as well as Don Cherry, Donald's Mr. Magic, on which Grover does not appear. It's a Charlie Haden & Billy Higgins. The recording quarity and club short outing highlighting vibes and percussion. Ralph may be a noise is a bit distracting, but the music more than makes up bitch on congas, but doesn't get enough room to show his stuff for it. It's always a joytohearBiey, and as you'll see throughhere. Far too slick. B.W. 10out this issue, this is a good month for his fans. B.W. �r JEAN~-LUC •. ."\ ~ PONTY - SONATA EROTICA - INNER CITY IC 1003 This 1972 live recording at MontreauxbyviolinistJean-Luc Ponty bears no similarity to his more recent releases. It is basically a 5 movement free form match between spacey viol in and quartet. Ponty bows and plucks over the chattering background of Joachim Kuhn (piano), J.F. Jenny Clarke (basses), Oliver Johnson (drums) and Nana (percussion). The album is difficult at times to comprehend but there seems to be a basic swing theme. T.M. JAZZ GALA CONCERT - ATLANTIC 1693 Here's a must for big band fans. The gala concert was performed I ive in W. Germany in January '76. Its a 21 piece band of European jazzmen, with some American expatriates in Art Farmer, Herb Geller & Johnny Griffin. Additional featured soloists are Nat Adderley, Stan Getz, Gerry Mulligan & uToots" Thielmans. This record is recommended not only for the smooth, well rehearsed sound and exquisite performances, but the balanced, reft-eshingly different choice of material. A few examples -Corea's Times Lie, Albert Manglesdorf'.s humorous Up and Down Man, a Grady Tate vocal version of Moondance and two from Nat Adderley, Jive Samba and Work Song. Very nice, all around. B.W. MICHAEL MANTLER/EDWARD GOREY - THE HAPLESS CHILD AND OTHER INSCRUTABLE STORIES (WATT 4) After attempting to digest thts album for several weeks,· I am finally beginning to lose the pit I felt in my stomach upon first hearing it. It stirred strange memories, and strange feelings of incomprehensible places and beings from the past. I've finally figured it out. This is a children's album, the first I've heard in many years. It recreates in me the fascination I remember having felt long ago when I first discovered records with a small '78' player and those red and yellow discs which told their tales of talking animals and ogres under bridges along w!th h~ndre?s of o~her tales ,of unkno_wnorigin. The Hapless Chtld ... ts wntten wtth a chtld s unltmtteds.enseof reality, Edward Gorey, whoever he may be, borrowsfamiliar children th~mes co.ncerning. strange visitors, nondescript beings and chtldrenwtthout their parents. They are masterfullypresenled by. vocalist Robert Wyatt (former! y of "Soft Machine"), arranger Mtchael Mantler, and producer Carla Bley. Terje Rypdal, Steve Swallow and Jack DeJohnette are also fea~ured. · B.B. GARY BURTON - TURN OF THE CENTURY - ATLANTIC SD 2-321 The newest from Gary Burton features. hi,s. Work' from .5 ~tlantic recordings (1969 through 1972). Accompanied by long~ time G-B Quintet members Steve Swallow and Bill Goodwin throughout Burton's vibes echo the future. His talent is most evident tod~y.:but th~se "o!der works" proba.bly helped pave the way. Hts Jams wtth Ketth Jarrett and Stephane Grappelli are featured, as is his solo album Alone at Last. The music is excellent throughout,· but for those who really enjoy Burton it's more advisable to purchas€ the separate .albums. Note Gary Burton & Keith Jarrett, Throb, Alone at Last and Paris Encounter. T.M. MOSE ALLISON- YOUR MIND IS ON VACATION- ATLANTIC 1691 ' A new album by Mose Alii son is a rare occ~sion these days. This time Mose chose to re-work some of his more popular tunes. On five tunes his trio is joined by David Sanborn, Joe Farrell & AI Porcino. For two others its a quartet with AI Cohn. The other five are trio only. The program is composed of vocal tunes such as Swingin' Machine, Foolin' Myself, Your Molecular Structure and his answer to noisy audiences Your Mind is on Vacation (and your mouth is workin' overtime). This is not commercial in anyway. Its simply Mose-Vintage 1976, and another album that wil.l be well received by jazz, blues and rock peopleeverywhere. · B:W. super twofers • Milestone ./ M-47037 ELMO HOPE The All-Star Sessions M-47038 MONGO SANTAMARIA Skins P-24066 DONALD BYRD House of Byrd PANT~STII< RECORDS· 978 ELMWOOD �ELMO HOPE - THE ALL-STAR SESSIONS - MILESTONE M47037 This two-fer was prevrously released as two separate albums - the 1956 Prestige release Informal Jazz and th, 1961 Riverside recording Elmo Hope-Homecoming. The com~ plex composing and intricate harmonies that Hope displays within helped forge the "modern piano style". He remained a relative unknown even though he jammed and exchanged ideas with two soon-to-be piano giants -Bud Powell and Thelonius Monk. This rel.ea,;e demonstrates Hope's quality playing as well as hrs maJor prtfall. He too often recorded with young rising overshadowing talents eg. Coltrane, Mobley, Heath' and Foster on tenors. Paul Chambers and Percy Heath walk along with Hope while Phi lly Joe Jones keeps neat and tight All 4 sides provide really fine listening, the re-recorded quality is good and the nostalgic feeling is evident. T.M. STANLEY CLARKE - SCHOOL DAYS - NEMPEROR NE 439 The third album by Stanley Clarke offers no surprises, but does provide some fin~ music. This album features Clarke's staccato, high-range bass style driving musicians like newpro! ific David Sancious on keyboards, funk-drummers Steve Gadd and Gerry Brown, and guitarrsts Ray Gomez and lcarno Johnson. Billy Cobham and George Duke speed along on Co rea-l ike Life is just a Game. School Days features excellent soloing by Clarke. John McLaughlin plays acoustic guitar on sweet and funky Desert Song. Hot Fun is everyday funk. The most mellow tune is Quiet Afternoon. A decent effort with some fine listening. T.rVl. HUBERT LAWS - THEN THERE WAS LIGHT - CTI 6055 Hubert's best album on the CTI label is most probably In The Beginning. This is a re-packaging of half of that two record set, subtitled Vol. 1. There's variety here, from the classical piece Gymnopede #1, to the hot flute/drums duetversionofAiregin, to the gospel Come Ye Disconsolate. Believe it or not, there is no funk at all! This is Laws at his best. B.W. THE NEW TONY WILLIAMS LIFETIME -MILLION DOLLAR LEGS- COLUMBIA PC 34263 Drummer Tony Williams' hard driving style fits into a jazz rock vein as he features guitarist Alan Holdsworth, Tony Newton on bass and Alan Pasqua on keyboards. You probably couldn't classify this album as funk even though it seems to be. It is similar to a subpar Passport (of course, without Doldinger). Side two is much better than one, however, anyside without You did it to me Baby would be an improvement. Unfortunately this album's good points are brought down, because they've all been done before. T.M. PAUL BLEY - TURNING POINT - IMP. ARTISTS 373841 It is noted elsewhere in this issue that Paul Bley is an obvious influence on Keith Jarrett's solo piano style. Oddly enough, the same holds true for the sound of.the Jarrett Quartet. You'll hear it on these1964& 1968 recordings of the Bley Quartet, with long-time Sun Ra saxophonist John Gilmore, bassist Gary Peacock and Jarretts own drummer Paul Motian (replaced by Billy Elgart for thetwo 1968 tracks). The music here is both refreshingly melodic and bordering avant-garde. Gilmore, who is not heard on the '68 tracks, seems a perfect compliment for Bleys piano. This is a good, well balanced album of creative acoustic music. The recording/pressing quality is up there as well. B.W. dexter gordon Photo of Dexter Gordon by Bill Smith DEXTER GORDON COMING TO BUFFALO What should turn out to be the jazz performance of the year will take place November 19, 20&21 at the Tralfamadore Cafe. Tenor Titan Dexter Gordon, who has been living in Copenhagen for some time, will visit us on a 6 week North American tour. Gor·don was a major influence on John Col1rane and countless other saxophonists. We'll have more information n..,xt month - but mark off those dates! 12 PHIL WOODS - EUROPEAN RHYTHM MACHINE - INNER CITY 1002 Pierre Cardin presents Phil Woods? Why not! Kicked off by Woods' Chromatic Banana, this is a super example of the alto-ist's firey, exciting quartet of six years back. Woods uses the varitone extensively, and to better effect than almost anyone except Lee Konitz. Gordon Beck is on electric rather than acoustic piano for all but one tune. The bass/drums team Texier/Humair drive the band hard throughout this disc which should excite fans of the heavy Woods period. Though not up to the standards this band set with the Frankfurt album, it is strong, very well performed andrecommended. Check the I iner notes for- the definitron of a chr-omatic banana. B;W. �JOE ZAWINUL - CONCERTO RETITL TED - ATLANTIC 1694 . When thinking of Weather Report, three names immediately come to m1nd: Wayne Shorter, Miroslav Vitous, and Joe Zawinul. Of these three, Zawinul seems the sil"nt, mellow artist, usually in the background. Concerto Retitled reinfon:es th1s thought, except that Zawinul comes forward and br>trays an even mellower, and greater talent. This album is a c011ection from 3 previously released records (Vortex-LP2002- The Rise & Fall of the Third Stream is not available). and the numerous artists (Freddie Waits, Sam Jo11es, Louis Hayes, Joe Henderson, Pepper Adams, etc.) compliment Zawinul. The mus1c within is superb and varied. Del Sasser and Sharon's Waltz are trio numbers with Sam Jones and Louis Hayes-excellent. My one and only Love is a sweet acoustic solo His Last Journey and In a Silent Way give hints of Weather Report. The title track IS perhaps the best--Zawinul's clasc;ir:al training shines. Highly recommended for those who enjoy listening. T.M. so FRANK LOWE - THE FLAM - BLACK SAINT RECORDS (BSR 0005) (IT ALlAN) The fami I iarity of the musicians and thetechni cal expertise of this album's recording make this a must for all AACM fans. The pressing is so beautiful and the sounds so precise that I swear l'.ve never heard a greater depth come from Frank Lowe, Leo Sm1th or Joseph Bowie before. This is the first time I've heard these players mimicking electro11ic sounds with their respective unassisted instruments, and at times it is difficult to believe that their isnotactuallysomeuncredited synthesizer player with the band. Occasional subtle use of reverb and echo ~dd to the electronic effect. But the big surprise of the album IS a mov1ng number called "Third St. Stomp" in which ex Billy Cobham bassist, Alex Blake, and drummer Charles Bobo Shaw lead the band on a collectively composed tour de force ala modern "Miles". B.B. BLUES - RON WEINSTOCK The last month has been quite good for live 'blues' in the Buffalo area. B.~. King appeared at Melody Fair, Muddy OCTOBER en Pablo . IS month ... at Waters at the Outside Inn in Angola, Buddy Guy and Junior Wells returned to the Belle Starr and as I write this Bobby 'Blue' Bland will appear at Kleinhans. I had a chance to see B.B. and he is the 'King of the Blues' without question. A true pro who is totally into his music and who worked·through songs associated with him like "How Blue Can You Get" and his current hit (with Bobby Bland) of "Let the Good Times Roll" as well as Leon Russell's "Hummingbird" and a fine version of "Please Send Me Someone To Love". Buddy Guy and Junior Wells were dynamite as usual. The night I saw them Jeff Beck was in the audience too see his favorite guitarist, Buddy Guy, · and later sat in with the band. Peg Leg Sam is a veteran of the medicine show scene. A fine country blues harmonica player and singer his new album Going Train Blues (Blue LaborBL 105). accompanied by Louisanna Red, 1s a f1ne album demonstrating Sam's skills as a singer and entertainer. He has an earlier album on Trix which I have •. unfortunately, not heard. Other fine blues Ips on Blue l,.abor Include Lou1 sanna Red's Sweetblood Call (B L 104) which features marvelous country blues and original lyrics such as the ftne "Death of Ealase", written about his wife who died of cancer. Sonny Terry's Robbin' the Grave (BL 101) finds Sonny wilhout Brown1e McGhee, but with friends in a fine set of spirited blues, far removed from the folkie circuit that some have associated Sonny with. Sonny plays and sings with great enthus1asm. Sonny and Brownie back Alec Seward on Late One Saturday .Evening (BL .103) which was recorded at a house party along wilh other fnends with everyone in good spirits. / Bobo Jenkins is one ofmanyartistsplayingblues in Detroit. For various reasons Bobo has recorded himself and created Big StarRecordstoputouthisownwork. A worker for Chrysler for over 20 years (he recently quit). he built his own basement studio and Here I am a Fool in Love Again (BS 11-33) reflects this as it won't win audio awards. The music is great gutty city blues- not very different from Chicago blues ofthe 50s, played without any BS. The outstanding track of the album is "Sharecropper Blues" where working for Chrysler is compared to be1ng a sharecropper. You will want to ged this from Bobo at Big Star Recording Studio, 4228 Joy Road, Detroit, Michigan, c ALL 7.98 LIST PABLO NOW NOW AT ELMWOOD AND FOREST! 4.88 SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA �the BJR or at WBFO. u. u.a.b. mu.ric committee pre.rent.r wbfo 88.7 fm 2shows 8:30 &10:30 Mon.-Fri. Noon- Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midnight Mon. "Modern Jazz: The first 20 Year" - Dick Judelson • Tues. "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" -Paul Smith Thurs. "In Concert" - Ed Smith Fri. "The Hot and The Blue Art" _ Dave Benders Mon.-Fri. Midnight-3 am '"Round Midnight" Mon.: John Miller Tues.: Bill Besecker Wed.: Paul Meyer Thurs.: Paul Ericson Fri.: Babe Barlow Saturday 3am-8am "Pulse" -Paul Wandel Bam-Noon "Freedom Flight"- Yvonne Price Midnight-Gam "Opus in Modern Music: Jazz by Request- Pres Freeland Sunday: Noon-two "Jazz Contours" - Bill Wahl 11pm-midnight "Jazz Roots"- Chuck Mancuso Midnight-3am "Roots, Rhythm and Sound"- Dave Jacobs 3am-8am "Progressively Yours" -Michael Vaughan Wilson Live Broadcasts from Statler Hilton on WBFO- 88.7. Kenny Burrell 10/5, Flip Phillips 10/19. from 9 PM. KATHERinE CORnELL THEATRE WBLK 7 94 FM The Sound of Jazz w/Carroll Hardy - Sat. 1 AM. An evening of Intimate Jazz with pianist extraordinaire steve kuhn & ·ecstasy FRI.,OCT. 15 U.B. Amherst Campus Tickets are inexpensive: $2.00 students $3.00 non-students available at norton ticket office cu. b.) 10 PM - WADV- 106 FM Jazz Nitely w/Geo. Beck - Mon.-Fri. 11:30- 12:30. Jazz w/Joe Vendetti Sun. 8-12 PM. wlnat'~ lnappeniing buffalo area 48204 for $5.98. The San Francisco Bay area is home for a very vibrant blues scene and the initial Messaround Record (MRS 001) Blue Bay provides a good sampler of artists includingSonny Rhodes, Hi-Tide Harris (recently with John Mayall), Luther Tucker, and Robert Lowery (who does an incredible Robert Johnson sound-a! ike) with support from Chari ie Musselwhite and others. Highlight is Sonny Rhodes version of Percy Mayfield's "The Highway is Like a Woman" where he sings "It's got soft shoulders and dangerous curves." Percy write great blues. Messa round is located at P .0. Box 1392, Burlingame, Ca., 94010. Babe Barlow will be tracing the history of the blues, on her WBFO program Shades of Blue during Saturday evenings in October from 10 to midnight. Finally with colleges back in session, hopefully more blues acts will be brought to Buffalo. I wi II be quite happy to help in any way and can be reached thru See ads for additional information. Tralfamadore Cafe- 2610 Main at Fillmore- live jazz Friday & Saturday nights from 10:30 PM. Sonny Fortune 10/22-10/24see ads. Jack Daniel's - Forest near Elmwood - live jazz Tuesday & Sunday nights from 10 PM with Spyro-Gyra. Downtown Room - Statler Hilton - name artists Tues.-Sun. from 9:30 Kenny Burrell 10/5-10/17, Flip Phillips 10/19-31. Jam night on Monday 9-1. Buff State - McCoy Tyner Quintet - Friday 10/15 at Buff State. See ad for time & place. Birthright and Spyro-Gyra in concert at the Fillmore Room, Norton Hall, Oct. 8. Holiday Inn - Delaware & North New Wave Friday & Saturday nights in restaurant. Sun Ra tentative concert Oct. 8. Look for an ad in this issue for confirmation. jazz 10/1 & 2 ER 10/15 & 16 Nasara Abadey & 10/8 & 9 Vajra Super Nova 10/13 & 27 Dr. Jazz 10/22,23, 24 Sonny Fortune 10/29 & 30 Spyro Gyra folk n· blue.r Mondays open Microphone 5 & 19 John Brady 14 Jeff Goldstein 6 & 20 Linda Namius& Bill Edwards 21M. Sheffield& B. Barber 7 Sweet Boy Slim & T. Peterson 26 Joe Head 12 Butch Barber & Rubin Green 28 Ed O'Reilly tralfamadore cafe 2610 main street nigh~s 14 TORONTO Ontario Place Glen Miller Orch. -Oct. 2, 5 PM. Massey Hall - Maynard Ferguson Orch., pl.us Nimmons and Nine Plus Six Oct. 9 at 8 PM. See ad for deta1ls. El Mocambo - 464 Spadina - Jack DeJohnette's Directions w/John Abercrombie Oct. 11, 12 & 13. Michal Urb;jniak Nov. 1-3. Buddy Rich's Killer Force at Mikler Aud., Seneca Coli., 1750 Finch Ave. E., Willowdale. Oct. 6 at 8 PM. Chelsea Bun - Chelsea Inn, 33 Gerrard St. W. -pianist John Arpin Mon. thru Sat., 9-1. John Duck's Tavern -Lake Shore Blvd. W at Humber Rivervibeman Tim Tickner quartet Mon.-Sat., 9-1. Mother Necessity Jazz Wo~k~hop St·e ad. Grossman's Tavern - 379 Spadina Ave. Fridays and Saturdays frQm 8 pm. Saturdays 3 pm., KidBastiens Camelia Jazz Band . Revolving Dining Loune, CN Tower - Nightly - Paul Adamson "' I �------~~~~~ ---·-·· -------- -- ····-----~-~~~~~~~~~~-~---- FALL LINE-UP ' \ . ...., ~ i 1 ' ' . .. -- ' ' '.''' ' ' t ~ sonny. fottun~ qu1ntet ::.·<: •.•. • ::··· w/CECIL BRIDGEWATER (t.) OCT. 22,23&24 FRI.&SAT.lOpm SUN. 9pm .. dextet gotdon quattet w/SABU NOV.l9,20&21 WDDDV SHAW/LOUIS HAVES BUINTET DEC. 3,4&5 ~. ALL TICKETS $5/night ON SALE 2 WEEKS PRIOR TO GIG AT: trolfomodore. record runner. norton union. fe1tivol no minimum ·low prices· no reserved seats Tralfamadore Cafe I 2610 main street 836-9678 at fillmore T.OI ijo= ; • o _ , "'"" •• olforl b, •h• T•ollomodo re Colo & Boll" o J ou """"" "~••••d ~' >ho d"• of "'" ""· J ; ~ --~--- -·-----~I �Bourbon Street TORONTO (416) 864 - 1020 every MONDAY night FLIP PHILLIPS October 4 - 16 00\\'I\IT0\\'1\1 at the 1totler FEATURING THE BEST IN W.N.Y. GROUPS NO COVER 8-1 NO MINIMUM COME AS YOU ARE The Statler Hilton a W. D. Hassett enterprise Quartet w/Gary Gross pno, Terry Quinn bass, Don Vickery dms. Garden Party - 82 Avenue Road - Joel Shulman (ne:Joe Saye) Sunday session with guests, phone 961-1114 for information. Albert's Hall, The Brunswick, 481 Bloor· St., West. MondayWednesday - K1d Bast1en, Thursday-Saturday - Jim Abercrombie. Chez Moi, 30 Hayden St. Saturday Afternoon - Silverleaf Jazzmen. Church Street Community Centre, 519ChurchSt. FridaynightSi lverleaf Jazzmen. DJ's Bar- Hydro Bldg., University & College- Jazz six nights a week w/guesis Don Ewell 10/11 - 16; Rhythm Aces 10l25-30. Executive Restaurant, 254 Eglin-ton Ave., East. - Saturdays 2-6 PM - John Dela Trio. Inn on the Park, Leslie & Eglinton Ave., East- Saturday matinees - various qroups. *Flip Phillips Phone Ahead for Dinner Reservations Dine & Dance 9-1 No Cover Basin Street (2nd floor> PHIL NIMMONS 'N NINE plus 6- Sept. 27- Oct. 9 FREE PARKING *Kenny Burrell JACK WILKINS TRIO October 18 - 23 oct. s-oct. 11 oct. 19 -oct. 31 ANNE MARIE MOSS & JACKIE PARIS- Oct. 11-23 Malloney's, 85 Grenviile Street. Saturday Afternoons- Climax Jazz Band. The Music Gallery, 30 St. Patrick Str-ePt. CCMC conc<'!rts every Tuesday and Fr!day. Normandy Roorn, Westbury Hotel, 475 YongeStrect. Jim Galloway, Paul Rimst"'ad Band, Mor.day thru Thursday. Metro Stompe rs - F n day and Saturday. ROCHESTER Red Creek - 300 Jefferson Rd. Jack DeJohnette's Directions featuring John Abercrombie Sunday, Oct. 10. 2 shows 5 & 9:30 PM. Phone 464-9856. Monticello- Rio Clemente 10,'15-9 1. Eastman School of Music (free) - Eastman Jazz Ensemble & New Jazz Ensemble Oct. 8, 8 PM at Eastman Theatre. Eastman Jazz Lab Band Oct. 29,8 PM- Kilbourn Hall. Paige's Continental Lounge- 734GeneseeSt. Rochest<;>r's, N.Y. Jazz Ensemble Sat. 9:30-1:30: Jam on Sun. 8-Midnight. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4381 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 32 Date A point or period of time associated with an event in the lifecycle of the resource 10/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 32 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/815eed8d1c45813c2e9a9b0a6cb1563d.pdf c7f828cf9d2b47455fe419f82e50d78d PDF Text Text M NOV .: C 1976 november ·76 iJJue 33 free ·C· -o -c a. 0 C!J al1o: woody Jhaw/louiJ haye1: kenny burrell interview �Dexter has found life in Europe to be extremely pleasant noting that European audiences are very inspiring and atten~ tive, and come to the club not only to have a good time - but to listen. He also says that musicians are treated with respect by everyone - whereas in the states, at least at that time, they were looked upon as "nuts, dope fiends" by the general public. Dexter's home base has been Copenhagen and the Montmartre now for 14 years. He also does TV and studio work and wrote and performed most of the music forthe film Pornografi. He's come back to the states from time to time where he's found that he has not been forgotten by American audiences But then how cou I d we forget about Dexter Gordon. He's a living legend, and when we Americans start forgetting about our legends, we'll be a sorry group of people. DEXTER! On a Jackie McLean & Dexter Gordon album recorded at the Montmartre, Jackie McLean wrote the following note for the jacket I have been trying to write some liner notes for my albums with Dexter - it's so hard to say something. All I can say is that Dexter Gordon was my firs BIG influence. He made me want to be a musician - I heard Bird after Dex - so that makes the SteepleChase albums the highpoint in my musical career. There is nothing else to say - And ·Dexter sounded so beautiful those nite's." DISCOGRAPHY (Available Recordings) DEXTER GORDON: As a Leader Swiss Nights Vol. 1 (Steeplechase) Stab I e Mable (Steeplechase) More Than You Know (Steeplechase) The Apartment (Steep I echase) Tangerine (Prestige) Generation (Prestige) Blues ala Suisse (Prestige) Ca Purange (Prestige) The Jumpin' Blues (Prestige) The Panther (Prestige) More Power (Prestige) Tower of Power (Prestige) A Day in Copenhagen (BASF) One Flight Up (Blue Note) Our Man in Paris (Blue Note) A Swingin' Affair (Blue Note) Go (Blue Note) Dexter Calling (Blue Note) Doin' Alright (Blue Note) Live at Paradisio (Catfish) Montmartre Collection 1 & 2 (Black Lion) Long Tall Dexter (Savoy) Daddy Plays the Horn (Bethlehem) Dexter Gordon, the fifty-three year old world renowned tenor giant, will be visiting Buffalo this month. He'll appear Nov. 19, 20 & 21 at the Tralfamadore Cafe, 2610 Main at Fillmore. Dexter was born in Los Angeles on February 27, 1923, the son of a doctor whose patients included Duke E II ington & Lionel Hampton. He studied harmony, theory and clarinet at 13, and alto at 15. He quit school in 1940, took up the tenor and joined the Harlem Collegians - a local band. In 1940 he went with Lionel Hampton for three years and in '44 he spent time with Louis Armstrong's band. Whi I e with Billy Eckstine' s band he performed his first record solo on Blowing The Blues Away. He worked with Charlie Parker at the Spotlite in N.Y.C., and took his own band to the Three Deuces. In '46 he went back to the West Coast, spent two months in Honolulu and returned to New York in '47 where he gigged around 52nd St. Then he returned to the West Coast, working with small bands. Gordon was heavily influenced by Lester Young, and was later one of the first to transfer the characteristics of bop to the tenor. He then himself became a strong influence on important players of the 50's such as John Coltrane and Sonny Rollins. In 1960 he joined the West Coast Company of the play The Connection, for which he wrote music, led a quartet and took an acting role. He recorded an album for Jazzland <;~nd was making a comeback, after an absence from the scene. Ira Gi Iter wrote that "his big sound and declarative attack command attention." Dexter, who stands 6'5", has also been called "tower of power", which is also the title of one of his Prestige albums. In 1962 Ronnie Scott ran into Gordon ir"l New York, and asked if he'd do a month at his club in London. Later, Scott set up a tour of England. Dexter spent six weeks in England and went to Copenhagen and the Montmartre Jazzhus - a club he would see a lot of in the years to come. All the while Dexter kept an apartment in New York, but continued to tour Europe, often returning to the Montmartre for a month or so. Two years later he read an article by Ira Gitler referring to the "Expatriate Dexter Gordon." It wasn't until then that Dex, very much aware of how happy and content he was, realized what he had done. He had moved to Europe. 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store 2 KENNY BURRELL - DOWNTOWN Guitarist Kenny Burrell brought hts regular quartet to the Statler, playing to two weeks worth of packed houses. His group, consisting of Richard Wyands/piano, Lyle Atkinson/bass and Lenny McBrowne/drums proved a worthy �rhythm section for the great guitarist in both supportive and individual solo roles. Burrell, as always, comes off so much better I ive than on record that I wonder every t1me I hear him why Fantasy doesn't record the band I ive. Aside from Kenny being one of the best the Statler has had to date, he drew the youngest, most attentive audience. You can bet he'll be back. See the Bt.:rrell interview in this issue. B.W. another six months. Sonny Fortune will be a semi-annual event. Its food for the soul. · B~W. SONNY FORTUNE AT TRALFAMADORE Sonny Fortune brought his quartet to the Tralfamadore for another series of incredible performances. This time - no piano. His pianist had broken a finger afewdays earlier, presenting the band with a new challenge of filling in for the piano. It took a short while for them to get used to the format, and once they did the piano wasn't missed. Drummer Chip Lyle was the only holdover from Sonny's previous visit (April of this year). He played with more fire, inspiration, and musical and technical prowess than before, willingly accepting, facing and answering a drummer's challenge in a piano-less context. He never let up, showing his Roy Haynes/Tony Williams/Elvin Jones influences. Bassist Hakim Jamie is strong, unique and a good partner for Lyle both in steady support work and interplay. He's an excellent soloist. Trumpeter Ceci I Bridgewater was a good complement for Fortune. His solos improved with each set until the last on Sunday when he and Sonny practically blew their brains out. His ensembles with Fortune were clean and precise, a result of his big band experience. Then there's Sonny. What can I say about Sonny! His solos, often starting with long, bending, drawn out notes build into an intense, hypnotic voyage into the unknown. But with Sonny guiding you, you never feel lost. You know the saying - "You had to be there". If you were, you know that descriptions in words are superfluous. If not, you missed more than you probably think. It was definitely heavy, and he'll definitely be back in A Fonnn designed and created for the freedom foru1d in artistic creativity. Providing .exposure for quality sound. Exploring arid focusing on good feelin~ through friends, food and spirits. vl - an adventure directed towards you the people. 1005 TonaWdllda St. Buffalo, N.Y. 877-9377 OPENING NOV. 5 WITH SPYRO-GYRA ..... . �.~.51 saxes and flute. He's the son of the great alto player Jackie Mclean. He studied music with his father, Jaki Byard and Frank Foster. He's led his own groups since '65, as well as working with Sam Rivers, Doug & Jean Carn, Frank Foster Grachan Moncur Ill, Chris White and others. He also worked and recorded w1th Jackie Mclean's Cosmic Brotherhood (Steeplechase 1023). He performed with Horace Silver before joining the Hayes/Shaw Quintet. RONNIE MATHEWS - pianist, was born in Brooklyn in 1935. He received a B.A. in theory from the Manhattan School of Music in 1959. He then was accompanist for singer Gloria Lynn and since has worked with Kenny Derham, Roy Haynes Freddie Hubbard, Max Roach, Clark Terry and others. He wa~ twice a member of Art Blakey's Jazz Messengers. Ronnie has also been featured on many record dates with most of the above leaders. For the past six years Ronnie has been working with N.Y. high school students 1n a drug prevent1on program Incorporating music as a positive social alternative. STAFFORD JAMES- bassist, graduated from Mannas College of Mus1c (NYC) in 1972. Between '68 & '70 he worked with Monty Alexander, Rashied AI i, AI ice Coltrane, Pharoah Sanders and Cecil Taylor. He then went with Roy Ayers, Andrew Cyri lie and Nancy Wi I son before jo1 ni ng Gary Bartz. with whom he recorded three albums. Then he worked with singer Betty Carter, Roy Haynes & Art Blakey before joining the quintet. Needless to say, these five musicians have enough credentials to sink a ship. The group is led by two musicians who are original and among the best on their instruments. You can expect tight, exc1ting Jazz, and lots of people so try to arrive early! See the ad in this issue for "Tralfjazz". DISCOGRAPHY - AS LEADERS Woody Shaw Love Dance (Muse) The Moontrane (Muse) Song of Songs (Contemporary) Blackstone Legacy (Contemporary) Louis Hayes lchi-Ban (Timeless) Breath of Life (Muse) Louis Hayes (Vee Jay) Rene Mclean Watch Out (Steeplechase) Ronnie Mathews Trip to the Orient (East Wind) Stafford James Stafford Jame s (Horo) Note: This entire band, with the exception of Rene Mclean, can be heard on Louis Hayes/Junior Cook "lchi-Ban" (Timeless 102). WOODY /HAW WOODY SHAW AND LOUIS HAYES The Louis Hayes/Woody Shaw Quintet will appear at the Tralfamadore Cafe December 3, 4 & 5 as part of the BJR/ Tralfamadore Series known as Tralfjazz. The group has been touring the U.S. and Europe extensively playing to packed houses. Some information on the members of the band follows: WOODY SHAW - started trumpet in 1956 and played with a long list of jazzmen including Lou Donaldson, Kenny Dorham, Hank Mobley and Larry Young in the early stage of his career. He recorded with the great Eric Dolphy, who phoned Shaw from Europe asking him to join his band. When Woody arrived in Paris, Eric was dead. He credits Dolphy with "forming my basic conception of where I want to go". He joined Horace Silver's band, with Joe Henderson, and recorded two albums with him. Then he worked and recorded with Jackie Mclean, Chick Corea, McCoy Tyner, Herbie Hancock, Roy Haynes, Max Roach, Joe Henderson, Arch1e Shepp, Pharoah Sanders & a host of others. He then joined Art Blakey's Jazz Messengers, a gig which encompassed U.S. and European tours, jazz festivals and record dates. After Blakey, Shaw went with Joe Henderson & Bobby Hutcherson, freelanced around the west coast, did clinics, lectures and taught jazz theory. He then toured with the Louis Hayes/Junior Cook Quintet which 'recently became the Louis Hayes/Woody Shaw Quintet. LOUIS HAYES - one of the best known, most recorded and finest drummers in jazz. He was born in Detroit in 1937 and at the age of 15 he began playing professionally. In 1956 he worked with Kenny Burrell and then with the Yusef Lateef Quintet. From '56-'59 he was a member of the Horace Silver Quintetone of the most popular groups of that time. He then spent six years with the Cannonball Adderley Quintet performing around the world and recording extensively. From '65-'67 he worked and recorded with the Oscar Peterson Trio, along with Ray Brown and, later, Sam Jones on bass. f-Ie joined Peterson again in '71, having spent four years with Freddie Hubbard, again on many record dates. He then freelanced while retaining leadership of his own group, which led up to the formation of the current quintet. RENE McLEAN- born in 1946playsalto, soprano and tenor STATLER JAM DISCONTINUED The Monday night jam sessions at the Statler have been discontinued, probably resuming in spring. However, jam sessions now take place at the Tralfamadore Cafe, Main and Fillmore, every Sundayafternoonfrom4-7 PM. MARK MURPHY RETURNS Vocalist Mark Murphy wi II return to St. George's Table for the month of November. Murphy has been visiting Buffalo frequently lately and has an avid following here. Mark spends most of his time in Europe where he does TV specials and performs with the Dutch radio orch. As is the case with many Americanjazzartists, he is treated like royalty there. His reputation as one of the greatest jazz singE·rs is known around the world. Japan recently re-issuedtwoofhis Riverside albums, which are now available in the U.S. His recent Muse release has sold well, with Murphy adding lyrics to two Herbie Hancock tunes. Try to catch him. Check the ad in this issue. 4 DISCOGRAPHY Mark Murphy Sings (Muse) Mark Murphy II (Muse) Bridging a Gap (Muse) Rhyme & Reason -Herb Geller (Atlantic) Rah! (Riverside) Thats How I Love the Blues (Rivers1de) �il ,I I : across the ofjazz, and each blends the colors With musical genius. Listen to our ... ,·.:·· ... :. ·.·.·:.·· raihb~~c~J&u' ~~(~~~j¥~i~f' ' < .9plo.~\!:~r¢.ndofit< · .·... · ·· o~:.:~a~~:i!:!:~:!.=~~~'l;l• 'if\ j''i,;i~~i,?';:, · · · · ·,· · · .·~·~ 7~Ail~,' ' ';co~di~g~oipi\l)i; ~.,.c:~J•· · · · · �The fall season is in full swing in Buffalo and so is the jazz scene. Last month was particularly busy with Kenny Burrell, McCoy Tyner, Steve Kuhn, Sonny Fortune, Gerry Niewood, etc. It was probably the most jazz in a month's time we've seen in years. This month we've got Clark Terry, Dexter Gordon, Mark Murphy, Helen Humes- and early in December the Woody Shaw/ Louis Hayes Quintet. I trust that everyone is enjoying the opportunity to hear all this music without having to drive to New York. It can keep happening if you continue to support it - both the name bands and the local groups at the Tralfamadore, Jack Daniel's and the Statler. If you have a I ist of bands you'd I ike to see come to town, mail it to my attention at the BJR, 1335 Main St., Buffalo, NY 14209. Your ideas are important. There are some groups that it would be nice to see at the Tralfamadore, but the cost is so high that two shows would be a must. Some people complained about the two show idea with Elvin Jones, but it can't be done any other way with only 120 seats. While some bands wi II play two sets, most wi II do only one per show. Groups that fall into the 2-show category are Jack DeJohnette w/John Abercrombie, Pat Martino, Gary Burton, Elvin Jones, McCoy Tyner, etc. Look at it this way - one long set at an intimate club where you can see, hear and talk with musicians and drink if you like for 4 or 5 dollars cover beatspaying$7.50 for an hour's music in a huge hall, where the sound usually stinks and you can't see the faces of anyone on stage. We'd like your opinion on this situation as well. Let us know how you feel about the two show ·set-up. One more thing -with the hoi idays coming- please support our advertisers for any shopping you might be doing. They are keeping the BJR coming, and keeping it free. Bill Wahl kenny burrell interview Burrell Ed Smith, John Hunt 6 These are excerpts of an interview with Kenny Burrell done by John Hunt and Ed Smith during the live broadcast on WBFQ of Kenny's opening night at the Statler Hilton Down1r;wn roo'n Tuesday, October 5. ' Hunt: You studied classical guitar in 1952 and 1953. 1 was wondering how much that influenced your style? Burrell: Not very much. Influence of a style comes frory many things. The classical guitar that I studied was forth~ technical part, mainly the right hand. Actually I was interested in learning what they call finger style and I'm glad I studied because of that reason. It gave me a lot more flexibility in my nght hand usrng all my frngers; but now as you migh1 not1ce sometimes I play with my fingers sometimes I play with a pisk sometimes I play withbothatthesametime. Whde I was study~ rng the classrcal gurtar, I was at Wayne State rn Detroit and 1 was exposed to a lot of music. I was a composition major so 1 was pretty well acquainted with the music ofthe world because as a student you learn all about that. But just as far as the classical guitar itself, it was really mostly the technical thino I got out of it. ~ Smith: Speaking of guitar, what made you think of taking up the guitar? Burrell: I think I kind of inherited that. My whole family is very heavy on strings you know. My father played banjo and a ukelelee just for fun. My mother played the piano ... s1ill plays the piano and she still sings in a church choir. My brot~,er. actually I have two brothers who playtheguitar ... but the oldest brother, Billy, started the guitar when I was very young and he became a professional guitarist. So I cdme along and I was very strongly influenced by all of this music around the house, especially the guitar. But at an early age, I really didn't want to play the guitar because I wanted to be different. I wanted to do something other than what my brother did. I really wanted to be a saxaphone pi ayer because I was I istening to Coleman Hawkins, Lester Young, all those people. But money was a I ittle shod and there was a guitar around the house anyways (he laugh<>) .. so I said well I might aswelltry it, and the more I t~ied it, the harder it was to get away from it so I ended up staying with it. Smith: Somewhere I read, you stated that bossa nova was very good for the jazz guitarist. Could you elaborate on that? Burrell: Well I don't know ... its not bad I'll put it that way. I don't know how I would say specifically regardif1g jazz guitarists except that bossa nova rhythm is furi to play on top of. Maybe what I really meant was that the bossa nova origi1rated with the guitar and there's a certain rhythm that you play which sort of adds another element to the normal run of jazz - that latin bossa nova element - which most jazz guitarists really find no difficulty in playing. It's another dimension, so maybe I meant it for that reason. Hunt: You had quite an initiation into the jazz scene. Right after you left Wayne State you replaced Herb Ellis is Oscar Peterson's group. How was that experience fot you? Burrell: It's not a bad way to start, is it? (laughter) Yeah, I was kind ofoverwhelmedbyallthat.l was Ray Brown'<> roommate right away. He was in thetrioand I stayed with him. That �was quite a learning experience. However, i1 was also, how can I say, a confidence booster. It really said ok, you can do it and so from that point on I felt confident that I could deal with the jazz business, the music business. So I enjoyed the whole thing: the music, the association and all the people I met, the opportunity in general. Hunt: From what I know of your music and the different people you've played with, you've gone from a big band setting to trios to quartets. You've played with people like John Coltrane. What was it like to lay with Coltrane as opposed to some of the others you've worked with? Burrell: Well I think ... the first thing thatcomestomy mind is the word dedication. We know he was serious. We know he was a very serious musician. That is what I observed and felt about him from the moment I met him. I actually f1rst worked with him in Detroit may years ago when he was working with Dizzy Gillespie. They came through Detroit and I filled in for one of their members who was sick and I played a month with them. That was when I was sti II in Wayne. John Coltrane was there and Percy Heath and Dizzy, MiltJacksonand it was quite something. But again, the thing about John was this dedication which you find once in awhile. Also coming to mind now is Duke E IIi ngton who was dedicated but then another word comes to mind, compulsion. I think they both were compulsive people. They had to dowhattheydid. They couldn't help it. Duke Ellington, I remember seeing him and being with him about four or five months before he died. I found myself at four o'clock in the morning in his hotel room listening to him play the piano and singing his third Sacred Concertthathewasgoing to open threQ days later in London to premier it. Here's a man 74 years old doin' this. He couldn't help it, that's what I'm saying. I think John Coltrane was thesamekindofperson.lt's more than dPdication, it's compulsion. That's it they can't help it. Being around a person I ike that puts you in a different frame of mind. You cannot help but be completely serious. We all have our I ittle moments of being unattentive or whatever but when you're around those k,i,nd of people, you're 100% on the case too. We started out tall<iing about Coltrane but I mentioned Duke. Both of those people I was fortunate enough to be around and work with. It's something else to see that kind of genius. To me, that is genius. Smith: In passing, you mentioned Milt Jackson. When he was here, he pi ayed a lot of Duke E II ington. You produced an LP entitled, "Ellington is Forever" with a host of fine musicians including Thad Jones and Mel Lewis. Was there any reason why you wanted to produce that yourself? Burrell: Yeah. It's in praise of this man, this giant, this leader. Someone once said, I don't know who, "Duke Ellington is the sun around which the jazz world revolves." That's almost true, you know. The more time passes, the more that seems to be true, 'cause he's as powerful now or more as he was when he was I iving. I believe totally in what he stood for. I can't say enough about Duke E II ington and I'd I ike to do my part in making sure thatothersknowaboutit and are influenced by that positive thing that he had. The fact is that he also emerges as the greatest musician of the 20th Century regardless of category. The more we think about that, the more we realize that's true. I'd liketodomypartto make sure that that positive thing is known and kept alive. It was no problem for a bunch of guys to get together and say, "Yeah, E II ington is forever and here we go. We gonna pi ay about it." · Hunt: How do you feel about your newest recording, Sky Street, for Fantasy records? Burrell: Well, I like it. Naturally I say that as a producer, 'cause I produced it you know. It's kind of a place where I like to keep my head too. You see, as you might have observed, I have alot of different approaches to music. We just got through talking about the Ellington stuff. That's the historical approach. We just finished the second Ellington album and I intend to do many more. To me, that's dealing with history as well as art. Now the Sky Street is contemporary music. I feel, its something that we stretched ourselves on in terms of new sounds which I enjoy. My only criteria is can I live with it. Hunt: You have that contemporary sound on Sky Street without resorting to disco or heavy funk as so many musicians are doing these days. Burrell: Well, maybe its because I'm not thinking in terms of dollars. It's maybe not good but I. have an underlying confiden.ce that if I keep on doing what I'm doing which is vying myself and playing the best I know how those fans that I've had FESTIVAL EAST CONCERTS PRESENT FRIDAY, NOVEMBER 19th - a:oo P.M.Shea'S Buffalo Theatre PHOEBE SNOW PLUS SPECIAL GUEST STAR: Ric·hie Havens ALL SEATS RESERVED. TICKETS ON SALE NOW! Main floor&Loge: $6.50 Balcony: $6.00 Tickets available at all Festival Ticket Outlets in Western N.Y. & Canada including Festival in the Statler Hilton, U.B., Buff. State, All Man Two & Pantastik Stores, Audrey & Del's Records, & Amherst Tickets. through the years won't leave me and I'll develop some new fans. And so every year my career has gotten a little better. It hasn't been I ike a sky rocketthing. Every year it gets a I ittle better, I make a little more money, sell a few more records, but the point is I'm still out there doing what I love and I'm making a living so I can't complain. WBFO programs more than 72 hours of jazz weekly and broadcasts I ive in stereo from the Downtown room every other Tuesday evening beginning at 9. November broadcasts will be Clark Terry Nov. 2, Helen Humes Nov. 16 and Zoot Sims/Jimmy Rowles Nov. 30. John H. Hunt Director of Jazz programming/WBFO EDITOR & PUBLISHER- Bill Wahl CONTRIBUTORS Tom Alabiso, Louis Bradshaw, Bill Besecker, Paul Gresham, ~ohn Hunt, Tom Mazzone, John Osborn, Paul .Smith, Paula Wahl. ILLUSTRATORS- Christine Engla Eber and Sabrina Mayberry Smith. PHOTOGRAPHER - Michael Ketter. CORRESPONDENTSRochester - Jim Laniok Syracuse - Jerry Stab i Ie Toronto - Hal Hi II Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 {716) 883-3909, Ext. 11 7 © 1976 - Buffalo Jazz Report PRINTED IN U.S A. portion of this publication may be reproduced without written consent from the pub I isher. No .....;------------------------- �AL TSCHUL/BLEY /PEACOCK - VIRTUOSI - IMPROVISING ARTISTS INC 373844 During the triad of years '66-67-68 Paul Bley recorded some of the most morose introspective music imaginable! "If there were bountiful happiness there would be no music". Bley remarked in that period, and accordingly his musicai output was bountiful. This recent release is a production of Mr. Bley hit~erio unreleased. The three trios of these years featured an rnterest tng meld of personaltttes progressively changing in very subtle ways yet maintaining that unchanging Bley mold. Barry Altschul and Gary Peacock are the not-soless principal players on this album and play with Bley two extended compositions of his ever-present haunt, Annette Peacock. The tunes grace our ears with that "third stream" influenced freedom which is so recognizable in all of Bley's m~sic. ~ary P:acock' s perfor.mances are m~sterful and sorely mrssed tn Bley slater work. Hts solos are lync and expressive. Barry Altschul is quick, thin and respondent to the sense of the other players. B.B. JIM HALL - COMMITMENT - HORIZON 715 Buffalo born guitarist Jim Hall is one of the most consistently excellent performers on the instrument, both I ive and in the studio. His latest effort presents him in varied formats, always allowing him to show his skill. Walk Soft and Indian Summer are medium tempo, relaxed swing tunes in a quintet setting with superb flugelhorn work from an under-recorded master Art Farmer. Tommy Flanagan is on piano, with Ron Carter on bass and Allan Ganley on drums. The same quintet is augmented by Joan LaBarbara/voice and Errol Bennett/percussion for Tomaso Albinoni's Lament for a Fallen Matador, a gorgeous performance reminiscent of Hall's recording of "Concierlo de Aranjuez" (CTI) of last year. Hall, Farmer & Flanagan are simply superb. Except for Down the Line which is solo guitar, the rest of the tunes are duets, with Don Thompson, Tommy Flanagan, Terry Clarke & Hall's wife, Jane, who sings along with Jim's guitar on When I Fall in Love. Throughout, Hall displays his unique orchestral style in solos and comping behind his cohorts. An excellent, well produced, polished album from Jim Hall. B.W. PAUL HORN - ALTURA DO SOL - COLUMBIA 34231 Paul Horn's last several albums have displayed varied musical styles; his solo recording in the Taj Mahal, a commercial disc, a straight I ive one, an outing with himself and six percussionists etc. Now we find him with Brazi I ian composer Egberta Gismonti. Horn plays only flutes here (he has also used clarinet and alto sax in the past) playing authentic, busy Brazilian jazz, and ballads with strings with unidentified musicians. This may not be fully appreciated by everyone, but is a good addition to your collection if you're into Horn's previous work. B.W. HERBIE MANN - GAGAKU & BEYOND - FINNADAR 9014 Its a rare occasion that Herbie Mann does anything that attracts my attention. One such occasion was an album entitled Stone Flute (now deleted) on Embryo, with Sonny Sharrock, Miroslav Vitous, Roy Ayers & others. This release presents Mann in different combinations with his Family of Mann and Japanese musicians. Minoru Muraoka & His New Dimension is a nine piece group playing traditional Japanese instruments (koto, etc.) Two other Japanese groups also appear. The program is mostly traditional Japanese music - only the title track is Mann's band alone. Obviously, traditionaJ Japanese music is not exactly "jazz", but this is interesting, well done and presents Mann in a context that he sounds great in, which is a lot more than I can say for many other records he's put out. Herbie's always sounded good .playing wooden flutes, Eastern music and the I ike. If this record sounds like something you'd like, pick it up. If you do approve, snatch up the first copy of Stone Flute you come across in the cut-out bins. B. W. AFRICAN PORTRAITS - DOLLAR BRAND - SACKVILLE 3009 "African Portraits" is the second volume of a piano solo date recorded in Toronto, Feb. 18, 1973. The first volume was Sangoma. Portraits is every bit as good as the excellent "Sangoma". At the root of Brand's compositions are beautiful examples of continuously flowing, multiple rhythmic patterns, sometimes strong and hypnotic, othertimes, understated and subtly complex. fn Dollar Brand's music, the genius of Ellington, Monk, Waller, and Bird is acknowledged and treated with a genuine respect. The music is rich with the ancestry and culture of Brand's African heritage. Also apparent is the influence of the Black church in America. Brand has combined this knowledge, wisdom, and experience to create an original approach to music that is his own. "African Portraits" is a multitude of gifts full of color, insight and vision given to us by Abdullah Ibrahim (Dollar Brand). A most important artist in our relative experiences of space. P.S. PHIL WOODS- FLORESTA CANTO- RCA 1800 This seems to be the month for bop giants to do recor-ds with Latin orchestras. Dizzy & now Phil. Wood offers an album that should give him more commercial popularity, but not turn off hts "regulars" -or loyal fans. There are two drummers and five percussionrsts along with a horn ensemble and strings. Phil's former "European rhythm machine" pianist Gorden Beck is on hand, sharing the solo spots with him. The program consists of Latin pieces and ballads, including two by Janis lah and one from Phil. The music is often heavily orchestrated with a busy rhythmic base. While not up to the level of his previous New Phil Woods Album, 1 prefer it to the Legrand orch. disc and find it a good fusion album with a different concept. Too bad the pressing is so noisy. 8 W. ROY AYERS - DADDY BUG & FRIENDS - ATLANTIC 1692 This is not new Ayers, but re-issued material from three Atlantic albums, and two unissued tracks; Circa '67-'69. Side one contains five tunes - all good quartet music from the vibist, who is joined twice by Herbie Hancock. But the best music is on sidetwo,whereyou'llfindtwo cuts done by a sextet with Joe Henderson, Charles Tolliver, Reggie Workman and Bruno Carr. There's a rocking Latin flavored tune and a ten minute slow blues. In all, a tasteful album far superior-to Roy's recent recorded output. B. W. B DON THOMPSON - COUNTRY PLACE - PM-008 Don Thompson is a Canadianpianist/bassist/vibist/composer who lives in Toronto. You've probably heard him playing bass at the Bourbon St., or on the recent I ive albums by Jim Hall or Paul Desmond. All of that aside, we have here a brilliant album with Don on piano and vibes, Gene Perla on bass and Joe LaBarbera on drums. All six compositions are Don's. The three tunes that stand out the most are the title track, Second Voyage and Song For Sonny - on each of these he overdubs vibes on piano coming up with a sound that brings to mind Keith Jarrett and Gary Burton. The tunes are loaded with beautiful melodies, backed by Perla's likewise melodic bass and Joe's crisp, clean drumwork. It's simply great listening music - I recently played a tune on WBFO from a test pressing and received ten phone call. Unfortunately the record was not out yet. Of the three tunes without vibes, Full Nelson is a short avant garde excursion; For Chris Gage is a gorgeous ballad high1ighting Thompson & Perla, Sasha' s Delight (named for Perla's dog) is a 3/4 romp with each musicians in the drivers seat. Don's major influences- Bill Evans & Keith Jarrett are most obvious on this excel I ent debut album, which is finally avai Iable. B.W. Afterthought - There's a striking similarity between Second Voyage & Herbie Hancock's Maiden Voyage. B.W. Il I l j l JI I J. ; ll.! i �RCA Black & White :· BASF Milestone MGM imports JAPO Fantasy Prestige Concord ECM lmprov Improvising Artists JCOA Storyville Original Recordings BIG BANDS PM SWING ERA World's Largest Record Store "YOU GOT TO SEE IT TO BELIEVE IT " WE HAVE THE LARGEST SELECTION OF JAZZ IN BUFFALO 1800 MAIN at LAFAYETTE OPEN 7 DAYS A WEEK-10AM till MIDNIGHT . Form No. 502-572 _., Publication_&Date _____ ... , , I· '· �HEARD ANY GOOD JAZZ LATELY? Tune into WEBR (97.0) or WNED (94.5) Nov. 5- Clark Terry Nov. 12- Helen Humes Dec. 3- Zoot Sims, Jimmy Rowles Poppenbergs is underwriting the cost of live jazz broadcasts from the Downtown room of the Statler. POPPENBERG'S 3700 Sheridan Dr. • 837- 1010 OYAMAHA SONNY CRISS- OUT OF NOWHERE - MUSE 5089 Sonny's fourth since his recent comeback is in the pure ~caustic vein of his previous Muse & Xanadu releases. He'~ m a quarlet_sett!ng he~e with Dolo Coker/piano, Larry Gales/ b~ss and J1mm1e Sm1th/drums. Though not as refreshingly different as Cnsscraft (Muse 5068), its a fine session in an atmosphere the alto pi ayer is used to and comfortable in. He covers a lot of ground here. The First One is red hot with each musician working his tail off. Brother Can Yo~ Spare ~ Di~e could be better only if it was longer, with Criss d1splaymg h1s fluid style on a warm blues/ballad. Out Of Nowhere deserves a place in your Criss collection. Sonny's in top form and the rhythm section is stronger throughout. B. W. SAM RIVERS/DAVE HOLLAND - IMPROVISING ARTISTS 373843 Sam Rivers has established himself as an individual voice on saxoph~nes in the past decade. That's an accomplishment few mus1c1ans can claim since the initial impact of the early to mid-60's music of John Coltrane, Ornette Coleman, Albert Ayler and Enc Dolphy. Dave Holland has proven himself as an exceptionally creative bassist in any musical circumstance (jazz, rock) to the most extensive improvised music. Here _the duo performs two of River's originals, Water Falls, R1vers playing soprano sax, and Cascade, Rivers on tenor sax. While the music belongs to Rivers, it is Holland who takes on the role of catalyst insuring the music's flow. Ri_vers' playing is excellent in spots and good for most of the tnp. H_owever, he does tend to stray at times, seemingly wondenng off on a personal fantasy. (This may be intentional.) Holland must be a joy to work with. He is one of the most sensitive bassists that can be heard. Whether he's behind, out front, or walking along with Rivers, his sense of timing is always perfect and a constant provider of new ideas for Rivers to work with. P .S. CHARLIE HADEN -CLOSENESS- HORIZON 710 _Bassist Haden is well known as a long time member of the Ke1th Jarrett Quartet. Closeness presents him in four duets with AI ice Coltrane, Keith Jarrett, Paul Mot ian and Ornette Coleman. . The four pieces were written by Haden, each is quite different and each a success. The Jarrett & Coltrane tunes offer light, spacey m?lodies. Its good to hear Jarrett doing someone elses compos1t1on, someth1ng not heard since Freddie Hubbard's "Sky Dive" album of 1972. Alice Coltrane performs only on harp, weaving textures with Haden. O.C. with Coleman, finds Haden improvising with Ornette's alto. It's the most energetic piece, but by no means "out." On ~or A ~ree P_ortugal, Charlie teams up with percussionist Mot1an. It 1s senous and reflective music written as a result ?f a~ inci~ent involving Haden and the dictatorship's police ~n L1sbon m 1971. Mot1an uses no traps, but only percussion mstruments . .fl. well deserved release from a great bassist. A fine record for serious listeners. B.W. DIZZY GILLESPIE W/MACHITO- AFRO-CUBAN JAZZ MOO -PABLO 2310-72 DS Dizzy Gillespie was one of the first established mus· · to rise out of the standard modern jazz form and incor ICians the influences of African and Latin/Cuban sounds. If por~te seen him live lately you know his increasing use of ~ou ve and t~e structure of his composing indicate a love and u~~~as sta~dm~ of Latm rhythms and textures. His collaboration wrLatm b1g_ band leader, Machito, on this album seems a lo icth 1 progressiOn. Afro-Cuban Jazz Moods is actually Dizzy g -: Machito's big band plus arranging and writing assistance h Chico O'Farrill. As might be expected, this project bee/om cumbersome at times. The transitions from one section ~es 0 p1ece to another are sometimes stilted and lacking in cohe a D. th . Sian 1z comes rough, however; bendmg notes, phrasing and speakmg to us th~ough h1s horn w1th h1s unmistakable tone ~ual1tles. Gillespie s best solo passages during this album ar m the smaller ensemble settings. J.H~ t' SOPRANO SUMMIT - CHALUMEAU BLUE - CHIAROSCURO CR 148 T_raditional jazz has a tendency when played by group t fall 1nto a stereotyped 'Dixieland' mold which has a st'"ri~/ that underlies the apparent cornhat enthusiasm. Bob Wilbe~ and Kenny Davern who fron_t Soprano Summit play jazz rooted 1n the twent1es but played w1thout slav1sh conformity to Dixi~­ land style~. Th1s mus1c sw1ngs and avoids the cliches of revivalist mus1c. Wilber and Davern ~ouble on soprano saxophone and clarinet and ~ccompan1ed by gUitar/banJO, bass and drums. Theirbasic mus1cal 1deas, and many of the tunes they perform, dat~ to the twent1es as group 1mprov1sation is prevalent and Wilber and Davern playmg off each other. The music is simply exhuberant, cleanly played and sw1ngs. The1r own musical intentions_ are not exploring new paths, but reworking old ones and th1s IS done so well. R.W. SAM NOTO- ACT ONE - XANADU 127 Act One is number two on Xanadu for Buffalo born trumpeter Sam Noto. Like its predecessor, its a good record. This time around its a quintet with Joe Romano (tenor sax). Barry Harns, Sam Jones & Billy Higgins. Romano, formerly a Buffalo local, has been working lately with various big bands. For the most pari, its up-tempo, solid bop - with four such compositions from Noto. The three ballads are in medley form. Noto sounds in good form as usual, as does everyone else. Som?thing to check out for Noto' s followers or trumpet people m general. Also, there's some interesting information on Buffalo in the notes. B.W. JIMMY OWENS - HORIZON 712 Trumpeter Jimmy Owens shows his stuff here on a fantastic, stra1ght ahead 8 minute acoustic vers10n of Secret Love. Unfortunately, thats where all the good music is found. . The rest of the album is plain old funk, and ther</s even a d1sco vers1on of Duke E II ington's Caravan. The fact that there's one hot tune is more than Donald Byrd or Freddie Hubbard can claim for their latest efforts, but there are so few good trumpet players around, I hate to see another one go disco. B.W. LOUIS HAYES/JUNIOR COOK/WOODY SHAW - ICHI-BAN TIMELESS 102 This is a Dutch import that should be available now, or soon, in local stores. The quintet on this album is essentially the same as the Woody Shaw/L_oUis Hayes group that wi II appear at the Tralfamadore Cafe 1n December, with Junior Cook instead of Rene Mclean. Shaw's Moontrane opens at a quick tempo followed by Walter Booker's rocking Book's Bossa. The title track, by pianist Ronnie Mathews, is taken at a straight ahead break· neck pace. Shaw shines. Cook is the only soloist on the ballad Pannonica (by Monk). Tex Allen's Brothers & Sisters cooks over Stafford James' steady, repetitive bass I in e. Excellent solo and ensemble work is heard throughout the albu~ from ~ach member of the band, as well as guest per· cuss10n1st Guilherme Franco, who has time to himself on Bossa. 10 ~ very good record if you can. find it - let us know if you cant. B.W. �JACO PASTORIUS/PAT METHANY/BRUCE DITMAS/PAUL BLEY - IMPROVISING ARTISTS 373846 You' II probably find this in the "P" bin at the store, since Jaco is I isted first and he's now well known as the bassist with Weather Report. However, this is very much a group effort, with everyone putting in his fair share. Of the nine tunes, five are by Carla Bley, three are from Paul and one from Annette Peacock. The tunes on side two run together (no bands) and fall into the bitches brew, early Weather Report vein, as does Carla's Vashkar - filling half of side one. Poconos is a short improvisation, followed by Donkey, where the quartet begins to swing but remains firedup and rather free at times. Bley is heard only on electric piano throughout the album, an instrument he seldom uses but plays well. Methany, current guitarist with Gary Burton, is a player who deserves the acclaim he's recently been receiving. Jaco is a powerful, quick fingered electric bassist and shows his talent to good advantage on this 1974 recording. Don't confuse this with the Pastorious album on Epic. This is much different, much better stuff. Play it loud. B.W. DOUG RILEY - DREAMS- PM RECORDS PMP007 Canadian Jazz, having recently secured more than a broadening ethnic attention with the rising star of Kenny Wheeler and others, holds up a new and hitherto neglected talent, Doug Riley with this, his first album as a leader. The live tracks featured here highlight the previous classical and film score talent whose initial jazz claim lies in the backdrop for his emulated countryman and guitarist, Sonny Greenwich. The compositions are mixed mainstream with the familiar modal elasticity. A rather short rendition of Zappa's "Chunga's Revenge" is the only non-Riley tune and couldhave been edited completely with out notice of this reviewer. Claude Ranger is at times too high powered a drummer for the setting, but for the most part, he and the rest of the band play exceedingly well both in unison passages as well as in counterpoint. The album's opener, "In My Life" is a masterful preparation for what is to come and is overshadowed only with the extended performances waxed on the title tune. B.B. NOVEMBER IS 8 hnpulsc MONTH AT ALL 6. 98 list IV MONTY ALEXANDER - LOVE AND SUNSHINE - BASF G22620 The clarity of the recording makes Love and Sunshine a close inspection of Alexander's style; his is a reflection of many styles ranging from Oscar Peterson to Les McCann with a noticeable leaning toward the former. Some critics have said Alexander's style leans too much in the direction of Peterson. In any case, with backing from the highly-regarded bassist Eberhard Weber this proves to be an enjoyable album of ablyexecuted songs by Chari ie Parker, Gene McDaniels and others. The absence of original compositions is a disappointment. Alexander's renditions of Milt Jackson's S.K.J. and Parker's Now is the Time are swinging, exciting performances for the small but enthusiastic audience assembled in Brunner-Schwer's private studio for this album. Even ifhedoes reflect Petersonesque soloing at times, it is ultimately the sound of Monty Alexander which fills Love and Sunshine. JHH OSCAR PETERSON AND JOE PASS - PORGY AND BESSPABLO 2310-779 Jazz musicians have been performing the song Summertime with I ittle variation for quite some time. On Porgy and Bess, Oscar Peterson provides a new twist by realizing this piece (and all compositions on the album) on the clavichord. The clavichord provides a far lighter texture than we are used to in Oscar's playing. Especially since he is paired with his frequent partner, Joe Pass on acoustic guitar, the clavichord seems to possess the qualities of a stringed instrument. Much of Peterson's customary dynamic flexibi I ity and power are taken away in using the ancient instrument simply because the clavichord cannot respond as the grand piano can. It's for this reason that Porgy and Bess seems to drag at times (at least by jazz standards). Joe Pass, responding to the limitations of the clavichord, comes forward not only with inspired soloing but with rich camping and sensitive interplay as well. As Benny Green's I iner notes indicate, this collection of songs from the musical Porgy and Bess represents an experiment and a challenge not only for Oscar Peterson but for all of jazz. J.H. c e hnpulsc ALBUMS ' NOW AT ELMWOOD AND FOREST! NOW 4.49 SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY'PLAZA �ARCHIE SHEPP - MONTREAUX TWO - ARISTA 1034 This second volume from Shepp's 1975 Monireaux Conceri is not as satisfying or as stimulating as thE' first, but is decent Shepp nonetheless. Only three tunes are heard. Stream is a mellow waltz w/ Shepp on soprano, the jazz standard Along Came Betty bounr es along nicely, but nothing exciting. Blues for Donald Duck starts off with a bang and goes out bridly befnre se1:tl ing into a medium-fast groove. Its the most memorablf' mus1r on thP record. This is by no means a bad record, but I'd recommend Montreaux One first. If you like it, check two out. B.W. HARVEY MASON- EARTH MOVER - ARISTA 4096 A strange record. There's some decent funk here but ·t 1 mixed with some of the most obnoxious disco/soul tunes 1• s heard in a while. Ve Side two contains some good stuff including some heavil orchestrated, brassy funk, a I ight Stafford James bal\al Bertha Baptist {with Mason on drums & vibes), and a trio ver~ sion of Jan Hammer's No Lands Man, with Hammer on mini moog, Anthony Jackson on bass & Mason on drums. But I can't imagine this record being worth the money whe one has to sitthrough tunes I ike Sho Nuff Stuff. Just be advised~ if you hear a tune that catches your ear on the radio - ther are also a few here that just don't make it. B.W~ FLORA PURIM - 500 MILES HIGH - MILESTONE 9070 Best known for her work with Ch1ck Corea's Return to Forever, and her solo records, Brazilian vocalist Flora Purim has gathered a healthy number of American jazzfons. Her latest release was recorded I ive at Montreaux in 1974 anrl is her best yet. There's no commercialism here as she flies through bossas and ballads, and a fresh, inspired vers1on or Corea's 500 Miles High. Vocalist, guitarist, composer Milton Nascimento joins her on Cravo E Canela, one of his own tunes. Other band members include David Amaro, Wagner Tiso, Pat Rebi-llot, Ron Carter, Roberto Silva and, of course. Airto Well performed, well recorded music from Flora B.W. WAYNE SHORTER - SECOND GENESIS - VEE JAY 3057 Recorded in 1960, Shorter was a member of Art Blakey' Jazz Messengers when he did this record. He's leading! quartet with Cedar Walton, Bob Cranshaw & Art Blakey and f1ve of the nine tunes are Shorter originals. ' Wayne reflects his influences, Coltrane& Rollins throughout There's some Dexter Gordon too, picked up through Coltrane'~ influence {who in turn owes a debt to Gordon). Although recorded sixteen years ago, this music doesn't sound at all dated. Its good Shorter and worth checking out. B.W. flora Against this the right hand plays around the melody. Played with enthusiasm this music has a vitality that is charactenzed by Effervescence a Fats Waller tune that is recorded for the first time. This album is a marvel as Turner plays with such skill and dexterity, that it is apparent that age has not eroded his considerable skill. With fine notes by Gary Giddens and the exhuberant, sparkling music this album will leave a lot of liste~crs feeling just as the notes quote Joe Turner, "You can't listen to it without feeling good." R.W. SAM MOST - MOSTLY FLUTE - XANADU 133 A while back I jokingly referred to Zoot Sims' "Soprano Sax" disc as being cleverly titled. Now I must be taken seriously when I say "Mostly Flute" is clever, and Most put as much or more effort into the music as someone put into the title. Most people have never heard of Most {a clever sentence). Not only is he an excellent flutist, but a heavy influence on such unknowns as Yusef Lateef, Roland Kirk, Hubert Laws, Joe Farrell, James Moody, Paul Horn and Herbie Mann. Except for two tunes where he plays clarinet, Most delivers some of the finest jazz flute music on record in some time. The acoustic quintet includes guitarist Tal Farlow, with a rhythm section of Duke Jordan, Sam Jones & Billy Higgins. Most is strong, clean and full of ideas. Farlow is great as always {though seldom recorded) and the section is tops. An excellent choice for anyone attracted to the jazz flute. B.W. _ KING OF STR.IDE PIANO _ CHIAROSCURO JOE TURNER CR 147 This is not the blues shouter but part of a piano playing clique that once included James P. Johnson, Fats Waller and Art ratum. Stride piano is so named because of thA bounding left hand bass patterns played which have a striding effect. I2 GEORGE BENSON/JOE FARRELL -BENSON AND FARRELLCTI 6069 You'd have to be I iving in a jazz/pop/rock vacuum not to have been aware of George Benson and Joe Farrell's contnd bution to music lately. Those that are aware, however, coul argue that frankly what's been offered is miniscule in corn· parison to their abilities. Their newest joint effort, Benson and Farrell, is at least a step back in the correct direct1on fo~ both of them. Absent is the over-produced, over-embell_1she 1 production which so often buried their solos in a quagm1re 0 saccharin string arrangements. For a refreshing chan~e~ they're allowed to solo with just a funky, tight rhythm sect' 0 backing them up, giving them breathing room. Beyond the Oz.o~e is an especially pleasant piece proving that in gaining notor1e Y ·' �neither man has lost his sens"itive, creative approach to improvisation. The thoughtful bass work of Gary King and Will Lee add to the positive atmosphere with intelligent camping. Benson's guitar and Farrell's flute and sax combine well here in a setting that, for the first time in a long time, is conducive to revealing their considerable talents. J.H. DAVID MATTHEWS W/WHIRLWIND- KUDU 30 If you're a big band fan, chancP.sareyou've heard Matthews I ive record on Muse. If you I iked it, stay away from this. If you don't believe me, run to your nearest disco and hear it before they wear it out. B.W. NEW EXPLORATIONS ROSCOE MITCHELL QUARTET - ROSCOE MITCHELL SACKVILLE 2009 Roscoe Mitchell, the leader for this recording is a member of the Art Ensemble of Chicago, which had its beginnings as the Roscoe Mitchell Art Ensemble. There is not enough space in a review to speak on the efforts andaccomplishments of Muhal Richard Abrams, spiritual leader of the AACM. George Lewis and Spencer Barefield are two younger and lesser known Chicago musicians, both very capable. Barefield is heard on two of the four tunes Mitchell, composing the tunes, places the guitars in different contexts than usual. The effect and results are good. The eminence of Muhal's strength, modesty, and quiet dignity are apparent on all levels of his involvement here, and one gets the feeling that no other pianist would quite fit the role he plays in the scheme of the music. George Lewis is a young virtuoso trombonist. His work is excellent throughout, but the duet with Mitchell on his piece, Music For Trombone and Bb Sopranoandhissolo on Mitchell's Olobo display what an enormously creati,ve musician he is. The amo~nt of music h~ brings forth through the instrument is in-~ cred1bl e. Roscoe M1tchell has said that while in the army in the' late f1ftl~s, he met Albert Ayler and that Ayler had more con~,; trol of ~IS horn than ~nyone he had met. In this present time,~ ~oscoe IS another m~s1c1an who is very much in control of his··· mstrument, h1s mus1c and 1ts various possibilities of organizatiOn .. Strong mus1cal.concepts are being dealt with here. The ~us1c 1s as much mus1c before, it is non coll)promising; there 1s .no force here. Most of those who would attempt fraud have qUit or. been removed. Evolution is the way of nature; the revolut1on goes on. P.S. CERTAIN BLACKS- ART ENSEMBLE OF CHICAGO- INNER CITY 1004 Certain Blacks was recorded sometime in the early 70's' in France, according to the album notes, probably in '70 or '71 shortly before the musicians returned to the states. The group consists of four regular Art Ensemble members· Roscoe Mitchell, Lester Bowie, Malachi Favors and Joseph Jarman plus Chicago Beau, Julio Finn and William Howell. ' Chicago Beau contributes two tunes for the date Certain Blacks (do what they wanna) and One for Jarman. Blacks is an extended blues piece. There are good solo efforts by Bowie Mitchell and Jarman as always, and the ensemble work stretches out but is not random by any means. Jarman re.: minds me of the type of things Charles Lloyd was writing in' the early to mid '60's. Jarman's flute is pretty and more co~ventional than usua!. The last track, Bye Bye Baby, was wntten by Sonny Boy W1ll1amson and IS a synthesis of the blues and jazz tradition that only members oftheAACM (Association for the Advancement of Creative Musicians) have been able to capture. This album is evidence of just a few of the many directions AACM members have taken, and should be conside:ed for listening by all who are interested in experiencing musfcal examples from one of the most important musicians. organizations in the world. P.S. HEAR WOODY SHAW &MARK MURPHY & PAT MARTINO, SONNY CRISS, CEDAR WALTON, LOUIS HAYES & MORE -ON MUSE! ,, ll lrn&~:t«e:;:lit 51 University Plaza Mon.-Sat. 9:30-9:00 716-837-2322 All Charges t~·--------------~~ I �' l Great Bluesmen/Newport (Vanguard VSD 17 /78) is a collection of country blues recorded l1ve at vanous Newport Folk Festivals and is recommended especially fDr those who do'1't have many blues records as it provides idroduction to a number of fine artists including Robert Pete Williams, Son House Mississippi John Hurt, and Skip James. John Lee Hooker and L i ghtn in' Hopkins are not heard at the 1r best though Robert Pete Wi II iams' Levee Camp Blues, Skip James' Hard Time Killing Floor Blues and Son Souse's Son's Blues are esper:ially compelling. Mother Necessity Jazz Workshop 14 Oueen Street, E. Toronto from 9 p.m. to 1 a.m. Telephone: (416) 368-0971 NOV. 4,5,6 Fred Stone Sextet 7 Humber Big Band Bruce Cassidy Quartet 9 & 10 11,12,13 Pat LaBarabara Quintet 14 Mother Necessity Big Band 16, 17 Mike Malone Quintet 18,19,20 Wray Downs (p)- Dave Young (b) 21 Mother Necessity Big Band 23,24 Lome Lofsky Trio 25,26,27 Ted Moses and Guests 28 Mother Necessity Big Band Nov. 30, Dec. 1 Jim Dorsey Unit DEC. 2,3,4 Experience feat. Ron Small & Bobbi Sherron RADIO wbfo 88.7 fm BLUE NOTE LIVE AT THE ROXY - BLUE NOTE - LA-663 This is a strange set. About half of the 2-record package is slick funk played by the bands of Alphonse Mouzon, Ronnie Laws and Donald Byrd. Then you have f1ve first class tunes from Carmen McRae and her trio, and an interesting acoustic medley from guitarist Earl Klugh. Although Bobby Hutcherson and Gene Harris are listed on the cover, their services are I imited by another funk track from the "Blue Note All Stars." Possibly worth buying for McRae & Klugh if you can get a good price. For funk fans, there's plenty of it here. B.W. BLUES- RON WEINSTOCK Albert King is one of the best known contemporary guitaristsingers in the blues and his new Utopia album Albert (BULI1731) is an attempt to present a commercially successful album. Albert King's recordings have always manifested a funkiness and when he was with Stax he had Booker T., and the Stax crew providing sometimes sympathetic and sometimes ridiculous music (Albert King sings Elvis). Despite disco touches on some tracks, and a girl chorus on othPrs this is pretty direct music, and blues with a funky touch. Albert sings and plays straight forwardly, but is burdened by overkill in the back up as he is drowned in a large band setting. The music isn't bad or slick, just too busy. Also a couple of Willie Dixon tunes I'm Ready and My Babe suffer from the arrangements and the fact that Albert can't convey the aggressiveness of Muddy Waters on I'm Ready, nor the I ittle boy charm of L itt I e Walter on My Babe. St1ll its not a bad album as Albert does play with f1re, but better material and a more laid back playing would lead to a more satisfying session of blues. But would a more satisfying set sell better? I don't know. The Finest of Folk Bluesmen is a mistitled anthology as only the John Lee Hooker tracks on this Bethlehem (BCP-6017) anthology are country blues, the rest being mostly urban and jazz oriented performances. Among those included are Eddie 'Cieanhead' Vinson, Jimmy Rushing, Lonnie Johnson and Memphis Slim and this is a very enJoyable set of mostly uptown music from the late 1940s and the early 1950s. JAZZ- FRI. +SAT. 1opm JAM- SUN. s to a Folk +Biu·es -Mon.-Thurs. 9 pm tralfamadore cafe 2610 main street .,114 ,1_______________________ Mon. -Fri. Noon- Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midnight Mon. "Modern Jazz: The first 20 Year" -Dick Judelson ' Tues. "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" -Paul Smith Thurs. "In Concert" - Ed Smith Fri. "The Hot and The Blue Art•Dave Benders Mon.-Fri. Midnight-3 am "'Round Midnight" Mon.: John Miller Tues.: Bill Besecker Wed.: Paul Meyer Thurs.: Paul Ericson Fri.: Babe Barlow Saturday 3am-8am "Pulse" -Paul Wandel Sam-Noon "Freedom Flight"- Yvonne Price Midnight-Gam "Opus in Modern Music: Jazz by Request- Pres Freel and Sunday: Noon-two "Jazz Contours" -Bill Wahl 11pm-midnight "Jazz Roots"- Chuck Mancuso Midnight-3am "Roots, Rhythm and Sound"- Dave Jacobs 3am-8am "Progressively Yours" -Michael Vaughan Wilson WBLK- 94 FM The Sound of Jazz w/Carroll Hardy- Sat. nights 10 PM1 AM. WADV- 106 FM Jazz Nitely w/Geo. Beck - Mon.-Fri. 11:30- 12:30. Jazz w/Joe Vendetti Sun. 8-12 PM. wlhla~ 'iQi lh1appeniing buffalo area See ads for additional information. Tralfamadore Cafe- 2610 Main at Fillmore- 836-96/B- Live Jazz Fri. & Sat. nights from 10:30 PM. Name groups f~r November - Dexter Gordon Quartet 11/19, 20 & 21; Louis Hayes/Woody Shaw Quintet 123, 4 & 5. See ads for· more information. Jack Daniel's - Forest Ave. near Elmwood- Live jazz every Tuesday & Sunday night with Spyro-Gyra. Downtown Room - Statler Hi Iton - Name jazz Tues. - Sun. from 9:15 - Clark Terry 11/2-7; Helen Humes 11/9-28; Zoot Sims & Jimmy Rowles 11/30-12/12. Anchor Bar - Main & North - Johnny Gibson Trio w/Geo. Holdt weekends. Jafco Marina - Niagara St. -Dixieland jazz every Friday and Saturday night. Fieldstone Manor (Lockport)- Dixielandw/WiiiAigeronweek.ends. TORONTO Royal Dance Hall - Lakeshore Blvd., Nov. 16 Preservation Hall Jazz Band plus Bruce Bakewell's Paramount Jazz Band. Plaza Two Hotel - Greenery Lounge - Yonge/Bioor SquareClaude Jones Mon. thru Sun. 8-12 PM. . . hn Chelsea Bun - Chelsea Inn, 33 Gerrard St. W. - p1an1st Jo Arpin Mon. thru Sat., 9-1. �r~--~ ~--~-~ 'f ttralfjjazz \ THE VILLAGE VANGUARD'S HIGHLY ACCLAMED OCTOBER LINE·UP MOVES TO BUFFALO dexter gordon .· . quartet JON WEISS· PIANO SABU ADEVOLA • BASS NKOSI VIRGIL DAY· DRUMS II I NOV.19,20&21 FRI.&SAT.lOpm SUN. 9pm LOUIS HAVES-WDDDV SHAW WOODY SHAW·TRUMPET; LOUIS HAVES DRUMS ~uiNTET RENE McLEAN·SAXES; STAFFORD JAMES·BASS wr. RONNIE MATHEWS· PIANO ALL- STAR LINE-UP! DEC.3,4&5 FRI. & SAT. 10 pm SUN. 9pm ALL TICKETS $5/night ON SALE AT: trolfomodore. record runner. norton union. fe.rtivol no minimum ·low prices· no reserved seats li'alfamadore Cafe 2610 main street 836-9678 at fillmore. Tralfjazz is a co-operative effort by the Tralfamadore Cafe & Buffalo Jazz Report presented for the state of the art. �. AI ~~, Bourbon Street TORONTO (416) 864-1020 <.;( '::::.;;,---·~r('('t RED NORVO November 1 • 13 lt/ GENE BERTONCINI November 15- 20 DEXTER GORDON November 22- 27 J.A.CKIE & ROY Nov. 29 - Dec. 11 Mark Murphy Phone Ahead for Dinner Reservations Dine & Dance 9- 1 No Cover A RETURN ENGAGEMENT NOV. 2- DEC. 12 SUNDAY SESSIONS from 6:30 p.m. Six Nites a Week 8']; GGOl\<3G5 Tuesday thru Sunday J!B:SL<S Westbrook House, North at Delaware November 7 - HANK MONIS TRIO November 14 - ANDY KREHM TRIO November 21 - GINNI GRANT TRIO Tel. (716)884-1100 John Duck's Tavern -Lake Shore Blvd. W at Humber Rivervibeman Tim Ti~kner quartet Mon.-Sat., 9-1. Mother Necess1ty Jazz Workshop S•·•.' ad. Grossman's Tavern- 379 Spadina Ave. Fridays and Saturdays frQm 8 pm. Saturdays 3 pm., Kid Bastiens Camelia Jazz Band Revolving Dining Loune, CN Tower- Nightly- Paul Adamson Quartet w/Gary Gross pno, Terry Quinn bass, Don Vickery dms. Garden Party - 82 Avenue Road - Joel Shulman (ne:Joe Saye) Sunday session with guests, phone 961-1114 for information. Albert's Hall, The Brunswick, 481 Bloor· St., We~t. MondayWednesday - Kid Bastien, Thursday-Saturday - Jim Abercrombie. Chez Moi, 30 Hayden St. Saturday Afternoon - Silverleaf Jazzmen. Church Street Community Centre, 519ChurchSt. FridaynightSi lverleaf Jazzmen. Executive Restc1urant, 254 Eglinton Ave., East. - Saturdays 2-6 PM - John Dela Trio. Inn on the Park, Leslie & Eglinton Ave., East- Saturday matinees - various qrouos. Malloney's, 85 Grenviile Street. Saturday Afternoons- Climax Jazz Band. The Music Gallery, 30 St. Patrick Stred. CCMC conc.~rls every Tuesday and Fr!d<Jy. Normandy Roorn, Westbury Hotei. 475 Yonge Street. Jim Galloway, Paul Rirnstead Band, Mor.day thru Thursday. Metro Stampers- Friday and Saturday. ROCHESTER Red Creek - 300 Jefferson Rd. - 464-9856 - David Sanborn Nov. 7 (tentative). Gerry Niewood Nov. 28. Monticello - Carol Britto Trio Nov. 1-13; Ray Bryant Nov. 15-27. ~eGreate$t JAZZ inthe World 'live' at the [)()W~T()W~ *Clark Terry Nov. 2-1 *Helen Humes Nov.9-21 Staller · · · � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4382 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 33 Date A point or period of time associated with an event in the lifecycle of the resource 11/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 33 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/949ef919b632484a0dfce0858ed8727f.pdf 52ef8af90ad1cb00b3c79573e3c8c707 PDF Text Text rVl . DE;. c ;~; {:) :.r: 1976 buffallo Jazz trepott rt j__ OECEmBER'76 · i11ue 34 J free B~ , t4 7~ )F51 '· ; ~ ' : ~II.. · ,~-r>, - ·~ ;(: •..--- '----··· t._ -·- ·. l\' : ~ ' \ . -~. \, \. ·buffalo jaxz tepott ~~ 1 Stanley .· · . . . Turrentinf 1335 rroin strOO: bifOO.n.y.J47('R, \\\\\\\\\\\\\\\\\\\\\\\\\\\,\ \ PERIODICALS & BUJDERY LOCKWOOD MEMORIAL LIBRARY •S.U. N.Y. A. B. BUFFALO., NY SJ6 14214 -1-//1/fJJj J:l \ . ,,·;.-,/./·.·····.··. i II �as Maiden Voyage and Cantaloupe Island. He possesses one of the fmest voices in the business, and was in top frwm. His band is good, although the drummer is far to loud, detracting from the overall sound. The bass work of Sabu Adeyola is especially outstanding. Mark will be at St. George's through December 12. B.W. Stanley Turrentine Tenor saxophonist Stanley Turrentine, who has long been an extremely popular jazzman, will be appearing at the Statler's Downtown Room for two weeks next month -- January 2 through 16. Turrentine is a second-generation jazz man; his father, Thomas Turrentine, Sr., was a prominent saxophonist with the famed Savoy Sultans in the late 1930s, a band Dizzy Gillespie said was "the swingingest band I ever heardl" Young Stanley would often come home from school, pick up the cellowhich he played first-put it back down, and pick up his father's sax! Thomas Turrentine became Stanley's first teacher. In 1951, when Stanley was 17, he joined the Lowell Fulson band, which then included a young and ambitious Ray Charles. Charles eventually started his own band, which Stanley joined. Stanley says of the experience: "Ray was a great influence on me. He took me under his wing, taught me lots and lots of things that I'm still using today. That man truly amazed me because even though he was blind, he was absolutely and totally independent." When Stanley left the Ray Charles band, he returned home to Pittsburgh, where he played with local musicians. Next he went to Cleveland and joined an ensemble led by the great arranger/composer Tadd Dameron. In 1953, he replaced John Coltrane in the group formed by Earl Bostic, a band that specialized in swinging ballads with a rocking beat. But Turrentine really came to prominence during 1959-60 as a member of the Max Roach Quintet. During those years, Stanley paid, in full, his dues--time on the road. By the time Stanley made it to New York and joined Max Roach, after a stint in the army, he was ready for something less strenuous and more sedentary. By the end of 1960, he had cut his first album as a leader, and had started working with organist Shirley Scott, whom he also married. The partnership lasted 11 years. In the early Seventies, Turrentine recorded several albums for CTI Records, including collaborations with Milt Jackson, Deodato, and Freddie Hubbard. Turrentine signed with Fantasy in 1974 and his first LP, Pieces of Dreams, sold better than any record he had ever made. Stanley's most recent recorded efforts are commercially accessible without resorting to disco (with one exception). He plays with a big, warm tone, his music is soulful and full of feelings. He's especially beautiful on ballads. The rest of the Statler's new I ineup wi II be announced next month. Remember those dates for Stanley Turrentine -January 2-16. OeHter Gordon MARK MURPHY AT ST. GEORGE'S Vocalist Mark Murphy played St. George's Table for the entire month of November. It was a return visit for Murphy, who has a loyal following in these parts. Murphy's book includes many jazz standards, pop tunes, show tunes and vocal versions of Herbie Hancock tunes such 59 Kenmore Ave. (corner of 836-1781 Windemere) behind jewelry store 2 ketter DEXTER GORDON AT THE TRALFAMADORE Tenor giant Dexter Gordon's three day Buffalo visit was bi II ed as "the jazz event of the decade." It was no hype. Gordon hadn't been in Buffalo since 1944. He remembered the year because it was here that he left Louis Armstrong to go with Billy Eckstine. That was before most of the people in the young audiences (on any of the three sold-out nights) were born, including myself. Obviously he is a legend and everyone wanted to be a part of the historical visit. Dexter was backed by the local trio of Sabu Adeyola/bass, Jon Weiss/piano and Virgil Day/drums. The rhythm section was a bit shaky at first, but ironed out the kinks as the engagement went on. They had Dex smokin' by Sunday night. Sabu, Jon & Virgil deserve special mentionfortheirwork, especially since they went into Friday night cold - no rehearsal with Dexter prior to the gig. Gordon himself was simply magnificent, drawing wild rounds of applause throughout the nights, each of which ended with a thundrous standing ovation. It seemed that Jeff Simon (Bflo. Evening News), Carroll Hardy, Geo. Beck, John Hunt, Pres Freeland, the Lawson Brothers and many others shared the same reaction - we couldn't believe he was here I He was here, and a long I ist of celebrities came down to witness it. Some of them were Phoebe Snow, Donald Byrd, Ray Br:yant, the Blackbyrds, Gerry Niewood's whole Quartet, He I en Humes' Band and the country's best known jazz OJ Harry Abraham (WHAM). Dexter ended his stay at 2:30 Sunday night with an encore. He sang the blues Jelly, Jelly imitating h1s for-mer boss, Billy Eckstine -whom (as mentioned earlier) he had joined in Buffalo 32 years ago. His agent has since told me that, if he sang, he really enjoyed it here. Dexter then threw kisses out to the audience before leaving the bandstand. In the car, en-route to his hotel, Mr. Gordon said "next �Oelcter w/Oonald Byrd Ketter time somebody mentions Buffalo I'll say Yeah Buffalo-Solid!" Unfortunately, about three hundred people had to be turned away: If you were one, advance tickets should be strongly consider'ed for future events. Also, apologies for the over-crowding early Sunday night. There was a foul-up in ticket accounting and about twenty-five to many were sold, and that's all it takes in a club of that size. In closing - there is a chance that Dexter will be back, though we don't know when. B.W. A Fonnn cbigned and created for the freedom found in artistic creativity. Providing exposure for quality sound. Exploring arid focusing on good feelin~ through friends, food and spirits. n . ...,":"·--· ·v·······_ .. • ~ -~ ~-~ - an adventure directed towards you the people. 1005 Tonawanda St. Buffalo, N.Y. 877-9377 �Clark Terry SPIDER MARTIN CONCERT - ATTICA CORRECTIONAL FACILITY On Saturday afternoon, November 20th, the Spider Martin Quintet dropped by the Attica Correctional Facility's auditorium and thoroughly entertained the 531 jazz aficianados who attended. The tenor man was in rare form and the audience was treated to such goodies as "Impressions" "Breezin'" "This Masquerade" "Feelings" plus various cuts from Spider's latest album 'Tms See Ya." Backed up tightly by the hard-driving rhythm section consisting of: Richard Felice, drums; Steven Davis,bass;Russeau Taylor, guitar and Joseph Locke, vibes, Spider blew strong, forceful, melodic, creative, artistic, all while swinging like crazy. The virtuosity of Joe Locke on vibes brought spontaneous applause during the length of the program. This young man (18 yrs.) is phenomenal. No stranger here, Spider comes to entertain the inmates as many times a year as his busy schedule allows. He also travels to other facilities in the Western NY area. Guests for this matinee were: jazz disc jockey, Harry Abraham and female companion from radio station WHAM. Mr. Dave Shakes, Correctional Programs Coordinator for Hospital Audiences, Inc.; Dr. Martin Lindauer and Mr. Steve Ribner also of HAl, passed out Evaluation forms. Present for the facility was: Mr. Michael Morse, Coordinator, Volunteer Services. AUDIENCE RESPONSE: Excellent. Our thanks to HAl and Volunteer Services for an afternoon of excellent entertainment and this is also extended to the Administrative personnel who contributed to its success. 01 iveros McLioyd Inmate Entertainment Reviewer 27782 51-11 ketter CLARK TERRY AT DOWNTOWN Trumpeter/flugelhornist Clark Terry proved once again why he is one of the most admired musicians in jazz, by musicians and critics alike. Regrettably, his stay was only one week but during that short time he turned on several full houses at the Downtown Room. One of the high points of his set, besides his bril_liant trumpet/flugelhorn wor~, was his humourous vocals wh1ch have been made famous 1n the past by his "Mr. Mumbles." Terry is also a fine gentleman as was evidenced during his interview during the live broadcast of his opening night on jazz radio in Buffalo, WBFO. Fine music all the way around from Clark Terry and we anticipate his return. J.H. MUSIC AT THE SHORELINE THE SHORE COFFEEHOUSE features live entertainment every other Saturday evening (December 4) from 8 to 12 PM at 200 Niagara Street (in the Shoreline Apartment complex). The coffeehouse provides the opportunity for musicians to perform in an open mike format and for artists and craftsmen to display or sell their works. Located on the West Side near City Hall, the coffeehouse serves the Downtown area and provides a place to meet. "The Shore" is always filled with many different styles of music, poetry, humor, and art. The atmosphere is dependent on those who participate and it is always friendly and accepting with people listening, singing, clapping, and performing together. Everyone is welcome to relax and enjoy coffee, tea, and pastry. Admission is free. PHOEBE SNOW AT SHEA'S Festival presented, at the Shea's Buffalo Theatre, Phoebe Snow and her 5-member band which included an All Male Review and Sanctified Choir - a special treat for all who heard them. She is a gifted woman with power and sensitivity and humor. She sang from her 3 albums, gave a full and wellreceived performance. "Two-Fisted Love" show~d very clearly the flexibility of her voice in terms of dynam1cs and range. "I Wish I Was A Willow" was vocal magic- the bending and the twisting and the lilting of each tone. All left satisfied and happy. She and the band then checked out Dexter Gordon, the tenor giant at the Tralfamadore - then they leftsatisfiedandhappy. P.W. RECORD THEATRE OPENS WITH A BANG What has been called "the world's largest record store"Record Theatre at 1800 Main at Lafayette - opened last month with a smash celebration. Popular music artists, record company executives and area music notables jo1ned together for the part as Lenny Silver unveiled his massive, ultra modern store in the exact center of the city of Buffalo. The amazing part of it all is how much they've done to completely renovate and decorate the old Transcontinent Warehouse Building. What was once an eyesore is now a treat for sore eyes, and the Record Theatre Bui Iding totally enhances the appearance of the area. We're glad that Mr. Silver chose the city for his venture unlike the political forces that put the stadium in Orchard Park and the new campus in Amherst. This is a huge place-- check it out. HELEN HUMES AT THE STATLER Vocalist Helen Humes closed her three week stand at the Statler November 28 having gathered a good number of fans in Buffalo. Her band included notables Gerald Wiggins/piano and Major Holley/bass and George Reed/drums, - excellent people who've been around for a good long while and have worked with the greats. There was plenty of humor in Humes performances and nary a single member of the audience could sit for long without cracking a wide smile. Helen's cute, high pitched voice, her mannerisms, material and appearance in general all add to the show. Also of interest is Major Holley's famous bowed soloing while humming spots, often heard throughout the evening. In one word - Helen is a gas - not just a singer, but an entertainer. No doubt she'll be back. B.W. EMILE LATIMER OPENS GOLDIE'S Emile Lattimer and his group will be playing at the opening of a new club called Goldie's Other Side. The club is comfortable the music mellow. Emile has been accompanying Pearl Rey~olds and the Black Dance Wor~sh?P· He is s~nsitive and subtle. Emile has also played w/R1ch1e Havens m the past. P.W. WBFO ANNOUNCER MOVES TO JAPAN WBFO's Michael Vaughan Wilson, heard Sunday nights from 3-6 AM on "Progressively Yours" has told us he'll be moving shortly - to Japan. Wi I son has found a job with the Armed Forces radio there, and he should thoroughly enjoy himself in the jazz-crazed country. We wish him the best of luck. 4 . I I t �Jazz from A&M/Horizonat Record Theatre! ......'"'............ TIGHT! IT'S A NEW CHUCK MANGIONE! Main Squeeze Chuck Mangione again displays his firm grasp of total music. Fronting an East coast meeting of jazz, soul and rock studio minds. A gripping new album! CHARLIE HADEN Closeness The magic of Haden's acoustic bass, in duets with some of the greatest names in jazz. GATO BARBIERI Caliente The music man behind 'last Tango In Paris" steps.out front with his first on A&M. JIMMY OWENS Master of style, Jimmy Owens debuts on Horizon with a gripping and dramatic album. JIM HALL Commitment Precision and melodic lyricism made Jim this year's winner of the downbeat Critics Poll. SONNY. FORTUNE JIM HALL COMMITMENT Waves of Dreams On his second Horizon album, Sonny continues to find musical nourishment for your soul. a.l•~« LOWEST PRICES IN TOWN! LARGEST SELECTION OF JAZZ IN THE WORLD! ..... '-"-e;~~~ 1800 MAIN at LAFAYETTE· OPEN SUN. thru THURS. 10AM-MIDNIGHT FRI'.+SAT.10AM-4AM- AMPLE FREE PARKING �. . - - - - - - - - - ~ ~ ~ ~ ~ ~ ~ ~ · - - - . - - ____________ ......""""'""""'"""" GERRY EASTMAN STARTS MUSIC SCHOOL Special attention needs to be made to the local musicians, playing in and about town, many of whom are every bit as good as many of the "well-known" musicians and singers --and many of whom have played with the "well-knowns". Gerry Eastman, familiar to many as the guitar-bassist in many local groups such as Birthright, Spyro-Gyra and others is not only a musician of merit but is also a teacher and innovator of the Art. Hehasbeenplayingfor over 10 years, working in Ithaca and doing studio work at Motown. He came to Buffalo wheri ·his brother Julius was teaching music at the University, and the two became involved in performance and organizing the Creative Associates. Gerry along with Richard Shulman, Bilal, and Teko were the first jazz group to play at the now famous Tralfamadore Cafe. Because of the avai labi I ity of gigs, Gerry feels he has grown a great deal in technique and experience while in Buffalo. He appeared on the second Birthright album as well as his newest venture of producing with Curtis Johnson, and selling to a Nashville firm, a new tune to be distributed hopefully on a national level. Gerry has also started classes and is teaching electric and acoustic bass and guitar. With each lesson classical theory is applied to jazz. Techniques in improvisation are also included. For those interested in such study, Gerry can be · contacted at 883-1340. We are proud Gerry has chosen Buffalo to work and I ive and wish him much success. Thanks. P.W. CAVAGE'S ADDS TWO Cavage' s Record stores has opened two new locations to expand their total number of outlets to twelve. The store at Elmwood & Forest has been open for about two months now, serving the Buff State College area. A new store will open soon at the Summitt Park Mall, Williams Rd. in Niagara Falls. As with the Elmwood & Forest location, Cavage's Falls store will carry a full line of jazz. The BJR is available at all Cavage's locations, including Lockport Ma II. many faces of jazz an exhibit of drawings of jazz artists by bjr illustratorsChristine Engla Eber and Sabrina Mayberry Smith on display this month at tralfamadore cafe 2610 main street .,___________________________,. 6 STONE ALLIANCE The exciting, highly energized trio known as Stone Alliance is currently touring South America. What was to be a 60 day concert series for the group, which left New York City in October, looks as though it will be a six month extravaganza as the people of Chi I e, Argentina, etc. are l1terally going crazy Stone Alliance, consisting of Steve Grossman- saxes Gene Perla - bass and Don Alias - percussion, played th~ Tralfamadore Cafe in February of this year- kicking off th" series of concerts with name jazz artists that have taken place in the small Main St. club since. Reports are that the trio is playing to packed, raving concert hall audiences, doing TV and radio specials, recordings and made the front page in the Santi ago newspaper. Whi I e we're happy for their success, we're sorry th<>y can't come back to Buffalo before May. But, good things are worth waiting for. A new album for Stone Alliance is due out on PM Records before Christmas. • STEEPLECHASE LINE ACQUIRED BY INNER CITY RECORDS In a major acquisition move, Inner City Records has signed an exclusive manufacturing and distribution deal with SteepleChase Records of Denmark. Under the terms of the agreement, Inner City will issue SteepleChase product on the Inner City label in the U.S and Canada. According to IC's lrv Kratka, the entire 54-record SteepleChase l1ne wi II soon be avai I able at domestic LP prices ($6.98 I i st). SteepleChase is a major European ldbei with such artists as Jackie McLean, Dexter Gordon, Andrew Hill, Kenny Drew, Duke Jordan, Tete Montoliu, Mary Lou Williams, Joe Albany, Walt Dickerson, and Lee Kanitz, to name a few. In recent years, the I ine has been acclaimed as a significant sourr:e of important jazz releases by critics worldwide. With the addition of SteepleChase, Inner City moves into the major leagues of the jazz field. The initial releases in the SteepleChase Series are planned for December. EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS Tom Alabiso, Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl. ILLUSTRATORS- Christine Engla Eber and Sabrina Mayberry Smith. PHOTOGRAPHER - Michael Ketter. CORRESPONDENTS Rochester - Jim Laniok Syracuse .- Jerry Stabile Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 't/1976 - Buffalo Jazz Report PRINTED IN U.S A. portion of this pub I ication may be reproduced wilhout writfen consent from the pub I i she r. No NCOrdrDi GEORGE BENSON - BLUE BENSON - POL YDOR 6084 In I ight of guitarist Benson's tidal wave of populari•y, every able record company is re-issuing records or anthologys to ride the wave in its greatest magnitude. While all of these will be of interest to Benson people, Blue Benson is by far the leader from the artistic standpoint. Culled from two Circa '68 Verve discs, this record presents George in a pure, unsweetened fashion four personnel settings, with a quintet including Herbie Hancock, Ron Carter, Billy Cobham and Johnny Pacheco (congas) receiving the most • �PLAS JOHNSON - POSITIVELY - CONCORD 24 Alto and tenor saxophonist Plas Johnson worked for years in the 50's on rock n' roll record dates in Los Angeles. More recently, Johnson has been appearing at the Concord (Calif.) Jazz Festivals, and has been recorded on four Concord albums. He's a strong R & B style player whose heard here on ten tunes, covering blues, Bossa Novas, ballads and cookers. Of special note are the Gospel/Blues original. Dirty Leg Blues, the swingin' Careless Love, the burning title track and Lover Man, the jazz classic with Plas sounding much like the late ene Ammons, as he does elsewhere on the record. The rhythm section is a fine quintet in itself, with such able people as Ray Brown, Herb Ellis, Mike Melvoin and conga master Bobbye Hall. A good, balanced album from Mr. Johnson and worth checking into. B.W. play. I Remember Wes, a Benson original, is a ballad with a sensitively arranged string section- gorgeous. Bird's Billie's Bounce (previously unreleased) is a high point, with Benson a,nd Hancock charging over the excellent rhythm work of Carter /Cobham/Pacheco. Since Benson sang before picking up guitar, a vocal track is never inappropriate on his albums. Here he gospelizes with That Lucky Old Sun, backed by a septet including Clark Terry. What we have left is a tasty version of What's New and three fine, fine blues tracks- mentioned last but certainly not imp I ied to be I east. This all acoustic (save Benson's guitar) album is without hesitation recommended for fans of Benson, jazz, guitar or good music. B.W. SPIDER MARTIN - I'M A, SEE YA - EDMAR ELPS 1151 Tenor and alto saxophonist Spider Martin is certainly no stranger to the Buffalo Jazz scene. For those that have seen him perform, this has indeed been a long awaited album. I'm A, See Ya is a reflection of years of preparation - trying numerous combinations of musicians in varying musical settings, working towards the point he's at now. Spider's choice of personnel, including former John Coltrane bassist Steve Davis, is a further indication that this first album by Marlin as a leader was well worth the wait. · Spider's sound, reminiscent of the late Gene Ammons, is a gutsy, blues-flavored sound which reaches peaks of intensity, especially on the title cut.Soloingbytheyoung vibist Joe Locke is fluid and melodic. Tom Rizzo's guitar solo on After Love lets us hear how well he can step out after hearing him provide the tasteful camping for the group on most of the previous se.lections. Throughout, I'm A, See Ya maintains a unified, wellcontrolled sound due in large parttothefact that John "Spider" Martin wrote every composition. Spider's first album states emphatically that there should have been albums from him before and that there will beademandfor more to come. J.H. DECEMBER IS & ~ • Fmtasy Prestige MONTH AT Mik!stone M-9072 McCOY TYNER Focal Point New McCoy w/Joe Ford ALLs.9sustF/P/M SIDNEY BECHET AND MEZZ MEZZROW - CLASSIC JAZZ 28 This very bluesy album by the 1st giant of Soprano Saxophone, Sidney Bechet provides a nice double record set of classic New Orleans jazz. Stylistically the music is much in the mode of the recordings of the 20s with Bechet's soprano ,being suppo~ted by Mezz Mezzrow' s clarinet (and on some tracks Hot L1ps Page's trumpet). Unlike the next man to master the soprano, John Coltrane, Bechet pi ayed with heavy vibrato and of course his musical ideas stem from an earlier periodofjazz.Most of the material features the collective improvisations with Mezzrow and Bechet playing off each other and creating some very joyous music. Surely anyone who likes 'Dixieland' will love this set, though there is perhaps better Bechet to be heard on Master Musician (RCA-Bluebird AXM2-5516). It should also be noted that several tracks are graced by boogie-woogie pianist Sammy Price and vocals byPieasantJoe (who today is known as Cousin Joe) which should appeal to blues fans. Ron Weinstock Ct:!: c 500 Miles High Flora- Live at Montreux NOW 4.49 7.9s list Stanley's latest 5.99 NOW AT ELMWOOD AND FOREST! SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA )COMO MALL UNIVERSITY PLAZA �Hampton, Teddy Wilson and Krupa. Again - well recorded. Each package contains liner notes B.W. and photos with discography. OSCAR PETERSON - OSCAR'S CHOICE - BASF G22010 This is a good sampler album for anyone who likes Oscar Peterson, but not enough to shell out the bucks for the five albums represented here on one. Regardless of the fact that the pianist seldom plays bad music, these eight tunes are well chosen and a good sampling of his BASF output. There's two outstanding tracks w1th Sam Jones, Bobby Durham and some of the best guitar work hea:d from Herb Ellis in some time. Also a quartet tune w1th Milt Jackson, Ray Brown & Louis Hayes, two trios with Sam Jones & Durham two with Jiri Mraz & Ray Price and a solo p1ano version of 'Give Me The Simple Life. The classic Green Dolphin Street is recorded live. This is an exceptionally well programed album for the concept and a good introduction to Peterson. B.W. JOHN HANDY & All AKBAR KHAN - KARUNA SUPREME BASF Saxophonist John Handy teams up here with three Indian musicians to make an album of moving, beautiful music. Ali Akbar Khan plays an instrument called Sarod, similar in construction and sound to the sitar. Zakir Hussain is heard on tabla, Yogish S. Sahota on tambura. The music offers Handy playing flowing melodic I ines, exchanging solos w1th Khan- said to be one of the notables of Eastern mus1c. Jazz & Eastern classical music have been blended many times. The two music forms go extremely well together, and although others, such as Paul Horn, have made firie achievements with the fusion, few have presented a sound as completely satisfying and stimulating, yet tranquil, as these men have with Karuna Supreme. I've often noticed that others, again Horn comes to mind, sound as though they are simply jazzmen playing Indian music. Here the sound switches from obviously Indian, to obviously jazz to a pure, balanced mixtureofthetwo. In fact, at one point Handy & Kahn are heard "alternating fours", and they are often heard in perfect unison. Definitely something to check out if you're even remotely interested in Eastern music. B.W. NAT ADDERLEY - HUMMIN' - LITTLE DAVID 1012 The opening selection ofth~salbum, Hummin', sets the, mood with a bluesy, uptempo and slightly, funky approach. Thats always been cornetist Nat Adderley s forte, though, so t~1s LP comes as no surprise. The presence of John Stubblefield on reeds and flute is felt throughout, contributing some lyrical soloing especially on Midnight Over Memphis. (Thebackgroum:l vocals seem tacked on, however, and add nothing). One of the nicest aspects of Stubblefield's playing is that he is making no attempt to sound like Cannonball. There's also some exciting soloing from pianist Onaje Allen Gumbs on several ~elect1_ons including Hummin' and Theme From M.A.S.H. wh1ch_ points out why he's been getting so much concert and_ studiO work lately. Onaje's tasty, samba-flavored number, L1sten To the Rain, reveal's the gentler side of Adderley's cornet. Nat's son, Nathaniel E. Adderley, who now leads h1s own group, prov1des vocal arrangements and contributes one original composition. Overall, Hummin' provides enjoyable listening. J.H. CHARLES SULLIVAN - GENESIS- INNER C!TY 1012 Genesis is an album of consistently high musicianship. Each member of this group (there are eleven in all play_ing at one time or another) delivers clear, earnest soloing bes1des compi imenting the trumpet and flugelhorn work of Charles Sulli~an. Sullivan's treatment of his ballad, Good-Bye Sweet John, IS a, stirring performance; a quietlym_o~ingtributetothememo:y of pianist John Foster . Most mus1c1ans agree the ball_ad IS the true test of abi I ity and on Good-Bye Sweet John Sullivan and the emerging pianist Onaje Allen Gumbs score well. Vocals by Dee Dee Bridgewater on Now I'll Sleep are simply elegant. The fast-moving title cut is a 18 minute showcase for the solo work of Sullivan Sonny Fortune on alto sax and pianist Stanley Cowell. This first ~lbum by Charles Sullivan (it was previously issued) abounds with energy; flowing easilyfromonethoughtto the next while maintaining graceful and precise execution. A complete statement from a vastly underrated musician. J.H. CHET BAKER IN PARIS- BLUE STAR 80.704/05 A total of six sessions are represented on this double record French import. These records were cut for Barclay, along with a third which wastheonlyone released in the United States. Most of the tunes are done in quartet or quintet settings, with seven from Chet's seven piece orchestra. Baker, whose had his share of trouble with drugs, plays with one of his favorite pianists on side one- Richard "Dick" Twardzik a Monk disciple who died ten days afterthe session of an overdose. Two tracks feature tenor·man Bobby Jaspar with Chet' s Quintet. All of the numerous musicians on these sides are European, including Francy Boland, Eddie De Hass, Jean-Louis Chautemps, Jaspar & Jimmy Bond, who are probably the best known. Baker, very much in the style of Miles, has always been an excellent trumpeter under the right circumstances, and he sounds good throughout this set of clean, lyrical, laid back and often pretty jazz. All the music was recorded in 1955 & 1956, nd all in a Paris studio. The sound and pressing quality is first rate. This should be available in major stores. Distributed by Peters lnt'l. B.W. BLUE BIRD - HAMPTON & GOODMAN Two new Bluebird re-issues have come out that should be of interest to many folks. The Complete Lionel Hampton 1937-1941 (AXM6-5536) comes as a six record set, but is not as outrageously pnced as the Pablo boxed sets are. There are a great number of different dates and personnel I istings involved, but some of_ the better known musicians heard are Charlie Chnst1an, D1zzy Gillespie, Gene Krupa, Sid Catlett, Johnny Hodges, Benny Carter, Ben Webster, Coleman Hawkins, Helen Forrest and Nat "King" Cole. Hampton is heard on vibes, drums, piano and vocals on several tunes and combinations of these on others. Very enjoyable music and extremely well recorded for the time period. More goodies can be heard on The Complete Benny Goo~­ man Volume IV - 1936-1937 (AXM2-5537). Most of the mus1c is done by Goodman orchestras with varied personnel. A standout is a Nine Minute version of Sing, Sing, Sing with Gene Krupa going nuts throughout (you can practically_ see ~im). Then there's ten tracks by Benny's quartet, w1th L1onel 8 SAVOY RE-ISSUES Savoy's latest batch of reissues continues to document the emergence of modern jazz in the 40s and early 50s. Black California (SJL 2215) documents the Central Avenue scene in LA and parallels the prev1ously issued Changing Face of Harlem (SJL 2208) in providing a panorama of the jazz scene there. The album opens with a cooking l1ve recording "Backbreaker" with Sonny Criss, Wardell Grey and Barney Kessel the best known musicians on this track. Slim Gaillard follows . with some swinging jive including a hilarious "Dunkin' Bagel" The Roy Porter "Big Band" sides include Eric Dolphy's first solos and there arefainthintsofhis later playing in his Birdish soloing. Helen Humes' vocals feature nice Dexter Gordon tenor and Harold Land gets four tracks. My favorite tunes have to be Art Pepper's sides with Hampton Hawes on piano, and Hampton's own trio sides. Particularly nice is "These Foolish Things" which has a hint of" 'Round Midnight" to it. These sides especially are going to receive a lot of wear from me. Mr. B. and the Band (SJL 2214) features Billy Eckstine and his famous big band. These recordings include Dexter Gordon, Gene Ammons, Wardell Grey, Fats Navarro, Kenny Dorham, Miles Davis and Art Blakey, and of course Mr. B. is present with his mellow singing. This band was a who's who of modern jazz of the time and these sides provide some legacy for_ it. Dexter has a solo on "Lonesome Lover Bl.ues" with Jug hav1ng most of the saxophone solos elsewhere. "Jelly, Jelly" is included and among sides with a smaller group "Sophisticated Lady" stands out. Next we have Gene Ammons and Red Top (SJL 1103) which is a single lp and contains the recordings Gene did for the Chicago based United label as well as Leo Parker's 1947 sides on which Gene was a sideman. The United sides are situated 1n between those reissued on TheGene Ammons Story: The 78 Era l ~ 1_,. l' lt II �·- II tran1cendental audio, ltd~ 773 Niagara Falls Blvd. south of Sheridan 716/834-3100 FREE OBERHEIM PHASE SHIFTER($100value)WITH EVERY TWO-VOICE; FREE MINI-SEQUENCER($ 350 value) WITH EVERY FOUR-VOICE ... -UNTIL DEC. 24 ADDED DIS<;OUNT TO CANADIAN CUSTOMERS �contrast between the two acoustic models heard on the airy Romantic Descension, and Towners acoustic work mixed with the electronic effects and fuzz tone used by Abercrombie on Elbow Room. The result is an album of music that changes direction enough to prohibit boredom, from two guitarists who are highly respected on the contemporary jazz scene. Not the best record for either of them, but an excellent duo performance worth your attention. B.W. Good late-night listening. HEARD ANY GOOD JAZZ LATELY? Tune into WEBR (97.0) or WNED (94.5) DEC.17-GAP MANGIONE MIROSLAV VITOUS - MAJESTY MUSIC - ARISTA 4099 Majesty Music is a pleasing step forward for Miroslav Vitous from his previous solo release. The former bassist for Weather Report sti II carries much of that groups feelings with him but with this most recent LP he allows more of his talent to show through, especially on the acoustic bass. See You, November contains a melodic solo from Jaroslav Jakubovic on tenor sax, the co-author of several selections, and some fine bow work on the acoustic bass from Vitous, as does Requiem For My Mother. With impetus provided by drummer Lenny White this disc tends to get over funked .at times but countering this is percussionist David Earl Johnson who mellows things out whenever possible. The floating, wordless vocals by Rimona Francis seem to act as an additional instrument. Instead of being bright and vivid, the effect of Majesty Music is of a pastel, synthesized sound in which most of the selections have a similar mood, thone and arrangement. J.H. Poppenbergs is underwriting the cost of live jazz broadcasts from the Downtown room of the Statler. POPPENBERG'S 3700 Sheridan Dr. • 837- 1010 OVAMAHA (Prestige P-24058). I am slightly prejudiced towards the big 1iUie band setting thatJug is mostly heard here m. My favontes are "Big Slam" and "Good Time Blues" and the adm1rers of Jug's fat bluesy tenor will have great pleasure. Don By as, was I ike Ammons, one of the masters of the tenor and Savoy Jam Party (SJL 2213) features h1s warm sw1ng1ng playing. One of the greatest ballad players, as ev1dent on "Danny Boy", as well as a rei axed, swinging pi ayer, By as plays with the boppers while his playing IS rooted 1n the sw1ng era. "Cherokee" provides a nicecaseofh1sflu1d attack Trumpeter Charlie Shavers is heard on several tracl<s with h1s cool sound, Slam Stewart does his bowing and humm1ng rout1ne on a number of pieces, and Benny Harris is also present on the fine "How High the Moon". . As the case with earlier Savoy issues, these are attract1vely packaged and contain extensive annotat1ons and complete as possible discographical details. Thesound quality 1s gennrally quite good and the mus1c IS class1c. Ron We1nstock McCOY TYNER - FOCAL POINT - MILESTONE 9072 The people at Fantasy/Prestige/Milestonewerekindenough to rush us an advance copy of this album for the benefit of Joe Fords home-town folk. Unfortunately, due to Christmas mail, it arrived too late to review. Therefore - this is just a notice that it's out (soon) and a quick spotting divulges the fact that it's more fine McCoy. Birthright's Joe Ford is indeed here on reeds, along with Ron Bridgewater, Gary Bartz, Charles Fambrough, Guilherme Franco & Eric Gravatt. An actual review wi II appear next month. JEAN-LUC PONTY - IMAGINARY VOYAGE - ATLANTIC SD 18195 The jazz-rock violin of Jean-Luc Ponty requires no introduction to most readers. This latest solo release on Atlantic (his third) is the best from Pontytodate. His style has become well ingrained and the sound of Ponty's floating violin has become characteristic. With repeaters from his last rrolease, guitarist Stuermer and bassist Fowler, Ponty travels the Imaginary Voyage (Parts I-IV). Allan Zavod on keyboards, and Mark Craney on percussion complete the expedition. The result is a fast-moving yet smoothly structured affair. New Country is country. PerhapsthehighlightisTheGardensof Babylon with Stuermer's acoustic guitar and Zacod's acoustic piano nicely complimenting Ponty. The album is one of the better jazz-rock efforts. T.M. ART BLAKEY'S JAZZ MESSENGERS - RCA/FRANCE FXMI 7196 This is a French import, andpartofthe RCA Black & White Series (Vol. 156 to be exact). This 1957 version of the Messengers features Bill Hardman/trumpet, Johnny Griffin/tenor sax, "Spanky'' DeBrest/bass and Sam Dockery/piano; Blakey, of course, on drums. All six tunes are from Lerner & Lowe's Broadway musicals My Fair Lady, Paint Your Wagon & Brigadoon. Each selection is taken at medium to fast tempo. Hardman's bebop trumpet and Griffin's gruffy tenor get most of the spotlight throughout and make good use of it. Griffin was well known at the time of this date as a saxophonist with just about everyone signed with Riverside Records -- Monk, etc. Hardman, unknown at the time, has since spent a good deal of time with Blakey (off and on) and is currently with the Messengers. An album with commercial titles but no commercialism in the music. Straight ahead be-bop in an album that should be of interest to Blakey fans. B.W. A··:dph Towner JOHN ABERCROMBIE & RALPH TOWNER - SARGASSA SEAECM 1080 Guitarist Ralph Towner, known bestasamemberof Oregon, has been heard in many combinations in the last year. His duo record with vibist Gary Burton (ECM) was excellent and well received. Another is the collaboration of Elvin Jones with Oregon, and then his own disc with Jan Garbarek (ECM). Now he appears with another fine guitarist, John Abercrombie for a duo recording with no additional accompaniment. Towner is heard on 12-string and classical guitars and piano; Abercrombie on electric and acoustic guitars. With these instruments at their disposal, the two men are able to change moods and musical styles throughout. A good example is the 10 �WES MONTGOMERY- THE SMALL GROUP RECORDINGS - VERVE 2-2513 Wes Montgomery needs no introduction to jazz listeners. He is quite simply one of THE innovative, legendary masters in the evolution of jazz guitar. In the years just before his death, he recorded many albums for a producer who preferred to present him in a commercial fashion - strings, horns, short pop tunes and the I ike. Wes gained widespread populanty, lived comfortably and enjoyed it; and he deserved it all. No doubt, however, that Wes must have been a bit put out by an atrocious production titled Willow Weep For Me on Verve. An exce.llent I ive session with the Wynton Kelly Trio, (recorded at the same time as Smokin' At The Halfnote (Verve). was overdubbed with shmaltzy strings and Kelly's. excellent piano work was mixed down to practically nothing. This was perhaps the biggest sin any record producer has committed, and Wes' fans were irate. So much for history. The double album reviewed here presents three of the four tunes with strings in their original form - straight quartet. They are Willow Weep For Me, Portrait Of Jennie and Misty. It also contains all but one tune from the Smokin' album. Four on Six, originally issued on both, is issued here in the longer version (from Willow). Two additional tracks f1nd Wes with organist Jimmy Smith, Ray Baretto&GradyTate. Super music to say the least . . This is an unusually long BJR review of a single twofer re-issue. However, the fact that producer Robert Hurwitz of Polydor chose to ''erase" the strings, coupled with the fact that this is some of the best Wes on record justifies every word. Also - the "Willow strings controversy" has long been a pet peeve. Strongly recommended for a· gift or a personal treat. B.W. Il I CANNONBALL ADDERLEY - MASTERS OF JAZZ! COLEMAN HAWKINS- MASTERS OF JAZZ 4 These two separate Capitol imports from Peters International offer a good insight to two departed masters of the saxophone. Each record presents the men in various sett1ngs, doing some of their best known tunes. Hawkins does two originals- Stuffy & Rifftide, Ball does Mercy, Mercy, Mercy & Work Song (composed by Joe Zawinal and Nat Adderley). The music is all well recorded and the records cleanly pressed. One problem, however, is the fact that there are no personnel I istings or dates anywhere. There are several questions in that area that I have but can't answer. All things considered, these are good but confusing partial anthologies. B.W. SUPPORT LIVE MUSIC '. �Herman Bennett turns in a fine guitar solo on "Pennies From Heaven" - being more jazz flavored than Crayton, and elsewhere plays nice rhythm. A fine album however Benny Green's notes are getting hard to take. Ron Weinstock Thchnics ALEXANDRE LaGOYA/CLAUDE BOLLING- CONCERTOFOR CLASSIC GUITAR AND JAZZ PIANO - RCA FRL 1-10149 An extensive experiment by Claude Boiling, French jazz pianist and composer, in combination with Italian-Greek guitarist Alexandre LaGoya merits praise for the attempt and moreso for the outcome. Concerto combines two of the most expressive string instruments and is truly an enjoyable piece of music. For those who think they'd be turned off by this type of offering, the album can be compared with the supremely acclaimed In Memorium by MJQ Michel Gandry on double bass and Marcel Sabiani on drums provide a tight and reserved background to the I ight and colorfully textured I ines of the two featured artists. All six movements add to the theme of instrumental opposition displaying musical cohesiveness. An excellent album. T.M. byPanasonic FATHER TOM VAUGHN - JOYFUL JAZZ - CONCORD 16 This ls the eighth album for the priest/pianist who's b~'en involved in jazz circles for over a decade. George Wein "discovered" him as he sat in with Gene Krupa's quartet in 1965, and since then he's been a guest at jazz f<:>stivals, TV talk shows, etc. His trio here consists of bassist Monty Bugwig and drum- Sl-23A Semi-Automatic Turntable with Matching Tonearm and Magnetic Cartridge. Belt-driven by DC motor with frequency generator servo-controlled circuits. Full size 12" platter, yet compact overall size. Wow/flutter = 0.05% WRMS. Rumble = -65 dB (DIN B), -40 dB (DIN A). Individual pitch controls. Illuminated stroboscope. Electronic speed switching by frequency generator. 33-1/3 and 45 rpm speeds. High quality universal tonearm. Lighttracking magnetic cartridge. Automatic tonearm return and shut-off. Low-capacitance phono cables. Anti-skating. Viscous-damped cueing. Built-in audio insulators. Hinged, detachable dust cover. His trio here consists of bassist Monty Budwig and drummer Jake Hanna, and two sessions are heard. Side one is I ive in San Francisco and includes a Bach flavored version of Fly Me To The Moon, and a tasty rendition of Green Dolphin St. Side two, done in a Hollywood studio, contains six shorter tunes, including two originals - Holy Smoke & Prayer For My People. - Fr. Tom doesn't speak the sermon, he plays it. The father's influences are said to be Art Tatum, Duke, E II is Lark ins, Oscar Peterson, Bach, Stravinsky and Beethoven. No doubt true, but the main thing here is the music. It's a good trio record - especially the live side. B.W. LOWEST PRICES IN BUFFALO LEONARD FEATHER'S ENCYCLOPEDIA OF JAZZ IN THE SEVENTIES ON RECORDS- RCA APL2-1984 A couple of questions on this one: Why are all the artists represented signed to RCA records? Why is Bob Thiele's band heard here and not Phil Woods? Isn't Phil with RCA? Whatever the answers, this is more or less an RCA sampler with a clever marketing title and a good way to promote Leonard Feather's new book, which I should get anyway, so I'm glad to know it's out. Among others, there's tracks from Shelly Manne, Gil Evans, Nina Simone, Buddy Rich, Oliver Nelson, Duke Ellington & Gato Barberi. I quite enjoy the track from Horace Tapscott with black Arthur Blythe which Leonard g1ves excuses for in the notes, and there's some nice David Amram sextet music on Waltz From uAfter the Fall". I don't know what more to tell you except that again this is an RCA sampler with all tunes and groups l1sted on the back cover. Its your decision now. B.W. 773 NIAGARA FALL.S BLVD. AMHERST (SOUTH OF SHERIDAN) 9 EAST FOURTH ST. JAMESTOWN, N.Y. 487-4445 CARTER, GILLESPIE, INC. - PABLO 2310-781 Now these 9liYS are playing here! I was a bit disappointed with Benny Carter's previous effort, and Dizzy Gillespie's last two (all on Pablo). The two men together, along with such excellent rhythm people as Tommy Flanagan, Joe Pass, Mickey Roker & AI McKibbon seems to give them some creative energy, which they make use of there. Previously Dizzy had been sounding I azy-uninspi red. A good half of the album is relatively laid back - relaxed but well performed and inventive, which is what you expect from two masters with all star support. Check on Nobody Knows The Trouble I've Seen complete with a closing hymn sung by Mickey Roker- sweet. Thenthepot boils on. Broadway and simmers on A Night in Tunisia, Dizzy's jazz standard. Remaining is somefineballadwork with more hip performances from each member of the sextet. Very fine. B.W. JOE TURNER - IN THE EVENING - PABLO 2310-776 The latest Joe Turner album presents the great shouter in another fine program of blues and standards. This session has the feel of a good West Coast blowing session with some nice T -Bone Walker styled guitar from Pee Wee Crayton and alto by Bob Smith. Joe is in good voice here and the band is relaxed and provides just the right support. Highlights include the title track and a very slow treatment of "Chains of Love" 12 GREAT GUITARS - CONCORD 23 The sequel to the original Great Guitars album (a live date at the Concord Jazz Festival in 1974) is a studio recording done this year. Three of jazz' favorite and most accomplished practitioners of the instrument- Charlie Byrd, Barney Kessel and Herb Ellis are joined together for a delightful set of eight tunes. The trio is backed by Charlie Byrds bassist and drummer- Joe Byrd and Wayne Phillips. All three guitarists get plenty of chancE>s to display their talent here and none are wasted. The most inter<:>sting tracks are perhaps the four on which all three men are ht>ard at once. Check out the quick tempo version of Lover for an example Makin Whoopee features only Kessel & Ellis (without bass and drums) trading solo and rhythm roles. This one was recorded live in Seattle, Washington. These solo, duo and tr10 recordings offer som0 fine moments, especially of interest to jazz guitar fans. B W. �HERB ELLIS - RAY BROWN SEXTET - HOT TRACKSCONCORD 12 . If you're looking for some music that swings, check this one out. In addition to Ellis & Brown, you'll find Plas Johnson, Harry "Sweets" Edison, Jake Hanna & Mike Melvoin. Co-leaders Brown & Ellis play up to their usual high standards. Ray's soloing is heard throughout But Beautiful, with light support from Ellis & Hanna. However, its not the leaders who deserve all of the special attention here. The work of Sweets and Plas is an important ingredient of the music (see Plas Johnson's record review in this issue). All these musicians are frequent. visitors to recording studios and thE> polished, easy going sound here is a result of years of such experience. Another worthy addition to the growing Concord Jazz catalogue. B. W. spider martin, woody shaw, mccoy tyner, don thompson &more $3.97 happy holidays ! ~~ 51 University Plaza Mon.-Sat. 9:30-9:00 MIKE LONGO- TALK WITH THE SPIRITS- PABLO 2310-769 Having been quite satisfied with earlier albums by this former Dizzy Gillespie pianist, Mike Longo, I rather looked forward to hearing this new one. I'm still listening to it, but not hearing much. The personnel is certainly good enough- Longo, Harold Vick, VirgiJ Jones, Mickey Roker and all -Dizzy even plays congas. But the music just sort of "hangs loose" throughout both sides, just doesn't go anywhere. Sounds almost as though they couldn't wait for the session to end so they could take a collective nap. I hope Longo isn't into this on club dates as well. Mike is a good piano player but there are better examples available and probably more to come. B.W. 716-837-2322 All Charges playing on freely structured parts, he depends heavily upon Don Cherry and Lester Bowie. Harold White, the drummer gives quality support to all the music. This is a very good album by Roswell Rudd, recorded live at Sam Rivers studio, R ivbea. One of his best efforts in a whi I e. P.S. WALTER STEFFENS - HEINER STADLER - ECSTACY LABOR LRS 7003 HEINER STADLER - JAZZ ALCHEMY (six pieces for trumpet, bass and drums) - LABOR LRS 7006 Ecstacy provides the I istening audience a rare opportunity to hear both contemporary classical music, performed by classical musicians, and music of the contemporary jazz ., idiom. Side one offers three compositions by Steffens. One for ART LANDE - RUBISA PATROL - ECM 1081 Pianist Art Lande did a previous album for ECM entitled Red Lanta. When reviewing it I noted that the music sounded good, but I ike an imitation of Keith Jarrett. Rubisa Patrol draws the same conclusion, but perhaps the Jarrett sound shouldn't be looked at as so bad. After all, Jarrett copied Paul Bley, didn't he? Nonetheless, this is good music from a talented quartet. Mark Isham doubles on trumpet and soprano sax; Bi II Douglass does the same with bass and flute; Glenn Cronkhite is beard on drums and percussion. Beautiful melodies prevai I throughout the album, comprised of originals, except for a traditional Chinese song and a Bulgarian folk song. The band has a European flavor heard on many ECM discs. In fact, at times (I hate to say it) it almost sounds I ike a European Jarrett quartet with trumpet replacing the tenor. I've gone this far, so maybe I should add that with all the people he's directly or indirectly influenced, Paul Bley might someday be widely accepted as a piano giant. I hope so. B. W. SEASONS GREETINGS NEW EXPLORATIONS ROSWELL RUDD - INSIDE JOB - ARISTA FREEDOM 1029 I have been interested in Roswell Rudd's playing and music since the mid-60's when I first heard him with Archie Shepp. I think now, as well as then, that Roswell is a most original player, and possesses one of the most beautiful tones on his instrument that I have ever heard. He is one of the masters of the bone (trombone) who sti II goes unrecognized by the general pub I ic. His "Sacred Song", which opens side 1, is exactly that, a beautiful piece that captures the feel and essence of a deep spiritual emotional ism set up and carried through by the excellent bowed bass work of Stafford James. The group gives a respectful performance of Thelonious Monk's Mysterioso. Dave Burrell, another Shepp Alumnus comps in typical Monk ·fashion and never lets anyone forget just who this tune belongs to. As you close your eyes visions of the High Priest appear, smiling his approval. Inside Job covers all of side II and is masterfully done from the pen of Rudd. The piece is a metamorphosis of several idioms. There are freely structured movements, blues, a little bop, and some New Orleans. The music moves with ease, from one area to another, without imitation. However, when it comes to Enrico Rava's trumpet from the bjr staff LIVE BROAOCASTS ·from the Statler Gap Mangione Tues., Dec.14 Stanley Turrentine Tues/., Jan. 4 pm start I in stereo jazzradio/wbfo*88.7 9 13 �dimentional talents, whether the music be on the I ight side or of a more thought evoking nature. After several I istenings, I found myself in the local record shops checkingthe S bends, in search of more evidence of what Stadler and h1s Labor Record label have been up to the past few years. P.S. JEWELRYINDIVIDUALLY DESIGNED AND CRAFTED. 147 ALLEN ST / BUFFALO, NY/ 882·6283 solo violin, another for solo guitar, and 'the third for string quartet. Since my knowledge of the classical music tradition is limited, my comments will be also. I found the two solo pieces to be completely enjoyable and very moving. Both musicians, Hansjuergen Froetel solo violin on "Oua-Comque" and Bernard Hebb solo guitar on "For Soto" display tremendous technique and control on their instruments. The writing for the solo pieces are more adventurous than Steffens' final composition "Ecstacy" written for string quartet and performed more traditionally by The Panorma Quartet. Side two is Stadler's musical interpretation of Lenore Kandel's poem "Love In The Middle Of The Air". A duet performance by Masler Bassist Reggie Workman and talented vocalist Dee Dee Bridgewater. Bridgewater has a beautiful voice clear and pure in quality. However for this type of effort it puts her at a disadvantage. She gives no evidence here, of having the dynamic range to make this piece of music a complete success. While "Love" is not a complete success it is by no mean~ a failure. There are several highs at which point Workman and Ms. Bridgewater reach total communion. Cons,idering the seemingly simplistic, and light poem lyric, Ms. Bridgewater may not have wanted to density it. Stadler's six compositions on Jazz Alchemy for trumpet, bass and drum cover a large musical spectrum varying from piece to piece, all of interest. Charles McGhee plays two trumpets simultaneously on three of these. The quality of McGhee's playing is maintained from the opening post bopish "Still Bop" to the South American flavored "Latin Gretchen" to the moody more extensive "Brooding". On "Out-Rock" he captures the feeling of Miles Davis and Don Cherry (sort of an Out Cherry more of a rock Miles). It would have been interesting to hear what might have happened had McGhee played less Miles and more McGhee. (He plays Miles very well). Brian Brake is a stimulating drummer most of the time. Reggie Workman is a Masler bassist as already mentioned. nuffsaid! These two albums prove Stadler to be a composer of multi- handmade stoneware pipe creek pottery glenwood. n.H 941-5000 Deborah Chapman Laurie Herrmann Roberta Horlein .__________________________.14 THE JIMMY DAWKINS BAND - BLISTERSTRING - DELMARK OS 641 Jimmy Dawkins is one of the most original and irqpodant blues artists to emerge in the past few years. His fp-st album Fast Fingers (Delmark DS-623) won the Grand Pnx du Disque de Jazz awarded by the HotCiubofFrance, sort of like winning a Grammy, and his second album All For Business (DS-634) with Otis Rush, among the musicians has to be one of the best blues albums of the 1970s. Jimmy's third Delmark alhum is good, of not up to the level of the first two and a much bett<"r modem blues album than the Albert King album reviewed elsewhere. This is Jimmy's first album with his working band and where he can control over production along with Delmari<'s Steve Thomashefsky. One main problem is that a few sides drag a little long, and Jimmy's playing, hard and driving as ever gets repetitous at points. I found it difficult sitting thr-ough this whole album, a problem I didn't have with the earlier two. Still there is some great music here, my favorite track be1ng the closer Welfare Line with great lyrics and Jimmy making good use of both rhythmical and tonal effects in his playing. Also outstanding is a cooking version of Kenny Burrell's Chitlins Con Carne and Blue Monday an old New Orleans R'n'B tune associated with Fats Domino and Smiley Lewis which is partially a tribute to them. One other problem with the album is a somewhat d1"tant quality to the recording. I don't I ike how the drummer was recorded. Still Jimmy Dawkins deserves your attention as a serious artist who is as the Downbeat Critics voted in 1974 Talent Deserving Wider Recognition. R.W. BLUES - RON WEINSTOCK . Clifton Chenier is the undisputed master of zydeco music, a hybrid form which mixes the· cajun music of the French speaking population of Southwest Louisiana with blues. His latest album on Arhoolie, Bogalusa Boogie (1076), is his seventh for the label. It is as usual a thoroughly ingratiating set as Clifton's mastery of the accord ian, his warm good humored vocals (most of which are in cajun French) and a tight band, which features his brother Cleveland ori rubboard and 'the honking r'n'b tenor saxophone of John Hart, brew a musical gumbo that is one of his best sets. Highlights include "Je Me Reveiller Ce Matin", a French version of B.B. King with Clifton's accordian playing King's guitar part, "One Step at a Time" where Clifton adds Jimmy Reedish harmonica and the stomping instrumental "Ride 'Em Cowboy". Clifton is about to have a double album set released on Utopia and I can't wait for it. One warning about this music - exposure to Clifton's good time music can be addicting and his output for Arhoolie is uniformly high though this set is especially fine. . Arhoolie is one of the finest labels of blues and folk music. J.C. Burris' One of These Mornings (1075) features the bluesy vocals and harmonica of Sonny Terry's nephew whose music is the dominant influence. This is a warm set which includes a couple of piec'es where J.C. plays the bones. A highlight on this album, which was recorded live, is "Inflation Blues". J.C. is unaccompanied. Blues Classics is subsidiary of Arhoolie and has a catalog of excellent reissues. The latest release When Women Sang the Blues is a valuable reissue of women singing down-home, or rural, blues, as opposed to the vaudevile blues of Bessie Smith Ida Cox and others. Excellent performances by Lli l1an Glenn: Chippie Hill (with excellent accompaniment from Georgia Torri Dorsey and Tampa Red), Memph1s M1nn1e and Wlil1e B. Huff are included. There are also two excellent collections of Memphis Minnie on the Blues Classics. . Nighthawk Records is a new label that apparently w1_11 be specializing in reissues of rare postwar blues _record1n~s. Their initial release of four albums are of a umformly h1gh standard and produce many cases of the rural flavor city blues so popular among enthusiasts. As they are all fine issues I will simply describe their contents and mention some of the performers heard. Windy City Blues: The Transistion (101) .. I I ~ l I J i I II �r-~ ·' f"t"'" ooo •I do of pco-Wocld W" 2 cowdlog• lool"dlog Plootop Sp"k'' "E,ocyd'y I Hm tho "'""", (tho fl "t cocording of the song) Washboard Sam, Sonny Boy Williamson and Robert Jr. Lockwood. The second side includes Lockwood, Tampa Red, and Tony Hollins in post-war recordings. Chicago Slickers: 1948-1953 (102) features more classic Chicago postwar blues including Johnny Shines' classic "Ramblin", and rare performances by Little Walter, Floyd Jones and Homesick James among others. These two Chicago anthologies nicely complement Chicago Blues, The Early 50s (Blues Classics BC 8) and On the Road Again (Muskadine 100) two classic anthologies of Chicago Blues. Lowdown Memphis Harmonica Jam (103) features Hot Shot Love's wild "Harmonica Jam", six tunes by the great one-man band Joe Hill Louis, Walter HortonandWillieNix (with a young James Cotton) that boogie up a storm. Detroit Ghetto Blues (104) includes Louisiana Red (as Playboy Fuller and Rocky Fuller). Baby Boy Warren (whose "Hello Stranger" is a remake of Sonny Boy Williamson 1's "Mattie Mae" and has Sonny Boy 2 on harmonica) Walter Mitchell, L. C. Green and other generally obscure names in a set of blues that reflects the influence of Sonny Boy 1 in thereworkingofhis songs, and in the various harmonica players who appear on these sides. Albums on the Blues Classics label incidentallycomplementthese issues also. CECIL TAYLOR now open Goldie's Other Side Georgetown Plaza Williamsville soft &mellow blues in a living room atmosphere huge drinks WBLK- 94 FM The Sound of Jazz w/Carroll Hardy - Sat. nights 10 PM 1 AM. WADV- 106 FM Jazz Nitely w/Geo. Beck - Mon.-Fri. 11:30- 12:30. Jazz w/Joe Vendetti Sun. 8-12 PM. wlhatliDJ lhappeniing solo piano concerts Sunday, January 16 3 & 8 pm LIMITED SEATING buffalo area See ads for additional information. Statler Hilton- "Downtown Room" Zoot Sims& Jimmie Rowles thru Dec. 12, Gap Mangione Dec. 14-Jan. 2, Stanley Turrentine Jan. 4-16. Tralfamadore Cafe- 2610 Main at Fillmore- 836-9678- jazz Thurs., Fri. & Sat. from 10:30; jam sessions Sunday afternoon 5-8 PM. Odyssey - 1005 Tonawanda St.- 877-9377- good jazz with local groups - See ad. Anchor Bar - Main & North - Johnny Gibson Trio W/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Marina - Niagara St. -Dixieland Jazz every Friday and Saturday night. .Fieldstone Manor (Lockport)- Dixielandw/Will Alger on weekends. New Yorker Theatre 651 Yonge St., Toronto Tickets $5.50 From Jazz & Blues Centre, 893 Vonge St., Toronto, Ontario, Canada. M4W 2H2 Mail Order: Certified Checks or Money Orders Only. RADIO. TORONTO Captains Table - 2475 Lake Shore Rd., W. at Bronte Rd. good jazz w/Jazz Couriers Sat. afternoon from 2 PM. No admission, musicians welcome to sit in. Plaza Two Hotel - Greenery Lounge - Yonge/Bioor Square Claude Jones Mon. thru Sun. 8-12 PM. Chelsea Bun - Chelsea Inn, 33 Gerrard St. W. -pianist John Arpin Mon. thru Sat., 9-1. wbfo 88.7 fm Mon.-Fri. Noon- Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midnight Mon. "Modern Jazz: The first 20 Year" - Dick Judelson • Tues. "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" -Paul Smith Thurs. "In Concert" - Ed Smith Fri. "The Hot and The Blue Art• Dave Benders Mon.-Fri. Midnight-3 am '"Round Midnight" · Mon.: John Miller Tues.: Bill Besecker Wed.: Paul Meyer Thurs.: Paul Ericson Fri.: Babe Barlow Saturday 3am-8am "Pulse" - Paul Wandel Sam-Noon "Freedom Flight"- Yvonne Price Midnight-Gam "Opus in Modern Music: Jazz by Request- Pres Freeland Sunday: Noon-two "Jazz Contours" -Bill Wahl 11pm-midnight "Jazz Roots• -Chuck Mancuso Midnight-3am "Roots, Rhythm and Sound"- Dave Jacobs · 3am-8am "Progressively Yours" -Michael Vaughan Wilson Mother Necessity Jazz Workshop 14 Queen Street. E. Toronto I from 9 p.m. to 1 a.m. Telephone: (416)368-0971 Dec. 9, 10, 11 Bernie Senensky Trio Dec. 12 Mother Necessity Big Band Dec. 14, 15 Bi II Smith-Stuart Broomer Quartet Dec. 16, 17, 18 Jim Norman Quintet Dec. 19 Mother Necessity Big Band Dec. 21,22 Polygon Quintet Dec. 23-31 CLOSED Jan. 2 Mother Necessity Big Band Jan. 4 & 5 Open Dates Jan: 6, 7, 8 G,eorge McFetridge Jan. 9 Mother Necessity Big Band IS L-----------------------...1 • �DECEMBER AT THE TRALF JAZZ 8,22 Dr. Jazz 10,11 Mujahid 17,18 Gemini Spyro-Gyra Thursdays 9:30-1:30 Jam Session Sundays 5-8 NEW YEAR'S EVE/Spyro-Gyra Bourbon Street TORONTO { 41 6) 864 - 1020 JACKIE & ROY thru oec.11 ACOUSTIC GERRY NIEWOOD Dec.13-24 14,21 John Brady 15 Nan Hoffman 28 Phil Dillon 29 Joe Head Classical every Sunday Phone Ahead for Dinner Reservations Dme & Dance 9- 1 No Cover more great jazz & good food at tralfamadore cafe 2610 main street John-Duck's Tavern -Lake Shore Blvd. W at HumbPr R1vervibeman Tim Tickner Quartet Mon.-Sat, 9-1. Mother Necess•ty Jazz Workshops,,, ad. Grossman's Tavern- 379 Spadina Ave. Fridays and Saturdays frQm 8 pm. Saturdays 3 pm., Kid Bastiens Camelia Jazz Band Revolving Dining Loune, CN Tower- Nightly- Paul Adamson Quartet w/Gary Gross pno, Terry Quinn bass, Don Vickery dms. Garden Party - 82 Avenue Road - Joel Shulman (ne:Joe Saye) Sunday session with guests, phone 961-1114 for information. Albert's Hall, The Brunswick, 481 Bloor St., We~t. MondayWednesday - Kid Bast1en, Thur~day-Saturday - Jim Abercrombi~. Chez Moi, 30 Hayden St. Saturday Afternoon - Silver-leaf Jazzmen. Church Street Community Centre, 519ChurchSt Fndaynight Silverleaf Jazzmen. *zOOT SIMS/JIMMY ROWLES -~ thru DEC.12 *GAP MANGIONE DEC.14-JAN.2 GEORGE'S SPAGHETTI HOUSE 290 Dundas St. E. Executive Restdurant, 254 Egf1nton Ave., East. - Saturdays 2-6 PM - John Dela Tno. Inn on the Park, Leslie & Eglinton Ave., East- Saturda\' matinees - various qroups. Malloney's, 85 Grenviile Street. Saturday Afternoons- Climax Jazz Band. ROCHESTER Eastman Theatre - Eastman New Jazz Ensemble with guest artist Eddie Daniels Dec. 6 at 8 PM. Eastman Jazz Lab Band Dec. 11, Eastman Jazz Ensemble Dec. 17. Both at 8 PM and free. Rochester Institute of Technology - Cafeteria - Paul Winter Consort Dec. 11. Shows at 8 & 10 PM - phone 464-2307. J.J. Lounge - 325 Genesee St. - Crystal Silence Fri., Sat. & Sun. Preservation Hall Jazz Band - New Years Eve special at Eastman Theatre. Presented by original performances- 325-1070. ; 1"! I I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4383 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 34 Date A point or period of time associated with an event in the lifecycle of the resource 12/1/1976 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 34 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/b426756b18207386aa38fab46bcc4aa9.pdf d510ae8d9055c19df55e57d0d3c0bcd8 PDF Text Text LEE KDNITZ also:Sabu �ML LEE KONITZ .bo "Konitz has become- within the tonal style of improvisationone of the most consistently creative alto players on the scene." 0 () ,.'3/;'.l..j ~ I'U• '-' ' The appearance of Dexter Gordon at the Tralfamadore was hailed as a hi'storical event by the Buffalo-Jazz community. Now, just·two months later, enthusiasm is building again as We await an engagement by another legendary jazzman alto saxophonist Lee Konitz. To say the least, Lee Konitz has been around for quite some time, Born in Chicago in 1927, he came to prominence with Claude Thornhill's Band in 1947-8. He made his first records with Thornhill's Band - Anthropology and Yardbird Suite. He worked with Miles Davis Band at the Royal Roost in 1948, and recorded with the band from '48 fo '50.* He became closely associated with pianist Lennie Tristano - a long association of which Nat Hentoff has written "during which he learned a great deal about stretching, refining and distilling harmonic language as well as extended linear improvising. Tristano is a very powerful force, and yet Konitz finally moved out of his orbit as well. Now, in the mid-1970's, Konitz is one of the most consistently original, challenging and continually surprising soloists in jazz .. He is, in Duke Ellington's term, beyond category." Konitz, a. truly original, uncompromising individualist, tur-ned down many offers to join name bands, refusing to adapt his style to a different setting. Instead, he preferred to remain a part of the avant-gardists surrounding Lennie Tristano. He did, however, work with Stan Kenton for about a year in 1952, which was the last time he was in Buffalo. Barry Tepperman wrote in Coda magazine that "(Konitz) was the first jazzman, to construct solos primarily through the use of tension and energy, much as many members of the current musical generation have done. He built fast-paced I ines with an irresistible propulsion, speaking through a very acute and often unconventional use of harmony, phr<jsing, and counterpoint, creating and resolving tensions between the lines he built with each hand and those of his accompanists .... "Konitz learned his own form of drive, a lanky, free-flowing swing. He learned to play with sounds, with rhythms, and he expanded a limited, ironically closed style into a universal voice. Konitz became truly a self-sufficient artist, one of those rare strongmen who needs only his own horn and his own head to s<>v -- eloquently--whatever he intends." Konitz has mostly led his own bands over the years, although he was re-united with Tristano fornightclubwork in '59 and again in '64. Lee has also worked occasionally with tenorman Warne Marsh and bassist Peter lnd- two other associates of. Tristano. . More recently, Lee has been living in Manhattan, teaching private students and working with his octet. Some quotes should give you ~n even better idea of the achievements of Lee Konitz, written by some ofthe notables in the jazz world. ''(Konitz) is well endow.Jd with melodic resourcefulness, a distinctive tone and a subtle sense of time." Barry U!anov - A Handbook of Jazz (Viking) eri\~~ ! I I * PARTIAL DISCOGRAPHY Claude Thornhill- Columbia KG 32906 Miles Davis'· Tuba Band- Jazz Live Miles Davis- Birth of the Cool - Capit9l Gerry Mulligan/Lee Konitz- Blue Note LA532 Ezz-Thetic- Prestige 7827 Duets - Milestone 9013 Peacemeal - Milestone 9025 Spirits- Milestone 9038 Satori - M i I estone 9060 European Episode- Toho YX-7007 (Japan) Impressive Rome- Toho YX 7008 (Japan) Lee Konitz - Horo 32 (Italy) Lee Konitz & Red Mitchell - Inner City 2018 Lone-Lee (solo) - Inner City 2035 Motion - Verve 2317 106 (England) Lennie Tristano - "That's Jazz" - Atlantic 50 245 (German) w/Dave Brubeck, Anthony"Braxton All The Things We Are - Atlantic 1684 For information on obtaining any of the above albums, write the BJR Office. EDITOR & PUBLISHER- Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS - Christine Eng! a Eber and Sabrina Mayberry Smith. PHOTOGRAPHER - Michael Ketter. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. II~ haircutter © 1977 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the publisher. I 59 Kenmore Ave. . . .. -Don Heckman ~ Oo~nbea.t - 1964 Lee Kon1tz IS an ongmal. He has been a sJgnJfJcant mfluence on my musical growth. When I first heard Lee and Lennie Tristano, I flipped out! Their linear concept was an exciting structural departure that to some degree crept into everyone's playing, ... 1 know it has really affected my thinking." -Bill Evans Konitz has recently been attracting younger and younger audiences along with the veteran jazz fans. Perhaps this is partly due to the fact that Anthony Braxton often mentions him as a strong influence. Lee will be at the Tralfamadore January 28, 29 & 30; Fri.Sun. The first major concert there fdr '77. He'll appear with Birthright's drummer Nasara Abadey, bassist Sabu Adeyola and guitarist James Clark. To open the New Year on the rightfoot, loads of records wi II be given away on opening night. . To avoid the misfortune of being turn.ed away at the door, (it happened every night yv/Dexter), you can buy advance tickets. See the ad in this issue. Dexter Gordon, Lee Konitz --how many more I iving legends will visit the Tralfamadore in the months to come? How many more are there? 836-1781 (corner of Windemere) behind jewelry store 2 The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. �'c-c:\ I : I i<C I- t} JAZZ PUBLICATIONS There are quite a few jazz magazines, newsletters, etc. available these days. We've listed them for you-- write for a sample copy and tell them the BJR sent you. Coda - Canada's jazz magazine, probably the best jazz magazine in the Eng I ish language with informative articles and interviews with a diverse variety of musicians. Box87, Station J, Toronto, Ontario, Canada M4J 4X8. Bells - primarily geared towards avant garde and "new music" c/o Henry Kuntz, Jr., 1921 Walnut #1, Berkeley, Calif. 94704. Cadence - a monthly magazine w/a good number of record reviews, interviews, etc. Rt. 1, Box 345, Redwood, N.Y. 13679. Jazz M,aga'!!ine - a new one - P .0. Box 212, Northport, N.Y. 11768'. Jazz Gazzette - N. Y.C.' s jazz newspaper- 32 Union Square, East, Rm. 1208, New York, N.Y. 10003. The Grackle - "Improvised Music in Transition"- pub Iished irregularly c/o Ron Welburn, P.O. Box244, Vanderveer Station, Brooklyn, N.Y. 11210. j I, i i<C IZ 1976 IN RETROSPECT . While '76 may be remembered bymostofthe country as the bi-centennial year complete with bi-centennial ~.inute~ and red white and blue fire hydrants, many local1t1es will be re~embering the year that Buffalo re-gained its prominence on the country's jazz map. . · The city was i'n no way lacking Iive music last year - peop~e such as Dizzy Gillespie, Milt Jackson, Earl Hmes, Charl1e Byrd, Marian McPartland, Clark Terry, Kenny Burrell, Zo?t Sims Helen Humes and many more performed at the Statler s Dow~town Room, as well as BJR presentations of Bi II Evans and Phil Woods at the Rendezvous Room. The Tralfamadore Cafe, which has been open just ov~r a year now, has already been hailed a~ ~n.e of the best.few Jazz clubs in the country by each of the v1sltm.g name art1sts. ~he club's warm, friendly atmosphere, good v1bes, good acoust1cs and attentive, appreciative audiences are reme~bered by such people as Steve Grossman/Gene Perla/Don Al1as - k~own as Stone Alliance Elvin Jones, Sonny Fortune, Gerry N1ewood, Dexter Gordon' and the Louis Hayes/Woody Shaw Quintet. The Dexter Gordon appearance was nothing short of the historical event of 1976 for Buffalo's jazz community. Buffalo bands have been working often around town and continually growing - Mujahid, Flight, Spy~o-<;'yra, ~emini, etc. Birthright recorded a second album, wh1ch IS sellmg w~ll throughout the country, and the group's alto/soprano saxophomst and musical director Joe Ford has been a member of the McCoy Tyner sextet for some time now. The BJR itself, has grown enormously in size and circulation and has been gaining national attention as a fine jazz magazine. We now have subscribers in aH parts of the U.S. and Canada as well as Europe. t Jazz radio is found in abundance here. WBFO programs over 72 hours per week and is the largest programmer of jazz in the eastern U.S. outside of N.Y.C. Carroll Hardy is back on the air- Saturday from 10 PM - 1 AM on WBLK. George Beck and Joe Vendetti program jazz on WADV. . In short - things are looking good. But the major asset Buffalo has is you- the jazz audience. We hope you'll continue to support live jazz in the years ahead, and appreciate your support thus far. We wish you the best for what's got to .be a dynamite '77. Bill Wahl A Fonnn designed and created for the freedom found in artistic creativity. Providing exposure for quality sound. Exploring arid focusing on good feelin~ through friends, food and spirits. •····· . " .a ~ ,~ ~~ - an adventure directed towards you the people. 1005 TonaWdllda St. Buffalo, N.Y. 877-9377 �SABU by Paula Wahl DAWOUD SABU ADEYOLA This month the feature article is on Sabu Adeyola, Bflobased bassist, member and teacher of the Association for Jazz Performance (AJP). Sabu, Arabic for "friendly one", started playing piano at age 8. At 13 he played his first gig, a school dance, himself on piano, Joe Ford-alto, Reggie McQuillanco.nga. From then on he spent time jamming the blues and boogie ..... but mostly listening, to Miles, Cannonball, Mingus, et al. He says he has "always been a serious listener ... that hearing is the only true sense - one that cannot be easily misinterpreted." His musical development did not come from formal training, although he studied piano and harmony with Juni Booth while in school; the development came "through open I istening ... not techniques as much as concepts." In 1965 while living in Germany, he picked up the bass which has become his medium. The biggest influence on his music and feeling toward music has been Charlie Mingus, with whom he studied in 1970 at the University of Buffalo. "Through that association and relationship, I was adopted into the Mingus band for one week" - a peak of joy in his career ... for Mingus is for Sabu a friend and great teacher. Sabu has played with Flip Phillips, Frank Foster, Leon Thomas, and more recently Mark Murphy and Dexter Gordon on their Buffalo gigs. He will also be playing with Lee Kanitz this month at the Tralfamadore Cafe. Sabu feels that he "learns a lot when playing with vocalists, for his creativity is challenged and he is forced to go to the depth or source of his soul." Which brings us to his feelings of his base, his concept of his very nature. He adopted the Islamic tradition as an orthodox Muslim where "everything, from breath, work, every act or remembrance is one of the Creator .. that which is beyond concept. The master is the sustainer of the earth, all creativity comes from the One and goes to the One." Around that same time, 1971, a Model Cities grant was obtained and he founded and di rectedthe Watu Center which featured workshops in dance, music and other culturally motivating experience forthe community. He was also continuing to listen to Paul Chambers, Ron Carter, Jimmy Garrison and others. "Musically I have always been on the straight Path, the Path showed me the Creator, the Light and I realized the Creator as the Path. Although my personal life has been one of wavering, music has not wavered .. and I am consciously working toward total unity to continue to refine and purify this life and realize God orthatpureEssence.AII of life is a teaching. Before, music was everything, now, music is a medium, proof of the existence of God, -the perfection of one note. There are two types of things that exist in the Universe - creative things and the Creator." Presently, Sabu is teaching and working with the AJP - 39 Edward St., Buffalo. This service is given to the community, where anyone who wants to learn jazz theory ..and harmony can 00 00 SONG'S CLEANERS SPECIALISTS IN SUEDE LEATHERS MAN-MADE FURS Performers Costumes - Formals Full Alterations - Pressing 7 AM- 7 PM Daily Pick-up & Delivery 164 Massachusetts Ave. (cor. West) 883-0101 1------------------------- 4 sabu Ketter come and learn, free of charge. There, many of the Buffalo greats, AI Tinney, James Clark, etc. are teaching. Sabu grants much of his musical growth to associations with Ann Faith Harris, James Clark, AI Tinney, Ruben Mitchell and many others still in the community. My question to Sabu was, "why do musicians and jazz musicians·particularly seem to consciously tread the Higher Path?" His answer was this, "Traditionally there was little material benefit - they had to take the back door to music, Louis Armstrong came through the kitchen - so it was easier to go inside to that source of creativity, inside for the soul, and only. re?ently has th~t started to change - so,.much of the music today IS also changmg. However, there are still those whose quest is real, and they keep music pure. Art Blakey's Jazz Messengers are messengers of God, Thelonius, Coltrane, Dizzy ... the list goes on." When asked about his family, Sabu replied with a smile, "Oh, you mean my wife and three little boys?" DEXTER GORDON & WOODY SHAW AT THE VILLAGE VANGUARD 1 In the wake of the remarkable performances by Dexter Gordon, Woody Shaw-& Louis Hayes atthe Tralfamadore, I was moved to go to New York to witness their appearance at the Village Vanguard. The occasion was a live recording for Columbia Records. The group consisted of Dexter Gordon/tenor sax, Woody Shaw/ trumpet, Ronnie Mathews/piano, Stafford James/bass and Louis Hayes/drums; quite a li.ne-up! The night opened with two new Gordon originals, inked for the occasion - Back Staris & Fenja, the latter written for his beautiful Danish wife, with quotes from "Everything you can do, I can do better" (Dex is noted for his quotes). Laura followed - a beautiful ballad featuring Woody on flugelhorn, with a long solo saxophone passage from Gordon before the outro. So much for the warm-up. The band was on fire for You Or No One with Mr. Gordonblowinghistail off. Woody was dancing around the stage watching him - obviously psyched, and delivered an equally. exciting solo in reply. The feeling was passed on to Ronnie Stafford & Louis as well. During the break, the engineers mentioned to Dexter that the tunes were a bit long. The solution?-- a two-record set of course! Now we're into the second set, opening with Dex's favorite original Fried Bananas - straight ahead and cook in'. Next we �have a Woody Shaw tune - Little Red's Fantasy, a bouncing version of Body & Soul and a red hot version of Jimmy Heath's Gingerbread Boy (which will very hopefully be on the record), with quotes from "Here comes the Bride". There was more to be sure, butl became so engrossed in the music that I stopped taking notes. No problem- you'll hear the music soon on record- hopefully two records. The projected release date i's around the end of this month - i:t seems impossible, but let's count on it. Thi~ ev~ning was one of the musical highpoints of my I ife. It was msp1red, hot and very together-unless a miracle comes along, the forthcoming live album should be the jazz record of '77. B.W. WOODY SHAW/LOUIS HAYES QUINTET LIVE AT THE TRALFAMADORE CAFE W~lking up t? Woody Shaw just after his group completed the fwst select1on of the f1rst set of the first night at the Tralfamadore Caf~, I exclaimed at the power of this quintet that he co-leads with veteran drummer Louis Hayes. He smiled broa_dly and matter of factly stated, "Man, we haven't even warmed up yet. Wait 'til later on." idiom. His album as a leader on the Italian Horo Label shows his abilities to stretch out in the avant garde realm, but on these three nights in Buffalo his rich, warm tone unified the group. His solos earned the undivided attention ofthe audience· his strength on bass commands-this kind of respect. ' Rene Mclean, son of Jackie, seemed to lay back on his various. reed in~truments unti I later in each set. The up-tempo Obsequ 1ous, wh 1ch was performed towards the end of the evening was a good showcase for his fluid, full-range solos. Shaw and Hayes, the latter propelling the group with consistent, punctuated drumming, made believers out of many who may not have heard them I ive before, but trusted the track record of the Tralfjazz Concert Series. They closed each set with Tex Allen's Four For Nothing while Woody re-introduced each me~ber. of the group, the audience acknowledging equally the contnbutlons of a well-balanced and high-spirited quintet. J.H. AL COHN & ZOOT SIMS- EITHER WAY- ZIM 2002 Both AI Cohn & Zoot Sims are well known to be tenormen with an inherent abi I ity to swing. As good as each of them is on their own separate club dates and recordings, they are always at their best as a pair. Either Way is one of many records from the Cohf4/Sims team and is well worth looking into. The album features pianist Mose Allison in a rare appearance as a sideman. Mose had worked with Cohn & Sims for a while previous to this '61 session in New York clubs, as well as brief stints with Stan Getz and Gerry Mulligan in the late '50's. He has led his own trios since 1960. Allison, whose style is rooted in blues and early jazz, solos throughout. Bassist Bill Crow and drummer Gus Johnson round' out the quintet with solid, steady support. Vocalist Cecil "Kid Haffey" Collier, who has been likened to Jimmy Rushing, adds extra enjoyment with his appearance on three tracks. He has also worked often with AI & Zoot. The saxophone ensembles and solos on this record will set your foot a tappin' -warm, good natured music to say the least. Another (more recent) Cohn/Sims album to check out is Motoring Along on Sonet Records. In fact, just about any of them will do. B.W. many faces of jazz LOUI/ HAYE/ & WOODY /HAW Ketter As the group's music continued to build and intensify over the evening Woody's modest prophecy came true. On record, Shaw's trumpet work has always been clear and articulate but live it takes on excitement that clearly inspires the group as well as the audience. It's the unity of the whole ensemble, all five musicians, that distinguished these three nights in December from the many other evenings of quality jazz this year at the Tralfamadore. On the basis of interplay and musical rapport, the Shaw/ Hayes Quintet has few equals. Each musician plays an inte-. gral part in the tightly knit unit; committed to the swining, neo-bop method that characterizes their sound . . Ronnie Mathews got more sound out of the Tralf baby grand p1ano than most regular patrons are accustomed to hearing. His camping was sensitive, his solos hadpurposeand direction ~ both tastefully accentuating whatever mood the group was 1n from ballads to smokers. Bassist Stafford James seems able to play in most any an exhibit of drawings· of jazz artists by bj r illustratorsChristine Engla Eber and Sabrina Mayberry Smith on display this month at tralfamadore cafe 2610 main street 5'-------------------------_, �Joe on tenor and synthesizer bass and DeJohnette and Summers on percussion. Heartache is beautiful, offering synthesizer work from Dr. Patrick Gleason and more fine acoustic piano from Kuhn. Each tune on Bla.ck Narcissus is worth your attention. The name Joe Henderson may not be a household word, but it should be. This one is highly recommended. B.W. THE PRICE YOU PAY FOR LIVE JAZZ - IS IT HIGH? The question is whether or not the price Buffalonians pay for live, name jazl acts is high. The answer- it is not. Throughout the last year; I made it my business to visit jazz clubs in major cities, checking on prices as well as music. Here's what I found to be the minimum one can spend for three sets of music, in major clubs including minimums; per person. Chicago - $17, Los Angeles - $11, New York - $16-$34. Costs in Buffalo are at an unheard of low - the Tralfamadore charges $5 cover, but you can drink good size drafts for 50 cents with no minimum. The cover at the Statler is $2, drinks are expensive but there's no minimum. What may seem like a high price to some Buffalonians is really a good deal in relation to the rest of the country. Support I ive music and help to keep the prices where they are. B.W. ERIC KLOSS/BARRY MILES - TOGETHER- MUSE MR 5112 Any duo album requires a strong empathy between the participants and Together has it in abundance. The fast moving opening selection, Relay, gives immediate. proof that even through the most intricate unison and harmony "Heads" Eric Kloss and Barry Miles suit each other well. Kloss is heard on alto and tenor saxophone while Barry Miles handles acoustic and electric piano and synthesizer. The passages where they answer each other back and forth make Together sound I ike a playful game of tennis; Kloss challenging Miles to return his serve. which Mi~es happily does delivering a smash of his own. The t1tle select1on, Together, characterizes a great deal of the album w_ith _its free improvisatory nature and high degree of commumcat1on. Song For A Mountain, written by Miles, has a decided baroque quality to it. It's a beautiful exchange between Miles' flutish-sounding synthesizer and Kloss' tenor then Miles switche~ in mid-piece ~the acoustic piano then back to the · synthesizer to close. Th most extended work here is The G_od~ess, Th~ Gypsy and Th Light, a lengthy piece with several d1stmc~ sect10ns each reflecting a subtle change in mood but returnmg to the opening theme for the close. Probably the surest way to state the beauty of the whole album is that it becomes immediately apparent to the listenerthatnoadditional instruments are required. Together is a complete album. J.H. recordtDJ VERVE TWOFERS Polydor is continuing to re-issue Verve recordings as two record sets at a low I ist price. . CHARLIE PARKER/THE VERVE YEARS (1950-51) spans a total of seven sessions in quartet through orchestra settings. Five selections were done live at Carnegie Hall in late 1950, with A! Haig, Tommy Potter & Roy Haynes as the rhythm section. Other musicians heard on various tracks include Buddy Rich, Hank Jones, Coleman Hawkins, Miles Davis, Max Roach, ' John Lewis & Red Rodney. Fine bird. ELLA FITZGERALD/COLE PORTER SONGBOOK (2511) has been out as a Verve import for a while now, and is finally available domestically. Ella puts her stamp on thirty-two Cole Porter songs, backed by the Buddy Bregman Orchestra. The year was 1956. MASTERS OF THE MODERN PIANO (2514) offers music from six piano greats taken from as many sessions between '55 & '66. Bud Powell is given all of side one, heard with Geo. Duvivier & Art Taylor in 1955. Cecil Taylor's performance at the '57 Newport Jazz Festival fills sidetwo. He's with Steve Lacy, Buell Neidlinger & Dennis Charles. Mary Lou Williams is heard as a guest artist with Dizzy Gillespie's Orchestra on ·two tunes from the same festival. The rest of record two highlights Paul Bleywith the Jimmy Giuffre 3, and trio sessions from Wynton Kelly at the Halfnote in '65, and Bill Evans from his '66 Town Hall Concert. The Kelly tune Blues On Purpose has never been issued previous to this. A great collection of piano music. B.W. JOE HENDERSON - BLACK NARCISSUS - MILESTONE 9071 A new recording from tenorman Joe Henderson is always a treat. His latest effort, Black Narcissus is certainly in keeping with that tradition. The title track and Power To The People were previously recorded on Joe's Power To The People disc in 1969. Anyone who has that album will find the new versions fresh and stimulating - each is a Henderson original and most worthy of another recording. Pianist Joachim Kuhn delivers a firey acoustic solo on Power. Narcissus finds Joe s"etting the mood with a melodic, spacey tenor intro; then continuing to solo throughout the song gradually building in intensity. Drummer Daniel Humai r, a member of Phi I Woods European rhythm machine in '70, is a supe,rb technician with a free flow of musical ideas and performs admirably on four of the six tunes, along with percussionist Bi II Summers. Jack DeJohnette replaces Humair on Amoeba and Good Morning Heartache. The former is a lesson in creative funk, done in trio fashion with new releases TURRENTINE $3.97 COREA $6.47 &many more ~~ 51 University Plaza Mon.-Sat. 9:30 • 9:00 716-837-2322 All Charges 6 JIMMY ROWLES - GRANDPAWS- CHOICE CRS 1014 Having just seen Jimmy Rowles live with Zoot Sims at the Downtown I was pleased to have a new album from him to let me inspect his piano skills further. Rowles is hardly what you would call flashy, nor does he possess technique that boggles the mind. What he does give the listener is a sensitive, melodic approach to playing which interprets a ballad as few other jazz musicians can. His Medley of compositions by Strayhorn, Cole Porter, Hammerstein and others makes for thirteen minutes of relaxed improvisation. He is backed on Grandpaws by Billy Hart on drums and Buster Williams on bass who provide the energy to compliment Rowles' laid back approach. Jimmy even sneaks in a humorous vocal piece, Jam Face. Rowles style is s~btle yet fin!' control over the piano which will appeal to a w1de range of Jazz devotees. Grandpaws is good listening. J.H. �McCOY TYNER - FOCAL POINT - MILESTONE 9072 Buffalo's Joe Ford, musical director and saxophonist from Birthright, makes his recording debut as a regular memberofMcCoy Tyner's Sextet on Focal Point. Tyner continues in. the same fashion as his previous Milestone recordings, playing powerful, percussive music - all his own compositions. Tyner's !:)and has recently changed (since previous records), consisting of Ford & Ron Birdgewater/reeds, Charles Fambrough/bass, Eric Gravatt/drums and Guilherme Franco/percussion. Saxophonist Gary Bartz is added as a guest, which, for me, is a slight disappointment. Its not that Bartz work isn't good - it is. But, as a result, Ford - an excellent musician, has been limited to only three solo spots. Joe is heard on flute on Indo Seranade, and plays the melody line on Theme For Nana (also flute). He also delivers a burning alto solo on Mes Trois Fi Is, although its a bit short. McCoy debuts on dulcimer on Mode For Dulcimer, a tune the band played at a BuffState Concert in October. On four tracks, the horn men have overdubbed ensemble passages to achieve a strong, full big band sound. In summary, Focal Point is another fine record from McCoy Tyner. However, I'm finding that McCoy's albums are starting to sound very similar to each other- in respect to his compositions, although it's certainly a good sound and he is gaining more and more popularity. Also, it would begoodtoseemore room for Ford on the next album. B.W. I l lj :l AL GAFA QUINTETO - LEBLON BEACH PABLO 2310-782 Anyone who enjoyed the music of Dizzy Gillespie's Band at the Statler last year should check ouUhis album. . AI Gafa, the guitarist with the band, has come forth with an outstanding first release. As you might deduct - since he calls the group a "Quinteto", it is a strongly Latin flavored music. Two tunes, Barcelona and Land of the Living Dead were on Diz' Buhiana album, and were played by his band every night at the Statler. With all due respect to Dizzy, he's not missed here, as Gafa takes over the lead .role and handles it well. He also does Jose Feliciano's Affirmation (recently recorded by Geo. Benson). and Dizzy's Con Alma. Kenny Barron, Ben Brown (bass). AI Foster (drums) and Randy Weston's son, Azzedin on percussion round out the "Quinteto". AI Gafa is a guitarist you're goingtohear a lot more from. Check him out. B.W. CHICK COREA/HERBIE HANCOCK/KEITH JARRETT /McCOY TYNER- ATLANTIC 1696 This is a well produced album featuring the music of four of today's most popular jazz pianists. Jarrett is heard with Chari ie Haden and Paul Mohan on two I ight pieces from his (now deleted) Vortex album Life Between The Exit Signs, recorded in 1966. McCoy Tyner's two tracks are rather I ight as well, compared to his more recent work. He's with Steve. Davis & Elvin Jones at a 1960 session, which I presume to be the Coltrane date that produced Coltrane Jazz. The McCoy music has never before been released. The next pair of tunes comes from Corea, with Steve Swallow & Joe Chambers. This Is �New also includes Woody Shaw & Joe Farrell. Recorded in 1966, these tracks have been released on two albums - Tones For Joan's Bones (Vortex) and Inner Space (Atlantic). Herbie Hancock's two come from Ron Carter's Uptown Conversation album (Embryo) with Billy Cobham rounding out the trio. Carter composed the tunes and is heavily featured. A good piano sampler of hard to find, (mostly) trio music. All four pianists stick to the acoustic model throughout the album. B.W. EMIL PALAME BIG BAND - MAKE ROOM! - MARK 51213 I first became aware of the talents of Emil Palame when I reviewed the Fredonia Jazz Ensemble album about a year ago. Emil played a major role on that recording, being the pianist, band director and composer of two tunes. It was a screaming, bright big band album, but rather difficult to find for purchase. Now Palame has released an excellent album in his own name, worthy of as muchormorepraisethan the Fredonia disc along with two exciting originals from the pianist, Make Room includes "Toots" Thei Iman's Blusetts (another screamer) Gerry Mulligan's Cat Walk, Stevie Wonder's Your Are The Sunshine Of My Life and the jazz standard Spring Can Really Hang You Up The Most. The Average White Band is also represented with Pick Up The Pieces - an intricate big band arrangement of their pop hit. Among the many fine soloists, the most putstanding is saxophonist Dick Griffo. Emi I, obviously realizing Griffo's abounding talent, granted him solo space on all but one track. Trumpeter Mike Kaupa also gets a good amount of room, and shows his ballad artistry on Spring. Emil himself is a gifted pianist, composer and arranger, as evidenced throughout. Many of these sixteen musicianswereheardonthe Fredonia album - such as the entire trunipet section. If you're a big band fan, check out this one. Maynard may be slipping, but Emil is not. Also - the album should be easy to find. B.W. FLIP PHILLIPS - PHILLIPS' HEAD - CHOICE CRS 1013 Having established himself as a formidable tenor saxophonist back in the 1940's and 1950's it seems appropriate that Flip Phillips should open his album with a jazz version of a song done in the style of that era, Spanish Eyes. It's fitting also that which features Flip on bass clarinet- an instrument he helped popularize for use in jazz. Just as in his recent appearance in Buffalo, Phillips' tune is warm and full of vibrato with none of the flash associated with him while a part of the jazz at the Philharmonic touring jazz concert series. Aside from a recent re-issue of some of Flip's older material, this is his first LP in quite some time, reco.rded in August, 1975. For a man who has been coaxed out of his Florida stomping grounds a handful of times until very recently, Phillips shows great vitality and an ease for swing rarely found amongst younger multi-reed men. Phi II ips seems comfortable ,with his choice of sidemen Milt Hinton/bass, Mousey Alexander/drums and Mickey Crane/ piano- and theyreactwelltohisstraight ahead interpretations. J.H. JOHN RINALDO & SONS - JAZZ IS A FOUR LETTER WORD J & J RECORDS It's best to put Jazz Is A Four Letter Word on and listen before reading any of the credits. You'll note the tightness of the arranging and the mature soloing. The choice of pieces is pleasing. Starting with an uptempo, swinging version of C-Jam Blues with a smokin' trumpet solo by John Rinaldo leader of the group, and a clean, I inear solo by guitarist Mundell Lowe. Upon inspection of the I iner notes you'll see that the big band sound used on the album comes from each of the Rinaldo's overdubbing themselves so that Doug Rinaldo not only plays a fine alto sax solo but also backs himself up in the woodwind section. Dave Rinaldo establishes himself in the horn section on Joy Ride then steps outforabeautifully controlled trombone solo on Manha de Carnaval. Look out Bi II Watrous. Dave Rinaldo is only 22 years old! Obviously the Rinaldo Family possesses great musical genes but they also have good taste in rhythm sections, choosing Dolo Coker for piano, L.A. four member Shelly Manne as the drummer and bassists Leroy Vinegar and Monty Budwig. This is available from International Record Service; Box 383B; LaPuente, CA 91747. TERJE RYPDAL -AFTER THE RAIN - ECM-1-1083 Guitarist Terje Rypdal expands his repertoire to include keyboards, ·soprano sax, synthesizers, flute and tubular bells. His sound is understandably best demonstrated by Rypdal alone --it is spacey, bordering on avante-ga·rde. His previous offerings give the I istener more to grab on to due to the excellent sidemen which performed. This is probably the biggest fault with this effort. Though his style is one of expanse and space, Rypdal by himself comes across rather shallow. Stick with his other works. T.M. PONTY /GRAPPELLI - INNER CITY - IC 1005 Jean- Luc Ponty has been the most recentforce to popularize the jazz violin. This latest release features Panty teaming up with his mentor, 68 yr. old Stephane Grappelli whose graceful technique is demonstrated to a new audience. Since Ponty has been a prime mover.in jazz-rock, his I isteners should be made aware of one of the old masters of the violin. The album recorded in Dec. 1973 is most interesting in its arrangements, ie the sidemen (which includes Philippe Catherine on guitar) swing with Grappelli and rock with Panty. A nice compliment to both Panty and/or Grappelli collections. T.M. HANK CRAWFORD'S BACK - KUDU 33 GROVER WASHINGTON, JR. - A SECRET PLACE - KUDU 32 Two brand new discs from Kudu Recoi-ds offer funky, danceable music of special merit at a time when the marl<;et is flooded with plastic disco-funk. The thing that sets these aside is the fact that Washington & Crawford play with feeling. The Crawford album sounds a good deallikethe Crusaders, with trombone work from Fred Wesley complimenting Hank's alto. Jeremy Steig/flute, Richard Tee/e. piano and Eric Gale/ guitar are also on hand. The Laid back Midnight Over Memphis is one of the more interesting tracks, but is marred by an unnecessary vocal trio. Grover's new one continues inthesameveinas his previous releases with two noticeable differences. The band is an uncluttered octet throughout - hence - no huge string or horn sections. The second is that, on a predominantly funky record, the band swings on a beautiful version of Herbie Hancock's Dolphin Dance. . On the other hand, however, the record lacks some of the dynamics found on his earlier ones. Also heard in ensembles are John Gatchell/trutnpet and Gerry Niewood/alto sax. , In closing let me say that there's not a disco drum-beat to be found on either record. After hearing Crawford's previous record, that's a step in the right direction. B.W. IMPORTANT SUPPORT LIVE MUSIC! keep it happening 8 �the Gaii-Stagnita Trio (bass, drums, piano). The Ambassador Restaurant is at 27 Elk Street, Albany, New York (telephone: 518-463-9187). . Eric Kloss has recorded 15 albums, and h1s latest ones (released by Muse Records) have been receiving wide attention for the high quality of musicianship. BLIND SAXOPHONIST GUEST SOLOIST AT ALBANY N.ITER~E ERIC KLOSS, renowned young blind jazz saxoph~n1st, ~Ill be guest soloist at the Ambas~ador Restaur~nt, new Jazz n1ght spot in Albany, for three n1ghts. On Fnday and Saturday, January 7 and 8, 1977,theshowstartsat 9 p.~., a~d on Sunday, January 9, starting time is 7:30 p.m. Backmg h1m up Will be JAZZ SUMMIT . Mix two giants of Jazz with a pair of the mus1c's greatest producers and the recordin~ executiv~ who got them all,together and--mop! --you've a Jazz summ1t. Shown here. (L -to-R) are impresario Norman Granz, RC~ Records Pres1dent Ken Glancy, alto sax titan Benny Carter, p1ano master Oscar Peterson and Newport's George Wein at an RCA host~d gala at Carnegie Hall celebrating Granz's Pablo Jazz Festival concerts currently touring major cities th~ough?ut the country. RCA Records distributes Granz' s Pablo Jazz I me. CHECK THESE OUT! ATLANTIC LOWEST PRICES IN TOWN! LARGEST SELECTION OF JAZZ IN THE WORLD! ! --.'-"~ 1800 MAIN at LAFAYETTE OPEN SUN. thru THURS. 10AM- MIDNIGHT FRI.+SAT.10AM-4AM- AMPLE FREE PARKING �Bird produced in cooperation with the estate, and the quality is superior (I've only heard Vol. 1) to these and I'd recommend that set first, then these others. Yet as Donald Coy notes in R.W. the notes of the Zim, Bird Lives! HORACE PARLAN -ARRIVAL - INNER CITY 2012 It would be appropriate to call Arrival an American reunion album of sorts seeing as.three of the five musicians here are United States expatriates who. hadn't recorded together before arriving in Europe to stay. Pianist Horace Parlan whose most well-known recent gig in America was with Roland Kirk in the mid sixties has made Copenhagen his home since 1972. Respected drummer Ed Thigpew and trumpeter/flugelhornist ldrees Sulieman, also recent expatriates, join Parlan for a swinging session exemplified by the title cut. Arrival, written by Pari an, is propelled by the drumming of Thigpew who takes several clean eight-bar breaks. The rich tone achieved by Danish bassist Hugo Rasmussen becomes apparent on ~he ballad For Heaven's Sake which also reveals the sensitive, lyrical side of Parlan's pianistic skills. Bent Jaedig, another talented Dane, provides a pleasing counterpoint to Sui ieman' s flugelhorn with his full-sounding tenor sax and on Randy Weston's Saucer Eyes he gives us a glimpse of his soloing finesse. My only complaint, admittedly a small one, is that there are not more long selections that would allow this fine assemblage of musicians to stretch out more. This album illustrates again that to allow talent such as Parlan, Thigpew and Sulieman to leave the U.S .. because ofthe lack of appreciation for them is a crime. J.H. EARL KLUGH - LIVING INSIDE YOUR LOVE - BLUE NOTE LA 667-G Being an exceptionally good acoustic guitarist, Earl Klugh deserves a much better record thanthisforthe public to notice his talent. The disc opens with Captain Caribe, a ridiculous disco tune with Klugh on acoustic and 12 string guitars! Who's idea was that? The rest of side one offers little or no inventive music. Side two opens with soul music - the title track, but offers some pretty melodies later on a ballad Another Time, Another Place (with Eddie Gomez on bass - for no apparent reason). Then there's a solo version of April Fools -short but sweet, and a Latin-ish Kiko, again nice but awfully short. Nothing to get excited about here if you want to hear a guitarist. Klugh can be better heard on his previous disc Earl Klugh (BN. 596), and on albums with Geo. Benson. B.W. JAMES MOODY - SUN JOURNEY - VANGUARD VSD 79381 An impressive list of musicians make up the persQnnel on James Moody's most recent effort, Sun Journey. Former Elvin Jones guitarist Poland Prince is here along with Bob Cranshaw/ bass, Kenny Barron on piano and assistance· on a couple of selections from trumpeters Randy Brecker and Clark Terry. His choice of an opening number (This Masquerade), however, was unfortunate because nothing new is offered from George Benson's hit version of Leon Russell's songmakingthe overall effect uninspiring. Thankfully, Moody recovers quickly with his well-tested ballad Moody's Mood For Love, a remake of I'm In The Mood For Love on which his alto moves easily in and around the melody. You begin to get the impression after a few selections that Moody now prefers the soulful to the swinging or at least believesthat'swhatheshouldbe doing. It would have been a pleasing change of pace to hear more swinging tunes ala his days with Dizzy when he also utilized his immense talents on the flute. Sun Journey just seems to lack the fire an album with this much talent should have. J.H. JOE FARRELL - SONG OF THE WIND - CTI 6067 Joe Farrell·is one of jazz' r.nost versatile performers on tenor sax, soprano sax, flutes and oboe. He's done everything from intense work in the piano-less trio of Elvin Jones (with Jimmy Garrison), to lush highly produced studio work. While his current records suggest that he's falling off the bridge between jazz and rock, his earlier sides, such as this, expose his. multitude of talent. One of his best was Joe Farrell Quartet (CTI 6003), re-issued here six years after it was recorded. The personnel is Farrell, Chick Corea, Jack DeJohnette, Dave Holland & John McLaughlin. A lot of ground is covered from the I ight, acoustic bossa-1 ike Molten Glass, to the energized electric freedom in Motion, to the exquisite, rocking version of McLaughlin's Follow Your Heart. These five musicians are among the most respected on their instruments and deliver excellent music here. Another equally good Farrell record is Outback (CTI6014). B.W. CHARLIE PARKER - NEW BIRD VOLUME 2 - PHOENIX JAZZ 12 AT THE PERSHING BALLROOM:CHICAGO 1950 - ZIM AM1003 It is difficult to recommend these albums to those who aren't yet Parker enthusiasts, for despite Bird's genius, the production of these albums will limit them to a more specialized audience. Surely anyone who reads the BJR already has the two-album Savoy set and perhaps some of the Dial reissu"es on the Spotlite label and the Prestige Greatest Jazz Concert Ever set, as .these are among the greatest Jazz of all time. The Phoenix Jazz album is mostly aircheck from the Hi Hat Club inBoston with a band of Boston musicians who prove themselves capable. Recorded in 1954, these performances indicate that Bird still had his fire on versions of "Ornithology" and "Out of Nowhere". The melody chorus and most of Bird's solo isn't present on "My Little Suede Shoe.s" which as the liner notes explain were not on the source tape. Playing time isn't overly long and recording levels flucuate at times. There is some I ively chatter between Symphony Sid and Bird which adds to the atmosphere. Also included in Bird and Dizzy on TV in 1952 receiving Down Beat awards for alto and trumpet and playing "Hot House". The Zim release is simplyBird's solsorthe melody chorus where Bird is heard. As soon as Bird stopped soloing there would be a fadeout of the music, coming back when the ensemble came together to close out the tune. The album has generous playing time and Bird was in good form, however the patching together of different portions of the same song make for difficult I istening, and as explained in the notes, the sound quality sounds like a release recorded off a cheap transistor AM radio. In either case, Bird enthusiasts probably won't be turned off by these comments though I prefer the Phoenix Jazz issue because it is the more listenable and documents.aportion of his career that is often negl~cted. ESP has several albums of airchecks of MERCURY EMARCY JAZZ REISSUES Mercury has joined the jazz reissues sweepstakes with its "The Emarcy Jazz Series." The series consists of double album reissues (at special prices) of classic jazz performances from the Mercury and assorted sister labels. As with the Savoy Reissues (and the Prestige-Milestone) packaging is excellent, liner notes informative and complete-as-possible discographical details are provided. GENE AMMONS' "Jug" Sessions (EMS-2-400) is a convenient reissue of 28 of his earliest recordings. With so much Ammons available, including early Ammons on Savoy and Prestige, I can't say go out and get this, though there is much good music including all the recordings Gene made with his father, the famous boogie-woogie pianist Albert Ammons. The music presents the Ammons mastery of blues, ballads, bop and a few examples of the rise of rhythm'n'blues, and is quite n1ce. The Dinah Washington twofer, The Jazz Sides (EMS-2-401) presents the legendary singer in the company of Clark Terry, Wynton Kelly, Cecil Payne, Eddie 'Lockjaw' Davis, and Junior ~ance. There is a lot o_f great blowing and Dinah's great singmg w1th such outstanding performances as "I Could Write A Book", "I Get a Kick Out of You" and Bessie Smith's classic "Backwater Blues" which was recorded at the 1958 Newport Jazz Festival. Being one of jazz's greatest vocalists Dinah belongs in your record collection, and if you don't have anything by her, this is a good place to start. . The Quintet Vol. 1 (EMS-2-403) is devoted to the great Clifford Brown-Max Roach Quintet which stands as one of jazz's classic groups. If any of the EmArcy reissues are essential in a jazz library, this set is. Clifford Brown and Max Roach were/are among the greatest trumpeters and drummers in jazz history. With Richie Powell's piano, Harold Land's tenor and George Morrow's bass, the Brown-Roach Quintet was hot, lyrical and inventive. Jazz at its best and one f 10 �to go along with your Chari ie Parker Savoy and Lester Young Blue Note reissues. I am waiting for Vol. 2 to come out. One caution to buyers is that manyofthese sides are available on albums on the Trip label as well as Mercury records that have remained in print. If you have none or little of the music, or artists, these are fine places to start. R.W. DOM SALVADOR -MY FAMILY- MUSE 5085 It was a Saturday morning, about 8:30. I was listening to WRVR at drummer (w/Sonny Fortune) Chip Lyles' apartment outside New York and heard a dynamite tune, and neither of us could figure out who it was. After waiting through some much less interesting music by a well-known artist, I heard the name - Dom Salvador. Checking out the record (in Buffalo now) I found five musicians I isted, all unknown to me, who make up a fine band. With the exception of bassist Dennis Irwin, these musicians are from Brazil and Cuba (percussionist Mike Pomier). It should be no surprise that their music is rhythmic, colorful, rich and earthy. Add the fact that each man is a superb musician and plays to the best of his ability, and you've got the ingredients of a fine album. Salvador (acoustic piano) and Justo Almario (tenor & soprano saxes, flute) are especially outstanding. Salvador has previously been heard on records by Dom Um Romao, Azar Lawrence and Robin Kenyatta. One of the better jazz/Latin fusions I've heard in some time. B.W. JOE ALBANY - TWO'S COMPANY - INNER CITY 2019 The I iner notes provide the historical data on pianist Joe Albany but the story is similar to other jazzmen who've left America to nestle in the open arms of Europe. Albany is accompanied here in a duo setting by bassist Niels- Henning Orsted Pederson and the two seem well-suited to each other considering they'd never played together before this date early in 1974. A session without drums would seem difficultto pull off but they're not missed here due in larqe part to Pederson's relentless walking and tasteful solos and to Albany's seasoned skills acquired while providing support for the likes of Benny Carter, Anita O'Day and Chari ie Parker. Albany can swing, displaying dazzling Art Tatum- like fluidity as on Out Of Nowhere while his treatment of the ballad Lover Man proves his playing can stand up to close scrutiny. A pianist of Joe Albany's stature should have the forum to share his gift with others - two's company providesthatforum. J.H. BOB WILBER & KENNY DAVERN - SOPRANO SUMMIT IN CONCERT - CONCORD JAZZ CJ-29 Recorded at the Concord Summer Festival, Wilber and Davern are accompanied by Marty Grosz on guitar, Ray Brown on bass and Jake Hanna on drums. The saxophonists-clarinetists provide another set of traditionally oriented jazz that is warm and swinging, and free of the cliches that are typical of this type of music. Whethergettinghoton Louis Armstrong's "Swing that Music" or mellow on their solo features, Wilber on "The Golden Rooster" Grosz on "Moxie" and Davern on "Brother, Can You Spare a Dime" there music sounds fresh and they show they have learned their lessons from Sidney Bechet quite well. Give this one a listen. R.W. CHICK COREA - MY SPANISH HEART -POL YDOR PD-2-9003 With Return to Forever now defunct each artist has been released to pursue that area of music most representative of their taste. While Clarke, White and DiMeola offer differing interpretations of jazz-roc-funk, Chick Corea moves back along his family heritage and draws from flamenco music. It is obvious where the foundation of Return to Forever came from. Corea, on keyboards and synthesizers, picked Clarke, Jean-Luc Ponty, Steve Gadd on drums and Don Alias on percussion as well as the Arriaga String Quartet and others, to travel back to Spain. The result is a mellow, free flowing affair which is as enjoyable to the listener as it probably was to the musicians. Though some of the sides are short, the album is nicely recorded and fun. T.M. JANUARY IS k(fl MONTH AT c ALL 6.98 list NOW 4.49 l981ist NOW 5.99 9.981ist Now·6.99 NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA �Just a FEW bright memories/1976 OEHlER GORDOn tralfamadore/ nov. KEnnY BURRELL /tatler/oct. JOnny FORTUnE tralf./april & oct~ Michael Ketter ELVIn JOnEJ tralf. /march David Wahl �Goldie's Other Side FREE PARKING AT Georgetown Plaza Williamsville SHERIDAN & EVANS ''US THREE" featuring formerly w/Richie Havens /Am THE RECORD mAn /HERWAY GARDEn/ EMILE LATIMERWED. thru SAT. Best Domestic & Imported Jazz Records & Tapes Available Take Evans Ave. Cutoff ( OEW prior to 427 Hwy.) On Your Next Trip to Toronto soft & mellow blues in a living room atmosphere Inquire About Our Discount Club Membership huge drinks subscription (6 issues) costs $4.00 sent to Living Blues'Publications, 2615 N. Wilton Ave., Chicago, Ill. 60614. · It is possible that live blues may soon be coming ·to. Buffalo in a format similar to the Tralfjazz series with perhaps comparabl~ prices (depending on the act). for the entire night, etc. I would be curious about reader response.as any indication of support for this before it is undertaken is important. Artists being contemplated include Robert Jr. Lockwood, Sleepy John Estes and Hammie Nixon, Otis Rush, Johnny Shines and others. Please write me in care of the BJR with. your comments and suggestions. There has been I ittle I ive .blues brought to Buffalo in the past few years and such places where blues was typically booked, an example being the CoffeenouseseriesatUB, haven't had blues in a year and a half. Imagine a series on American folk music which ignored the most basic American folk music. Blues can be brought and brought in an imaginative fashion. WBFO's David Benders, when head of the Coffeehouse, brought CARLOS GARNETT - COSMOS NUCLEUS - MUSE 5104 Saxophonist Carlos Garnett" has put together what amounts to a Latin-flavored big band effort (almost salsa in approach) on his most recent recording date, Cosmos Nucleus. This is Garnett's first association with a big band, playing in or leading, and for the most part it seems to come off well .. Saxy gets the album off to :''a rousing, funky start which hardly ever lets up. Most of Cosmos Nucleus (the name Garnett gives to these 25 young jazzmen) are relative unknowns and in some cases the arranging and execution reflect the lack of experience. The use of understated horn arrangements in Wise Old Men, a piece which includes voca.ls, is mostlikeGarnett'spreviousand most successful work. The swinging Bed-Stuy Blues features a trumpet solo by Wayne Cobham (brother of Billy) and is the tightest arrangement on the album. Garnett's desire to experiment with leading a big band, a previously unfamiliar territory for him, should be applauded and wi II surely make his big band efforts stronger the next time around. J.H. JANUARY TRALFEVENTS BLUE/ by ron wein.rtock For this column I'd like to first go over what I consider the best blues albums of 1976. The best was perhaps Robert Jr. Lockwood and the Aces, Blues Live in Japan (Advent 2807) featuring Lockwood's stunning jazz-blues guitar and enthusiastic readings of blues standards. Mr. Johnson's .Blues (Maml ish 3807) is the first American lp devoted to reissuing the classic and innovating work of Lonnie Johnson whose place in blues and jazz history is underappreciated. The best album by a previously unrecorded artist is Good Rockin' Charles (Mr. Blues MB 7601). This a fine set of Chicago blues with relaxed yet gritty singing and harp from Charles. Honorable mentions for outstanding albums go to the two Joe Turner albums Nobody in Mind and In the Evenin' (Pablo). Otis Rush Cold Day in Hell (Delmark), When Women Sang the Blues 9blues Classics). Windy City Blues:The Transistion and Detroit Ghetto Blues (Nighthawk). and .Louisiana Red Sweet Bloodcall (Blue Labor). As can be seen most of the finest albums were on small collectors labels (the major exception being the Joe Turners on Pablo). The big names in blues turned out either discoblues, Albert King with a pleasantalbumon Utopia, empty endless boogie, the I ive James Cotton album, or a I ive jam which never really ignited (B.B. King and Bqbby Bland). The small labels can turn out more interesting music perhaps because they don't expect to sell a gold album and don't compromise the music for sales. And the blues can progress as Jimmy Dawkins' has proved without losing its identity in a disco or funk setting. 1977 could be a year of some very fine recordings. Alligator records promises a Son Seals album, Delmark has reissues of early Junior Wells among others ready, RCA's Utopia subsidiary has a Clifton Chenier in the can, Trix has Robert Jr.· Lockwood playing twelve-string coming soon and hopefully much more. Of course t will let you know what is available and what it sounds like. , Other items of interest. Living Blues continues to be a source of interesting informative articles, reviews and interviews. The Record Runner carries current issues and a years JAZZ 5,19 Dr. JAZZ 12,26 JEREMY WALL 7,8 ESPOY 14,15 PAUL GRESHAM 21,22 GERRY EASTMAN 28,29&30 LEE KONITZ 2,16 TOM SCHUMAN Spyro-Gyra Thursdays 9:30-1:30 Jam Session Sundays 5-8 ACOUSTIC 4,18 JOHN BRADY 11 PHIL DILLON 25 JOE HEAD 9,23 JIM WOLF(classical) open mic on mondays tralfamadore cafe 13 2610 main at fillmore 836-9678 �CECIL TAYLOR solo piano concerts Sunday, January 16 3 & 8 pm LIMITED SEATING New Yorker Theatre 651 Yonge St., Toronto Tickets $5.50 From Jazz & Blues Centre, 893 Vonge St., Toronto, Ontario, Canada. M4W 2H2 Mail Order: Certified Checks or Money Orders Only. p . in not only folk blues but also a working Chicago Band, Son Seals, who played in the Rathskellar. It is to be hoped that the Coffeehouse committee at UB shows more imagination this year (1977) than in the past year and a half and brings blues both as pari of the Coffeehouse Circuit and as more ~han token representatives at the folk festival. I am willing to assist any organization that brings live blues to Buffalo and can be reached at either WBFO or the BJR. (David Benders incidentally hosts. Codfish Every Friday on WBFO at 10 PM to 11 PM which has blues featured about once a month. A TORN OFTHE CENTURY BASH IN RAGTIME Thursday, January 13- 8:00P.M. -Shea's Buffalo Theater- 847·0050 LIVE ON STAGE: ''The Ragtime Years" with Jl'lax Morathll An amazing recreation in words and music of the great Ragtime Era. Music of Scott Joplin, Irving Berlin, others. IN THE LOBBY: Huge display of restored automatic musical instru· ments from the tum of the century. Meet the owners and collectors. Hear demonstrations of these unusual band organs and player pianos. AT THE BAR: Beer and pretzelsll Bring your own stein. Come to Shea's Buffalo Theater for a good old fashioned night out. An evening reminiscent of the Gaslight Era. Bartenders, ushers, owners, collectors, ticket takers will be dressed in skimmer hats. vests, handlebar mustaches, gartered sleeves and suspenders. ~I to benefit Channel17 and the Friends of the Buffalo Theater. Tickets: $4.00 and $6.00 at usual outlets. Send self addressed, stamped envelope with mail orders to Friends of Buffalo, P.O. Box 6, Market Station, Buffalo, 14203. Blues on WBFO - Wednesday - 3 PM to 4 PM - Bon Ton Roulet- with Ron Weinstock (part of This is Radio) Thursday - 10 PM to 11 PM Rambl in' with the Blueswith Ron Weinstock Saturday - 10 PM to midnight -Shades of Blue with Babe Barlow. " wlhat'"" lhcppeniing buffalo area Statler Hi Iton - Downtown Room - Stanley Turrentine 1/4-16, Monty Alexander 1/18-30. Tralfamadore - Main & Fillmore- Lee Konitz Quartet 1/2830. Jazz every Thurs., Fri. & Sat. Night, Jam Sessions Sunday 5-8. Vieni-Su - West at Breckenridge - Jazz Tues., Fri. and Sat. nights. Goldie's - Georgetown Plaza, Evans & Sheridan. Live music pol icy now in effect - see ad for more information. Odyssey - 1005 Tonawanda St.- 877-9377- good jazz with local groups - See ad. Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Marina - Niagara St. -Dixieland Jazz every Friday and Saturday night. Fieldstone Manor (Lockport)- Dixielandw/Will AlgP.ronweekends. TORONTO McCoy Tyner Sextet - January 13, 8:30 PM at Burton Auditorium, York University, Toronto. Cecil Taylor - solo piano concert, Sunday, January 16 at 3 & 8:30 PM. New Yorker Theatre, 651 Yonge St. See ad for more information. Revolving Dining Lounge - CN Tower- Nightly- Paul Adamson Quartet. The Music Gallery - 30 St. Patrick Street, Toronto. Every Tuesday and Friday concerts by CCMC with Casey Sokol, Michael Snow, Bill Smith, Allan Mattes, Nobuo Kubota, Larry Dubin, Graham Coughtry, Peter Anson. Call 368-5975 for further information. Executive Restdurant, · 254 Egliriton Ave., East. - Saturdays 2-6 PM - John Dela Trio. Inn on the Park, Leslie & Eglinton Ave., East- Saturday matine~s - various Qroups. Malloney~ s, 85 GrE;nvi! le Street. Saturday Afternoons - C 1imax Jazz Band. Garden Party - 82 Avenue Road - Joel Shulman (he:Joe Saye) Sunday session with guests, phone 961-1114 for information. Albert's Hall, The Brunswick, 481 Bloor· St., West. MondayWednesday - Krd Bastren, Thur~day-Saturday - Jim Abercrombi"'. Chez Moi, 30 Hayden St. Saturday Afternoon - Silverleaf Jazzmen. John Duck's Tavern - Lake Shore Blvd. W at HumbP.r Rivervibeman Tim Ti~kner quartet Mon.-Sat., ~-1. Mother Necessrty Jazz Workshop S•·•.' ad. Grossman's Tavern - 379 Spadina Ave. Fridays and Saturdays from 8 pm. Saturdays 3 pm., Kid Bastiens Camelia Jazz Band Captains Table - 2475 Lake Shore Rd., W. ·at Bronte Rd. good jazz w/Jazz Couriers Sat. afternoon from 2 PM. No admission, musicians welcome to sit in. Plaza Two Hotel - Greenery Lounge - Yonge/Bioor Square Claude Jones Mon. thru Sun. 8-12 PM. Chelsea Bun - Chelsea Inn, 33 Gerrard St. W. -pianist John Arpin Mon. thru Sat., 9-1. ROCHESTER Eastman Musica Nova and Eastman Jazz Ensemble - "New Music and All That Jazz" Jan. 10, 8 PM - Eastman School of Music. J.J. Lounge - 325 Genesee St. - Crystal Silence Fri., Sat. & Sun. SYRACUSE Spirit of 35- Dave Hanlon's FunkyJazzBand every Friday and 14 Saturday night. / �ttalfjazz ~ proudly presents another legendary jazz artist / ,· .-:. ' ' ' LEE KD ITZ quartet Lee Konitz /alto sax James Clark/guitar Sabu Adeyola/bass Nasara Abadey/drums JANUARY 28,29 & 30 FRI.&SAI lOpm SUN. 9pm ALL TICKETS $5/night ON SALE AT= Tralfamadore, Norton Hall, Record Runner, Festival, Amherst Tickets Unlimited (Eastern Hills Mall). ROCHESTER: Village Record Shop/ 699 Park Ave. TORONTO: Sam the Record Man/Sherway Gardens .Mall no minimum ·low prices. no reserved seats ' ltalfamadore Cafe 2610 main street . 836-9678 at fillmore "one of the best jazz clubs in the world- reminds me of the Montmartre" - DEXTER GORDON Tralfjazz is a co-operative effort by the Tralfamadore Cafe & Buffalo Jozz Report presented for the state of the art. �Bourbon~· RADIO wbfo 88.7 fm Street Mon.-Fri. Noon-Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midnight Mon. "Modern Jazz: The first 20 Year" - Dick Judelson ' Tues. "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" -Paul Smith Thurs. ''In Concert" - Ed Smith Fri. "The Hot and The Blue Art" Dave Benders Mon.-Fri. Midnight-3 am "'Round Midnight" Mon.: John Miller Tues.: Bill Besecker Wed.: Paul Meyer Thurs.: Paul Ericson Fri.: Babe Barlow Saturday 3am-8am "Pulse" - Paul Wandel Sam-Noon "Freedom Flight" -Yvonne Price Midnight-6am "Opus in Modern Music: Jazz by Request- Pres Freeland Sunday: Noon-two "Jazz Contours" -Bill Wahl 11pm-midnight "Jazz Roots• -Chuck Mancuso Midnight-Jam "Roots, Rhythm and Sound"- Dave Jacobs 3am-8am "Progressively Yours" -Michael Vaughan Wilson TORONTO (416) 864 - 1020 ·I BILL WATROUS jan.10-15 RUBY BRAFF jan.17- 29 GAP MANGIONE follows Phone Ahead for Dinner Reservations ,, Dine & Dance 9- 1 ' No Cover WBLK- 94 FM The Sound of Jazz w/Carroll Hardy- Sat. nights 10 PM 1 AM. more great jazz & good food at WADV- 106 FM Jazz Nitely w/Geo. Beck - Mon.-Fri. 11:30- 12:30. Jazz w/Joe Vendetti Sun. 8-12 PM. GEORGE'S SPAGHETTI HOUSE 290 Dundas St. E. ~eGreate$t JAZZ in.the World 'Live' at the V()W~T()W~ *Stanley Turrentine Jan. 4-16 *Monte Alexander Jan. 18-30 buffalo jazz report 1335 main St., buffalo, n.y. 14209 u.s.a. return postage guarenteed PERIODI~LS & BINDERY LOCKWOOD MEM01U:AL LIBRARY B.U*'N•X".A.,B. mlFFALQ,. NY 1421.4 SJ6 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4400 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 35 Date A point or period of time associated with an event in the lifecycle of the resource 1/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 35 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/a7a772814b6b18e32977378347bceb59.pdf 9bf7d26158beabd580ecc97329d1a28a PDF Text Text buffallo jazz tepili reb.'77 iJJue 36 M: I STORM SPECIAL In the midst of the disasterous snow storm and aftermath it quickly became apparent that there was noway that we could p~bl1~h a February BJR. With the typesetting, printing and d1stnbut10n that had to be done - it was impossible. A few days later, we decided that this "storm issue" would be. better than no issue at a II - to at I east I et you know whats gomg on. There are no record reviews features or blues column. All wi II appear next month. ' PHIL WOODS QUINTET MAKES IT IN The Phil Woods Quintet somehow made it in to Buffalo for a two week gig at the Statler's Downtown Room. They arrived two days late, but they made it. T_here were only about twenty-five people in attendance openmg n1ght - but that's a crowd when you figure that the driving ban went into effect at midnight. Woods has added a guitarist - Harry Leahy, and the band is hot. Its one of the finest bands in the music - everyone in it is great. The rhythm section -Mike Melillo, Steve Gilmore and Bill Goodwin performed here with Woods in July. They'll be here through Feb. 13. KONITZ POSTPONED TWICE A three night appearance for alto saxophonist Lee Konitz was scheduled at the Tralfamadore Cafe on storm weekendJan. 28-30. Lee called, saying the plane was cancelled- and that he'd be taking a train. An hour later he phoned again-the train had been cancelled. The event was re-scheduled for the following weekend, but had to be cancel I ed again due to the driving ban. Lee will be here in mid March. Anyone holding tickets can use them then. See our March issue for exact dates. THINK YOU'RE FUNNY GENE? A postcard arrived in the mail on Feb. 4- the worst day of "that weekend", postmarked Rio de Janeiro. "Hi We might be playing in the Amazon Jungle soon. In the meantime, Rio is just great. Hope all is well." -Gene The card's author-bassistGenePerla, is still playing South America with Stone Alliance - Perla, Steve Grossman and Don Alias. The picture?- A color photo of the beach. MARY LOU WILLIAMS TO PLAY BUFFALO Ma~y pe?pl~ have been hoping for a local appearance by the dynam1te p1an1st Mary Lou Williams for some time. This month it will become a reality. A professional pianist since 1925 she is widely renowned as one of the finest pianists in the music. She's also known for arrangements, whi.ch she's done for Benny Goodman, Duke Ellmgton and many other bandleaders. She' .I be at the Statler from Feb. 15. See the ad in this issue. An interview with Mary Lou will appear in the BJR soon. . NOTE: We've just heard that Mary Lou will perform for a Jazz Mass at St. Vincent's Church. Listen to WBFO for more information. JAZZ ART EXHIBIT Several factors (incl. snow!) have caused the delay of the Many Faces of Jazz exhibit at the Tralfamadore. It should, however, be up by the time Anthony Braxton arrives. The artwork is by BJR illustrators Chris.tine Engla Eber & Sabrina Mayberry Smith. L 6~ z ~ >< <( / ~i a: (() z>- 0 I J- z <( ANTHONY BRAXTON & DAVID HOLLAND Anthony Braxton and David Holland will be appearing this month at the Tralfamadore Cafe- Feb. 25, 26 & 27. Each of these musicians is among the most respected in modern jazz of the 70's. Holland, who originally came to these shores from England, has worked wit"' such people as John Surman, Miles Davis, Joe Farrell, John Mclaughlin, Karl Berger, Sam Rivers and countless others and is constantly in demand for recordings and concert work. He'll be playing bass, cello and (possibly) guitar. Anthony Braxton's name constantly fares well on the Tralfamadore's questionnaires for artists to come in. It's been in the works for some time to get him to Buffalo. A few years ago he didn't even have a record on a domestic label. He had loads in Europe and Japan where he was extremely popular. Arista Records, recognizing this, signed him and has released four Braxton albums in little over a· year. Rooted in the music of Bird, Lee Konitz & Eric Dolphy, Braxton is one of the most popular saxophonists of the 70's throughout the world. He'll be playing alto sax, soprano sax, flute,· alto flute, clarinet, soprano clarinet, contrabass clarinet and contrabass sax. Combining the works of these men with this fantastic I ist of instruments, its no± hard tofigurethistobe an incredible three ni9hts of music. Get your tickets early! See the ad in this issue for more information, Pierce Arrow- Elmwood at Great Arrow -Jon Weiss Invasion - Thursday nights. Tralfamadore Cafe - Jazz Thurs., Fri. & Sat., Jam Session Sunday 5-8, Anthony Braxton & David Holland Feb. 25-27. See Ads. Statler Hilton- DowntownRoom-Phi1Woods2/1-13, Mary Lou Williams 2/1-5127. See. Ad. (over) �~ ... Ontario House - 920 Ontario St., Niagara Falls -Jon Weiss Invasion - Fri., Sat. & Sun. MON. open mic TUES. acoustic WED. thru SAT. jazz SUN. jam session 5-8 classical from 9:30 EVERY NIGHT good food.·& drink tralfamadore cafe 2610 main at fillmore 836-9678 Odysey - 1005 Tonawanda St. - Jazz Sat. nights. Vieni-Su - West at Breckenridge - Jazz Tues., Fri. and Sat. nights. · Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Marina - Niagara St. -Dixieland Jazz every Friday and Saturday night. Fieldstone Manor (Lockport)- Dixit:landw/WiiiAigP.ronweekends. ROCHESTER Monticello - Geo. Giroux - Feb. 14-26. Eastman School of Music - New Jazz Ensemble - Feb. 18, 'lfPM Free. R~d Cr~·ek - Luther Allison March 2 & 3. J.J. kounge - Existing Reality Feb. 11-13, Crystal Silence Feb. 18-20, 25-27. , :·, - :.. SYRACUSE Spirit of 35- Dave Hanlon's Funky.JazzBand every Friday and Saturday night. ·- --~~-~~ ~:::..- ..... -·,-.......,... --; __ . ...___;,- AnthQay UUAB MUSIC COMMITTEE Presents in Concert The Only W.N.Y. Appearance of STUFF Braxton ALID SAX. SOPRANO SAX, FLUTE, ALTO FLUTE, CLARINET, CONTRA·BASS &SOPRANO CLARINETS,CONTRA·BASS SAX Cornell Dupree, Steve Gadd, Eric Gale, Gordon Edwards, Chris Parl<er & Richard Tee Six of New Yorl<'s Finest Studio Musicians BASS. CELLO. GUITAR 8:30PM SUN., FEB.20 David Holland February 25,26 &27 FRI. & SAT. 10-2 ONE SHOW ONLY Fillmore Room -·· U.B. Main St. Campus Tickets: $2.50 Students 3.50 Non- Students SUN.9-1 TICKETS/ $5 at Tralfamadore, Record Runner, Norton Hall, Festival, Amherst Tickets Unl. {east.hills mall) Rochester: Village Record Shop/699 Park Ave. NO MINIMUM Available at Norton Union (U.B.), Buff State & Central Ticket Outlets. LOW PRICES tralfamadore cafe 2610 main at fillmore 836-9678 ~eGreate$t JAZZ in the World 'Live' at the VUW~TUW~ * *PHIL WOODS FEB. 1-13 MARY LOU WILLIAMS FEB. 15-27 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4545 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 36 Date A point or period of time associated with an event in the lifecycle of the resource 2/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Sound recordings > Reviews. Jazz. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 36 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/2d93635f45025ee6a3ebf4bfaedbc89e.pdf a81029332b529b70f45b8e87d820fd7d PDF Text Text II MIIR .~ . M .i I ffallo JGZZ tepott march '77 iJ'J'ue 37 third aniver.rary BENNY GOODMAN JAMES CLARK .LEE KONITZ I g 197~ 1 �Benny Goodman KING OF SWING RETURNS TO SHEA'S BUFFALO On April 1st, the friends of the Buffalo Theatre will be presenting the man known <lround the world as "The King of Swing" - Benny Goodman. Over forty years ago, Benny reported for his first job as a clarinetist, aboard a Lake -Michigan excursion streamer. Trumpeter Bix Beiderbecke, mistaking the lad wearing spectacles and knee pants for a meddlesome brat messing around with the band's instruments, threatened to pull his ears if he didn't "go back to his mama". But the band's leader arrived just in time to introduce the two instrumentalists, and Goodman proved to hold his own in the 4-piece band, while absorbing every bit of jazz lore from the great Bix. Goodman, who was born into a large and poor family in 1909, actually became fairly proficient on the clarinet at age ten - 58 years ago. He first appeared on stage at age 12 with Benny Meroff in Chicago doing an imitation of the prevailing clarinet favorite of the time- Ted Lewis. After becoming a leader himself, Goodman's bands were among the most popuiar in jazz. Recording for Columbia & Victor, they turned out hit after hit. The Benny Goodman Trio (formed in '35) consisted of himself, Gene Krupa and pianist Teddy Wilson. By taking Wilson on the road, Goodman broke down racial taboos for the first time in jazz history on a large national scale. In Aug. '36, Lionel Hampton joined Goodman and the trio became a quartet. In '39 the quartet became a sextet with the addition of guitarist Chari ie Christian and bassist Arthur Bernstein. Goodman simultaneously led the big band on and off. The I ist of names who were sidemen in the Goodman bands is enormous .- a brief example- Harry James, Buck Clayton, Kai Winding, Wardell Gray, Stan Getz, Zoot Sims, Claude Thornhill, Fletcher Henderson, Johnny Guarnieri, Sid Catlett, Louis Bellson, Slam Stewart, Red Norvo, Terry Gibbs, Peggy Lee, Patti Page and of course Krupa, Christian, Hampton, Wilson and many more. To completely cover Goodman's awards, citations, accomplishments, travels and the like would simply use more space than we have. Check him out for yourself - with his sextet on April 1st - at the Shea's Buffalo. See the ad in this issue for more details. I'd suggest buying your tickets as soon as possible for this one. LEE KONITZ LEGENDARY LEE TO COME AT LAST Master alto saxophone innovator Lee Konitz, snowed-out of two previously scheduled appearances at the Tralfamadore, wi II appear March 25, 26 & 27 - God wi II ing. In the late forties, Konitz made his recording debut with Claude Thornhi II; recorded with Lennie Tristano - a band which experimented with free jazz in 1949, and was a featured artist on MilesDwisBirthoftheCool,and the Tuba Band Davis sessions at tr.: Royal Roost. He has led his own bands since, intermitantly working with Tristano or Gerry Mulligan for brief periods. His work is documented on dozens of records, some of which are rare collectors items. Kon!tz was a very strong influence on Paul Desmond, and to a sl1ghtly lesser degree Anthony Braxton, Art Pepper and popular Europeans such as Albert Manglesdorff and Hans Koller. To celebrate the BJR's third anniversary, everyone in the club will receive a free glass of champagne on Opening Night, donated by "A Friend" with "Congratulations". There wi II also be record giveaways throughout the weekend. Lee Konitz -a pioneer in the "cool jazz" movement hasn't been within a 300 mile radius of Buffalo in well over ten years. Enthusiasm is bui I ding in Buffalo, Toronto, Rochester, Syracuse, etc. Don't miss him! · See the ad in this issue. MUSIC ROOM AT U.B. In Room 259 of Norton Hall -at U.S.'s Main St. Campus, you'll find a music room with a very good collection of jazz albums, including many not now available, as well as classical folk and rock. There are 7 listening booths, for use by anyone with a U.B. student or staff card. Also, a listening lounge where they play any request- for use by everybody. Coffee and hot cocoa is ava i I ab I e mornings and nights. The hours are 9-9 Mon.-Thurs., 9-5 Fri. Phone 831-2020. KONITZ TO CONDUCT WORKSHOP Alto saxophone master Lee Konitz wi II conduct workshops on improvisation for all instruments. During his historic 3-day visit to Buffalo March 25, 26 & 27. The classes will be held at the Tralfamadore during the afternoon and enrollment is limited. For more inform·ation phone Richard Tabnic 885-9194, or write Workshop, 520 Linwood Ave., Buffalo, N.Y. 14209. This is a rare opportunity for all jazz musicians. Act Now! lffll)) haircutter 59 Kenmore Ave. Smith 836-1781 (corner<of Windemere) behind jewelry store 2 EDITOR'S COLUMN This issue marks the third anniversary of the Buffalo Jazz Report. To be able to write that sentence is a milestone in the publishing business - especially when its a jazz magazine being pub I ished. So much for blowing our own horn - celebrate with)us at the Kanitz concert - no better time since the BJR Concert Series (now merged with the Tralf and known as Tralfjazz) will be one year old this month. In this issue we.'ve tried to accommodate as many record reviews as possible to make up for the review-less storm issue. You'll find many in an abbreviated form at the end. Keep supporting us and the live music. Keep it happening Bill Wah.l in Buffalo. �BENNY GOODMAN SEXTET "King of Swing" comes to perform at Shea's Buffalo for one unforgettable evening of music. ·FRIDAY, APRIL 1st 8 PM Tickets: $10, $7.50, $6.50, $5 TWO GENERATIONS OF BRUBECK · Brubeck and Jazz- They're one and the same. Come, hear, Brubeck and his three · sons for ONE SPECIAL PERFORMANCE at Shea's Buffalo. FRIDAY, MAY 13th S.PM Tickets: $7.50, $6.50, $5, $4 �experiences. I play music to experience emotion and to learn. It IS a challenge, another language with which to relate'Jo people - and other musi_cians. Music shows another part of tl)e Self that IS of t1mes diff1culttoverbalize. I'd liketoplaythe gr_eatest l!ck that has ever been played. To play the hardest th1ng, easily, so anyone can do it. I'll be doing that as long as I play. You can see James doinjust that with Lee Kanitz, Sabu and Nasara March 25, 26 & 27 at the Tralfamadore. Discography Johnny Hammond Smith - *Here It Tis - Prestige 10002 Johnny Hammond Smith - *Whats Goin On - Prestige 10015 Jaman - Jaman - Mark Records ' *Original compositions by James Clark included. MARY LOU'S MASS Donna Halt JAMES CLARK ed with a soulful feeling, coming out ofthe South and Southwest from the spirituals and the blues. Langston Hughes calls the blues hymns - Hymns, t~e blues or "a soulful feeling in music. It came _out of a feelm~ of great suffering and repression, however 1t represents tnumph out of this experience and has special depth. . A di~tinction should be made between artist and performer. The art1st reaches deep to reveal the soul, "indwelling of the holy spir!t'', from. scripture "what you do, you do unto Me". The genume creat1ve artist has no choice. S/He is absolutely at the service of God, compelled to serve; from the depths reveals self and shows God. . The jazz artist presumes technique, like Monk, Bird, D1zzy, _Bud Powell, Blakey, Max Roach, Duke Ellington, Mary Lou ~1ll1ams, Coltrane, to name a few. They do not give expr~s.siOn to themsel~es but to a race of people in this country. Sp1ntuals are. h~al1nQ _to the sould and belong in Church, therefore. mus1 ~ 1s unlt1ve, the Church a spiritual structure wh1ch bnng un1ty of heart and soul. When we see God first in the self, conduct toward the neighbor will flow. Music makes P.W. that flow tangible and real. by PAULA WAHL James Clark is a Buffalo-based musician andguitarplayer. For those who know him, he is gentle, reserved and quiet. When he was around 9 or 10 years old, there was a guy who used to walk up and down WilliamSt.playingtheblues, his father would invite _him into the house to play. That was the first spark. The f1rst t1me he played an instrument was during high school when his fr!ends, Billy Galt and Benny Clark would get together and play p1ano- he then became· interested in guitar. His first band consi~ted of Joselle Carter, Burt Armstrong and Grover ~ashmgton, Jr., who was playing baritone sax during those h1gh school days. James says he learned, I iked, and I istened to everyone and everything. Starting with. Lou Donaldson, Jack McDuff and Jimmy Smith who were popular in 1959. Around that _time, h~ started breaking into the club scene, while his playmg contmued to evolve. He joined a group with Joe Buzell w_ho had played w/Jack McDuff and played gigs in Canada, h1mself on bass. A learning experience came while in the Army. Out of interest and hanging out in the right places he met a drummer in the Army Band. Went to hear them practice and the leader of the band asked James ifhecouldplaymusic. With James' positive response, gave him a flute, then trumpet, then alto sax. In 6 weeks, he learned how to play alto and had all the charts memo_ri zed _and was transferred into the Army Band. It was the expenence 1n the Army Band which gave him a background, for pnor to that he had had lessons for only one year. There were many good musicians in the band, so his 18 months there were a time of great learning. After discharge in Nov. 1965, he played part time and.worked. · I_ ha~e he~rd from several people that James has a special qual1ty m bemg able to teach and translate music to others-when questioned onthi s, his response was "A person can develop all aspects of playJng plus the mechanics of music. The Mechanics of musicconsistofscales,chordsarederived from scales. One learns how to harmonize from that, for chord progressions are sequences of seal es, and songs are chord progressions. The pieces of music then fit through one's own experiences." B_illy was. his first jazz exposure, but he always surrounded h1m~elf w1th pe?ple who played far above himself academically/ ~us1cally. Dunng the Canada gig, he joined the Black musiCian~ _un1on, and came. into association with older prominent musiCians •. such as Elvm Shepherd, and Wade Leggy. My musical educat1on has been like I've been in school all the time. I am l~arning all the time, and everyone has something unique, even 1f they are ~ot great. Teaching exposes me to what I know, and helps to ref1ne myself. The mind is then opened.throuqh The Mary Lou Williams concert at St. Vincent de Paul Church was a spiritually up I ifting experience. She wrote a Mass drawing fro~ her ethnic background and her soulful feelmg toward mus1c and her spiritual enlightenment. Thesermond was informative and inspiring. So "'1e thought you jazz lovers would enJOY the story. Fr. Peter 0 Brian, Mary Lou's mentor and manager gave the sermon. It started that jazz is Americas only authentic artform - however the name became one that those who played the music were not too proud to own. It had nothing to do with New Orleans - for that was the home of Dixieland. It is howeverBiackAmericanartisticmusic played with a soulful feeling, comingoutofthe South and Southwest. FREDDIE KING Freddie King, one of the modern blues most inventive guitarists, died in Dallas on Dec. 28, 1976 at the age of 42. Born 1n Texas, K1ng moved to Chicago when he was 20 and was a member of a group of guitarists including Otis Rush and the lat~ ~agic Sam who in Chicago's West Side developed 8.8. K1ng s approach 1nto the contemporary Chicago blues sound. King had a number of hit recordings including his instrumental "Hideaway" which has become a standard tune. King spent the last 15 years on the road and Down Beat observed t_hat "the c?nstant grind of travel and performing took Its toll 1n decreasmg health and the ulcerous condition which eventually claimed his life." King has also had great influence on such rock guitarists as Eric Clapton. His best recordings were made for Federal and King Records in Cincinnati, and they have recently been made available again. 4 INNER CITY /ENJA 1 INNER CITY RECORDS, the fastest growing jazz company in America, is pleased to announce the signing of the famed ENJA line of Germany for exclusive distribution in the Western Hemisphere on the INNER CITY label. The two companies signed agreements that will bring the latest productions of Archie Shepp, Cecil Taylor, Dollar �New music that stays newFROM WARNER BROS. THE CLAUS OGERMAN ORCHESTRA Gate of Dreams MICHAEL FRANKS Sleeping Gypsy Includes Air Antique/ Night Will Fall Tune Passed Autwnn (Interlude and Part II} The Claus Ogerman Orchestra/Gate of Dreams. George Benson In Flight Michael Franks Sleeping Gypsy RAHSAAN ROLAND KIRK Kirkatron Includes: This Masquerade Sug~r Brian Auger's Oblivion Express Happiness Heartaches Rahsaan Roland Kirk Kirkatron PAT MARTINO Joyous Lake Hermeto Pascoal Slaves Mass ALICE COLTRANE Radha-Kr~J.W. Nama Sankirtana Includes Line Games/Mardi Gras M :wandishi/Song Bird Pat Martino Joyous Lake Alice Coltrane Radha-Krsna Nama Sankirtana· AVAILABLE NOW AT EVERY DAY DISCOUNT PRICES AT ES NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZ. �ViC! the beautiful Rodgers-Hart composition My Funny Valentine where Bartz opens the piece himself with a delicate synthesizer passage. Gary Bartz' forte remains his alto and soprano saxes and his clarinet, the latter put to good use on Billy Strayhorn's Chelsea Bridge on side two. Curtis Robertson lays down a steady bass pattern on acoustic and electric, while Charles Mims comps effectively to round out the rhythm section. J.H. Brand, and a host of other major art1sts to the U.S. and Canadian markets. ENJA Records, now in its fifth year of production in Germany, has consistently recorded artists in the f0refront of jazz throughout the. world, scoring scoops time and again in the presentation of music destined to become a standard by which other jazz Ips are measured. EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul · Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS - Christine Eng Ia Eber and Sabrina Mayberry Smith. PHOTOGRAPHER - Michael Ketter. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this pub I ication may be reproduced without written consent from the publisher. ROLAND KIRK - KIRKATRON- WARNER BROS. 2982 Here we have Rahsaan Roland Kirk's first album since the stroke he suffered last year. Three tunes were recorded at the Montreux Jazz Festiva'l, before his illness. Serenade to a Cukoo is a Kirk tune that rock star lan Anderson of Jethro Tull recorded years back. I've already run into Tull fans who want this hot version, and its well known that Anderson learned his stuff from Kirk. Bagpipe Medley & J. Griff's Blues find Kirk playing two horns simultaneously- long, one of his trademarks. Now Kirk is paralized on one side and no longer plays more than one instrument at a time. Though the doctors said he wouldn't play again, he felt differently. He modified his sax so he could play with one hand, his flute so he could hold it down like a soprano, and he's off again! This record is proof that although Rahsaan has I ightened in intensity, he is sti II among the finest and most committed musicians on the scene. Included is Kirk's own idea of This Masquerade, his version of Turrentine's Sugar, with super vocals from Michael Hill, Night in Tunisia, Christmas Song and many more in true Kirk fashion. And yes -those typical Kirk intedudes between some cuts. I don't know how much of this was recorded after the B.W. stroke, but it's all good Kirk and worth picking up. The Buffalo Jazz Report, founded in March 1974, is pub1ished monthly at Buffalo, N.Y. BJR is distributed free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. PETER MAGADINI W/DON MENZA - POL YRHYTHM -BRIKO 1000 Drummer Peter Magadini I ives in Toronto and just recently sent us his self-produced, L.A. recording album Polyrhythm. This is an excellent production, from the music to the quality of the recording and pressing. The band consists of George Duke on keyboards, Buffalo's Don Menza on saxes and flute, Dave Young on bass and drummer Magadini. There's some funk ballads, relaxed swingers etc., all played with superb execution. The highpoint, however, is Menza's Samba De Rollins - a fifteen minute, all stops out blowing vehicle for his tenor. If you're one of the many Menza fans in town, you'll find this tune alone worth picking up the album. Magadini, a clean, crisp and technically proficient drummer limits himself to one solo on the album- on Samba. The only way to get this disc is to send $6.98 to Briko, 31 Kappele Ave., Toronto, Ontario, Canada M4N 2Z2. It'll take about a week. B.W. record~ KARL BERGER & DAVID HOLLAND- ALL KINDS OF TIME SACKVILLE-3010 In light of the encounters Vve had with the music of both Berger & Holland, I anxiously awaited a chance to hear this album since learning of its release. It is all I'd hoped for, and more. Karl & David were primary forces in the creation of the creative music studio in Woodstock, N.Y. -a jazz community formed for the purpose of instruction, performance, workshops and recording. They are serious musicians, a quality which is reflected in their music on this excellent duo recording. · Berger plays piano, vibes and balafon (a small African marimba where the sound is transmitted through gourds), \ sometimes employing overdubs to be heard on more than one instrument simultaneously. Add Holland's plucked and bowed bass work and you've got an album of often peaceful, always intriguing music that never stagnates. This is an offering from apairofthe music's heavyweights, which warrants repeated listenings. Its available for $6.50 post-paid from Coda, Box 87, Station J, Toronto M4J 4X8, if not in local stores. B.W. GARY BARTZ-JUJU MAN- CATALYST 7610 The title piece, Ju Ju Man, a tribute to John Coltrane's a love supreme opens the album complete with unison vocals similar to that of Bartz' I've Known Rivers recorded live at Montreux, His drummer Howard King was with him for thatsession several years back and is here again displaying a technique and style that has matured beyond even the rave reviews he got as a 17 year old at Montreux especially on Coltrane's Straight Street. Changing gears with ease, as Bartz is known to do, vocalist Syreeta is introduced on this album c~ -·~-·~·r-·---.--~~·~--~ ., -~-··-----· , 6 FROM THE BASSISTS: RON CARTER, RICHARD DAVIS & BUSTER WILLIAMS This is obviously a big month for the bass, with three of the finest men of the instrument releasing albums. RON CARTER has switched from CTI to Milestone records, and his first on that label is PASTELS (9073). It's a big production, with Don Sebesky and Orchestra, and studio regulars, Kenny Barron, Hugh McCracken and Harvey Mason. There's a variety of music styles here - I ight swingers - One Bass Rag and 12 Plus 12 w/Barron on acoustic piano and lots of strings, classically oriented tunes Ballad and Pastels and some funk with Woolaphant. Carter, on bass and piccolo bass, is always up front and almost constantly soloing. Ron & Kenny sound especially good throughout. The strings are not overdubbed, but recorded I ive along with the quartet in the studio a rare occurrence in recording. They are also very much in the picture throughout. Nicely done, very smooth music from Carter. Carter shares the distinction of being one of the most "indemand" and highly regarded bassists with RICHARD DAVIS. AS ONE (Muse 5093) is a duet with pianist Jill McManus, recorded I ive at the Fugue, N. Y.C,, in Oct. '75. Ji II is a fine pianist and Davis simply one of the greats. This rather informal session finds them sharing with each other and the �audience as they run through four standards and an original Fuge'n. Davis takes some incredible solos, drawing both applause and laughter from the audience - such as his extended solo introduction to All Blues, and his solo on Blue Bossa. He is very much in control of the proceedings whether he's soloing or comping. Fuge'n is a solo bass piece. BUSTER WILLIAMS offers his second Muse release with CRYSTAL REFLECTIONS (5101). At 34, he's one of the finest young bassists. First on the scene in '60 with Am~ons & Stitt, he's probably best known as a member of Herbie Hancock's Mwandishi Band ('69 - '73). This is a very mellow, lyrical album featuring such people as Roy Ayers (_who contributes some !superb work here). Kenny Barron & Billy Hart. Especially interesting is .Prism, with some haunting voice work, by Suzanne K Iewan: The I ightly funky Vibrations, by Ayers, contains some un-credited synthesizer background probably by Barron, and lengthy solos from Williams& Ayers. Enchanted Flower & Dream Too Much are ballad's spotlighting Williams bass. Each of these albums has something good to offer. However, there's a pre-requisite in each case. You must be a fan of the acoustic bass. And, in the case of Carter's LP you'd have to like strings - lots of strings. B.W. EBERHARD WEBER - THE FOLLOWING MORNING - ECM 1084 The unique German bassist Eberhard Weber has released his third ECM disc with Following Morning. This time around, he chose a duo setting with Rainer Bruninghaus - his regular pianist, heard on acoustic and electric piano. They are accompanied by members of the Oslo Philharmonic- Celli, French horns & oboe. The four tracks have that floating, I ight-headed and gorgeous sound heard on previous ECM discs - such as Jarrett's Arbour Zena. Classical overtones prevail. Weber plays bass in an instantly recognizable fashion utilizing the upper register almost exclusively for his solos on a solid body electric upright. Very mellow, relaxing music. B.W. ZOOT SIMS - HAWTHORNE NIGHTS - PABLO 2310-783 Hawthorne Nights, recorded late in 1976, shows tenor sax man Zoot Sims to be in very good form for someone whose been active on the jazz scene for nearly three decades. His smooth, lyrical style of tenor playing reminiscent of the late Ben' Webster is given a powerful backdrop to work off of with a tight, driving group; nine of jazz' finest studio and group musicians. If this album sounds slightly Basie-ish its because the steady hand of long-time Basie arrnager/conductor Bill Holman is at work. Besides Zoot there's some tasty solo work from Oscar Brashear and Snooky Young on trumpet (Young doubles on flugelhorn), Frank Rosolino on trombone, and Jerome Richardson on tenor, soprano, alto, flute and clarinet. Holman's deft arranging makes good use of the available talent with subtle shadings of the horns and reeds working skillfully around the solos of Sims and company. Two rousing pieces open the album Hawthorne Nights written by Holman, then Main Stem, an E II ington compositon, setting the mood for the rest of the record. Even the pop tune, The Girl From lpanema, is treated with sophistication and flair highlighted by the ensemble passages and lively soloing by Sims. J.H. ON THE LATIN SIDE Albums have been released this month for three South American born artists, each (of course) quite Latin oriented. HERMETO PASCOAL, born in Lagoa da Canoa Brazil in 1936 has recorded with Miles and is named by Flora Purim as a heavy influence. SLAVES MASS (Warner Bros. 2980) is his second U.S. disc as a leader featuring Airto Moreira on drums and percussion, Ron Carter, trombonist, Raul de Souza and Hermeto on keyboards, soprano sax, flutes and acoustic · guitar, as well as arranging and composing all the tunes. This is a fine mixture of Brazilian music and jazz. There are also doses of avant garde, such as on the solo piano piece Just Listen. Cherry Jam is an extended cut w/Hermeto ·displaying his chops on soprano. This is in the vein of previous discs by Airto, Flora & Raul de Souza. Flora is heard on two tracks. The latest from AIRTO is titled PROMISES OF THE SUN MORE HOT WAX ON LARGEST SELECTION OF JAZZ IMPORTS ANYWHERE AT THE LOWEST PRICES IN TOWN! SUN thru WED 10am -10 pm THURS, FRI & SAT 10am- midnight !! ~ Milestone .fi'DL. 1800 MAIN at LAFAYETTE ...........~-· �disc and don't mind more funk in the music, you'll probably like this one. In summary, neither of these albums are as obnoxious as critics are going to make them out to be, but they are much more commercial than what you'd expect from Gillespie & Rollins. They both make good party music. B.W. uALLIANCE z ~ en Steve Grossman/tenor sax Gene Perla/electric bass Don Alias/drums &congas SONNY STITT - I REMEMBER BIRD - CATALYST 7616 The two most recent recording dates previous to this for alto and tenor saxophonist Sonny Stitt revealed less than his capabilities. His latest, I Remember Bird, seems to have what the others lacked and more. The fami I iar enthusiasm has returned to his playing coupled with a clarity and control he's always had but lately didn't seem inspired enough to display. A pleasant addition here is trombonist Frank Rosolino, a Syracuse native, who punctuates this recording with his clean, fluid soloing and who adds a distinctive, big-bandish sound to the chorus just by his presence. Rosolino's composition Waltz For Diane opens the album and includes a muted trombone solo by him. Dolo Coker appears on piano and is steady and tasteful throughout. Allen Jackson/bass and Clarence Johnson on drums round out the rhythm section. Coker gets I i mited solo exposure but is noteworthy on Streamlined Stanley, written by Stitt, and Michelle Lagrand's Watch What Happens. J.H. PMR-013 A Monster on (Arista 4116) and opens with a solo percussion track from him, continuing through seven originals from members of the band assembled for the date. Amongthecastofmusicians are Milton Mascimento, Hugo Fattoruso, Raul de Souza and a fine guitarist - Toninho. This is among the best work Airto has done and provides a better idea of authentic Brazilian music than his previous discs. Vocals are by Airto and Nascimento, Flora and "The Singing Snakes" .. AGORA comes from Brazi I ian percussionist PAULINHO DA COSTA (Pablo 2310-785). This is Brazilian music in a big band context. There's a trumpet and trombone section (w/ Frank Rosolino as soloist), and one saxist- Larry Williams. Da Costa is heard on over twenty-two instruments including berimbau and vocals. There's everything here from solo percussion to straight ahead big band music, to the interesting Berimbau. Variations. While many Latin albums don't move me very much, I find each of these to have something fine to offer. If its percussion that you're especially interested in, check out Agora - it's full of it. B.W. BILLY MITCHELL/LIVE - NOW'S THE TIME -CATALYST 7611 Tenor-man Billy Mitchell is a former member of the Woody Herman, Dizzy Gillespie, Basie and Clarke-Boland big bands. This is his first record as a leader for some time, recorded I ive at Sonny's PI ace, Long lsi and. Unfortunately, I can't find much of interest on this record, ·except for the fine guitar work of Roland Prince, and Billy himself. Part of the problem lies with the recording qualitythe drums are far louder than anything else - and thats annoying. While it does sound at times that the drummer isn't paying attention to the music, the recording makes him sound worse. This music, a relaxed, swing session, probably wasn't even meant to be a record when it was recorded. There is even an unknown trumpeter on the title track, who - according to the notes - "sat in". Billy can be heard to better advantage on earlier recordings, such as Trip 5534 recorded in '62. Hopefully, Catalyst will record him under better circumstances soon. B.W. JACKIE McLEAN - A GHETTO LULLABY- INNCER CITY 2013 A Ghetto Lullaby opens with a bright, swinging original composition Jackie's Tune - a suitable vehicle for Jackie's alto sax. Mclean seems more at home, however, where the melodic freedom is greater as in l\llode For Jay Mac, which has a melody line that is vaguely similar to the often recorded Freedom Jazz Dance, and which is decidedly modal. Accompaniment is pr~>Videdl::>y Kenny Drew/piano and bassist Neils Henning Orsted Pederson, who have appeared and recorded with· just about everyone who plays Denmark. Alex Riel, house drummer for the Monmartre Jazzhus, Copenhagenscene of this 1973 I ive recording - completes the quartet. Jackie is in good form, exhibiting the speed, dexterity and improvisational skills associated with his name. The only significant drawback ·is the recording quality, which seems a bit muddled and loses much of the bass frequency. J.H. DIZZY GILLESPIE & SONNY ROLLINS There was a lot of talk about disco albums being released by Dizzy Gillespie and Sonny Rollins. DIZZY GILLESPIE'S DIZZY'S PARTY (Pablo 2310 784) opens .with Mickey Roker playing disco drums on the title track, complete with disco guitar and basswork from Rodney Jones & Benjamin Brown. The rest of the album lacks the disco beat but retains the funk. Dizzy, obviously having fun, says he made this album to make some bucks. Unfortunately, his work and that of saxo: phonist Ray Pizzi is probably too good for the record to make it on the disco charts. There's a lot of humor here - take a copy to your next dance party. SONNY ROLLINS is f.eel ing funky on The Way I Feel (Mi Ie. \_stone 9074), but its not disco. He's chosen the often used studio people - Patrice Rushen, Lee Ritenour, Billy Cobham, etc. - with a horn section, coming up with a commercial sound that his band has been doing lately. Most of the tunes are his and his horn bears the Rollins mark. This new sound was evident at times on his previous Nucleus disc. If you liked that KEITH JARRETT - SHADES - IMPULSE 9322 KEITH JARRETT - HYMNS/SPHERES- ECM 2-1086 Judging by the recording credits, personnel and the overall sound of the music, I'd say that Jarrett's Shades was recorded at the same 1974 session that produced his previous four Impulse albums. Jarrett's Quintet (Redman, Haden, Motian & Franco) is certainly accomplished and plays well throughout, butJarrett's compositions are just sounding too similar, right down to the drum dhythm he usually calls for. There are some nice m~·~· ments here - such as the piano/bass duet section on Rose Petals; and the delightfully swinging sound of Shades of Jazz, which sounds like a good time jam session. It leads right into Southern Smiles- a typical Jarrett rocker. • If you enjoyed Keith's previous Impulse records, you'll probably I ike Shades as well. Hymns/Spheres on the other hand sounds nothing like Jarrett's previous work. Its a two record set of solo musichymns - all originals, performed on a Baroque organ. It was recorded at the Ottobeuren Abbey, W. Germany in 1976. Unless you're of the opinion that you'd I ike anything Keith does, or you're a Baroque organ freak, I'd make.it a point to stay away from purchasing this record until you can hear it. Its a bit much, especially for four sides. Good sounding organ though, built in the 1700's. B.W. 8 GERRY MULLIGAN - IDOL GOSSIP - CHIAROSCURO 155 Idol Gossip is Mulligan's first American recording since Age of Steam ('72), .except for two volumes of a CTI date he co-led with Chet Baker. His earlier disc came from Italy. This is a melodic Mulligan, who offers a program of seven �originals - romping up-tempo cuts and ballads. He adds soprano sax for the date, along with his usual baritone. While we don't hear the fire he's often displayed in the past, we do get some very "musical", relaxed saxophone work, with Gerry ably backed by a rhythm quintet consisting of David Samuels/ vibes, Mike Santiago/guitar, Tom Fay/piano, Geo. Duvivier/ bass & Bob Rosengarden/drums. Solo space is, for the most part, I imited to Mulligan, Santiago & Fay. Pleasant listening, and a treat for Mulligan-ites. B.W. BILLY GAULT - WHEN DESTINY CALLS - INNER CITY IC 2027 From the opening moments of When Destiny Calls cohesiveness and tranquility are conveyed. The assuredness revealed by the young Buffalo-born pianist Bi'lly Gault is due in large part to a command over his instrument as well as sincere and deep belief in his religious convictions. In contra§t to many albums with religious overtones, the lyrics written by Gault and expressed by Ellen Deleston and Joe Lee Wilson are not ponder·ous but rather imply hope with the composition The Time of This World is at Hand and a reverence for- past musical/spi ntual leaders I ike John Coltrane with Mode for Trane. There are brief moments of ski lied soloing by another Buffalo native Billy Skinner on muted trumpet and Bill Saxton on tenor eax not to mention Gaults own spare but tasteful work on prano. Ellen Deles.ton displays solid vocal control on the Latrn flavored When Destiny Calls which is taken at a moderate tempo. It becomes apparent in this piece and throughout the whole album that the solo performance by each member of the group is secondary to the overall atmospher<> of unity whrch Gault is trying to create. J.H. JIMMY RANEY - LIVE IN TOKYO- XANADU 132 CHAS. McPHERSON - LIVE IN TOKYO - XANADU 131 These are volumes two and three of Don Schl itten' s Tokyo Xanadu tour recordmgs. The frrst was Barry Harri, released last year. · Jimmy Raney is in great form for his concert spot, backed ' by Sam . Jones/bass and Leroy Wi II iams/drums. The trio situation is the best way next to solo or duo for a guitarist to .show what he can do, and Raney l~aves no doubt as to why he s one of the most respected gurtansts. A super guitar album. Alto saxophoni~t McPherson also turns out a good performance for hrs drsc, recorded on the same night as Raney's. McPherson IS a bopper, strongly rooted in the music of Bird and he makes no bones about it. The most outstanding track here - the nine minute Orient Express -also includes solos from pianist Barry Harris, Sam Jones & Leroy Williams. B.W. LEE KONITZ - JAZZ A CONFRONTO - HORO 32 Horo records is an Italian label which has released a series of albums by Italian and American jazz artists under the direction of Aldo Sinesio. Of the many recent examples of Kanitz on record, this is one of the more interesting, probably due to the fact that there is no piano, rather a guitar played by Dave Cliff. Pianos often tend to get in Lee's way while guitars do not, thus leaving him un rnhibit.ed to deliver solos full of surprises and melodic beauty. Bassrst Peter lnd and drummer AI Levitt are former coworkers with Lee in previous Kanitz bands. Cliff is a new name to me, but fits into the quartet I ike a glove - as part of a unrt which has the sound of perfection in the "cool" jazz rdrom. Composrtrons come from Kanitz, Warne Marsh and Lennie Tristano for most of the album, recorded in Rom? in 1976. This ·and all other Horo recordings are a~ailable for !;>6 from Innovative Records, P.O. Box 518, Hempstead, N. Y. 11550. Ask for their catalogue, and tell them BJR sent you. B.W. JIM GANNON- JIM GANNON'S BACK IN TOWN- CATALYST 7605 Bassist Jim Gannon having been a member of groups led by Gene Krupa, Buddy Rich and Woody Herman now takes a crack a~ leading a group himself. His debut as a leader, Jim new releases from . CONCORD JAZZ •f" ANDERSON HIIW)IJKE . . . . . Hank Jones/Ray Brown/Jimmie Smith Available at Cavages, Record Theatre, Twin Fairs, Sattler's, or write for free catalog: Concord Jazz, P. 0. Box 845, Concord, CA 94522. Phone (415) 682-6770. �Gannon's Back In Town, is somewhat unconventional as far as instrumentation goes in that he is utilizing an eleven piece ensemble (for one side) as opposed to a full-blown big band. Gannon creates a unique sound which seems to hold together relatively well with members like Bill Reichenbach on trombone, Larry Covell i/tenor and Bobby Shew/trumpet and support from Catalyst regulars Will Bradley on drumsandNat Pierce/ piano. Side two of differs from side one in that the number of musicians is reduced to six, Joe Azarello moves in on piano, and frankly the sound is much less encumbered and they swing freely. Gannon's writing and arranging abilities seem to lie in J.H. the direction of this size unit rather than the big band. MARIAN McPARTLAND- A FINE ROMANCE- IMPROV 7115 CHARLIE BYRD SWINGS DOWNTOWN- IMPROV 7116 Both of these latest releases from Buffalo's lmprov records were recorded live at the Statler Hilton's Downtown Room. Marian McPartland's Trio is in top form running through standards such as A Fine Romance and I'll Remember April, an Ellington medley and Pop tunes- Feelings, Sunshine Of My Life & This Masquerede. Marian is a great pianist, as many Buffalonians should know by now, and can be heard to good advantage here. Charlie Byrd's record is best described as easy listening music. It is similar to, but less vivacious than his Byrd By The Sea record (Fantasy). Byrd does standards, originals and pop tunes, mostly with a very laid back feeling. lmprov's quality is very good. Don't be fooled by the cover art (they look like those budget covers done back in the 50's). Steve Lapa, Vince Morette & company do an excellent recording and production job and the pressings are good. B.W. FRANK FOSTER - HERE AND NOW- CATALYST CAT. 7613 Certainly a different approach than Foster's previous recordings, Here and Now reflects a turn towards the contemporary regae-funky-di sco sound not normally associated with the music of highly regarded. tenor saxophonist/composer/ FREE PARKING AT /Am THE RECORD mAn /HERWAY GARDEn/ Best Domestic & Imported Jazz Records & Tapes Available Take Evans Ave. Cutoff ( OEW prior to 427 Hwy.) On Your Next Trip to Toronto Inquire About Our Discount Club Membership HAPPY ANNIVERSARY BJR HATHAYOGA MEDITATION VEGETARIAN COOKING CHILDREN'S YOGA Offered by HIMALAYAN INSTITUTE at Williamsville United Methodist Church 5681 Main ·Street, Williamsville, NY. Phone: 652-7345 arranger Frank Foster. Foster's powerful tenor solos manage to come through but the uncharacteristically repetitive drumming of veteran jazz drummer Freddie Waits s••<>ms to hold this eight-p1ece ensemble back, especially on the opening selection, Sweet Mirage. This music is assuredly danreabl<> but the credent1als of personnel I ike Harold Mabern on piano and David Williams/bass (formerly with the Elvin Jones group) create anticipation for a performance of a much h·~her level than is real1zed on this album. The only piece reoachin~ the expected standard is Square Knights of the Round Table, thr> only work composed by Frank Foster, a swinging number which provides the vehicle for the kindofsoloingpeople l•ke guitari<;t Roland Prince can do. Prince, another Elvin Jones alumnus, smokes on Square Knights as does Foster, Mabern, Waits, and Williams making you wonder why Foster bother<>d to include the comparitively pale performances given on the first three compositions. J.H uBABY" LAURENCE - DANCEMASTER - CLASSIC JAZZ 30 Wh~t a gas! This one took me by surprise and I love it. "Baby" Laurence (Jackson), who died in 1974, was a tap dancer and taps his way throughout the album as the featured artist on two sessions, done in '59 & '60. He's great, doing rhythm work and solos, as well as "trading fours" with the other musicians - the whole shot. Many of the tunes are jazz standards, including Ornithology, Lullaby of the Leaves and Moose the Mooche. Among the musicians heard are Paul Quinichette, Skeeter Best, Bobby Jasper & Roland Hanna. This is truly something different. B.W. GEORGE BENSON IN CONCERT - CTI 6072 This January 1975 recording of Benson at Carnegie Hall has some good points - and, some bad. First the good - Benson and company (including Hubert Laws) pe~form well ~hroug~out, and the music is not so highly commerc1al1zed as h1s stud1o releases. George & Ronnie Foster play with fire. This is indeed a good Benson concert, with such cookers as Octane, Take Five & Gone allowing everyone on stage some room to stretch out. However - on the other hand - the production is horrible. Obviously, Creed Taylor doesn't care about the opinions of reviewers, critics or the listening public. He went and overdubbed tasteless, sacharin strings over the live version of Summertime. It was he who committed the same sin with a Wes Montgomery live disc in 1965. Also, the intro of Take Five is heard directly after Octane, but is sloppily faded down and out. He wanted it on the flip side. Why? There's also some pretty blanddrummingonOctane, whomever it may be. Other than the above - it's a good I ive Benson album that' II surely please his avid fans. B.W. PAT MARTINO JOYOUS LAKE - WARNER BROS. 2977 Martino's previous Warner record was a departure from the straight ahead guitar previously heard on M•Jse & Prestige. The complaint many had, myself included, was that it sounded nothing like Pat Martino. Joyous Lake however does sound I ike Martino, but the only thing that's straight ahead on this record is Martino's guitar, thing that's straight ahead on this record is Martino's guitar soloing, which is over a high energy jazz/rock rhythm section, seemingly patterned after Weather Report. There is a certain "sameness" from one tune to the next, which is hard to break away from in music of this vein. However, anyone who missed that easily recognizable sound of Pat Martino's guitar on his earilier side might find Joyous Lake a step in the right direction, even if it doesn't swing. B.W. BASIE JAM #2- PABLO 786 Although the title may suggest that this is more from the Basie Jam (Pablo 718) session, it is not. Recorded three years later, #2 is mostly a laid back blues session with names such as Benny Carter, Lockjaw Davis, Clark Terry, Joe Pass, etc. I said mostly laid back since Doggin' Around is a red hot cooker with some great blowing. Although I'd suggest the first Basie jam before this one, all these Pablo small group Basie recordings are good listen10 ing and often fun. · B.W. �KENNY DREW/NEILS-HENNING ORSTED PEDERSON - DUO INNER CITY IC 2002 Pianist Kenny Drew calls the sensitive rapport he has with acoustic bassist Neils-Henning Orsted Pederson "a beautiful ambiance." This album, Duo; gives us two of Europe's most sought after jazz musicians in an unfettered atmosphere where each is free to reveal an uncompromising artistry. Pederson shows no reluctance to lead with the wide variety of tones and subtle shadings he can coax from his upright. Drew's use of the electric keyboard is tasteful especially when his left hand comps on the acoustic while the nght hand takes flight on the electric creating a pleasant new dimension. Although much of the music is pensive, Drew and Pederson can swing elegantly as evidenced by Do You Know What it means to miss New Orleans and Hush a Bye or groove in a samba like Jobim's Wave. Incidentally, on Wave Drew experiments with the left hand camping on the electric piano while the right solos on acd'ustic, giving the illusion of a third member to the group. With such feeling for each other's ideas you get the impression Dr'ew and Pederson belong together. J.H. MEL LEWIS & FRIENDS- HORIZON 716 Buffalo born drummer Mel Lewis has assembled a first rate band for this solo release, coming up with an excellent, well rounded album as a result. · Freddie Hubbard plays some of the most rewarding trumpet and flugelhorn heard from him for some time and is heard on all but the one trio cut Windflower. Cecil Bridgewater joins Freddie for Sho'nuff Did - a swinging ten minute blues track penned by Thad Jones, sounding I ike a compact version of the Thad Jones/Mel Lewis orchestra. Both saxophonists- Gregory Herbert of the T J/ML orchestra and Michael Brecker contribute dynamite solos and are the perfect choice for the session. The rhythm section of Hank Jones, Ron Carter and Lewis is a trio of masters who need no introduction. This is a smooth, well recorded album of many colors Bossa Nova - De Samba, ballads such as the beautiful quartet version of A Child is Born with Hubbard; blues; and hot bebop heard on Bird' s Moose the Mooche. This one is highly recommended. B.W. GERRY NIEWOOD & TIMEPIECE - HORIZON 719 Niewood's latest is very much representative of his recent appearance in Buffalo. Basically, Timepiece consists of Niewood, vibist David Samuels, bassist Michel Donato and drummer Ron Davis. Rick Laird plays e. bass on three tunes. Gerry plays alto, soprano saxes and flutes and composed two tunes. The music is polished, as is the recording, and is mostly very bright, lyrical performances - except for Jan Hammers. Thorn of a White Rose which is a few levels more intense. Samuels is an excellent vibist and solos fluently throughout. This is a well-rehearsed sound that will please people who enjoyed Niewood's band here as well as his work with Mangione. B.W. DAVE BRUBECK QUARTET - 25th ANNIVERSARY REUNION - HORIZON 714 I've run across many fans of the old Dave Brubeck Quartet who've been waiting for a record like thisto come along. Since its disbanning, Dave and Paul Desmond have done some fine solo work, but this was a popular band with a sound of .its own. Well, here 'tis folks! Brubeck, Desmond, Wright & Morello got together again for a live concert last year. They sound as though they never split, providing music in true Brubeck Quartet fashion. Includes are Take Five, Three to Get Ready, St. Louis Blues and more. In other words - this is a must for all fans of the Brubeck band. A fine additiontotheirvast library of recordings. B.W. BLUE NOTE RE-ISSUE SERIES Horace Silver, Milt Jackson, Randy Weston, Freddie Hubbard, Booker Ervin. Blue Note has released five more two-record sets in their "re-issue series." Pianist HORACE SILVER is featured on TRIO SIDES (LA474-H2). four selections here, andsessions all but five are Twenty Silver oriqinals. Thereare areheard ten different HAS fOUR NEW HORIZONS. DAVE BRUBECK QUARTET 25th Anniversary Reunion America's original cross-over jazz combo is back, as fresh and exciting as ever. GERRY ·.NIEWOOD &Timepiece It's time for the ex-Chuck Mangione woodwind magician to clock in on his own. Don't miss a second of it! MEL LEWIS_.&friends - The big band rep of Mel lewis is alive and well on the ultimate/ intimate soul/jazz affair of '77! Hear the street music of tomorrow, today. A blend of space-rock and Asian jazz. A JAZZ SERIES ON A&MRECORDS 1800 MAIN at LAF'AVETTE "'' SUN thruWED 10am-10pm FRI & SAT 10am- midnight 11._THURS, ________________________ .. �throw-away tracks from the late 60's, is pre-basic<> at best. If you have the ELMO HOPE twoferonMilestone, you might want to check out another fine Hope. album. LAST SESSIONS (Inner City 1018) presents the pianistintwosessions, recorded in 1966. Its trio music with John Orr and Clifford Jarvis. P .J .. Jones is on one tune. You might remember RONNIE. CUBER from George Bensons Columbia dates. CUBER LIBRE (Xanadu 135) is the baritone saxophonist's first .record as a leasJer. He's a strong player with a powerful sound and is heard to good advantage on this straight ahead session, backed ~y Barry Harris, Sam Jones and "Tootie" Heath. DON CHERRY'S latest (Horizon 117) is much milder than you'd expect from the trumpeter'l<nown for his accomplishments in the avant garde. He's invo'lved in Eastern mysticism, thus there are chants and sections featuring Indian instruments. The music is lyrical and rhythmic, reminiscent of Miles, Eddie Henderson, etc. A good 'album and quite different. GATE OF DREAMS comes from the CLAUS OGERMAN ORCHESTRA (Warner Bros. 3006). Ogerman has often been heard doing orchestral arrangem.ents on records by George Benson, Bi II Evans and many others. Gate of Dreams is a showcase for his orchestrating ability and offers some good jazz/rock crossover music, provided you I ike strings and horns. Soloists on some tracks include Geo. Benson, Davrd Sanborn, Joe Sample & Michael Brecker. Saxophonist CHARLIE MARIANO has been in Europe for quite a while where he has done a good amount or recording. HELEN 12 TREES (BASF 22941) is one of the few Mariano records to come out here, featuring Jan Hammer, Polish vrolinist Zbigniew Seifert, Jack Bruce, John Marshall and Japanese percussionist Nippy Noya. Its jazz/rock fusion music not unlike Jean-Luc Ponty's recorsJed work. Included is Hammers Thorn of a White Rose. There's some good stuff here, and although better Mariano is available, its hard to find. Its good to hear Jan playing some acoustic again. Fans of saxophonist TEDDY EDWARDS should be pleased with his latest effort. THE INIMITABLE (Xanadu 134) places Edwards at the head of a quartet with Duke Jordan, Larry Ridley and Freddie Waits. Its a straight ahead, soulful session typical of many of Xanadu's Don Schl itten produced sessions produced for Prestige in the 60's. Another tenor saxophonist- DAVE SCHNITTER has recently recorded his first solo album- INVITATION (Muse 5108). There is no doubt that this is a fine album- all quartet music, with such tunes as Body & Soul, Invitation and Blue Monk. If you like the sound ofDexterGordonyou'lllike Schnitter. That's the one problem here, however. He sounds so much like Mr. Gordon that there's little originality in his music. If you can excuse that - check it out. I wonder if Dex has heard him? By the way - Dave's been with Art Blakey for the past two years.· B.W. Blue Note Series (continued) represented here, recorded from 1952-1968. Horace often recorded a trio number on his many Blue Note albums, and they have simply been put together for this set. Hence, you may already have many of these tunes if you're a Silver fan. In fact, five of the last six sessions I isted produced only one track. Horace Silver led one of the most popular bands in jazz during most of these years, and its easy to see why. His music is pure, rhythmic jaz~ and very listenable. Some of t~e notables on hand here are Art Blakey, Percy Heath, LoUis Hayes, Gene Taylor, Roy Brooks and Billy Cobham. One extra note - many of the trio sides he recorded were ballad features on the albums. A good number of these tunes (in fact - most of record two) are slow ballads. Some good music from MILT JACKSON'S Blue Note and United Artists albums can be heard on ALL STAR BAGS (LA590-H2). Jackson, whose played both Buffalo & Toronto twice in the last year, is found inthecompany of many other giantsArl Farmer, Art Blakey, Ber 1y Golson, Kenny Clarke to name a few. Most of the first record was recorded in 1952 and transfered from 78's with excellent sound quality. This session produced the first, original version of Bag's Groove, which is included here. The remaining sessions were produced in '57 & '58, in stereo - although, the sound of the '57 date is poor compared to the '52. The notes explain this to be a case of cheap vibes rented for the recording. Bags plays well regardless of the obstacle. , LITTLE NILES comes from pianist RANDY WESTON·(LA598-H2). sporting music from three sessions - 1958 & '59. While Randy's piano style was influenced by Monk, Tatum & Powell, his writing is a blend of African & Caribbean music. He also shows a strong I iking for waltz (3/4) time, which is amply demonstrated throughout. Trombonist Melba Liston's arrangements (she did them all) are superb and a fine compi iment to Randy's piano. Record two is a I ive date, at the Five Spot, which includes Coleman Hawkins as a member of quintet. Definitely a good prospect for re-issue. FREDDIE HUBBARD fans should be pleasedto see HERE TO STAY (LA-496-H2). The first disc is a never-before released quintet date, recorded in 1962 with Wayne Shorter, Cedar Walton, Reggie Workman and Phi lly Joe Jones. The second record is a re-issue of the long out-of-print Hub Cap album. This is a sextet with Jimmy Heath, Julian Priester, Walton, Larry Ridley & Jones. Both are very good records, typical of the '60's Blue Note mainstream. The Heath date is more interesting than the Shorter, but each presents some fine Hubbard. This set is well worth looking into. Lastly, there's BACK FROM THE GIG by BOOKER ERVIN (LA-488-H2). Booker was a powerful, hard tone tenor man who died in 1970 having gained little of the recognition he deserved. He's perhaps best known for his work with Mingus, which has been recorded on two albums. The two sessions on this release have never been previously issued. The first ( 1963) includes pianist Horace Pari an, trumpeter Johnny Coles & Grant Green. The second (1968) features two musicians who have recently gained wide praise - Woody Shaw & Kenny Barron. Its hard to say why these albums never came out, but Ervin isn't the only one with space in Blue Note's vault - Elvin Jones, McCoy Tyner, Jackie Mclean and others share the .same distinction. · Both these records offer some good moments. Booker sounds fine (note the Dexter Gordon/Lester Young influence) throughout, as do the sidemen. Woody is especially good. The music is strong, and the musicianship fares as well. Check Booker out, he's worth it. I might note, however, that the pressings on the Ervin set B.W. are poor. BLUES by RON .WEINSTOCK Lot of I ive blues in the Buffalo are in March. Muddy Waters wi II be joined by James Cotton and Johnny WintEtr at Shea's Buffalo on Saturday, March 12. Saturday, March 19 finds Bobby Bland and B. B. King at the Shea's Buffalo. Robert Jr. Lockwood, who was supposed to have been at UB Feb. 4 will be a featured act at the UB Folk Festival the weekend of Apri I 15 and 16. Lockwood wi II most I ikely be playing Friday night April 15. More details next month. SHORTIES DONALD BYRD'S new one - CARICATURES (Blue Note LA 633) offers about as much as his previous effort- very little. Byrd continues to play disco music, loaded with vocals, funky horns and the I ike. Another one comes from LARRY CORYELL titled BASICS (VanGuard 79375). I understand that Coryell didn't want this released and the reason is obvious. The music, obviously 12 Gabriel Brown is a country blues artist, who, during the forties and early fifties, was based in New York. An English reissue of his music Gabriel Brown and his Guitar (Policy Wheel PW 4592) reveals him to be a talented performer. Brown's singing reminds me of Kokomo Arnold, a one-time Buffalo resident (60 years ago) whose music influenced many blues artrsts including Robert Johnson. Brown's guitar work is interesting and the selection of material is varied. High1ights include "I'm Gonna Take It Easy" with slashing bottleneck guitar, "Cold Love" and the mi Idly pornographic "It's Getting Soft". While external packaging is somewhat skimpy, a booklet with all known biographical information and lyric transcriptions is included. There is some surface noise but these arE! on the originals and the sound is overall pretty clear. There are 1? selections including two 1930s rE)cordings �by one Poor Bill on which Gabriel may have played 2nd guitar. A very worthwhile reissue which, l1ketheOtisRush live album, Southern Record Sales can supply. Albert King's new Utopia album Albert Live (CYL2-2205) was recorded at Montreux. It is a double record with generous playing time (almost 90 minutes) as Albert tackles a wide variety of material frorn. ;,Watermelon Man" to "Stormy Monday" with the typical intensity and featuring his pinched note guitar playing. On one lorigriumber "Jam inA Flat" he is joined by rocker Rory Gallagher (who is on other tracks). and bluesmen Louisiana Red and Lowell Fulson. The packaging is nice, though Robert Palmer's notes are media-hype. Hard Again- Muddy Waters -(Blue Sky PZ 34449) is Muddy Waters f1rst album since leav1ng Chess. Musically thi·s is a pleasant set with support from Johnny Winter, James Cotton and Joe Wil.lie 'Pinetop' Perkins. The presence of Winter and Co.tton should help sell this though others could have replaced them without hurting the music. 'Pinetop' proves to be a worthy successor to the late .Otis Spann and does play some bri II iant blues piano. Tunes include rework ings of Muddy's "Mannish Boy" and "I Can't Be Satisfied", Willie Dixon's "I Wanna Be Loved" and several new tunes that are in the same mould. Muddy seems to sing strongly but the recording mix I find grating. Johnny Winter should be thanl<ed for helping Muddy get more recognition, and also some financial rewards, which is a nice way to show hisapprec1ation for Muddy. Muddy has made many of the classic recordings in the Chicago band blues idiom and ir1 comparison to them this album suffers. With such recent blues albums as those by Otis Rush and Son Seals out I can't give this anything but a qualified recoommendation. Otis Rush's very first record, "I Can't Quit You Baby" was a top ten record on the r'n'b charts in the mid-fifties. Otis, despite being one of the finest and most individualistic performers in the post- B.B. King guitar dominated blues, has never been able to achieve, much less maintain, a position of popularity and recognition as one of the blues' premiere performers. As both a singer and guitarist Rush bows to no one and has been compared favorably to the legendary country bluesman Robert Johnson. Rush on record has been hard to find until recently. Last year Delmark released Cold Day in Hell a fine album that was Otis' first American recording issued in 7 years. Bullfrog Records has just issued Right Place, Wrong Time (301) which Otis recorded for Capitol Records in 1971, but which Capitol chose not to release. I refer you to the liner notes for speculation why this excellent set wasn't issued as this is probably the finest set of Otis Rush out and one if issued a few years back might have established Otis as a pub I icly recognized master of the blues. The album is tightly produced with horn arrangements recalling many of Albert King's fine Stax recordings of the time. Rush's guitar work also suggests King, though Otis is a more fluid guitarist and a stronger, more intense vocalist than King (which is high praise indeed.) The material on this set is varied and the recording mix provides for Otis' guitar work to be properly framed. Material inCludes rave -ups I ike "Tore Up" and "Natural Ball", cooking instrumentals "Easy Go" and "I Wonder Why" and the slow blues on which Otis lets his soul out. The title track and "Take a Look Behind" are bound to become blues classics and are masterpieces of the modern blues idiom as Otis' anguished singing is couple with blistering guitar. This album is a must for blues enthusiasts. Also Trio Records of Japan has issued Blues Live (PA-3086) featuring Otis I ive in concert with just a rhythm section doing cooking renditions of "I Can't Quit You Baby", "All Your Love", and "So Many Roads" before an enthusiastic Japanese audience. This is available from Southern Record Sales, 42 North Lake Avenue, Pasadena, California 91101 though its price as an import may deter some buyers it is a most impressive workout. Del mark Records owns the American rights to this, though it may be some time before ~hey issue it. They can supply the Bullfrog release which hopefullywi II be in local stores. Bullfrog Records is tied to Advent so stores carrying Advent should be able to get this. (If you write to Southern Record Sales, mention you read about them here). Alligator is a small label that has excellent distribution locally and an impressive small catalog of modern blues. Son Seals' new set Midnight Son (AL 4708) is an excellent set of hard, intense blues sung with guts and played with Son's sting- Y-ellowfingers J8ZZ of Yorkville Toronto's Finest Jazz Groups MON. thru SAT. 9pm-1am AFTER HOURS: FRI.& SAT. 1:30-4am 1280 BAY ST. (at Yorkville) TORONTO 964-1984 ing Chicago guitar. Tight horn arrangements along with Son's cooking band has produced a varied set from the funky "No, No Baby", the driving "Don't Fool With My Baby" to the slow "Going Back Home", which should win Son new fans. This is even better than Son's first album, (Alligator AL 4703). Alligator also has excellent albums by Hound Dog Taylor, Big Walter Horton, Fenton Robinson and Koko Taylor out and they show concern for preparation and programming which sometimes small and major labels don't provide. BLUES ON EP - RON WEINSTOCK Extended play (EP) recordings which are 7 inch records with usually 2 to 3 tunes a side are a convenient way to make available either previously rare recordings or make new recordings by various artists avai Iable. A number of blues EPs have come out recently and I would I ike people to be aware. Local singer-harmonica player Shakin Smith has issued a nice set which demonstrates his mastery of the Chicago blues tradition. His harp playing is fluid and well-defined and turns in a sparkling performance of Sonny Boy Williamson's "Let Me Explain". Sonny Boy's "Nine Below Zero" also features superb harp and his two originals (one an instrumental) are nicely done. This is available at Record Runner and other local record stores. Fans of Sonny Boy wi II surely want "It's King Biscuit Time• (Arhoolie 520) which was recorded live inside the KFFA studios in Helena, Arkansas a few days between Sonny Boy's death in 1965 during a broadcast. The music has a definite downhome feel to it and is a collector's dream. Kid Thomas is an obscure postwar harmonica player and singer who was shot to death by a bereaved father "about 6 years ago. D n L 004 .features six tracks, by Kid Thomas one side of which is frantic Little Richard style rock and roll (Dig "Rockin' This Joint Tonight" and the frantic harp solo). The other side features a more bluesy music with a very nice instrumental and two well done vocals. Zaven Jambazian' s harp work en I ivens the debut recording of Johnny Turner and Blues With A Feeling (Jake Leg JL-100). Turner is a pleasant singer and ringing guitarist. This ep was recorded live and includes pleasant versions of get ready! ROY HAYNES Hip Ensemble! april22,23& 24 at the Tralf.- of course! 13 ' - - - - - - - - - - - - - - - - - - - - - - - - ' �Saturday 3am-8am "Pulse" -Paul Wandel Sam-Noon "Freedom Flight"- Ed Smith Midnight-Gam "Opis in Modern Music: Jazz by Req.,est- Pre's Freeland Sunday: Noon-two "Jazz Contours"- Bill Wahl 11pm-midnight Big Bands w/Bob Rossberg Midn,ght-3am "Roots, Rhythrl)•andSound"- Dave Jacobs Vieni-Su featuring "THE JAZZ BAND'' CANADA- SELECTED LISTINGS CKTB- 97.7 FM J. is for Jazz w/Jack Cole- every Sunday night 8-10 PM. CKQS - 94.9 FM Music For Night People w/Paul Fisher Mon. thru Sat. midnight - 3 AM. From bebop to now w/BJR's Hal Hill - 1st 3 Sat. nights each month 10-Mid. Dan's Discs w/Don Keele last Saturday. CJRT - 91.1 FM Jazz Scene w/Ted O'Reilly Mon.-Fri. 10 PM- 1 AM, Sat. 6 AM- Noon, Jazz In Concert.w/O'Reilly Sat.7-10PM. CFKM - 99.9 FM All That Jazz w/Phi I McKellar Sun. 10 PM - 6 AM. Tues., Wed., Fri. &sat. nights musicians welcome to sit- in GREAT ITALIAN FOOD SINCE 1946 serving until 4 am 978 West Ave. at Brekenridge one block east of Niagara St. 882-5225 tubes by Sonny Boy Williamson, LittleWalterandJunior Wells. Black Diamond has a series of very interesting reissues. Two anthologies Going Back to the Old Gumbo (4506) and Jump in' Tonight (4508) feature excellent recordings of New Orleans rhythm'n'blues including such artists as Smiley Lewis (With 'Gumbo Blues' on 4506). Billy Tate (4506 includes his superb rocker 'Single Life'), Tommy Ridgely ('Looped' on 4708). Joe Turner (the title track on 4508) and Archibald (with dazzling boogie piano on '4708' and a great rocking "She's Scattered Everywhere" on 4506). Harmonica enthusiasts will enjoy both Chicago Harp (4502) and Southern Harp (4507). Highlights of the Chicago set include Walter Horton's backing of singer Tommy Brown, Louis Myers' instrumental feature "Just Wailin'" and the easy going Dusty Brown tunes. Southern Harp includes Jerry McCain's Steady which is simply one of the finest harmonica instrumentals ever recorded as McCain, over an easy rocking beat, demonstrates a fluidity and a sense of tonal dynamics rarely heard. He has two other sides also featuring good harp. Nice performances also from Schoolboy Cleve, Sammy Myers and Sonny Boy Williamson (an obscure Shreveport, Louisiana artist and not John Lee Williamson or Rice Miller). Black Diamond also has eps of Pee Wee Crayton, Johnny Guitar Watson and Lil Son Jackson available and Southern Record Sales, 42 North Lake Ave., Pasadena, California 91101, can supply all the eps reviewed above (except Shakin' Smith) as well as about any blues album (American or import) or 45 available. They also sell jazz and traditional folk music. wlhlat'~ buffalo area Vieni-Su - West at Breckenridge - Jazz Tues., Fri. and Sat. ni9hts. Tralfamadore Cafe - Jazz Thurs., Fri. & Sat. Name jazz w/ Lee Kanitz Quartet March 25, 26 & 27. Phon~> 836-9678. Pierce Arrow - Elmwood at Gt. Arrow - Jon Weiss Quartet Thursday nights. Buffalo Theatre - Benny Goodman Sextet - Apri I 1 - See ad. Statler Hilton - "Downtown Room" - Glen Covington March 1·13; Grady Tate, Hank Jones & Milt Hinton March 15-27· John Lewis Trio March 29-Apri I 3. ' Holiday Inn - Delaware & North · J<>7-: Friday & Saturday n1ghts. Ontario House - 920 Ontario St., Niagara Falls -Jon Weiss Invasion- Fri., Sat. & Sun. Odysey - 1005 Tonawanda St. - Jazz Sat. nights. . Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Marina - Niagara St. -Dixieland Jazz every Friday and Saturday night. Fieldstone Manor (Lockport) - Dixi'"landw/Will AlgP.ronweekends. RADIO WEBR - 97.0 AM WNED - 94.5 FM Jazz every night 7 PM- Midnight w/AI Wallak. WBLK 7 94 FM The Sound of Jazz w/Carroll Hardy- Sat. nights 10 PM1 AM. WADV- 106 FM Jazz Nitely w/Geo. Beck - Mon.-Fri. 11:30- 12:30. Jazz w/Joe Vendetti Sun. 8-12 PM. wbro 88.7 fm Mon.-Fri. Noon-Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midnight Mon. "Modern Jazz: The first 20 Year"- Dick Judelson Tues. "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" - Paul Smith Thurs. "In Concert" - Ed Smith Fri. "The Hot and The Blue Art" Dave Benders Mon.-Fri. Midnight-3 am "Round Midnight" Mon.: John Miller Tues.: Bill Besecker Wed.: Paul Meyer Thurs.: Paul Ericson Fri.: Babe Barlow lhappeniing 14 TORONTO DIZZY GILLESPIE- April 6atSenecaCollegeTheatre- 8 PM. Anthony's Villa - Dupont at Davenport -Toronto Jazz Bands Mon.-Sat. 9-1, Sat. 3-6 PM. Alvin Acorn wk. of March 14. Yellowfingers - 1280 Bay St. at Yorkville - Phil Nimmons Quartet Mar. 7-12, Andy Krehm Trio 3/14-19, Bernie Piltch Quartet 3/21-26, Bernie Senensky Trio 3/28-4/2. Mon.-Sat. 9-1. Also- after hours Fri.&Sat.1:30-4 AM. Phone 964-1984. All That Jazz! - at Sherway Gardens Mall- jazz every Tues. eve. 5:30-8 PM, near Gourmet Fair. Check out Sam the Recordman (closeby) -fine jazz stock. Jazz At The Inn Concert - inn on the park- 1100 Egllngton Ave., East - Sat. March 26 - 1:30-4:30 PM. w/such as Sam Noto, Norm Amadio, Jerry Fuller, Jim Galloway, etc. $5, Phone 444-2561, ex. 154. Black Arts Productions -Sunday Jazz- vocalist Bobbie Sharron April 3, Innis College (Town Hall) 2 Sussex St., 7:30PM. 461-8080. Revolving Dining Lounge - CN Tower- Nightly- Paul Adamson Quartet. The Music Gallery - 30 St. Patrick Street, Toronto. Every Tuesday and Friday concerts by CCMC with Casey Sokol, Michael Snow, Bill Smith, Allan Mattes, Nobuo Kubota, Larry Dubin, Graham Coughtry, Peter Anson. Call 368-5975 for further information. Executive Restaurant, 254 Eglinton Ave., East. - Saturdays 2-6 PM - John Dela Trio. Inn on the Park, Leslie & Eglinton Ave., East- Saturday matinees - various !jroups. �ttalfjazz proudly presents another legendary jazz artist I quartet Lee Konitz /alto sax James Clark/guitar Sabu Adeyola/bass Nasara Abadey/drums MARCH 25, 26 & 27 FRI.&SAT.lOpm , SUN. 9pm ALL TICKETS $5/night ON SALE AT: Tralfamadore, Norton Hall, Record Runner, Festival, Amherst Tickets Unlimit.ed (Eastern Hills Mall). ROCHESTER: Village Record Shop/ 699 Park Ave. TORONTO: Sam the Record Man/Sherway Gardens Mall no· minimum ·low prices· no reserved seats Tralfamadore Cafe,. 2610 main street 836-9678 at fillmore "one of the best jazz clubs in the world- reminds me of the Montmartre" - DEXTER GORDON Tralfjazz Is a co-operative effort by the Tralfamadore Cafe & Buffalo Jazz Report presented for the state of the art. �Grossman's Tavern- 379 Spadina Ave. Fridays and Saturdays from 8 pm. Saturdays 3 pm., Kid Bastlens Camelia Jazz Band Captains Table - 2475 Lake Shore Rd., W. at Bronte Rd. good jazz w/Jazz Couriers Sat. afternoon from 2 PM. No admission, musicians welcome to sit in. Plaza Two Hotel - Greenery Lounge - Yonge/Bloor Square Claude Jones Mon. thru Sun. 8-12 PM. Chelsea Bun - Chelsea Inn, 33 Gerrard St. W. -pianist John Arpin Mon. thru Sat., 9-1. Malloney's, 85 Grenviile Street. Saturday Afternoons- Climax Jazz Band. Garden Party - 82 Avenue Road - Joel Shulman (ne:Joe Saye) Sunday session with guests. phone 961- 1114 for information. Albert's Hall, The Brunswick, 481 Bloor St. West. Monday· Wednesday - Kid Bast1en, Thur~day-Saturday - Jim Aber· crombit1. Chez Moi, 30 Hayden St. Saturday Afternoon - Silverleaf Jazzmen. John Duck's Tavern - Lake Sho1·e Blvd. W at HumbPr Rivervibeman Tim Tickner Quartet Mon.·Sat., 9-1. ROCHESTER Red Creek - March 16 thru 20th (tentative) Buddy Guy and Junior Wells; March 23 & 27th Roomful of Blues; March 24 thru. 26th (te.1tative) Will.ie Dixon. April 6 thru 9 NRBQ. Mont1 cello - feb. 28th thru March 26 - Jack Maheu and the Salt City Six. J.J. Lounge- Every Friday, Saturday & Sunday in March Dick Sampson. Eastman School of Music - March 16 - Experiemental Jazz Players; March 21 -Eastman Jazz Ensemble and March 30th Eastman Jazz Lab Band. All concerts start at 8:00 PM. Free. SYRACUSE Spirit of 35 - Dave Hanlon Funky Jazz Band every Friday and Saturday night. · .""'"''""' main st. ITT~I,..,.' n.y. 14209 u.s.a. return postage guarenteed MARCH TRALFEVENTS JAZZ 9,23 JEREMY WALL 13 TOM SCHUMAN 11,12 PAUL GRESHAM QUINTET 18,19 GREG MILAR QUINTET 16,30 DR. JAZZ 25,26,27 LEE KONITZ QUARTET Spyro-Gyra Thursdays 9:30-1:30 Jam Session Sundays 5-8 ACOUSTIC 8 BUTCH BARBER 15,29 JOHN BRADY 22JOE HEAD 6,20 JIM WOLF (classical) open mic on mondays tralfamadore cafe 2610 main at fillmore PERIODICALS &: BINDERY LOCKWOOD MEMORIAL L.IBRAHY S.U.• N.Y.A.B. iiUEFAlO., NY 142-14 SJo 836-9678 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4420 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 37 Date A point or period of time associated with an event in the lifecycle of the resource 3/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 37 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/ffc5278a8f4cd01f882e306151f644e3.pdf 4574867599b446ffe139d282f270c2f5 PDF Text Text · buffallo ja%z tepot • .•. .i·! • free Ml ) 19 . april'77 i.r.rue 38 Roy, IIGyne~ I ~ Mary Lou Williams · ' �Roy llayae1 What drummer has played with everyone from Louis Armstrong to John Coltrane? A. Roy Haynes. Fifty-one years ago Roy Owen Haynes was born in Roxbury, Mass. As a teenager he gigged around Boston with Sabby Lewis, Frankie Newton & Pete Brown. He worked with Louis Russell for two years before joining Lester Young in 1947. After two years with Pres, he spent a year withKai Winding before joining Charlie Parker in 1949. Atthispoint,Roy at 22 had already worked in the bands of two of jazz' all time greats- Pres & Bird, and forged ahead working with many more of the music's finest. From '50-'58 Haynes worked and recorded with Sarah Vaughan, Phineas Newborn, Miles Davis, Lee Konitz, and Thelonious Monk. In 1959 he was heard with Lambert, Hendricks and Ross, Geo. Shearing, Lennie Tristano and Kenny Burrell. The next year, Leonard Feather wrote that Haynes is "one of the most versatile and tasteful modern drummers." Since 1960, Haynes has been leading his own groups, although he would work with Stan Getz & other leaders from time to time. During this period, Feather again wrote of Haynes - "he is a masterful technician who has moved continuously with the times." In 1962, Roy won the Downbeat critic's poll as new star. Among the people he worked and recorded with during the '60's are Jackie McLean, Oliver Nelson, John Coltrane, Eric Dolphy and Gary Burton. To be able to sit in for Elvin Jones in the John Coltrane Quartet is not something many drummers can do. In fact, there were only a few that 'trane wanted in such a case, as he needed a drummer of special quality, feeling and drive to play off of. The drummer at the top of the I istwas Roy Haynes, and John needed a replacement for Elvin briefly in 1963. Some excellent Haynes work from that time can be heard on My Favorite Things and I Want To Talk About You, recorded on the album Selflessness (Impulse 9161). done at the Newport Jazz Festival in '63. In 1969, Haynes named his band "The Hip Ensemble" -a name which still stands. This band has brought to light such talents as Hannibal Marvin Peterson, a 28 yearold Texas born trumpeter who's been enjoying a good deal of popular and critical acclaim recently. Saxophonist George Adams, now famous for his work with Mingus i~ another Hip Ensemble product. Another is Japanese bassist Teru Nakamura, who recently released a· solo album and produced two Haynes albums in Japan. Roy was recently named one of the best-dressed men in America by Esquire magazine. In a review of a Hip Ensemble performance in the Boston Herald American, Fred Bouchard wrote the following of a Haynes drum solo that ran some twenty minutes: "Roy never lost a beat or a listener. Wewere glued to our chairs- transfixed, enthralled, paradoxically 'blown away'. I have never heard more cohesive, intelligent percussion creations." Another tribute to the Hip Ensemble was a standing ovation at Carnegie Hall. Roy seems to be on the receiving end of a lot of standing ovations- he was treated to enough ofthem for his solos while Q. II~ haircutter 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store ~----------------------------~~~~2 v~ playing at the Statler two monthsbackwithMary Lou Williams. The Hip Ensemble, with such people as the gifted guitarist Marcus Fiorillo · and Hannibal Marvin Peterson himself will tear up the Tralfamadore this month: Haynes, who uses a lot of drums and tympani, assures us his band will fit on the stage (a portion of the stage had to be removed so that Anthony Braxton's huge contra-bass sax would clear the ceiling). The dates are Apri I 22, 23 & 24 atthe usual time, prices and ticket outlets. See the ad in this issue for more information. Roy Haynes - Partial Discography Lester Young - Savoy Recordings - Savoy 2202 Lester Young - The Aladdin Sessions - BN 456 Chari ie Parker - Verve Years '50-'51 - V2-2512 Chari ie Parker - Definitive #4 - Verve Thelonious Monk- Misterioso- Riverside 279 Wardell Gray - Central Ave. - Prestige 24062 Eric Dolphy - Magic - Prest1ge 24053 Eric Dolphy - Eric Dolphy - Prestige 24008 John Coltrane- Selflessness- Impulse 9161 Jackie McLean- Destination Out- BN 84165 Gary Burton -Tennessee Firebird- RCA Gary Burton - Duster - RCA 3835 Gary Burton - Country Roads - RCA 4098 . Chick Corea- Circling In- BN 472 Chick Corea - Now He Sings, Now He Sobs - Solid State Chick Corea - Chick Corea - BN 395 Oliver Nelson - Blues & The Abstract Truth - Impulse A-5 Sonny Stitt - Mellow - Muse 5067 Larry Coryell- Barefoot Boy- Fly. Dutch. Sonny Rollins- Sonny Rollins- Prestige 24004 Sonny Roll ins - Freedom Suite Plus - Mi I e. 47007 Sonny Roll iris - Tenor Titan - Eng. Verve Gato Barbieri - El Gato - Impulse AS A LEADER We Three (New Jazz) Out of the Afternoon (Impulse) Hip Ensemble (Mainstream 313) Senyah (Mainstream) Roy Haynes Hip Ensemble (Ita I ian Horo 29) Togyu (Japanese RCA 6311) Sugar Roy (Japanese RCA) One selection- The Drums (Impulse). Others out of print on various labels. . i For 1nformatio.n on obtaining any of the above albums, write the BJR Office. EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, J~hn Osborn, Paul Smith, Paula Wahl, Ron Weinstock. · \ ILLUSTRATORS- Christine Engla Eber and Sab~inaMayberry Smith. PHOTOGRAPHER - Michael Ketter. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this pub I ication may be reproduced without written consent from the publisher. The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. �After the intermission, guest soloist Carrie Smith, a fine blues singer and stage personality, spoke briefly about Bessie Smith and then sang some of her songs. .In reference to soloists, Chuck told me that "when the Nati6n1il Jazz Ensemble has a soloist, the music the ensemble plays is that which the soloist is best able to perform." Some other guests to this group have been Bill Evans and Herbie Hancock. When Carrie concluded her portion of the concert, Chuck presented her with a bouquet and announced to the audience that the National Jazz Ensemble enjoyed playing with her as much as the audience obviously enjoyed I istening to her. In reference to Jazz, Chuck calls this kind of music "a family", evidenced when Herbie played with the ensemble in 1974 and the concert did not fare well financially that evening. Herbie, who has had success lately, told Chuck to forget about paying him for that night. The ensemble has two albums by the, names of National Jazz Ensemble Vol. I and Vol. II. Dan Morgenstern says of Vol. II, "I've yet to attend a National Jazz Ensemble concert that did not require an encore or two, just as this record is one you' II want to hear again and again" (Chiaroscuro Records 151). National Jazz Ensemble played tightly under the direction of Chuck, while their material was well chosen even though it changes from concert to concert. The addition of premier trumpeter Johnny Coles, who has recorded with Herbie, is a definite asset to the group. He and the ensemble handled the different styles well and showed sensitivity, delicacy, and complicity. Besides the well-knit interweaving horn sections, different things were happening simultaneously within one section. The ensemble's home is in N.Y.C. and may they continue to produce. Throughout the evening I could see many members of the band as well as the. audience around me smiling in appreciation of the fine music. THANKS! - FROM BJR We at the BJR 'would ltke to extend our thanks and appr<?ciation to the many people who wrote to congratulate us on the occasion of our third anniversary. We'd especially:like to thank Bob Abraham, who donated all that champagne for everyone at the Friday, March 25 celebration held at the Tralfamadore, during the Lee Kon itz Concert. We plan to be around for many more_ A NIGHT WITH THE NATIONAL JAZZ ENSEMBLE BY JEFFREY CYLKOWSKI The National Jazz Ensemble under the direction of Chuck lsraels played one recent Saturday evening at the New School in New York City. Their programs have always encompassed music from the early Jelly Roll Morton period through the modern music of Duke Ellington and Miles Davis, and this night was no exception. Director Chuck lsraelswasBill Evans' bassist from 1961-66 and has also recorded with John Coltrane (Bill will be appearing at the Eastman School of Music on April 8th). I could list many more of Chuck's musical companions to show his musical capabilities, but fe_el no_need_ to after naming these two Jazz gtants. After worktng wtth Btll, Chuck freelanced for a while, but did not enjoy it, one of his reasons being "Some record companies give you poor music to play and expect you to perform and smile". Consequentially, Chuck organized the National Jazz Ensemble, presently an 18-ptce jazz repertory orchestra composed of many known professionals. The main reason for its ~oming into existence is Chuck's love for compostng and playtng mustc of qual tty. The concert began with a Neal Hefti tune, "The Kid From Red Bank", an uptempo mainstream piece featuring pianist Bill Dobbins, conductor of the Experimental Jazz Players of the Eastman School of Music, who demonstrated flexibility throughout the evening. Later, a Duke Ellington standard, "Concerto for Cootie", was played with a sound reminiscent of the Duke's style enhanced by trumpet player Jim Maxwell's use of a plunger to get a voice effect. National Jazz Ensemble- area concerts April 23- New Schooi/N.Y.C. April 16- Onondaga Civic Center/Syracuse, N.Y. Apri I 17 - Ithaca College/Ithaca, N.Y. - 2 GREAT CONCERTS COMING TO. KLEINHANS MUSIC HALL IN APRIL ! TUES., APRIL 12th - 8 P.M FESTIVAL EAST & PERRY JONES PRESENT 0 0 WED., APRIL 13th ... 8 P.M. FESTIVAL EAST & THEATER SERIES PRESENT 0 WEITIIER REPORT AND ~~~~~~ DiMeola 0 0 0 0 0 0 0 0 All Seats Reserved:S7 &S6 0 CIIUCH •anGIORI WITH THE Chuck Mangione Quartet AND ORCHESTRA All Seats Reserved:S7 &ss.so TICKETS FOR BOTH CONCERTS ON SALE NOW AT FESTIVAL TICKET OFFICE IN THE STATLER HILTON & ALL THEIR OUTLETS IN WESTERN N.Y. & CANADA INCLUDING U.B. NORTON H~LL, BUFFALO STATE, ALL MAiN TWO STORES & PANTASTIK STORES, D'AMICO'S IN THE FALLS & SAM THE RECORD MAN STORES. �Marylou by Christine Eber Mary Lou Williams, jazz pianist, composer & Grand Lady of Jazz visited Buffalo last month and provided a much needed interlude in winter's heavy months. She gave us music of both a secular and rei igious nature, but beyond that she talked to us, shared with us, fed our minds and souls. There was something in it that felt I ike a vi sit to your mother or your aunt or that one person who always seems to bring it all home to you. Mary Lou would be the last to tell you that she has found all the answers, but in the peacefulness of her approach to art and life, you know she holds a lot of them. Sabrina Mayberry-Smith and I had the pleasure of speaking with Mary Loui is a taped interview which became part of a .feature on WBFO, "In Praise of Mary Lou Williams". Some of the thoughts she shared with us we'd I ike to pass on to you. They come to you filtered through the airwaves and the mind waves of a specific time and place, but we hope they carry meaning beyond these limitations. It all began back in 1910 in Atlanta, Georgia. · "I began pi aying when I was 3 years old and I was sitting on my mother's lap. She played an organ and she used to hold me on her lap and she said one day she was pumping this old fashioned organ and I began playing myself! It must have been great because she ran and got the neighbors, she was so surprised. From that day on she'd have professional m·usicians come in and teach me, or play for me and they gave me perfect pitch and a number of things that you wouldn't learn through a regular teacher. • At the age of 16 and all of 90 lbs., Mary Lou held her own as permanent pianist and arranger for Andy Kirk and his "12 Clouds of Joy." It was the swing era. She was in Kansas City and jazz had never been this good. "Now that was an important era, in the '30's. That was the last era of the great giants. They were concerned about young musicians playing and they knew how to teach them. And during that period I met Thelonius Monk, Lester Young, Count Basi e. Oh, it was just loaded full of musicians. They came from everywhere, to Kansas City. And musicians were charitable. It was during the time after the 29 Bank Crash, they call it. Everybody was so poor. But there was so much love. We were all together. • The 1940's found her career in full bloom. She parted ways with Kirk forming a band of her own. Later in NYC, as part of a trio, she played topackedhousesandacquired a large following. In 1945 she wrote the "Zodiac Suite". The following year the first merger of jazz and the symphony took place at Carnegie Hall where the Suite was performed with the New York Phi 1harmonic. In 1950 she I eft for Europe. "I was sent to England to break a ban of 30 years, some kind of disagreement that the two unions had, the U.S. union and the Eng I ish ... So, after that they began to book Americans in. So, I decided to go to Paris ... l wentto Paris for 11 months before returning to the United States. And all of a sudden I began praying. And ofte·n I'm asked, 'What happened in your life that you stopped playing and began praying? Were you frustrated? 4 I said no·. Well, in my life things happen to me and I don't even know why." Back in the States and to a greater sense of her own spirituality, she searched for an open church door and found one. This church, Our Lady of Lourdes, was only one of hundreds that she has graced with her spiritandher music. Miles called her "Reverend Williams." ..I'd go there every day and meditate. In fact I'd go to the 1 o'clock Mass and I'd stay for the 8 and the 9 and I'd go home and have breakfast and go back to the church to meditate. I did this off and on for 3 or 4 years and all of a sudden I became Catholic, by a very wonderful Priest, Father Anthony Woods. And when I stopped playing most priests would come to the house and they'd try to get me back to my music, because I didn't realize that I had a God given talent and I should never stop playing. And so, they asked me to write a Mass, and this I did later on. During the period that I was praying, Dizzy Gillespie and most of the musicianswouldtryto get me on gigs with them. And I'd go out with Dizzy and play a concert or something and come right back in the house, off and on for at least 7 or 8 years. • Not only was she convincedtoplayagain,but that she should try her hand at teaching. She made friends y.,rith the kids on the streets of Harlem, and in no time had them singing to the rhythms of jazz. "So, I was in Pittsburgh and Bishop Wright asked me to go out to the Catholic High School to teach jazz singing to the kids. And I said, 'Oh, I can't do that! I don't know how to do that, because jazz cannot be taught.' And he said why not go out and try it. So, I did and I was very successful in doing it. I beqan to teach theory and the kids, they looked very sad. So, most of them liked Billie Holiday. So I said, 'Let's do it the way Bi II ie Hoi iday did it'. And it went over with a bang. They loved that." There were a few concert dates in the late'50's, but Mary Lou was obviously looking in another direction, and it was revealed in 1962, with a "Hymn to St. Martin de Porres, the Black Christ of the Andes", the first jazz piece to be used for religious purposes. This was soon followed by two jazz Masses which laid the groundwork for the third Mass for Peace, known as "Mary Lou's Mass". Everywhere that the Mass has been performed in cities throughout the country, precedents are set, picketers are occasionally in evidence, and always it's a celebration. When not touring coli ege campuses with her manager and friend, Father Peter O'Brien, or attending to the business of Mary Records, or receiving Honorary Doctorates, or streets named in her honor, or hugs and handclapps, Mary Lou can be heard at the Cookery, the club whose Jazz policy she helped to reinstate. What has kept her growi(1g, vital and relevantto each of the eras she has embraced is a commitment to the roots of jazz, with all the personal and universal implications within it. .. And now, it's just so simple. For instance, if something happens in my life, I just do a fling of the hand and it's gone. �And I think about it, you know .... The mind can never stop. If it stops that's where you may hear a run or a technical thing. Jazz is a conversation. It's a healingtothe soul. It's like mental telepathy ... lt's a lot of things the world needs now." We hear you, Mary Lou. And we_ thank you .. .for your thoughts and your music. A special note ... Mary Lou Williams and Cecil Taylor will be giving a duo concert, "Embraced", at Carnegi@ Hall, April 12 at 8:30 p.m. C.E. NEW JAZZ CLUBS Two new clubs are booking jazz and deserve your attention. The Vieni-Su is on the corner of West & Breckenridge on the West side. They serve excellent Ita I ian food nightly unti I 4 AM, and have done so since 1946. The prices for both food and drink are very reasonable. You can enjoy jazz with your pasta Tues., Wed., Fri. & Sat. nights. Check it out. The Jazz Club is located on Niagara Falls Blvd. at Brighton. It was formerly a go-go place, and the manager changed the name making the music policy obvious. Jazz is on tap Fri. & Sat. nights. You can't miss this place - there's a big sign reading "The Jazz Club." CENTENNIAL: OF SOUND RECORDING TO BE CELEBRATED IN 1977 One hundred years ago, Thomas A. Edison recited "Mary Had a Little Lamb" into a horn, the vibrations of his voice causing a stylus to cut grooves into a piece of tin foi I wrapped around a rotating cylinder. That was the first sound recording ever made, the centennial of which is being commemorated worldwide during 1977. duplication, and two-sided. records did not appear unti I about 1904. The development of electrical recording in the mid1920's provided records with a much wider dynamic range than that offered by the acoustic method. The two-sided 78-rpm shellac disc remained as the only record until 1948 when the long-playing record was introduced, followed within months by the introduction of the 45-rpm single. Along with tape, which came into use as both a recording and reproducing medium in the late 1940's, they revolutionized the industry. Pre-recorded tapes were originally offered in the mid1950's only in a reel-to-reel format and appealed primarily to audiophiles. It was not until the late 1960's, when prerecorded stereo tapes were introduced, first· in 4-track cartridge format, then in 8-track cartridges and later in cassettes, that a mass market for tape was created. The artistry in recordings has alsoundergonevastchanges. Originally, performers were never identified. Recordings bore nothing more than a general identification, such as "Sentimental," "Comic," "Irish," or some other general designation. The breakthrough to name identification of performers on records was accomplished by the opera greats of the early 1900's -- Enrico Caruso, Emma Calve and Feodor Chaliapin -- who also became the first to receive royalties from the sale of their recordings instead of being paid a flat fee per recording session. Recordings eventually made superstars of its performers and gave them worldwide renown -- from Enrico Caruso and John McCormack to Bing Crosby and Gene Austin to the jazz greats like Louis Armstrong, to the Big Bands of the 1930's, and to a group of vocalists who broke away from the bands to become established performers in their own right: Frank Sinatra, Perry Como, Peggy Lee, Doris Day and Billie Hoi iday. Then in the 1950's and 1960's came Elvis Presley and the Beatles who have sold more records than any other performers in the history of the industry. In creating an explosion of rock TWO GENERATIONS OF Edison's original phonogrq>h, patented in 1877, consisted of a piece of tin fail wrapped around a rotating cylinder. The vibration of his voice as he spoke into a recording horn (not shown) caused .a stylus to cut grooves into the tin foil. The first sound recording made was Edi· son reciting "Mary Had a Little Lamb." Credit: Edison National Historic Site The celebration of 100 Years of Recorded Sound will cite the evolution of sound recordings and their growth, development and emergence as one of the principal communications media bringing entertainment, education and culture into the homes of people the world over. In the United States alone, sales of sound recordings total close to $2.5 billion annually. The United States Postal Sr>rvice is marking the Centennial by issuing a special commemorative stamp, and various echelons of the recording and audio industries are planning special functions as part of the observance. Both the Smithsonian Institution and the Library of Congress in Washington, D.C. have under consideration the staging of special exhibits to commemorate the observance. Recordings today bear I ittle resemblance either in looks or in quality of reproduction to Edison's original cylinder. In the early days of recording, a performer or an instrumental group stood singing or playing in front of a recording horn and had to repeat the performance to produce each recording. It took several years until a process was developed of simultaneously making up to three cylinders for every performance,by a singer, up to ten for a brass band. lt,was not until the invention of the disc record by Emile , Berl1ner in 1896 that recordings became capable of mass- 5 BRUBECK Brubeck and Jazz- They're one and the same. Come, hear, Brubeck and his three sons for ONE SPECIAL PERFORMANCE at Shea's Buffalo. FRIDAY, MAY 13th 8-PM Tickets: $7.50, $6.50, $5, $4 Shea's Buffalo Theater Center for the Performing Arts 646 Main St. Tickets & Reservations/847-0050 �music and in shaping the music that has dominated the last two decades, they also exerted great influence on the looks, dress, speech and mores of youth the world over. They are the top superstars of a whole generation of rock superstars that were created via recordings. Recorded repertoire today runs the gamut ft"om pop and classical music to children's records, country music and jazz, operas, Broadway musicals and movie soundtracks, poetry, plays, documentaries, folk and gospel music and instruction records. Recordings also occupy about 75% of the average radio station's program time. The dream of Thomas A. Edison a hundred years ago that recordings would become priceless historical documents that preserve the voices and artistry of contemporary performers and notables for the appreciation offuture generations has been more than fulfi lied. ART FARMER Art Farmer, whose home has been Veinna, Austria for the past nine years, can be heard on three different albums which have just been released. Art plays both trumpet and flugelhorn, although he rarely uses the former, feeling most comfortable with the flugelhorn. For openers we have ON THE ROAD from Corltemporary records (7636). a West Coast label wh1ch had been inactive since 1973. Recorded in mid-'76, Farmer is heard with some of the best in the West (L.A.)- Art Pepper, Hampton Hawes, Ray Brown and drummers Shelly Manne and Steve Ellington. record~ JOHN COLTRANE - THE OTHER VILLAGE VANGUARD TAPES - IMPULSE 9325 The latest Impulse release of unissued Coltrane music comes as a two record set, offering more music from the four nights of live recording done at New York's Village Vanguard in November 1961. As with the original Vanguard album (lmpulseA-10). Tranes Quartet of McCoy Tyner, Reggie Workman & Elvin Jones is augmented by the great Eric Dolphy, heard here on 5 of the 6 tracks playing alto sax or bass clarinet. India (another version is heard on the Impressions album) features Ahmed Abdul-Malik playing the oud; and Garvin Bushell is heard on oboe and contrabassoon on India and the Jo·nger of the two versions of Spiritual. These additions add an interesting dimension to the sound of the music and further intensify the spiritual mood Trane was creating. Other tunes heards are Chasin the Trane, Greensleeves, a second recording of Spiritual and Untitled Original -an 18 minute track with Trane and Dolphy playing the head in unison. Jimmy Garrison is heard on this track and plays with Workman on India. There are some sound level fluctuations here, but no matter. This is an album that will find a place in history along with countless other Trane albums. If you're into Coltrane - you must own it. And - just think of how many more Coltrane tapes lmpul se must have! B. W. STONE ALLIANCE - PM 013 The three musicians who comprise Stone Alliance have each graduated with honors from the bands of Miles Davis & Elvin Jones - plenty of credentials. Steve Grossman started playing with Miles at age seventeen and has become one of the most exciting tenor pi ayers around, deeply indebted to John Coltrane. The sax, bass, drums format here gives him plenty of room to play, driven by Gene Perla's steady, often repetitive and always tasteful electric basswork and Don Alias' powerful drumming. Alias also adds congas (his main axe) via overdubbing on most tracks. Vaya Mulatto & Samba de Negro, both AI ias compositions, give an idea of the band's intensity. Done with a Latin feel, each of these tunes offer some fine conga work. Sweetie Pie is a storie rocker; and Stevie Wonder's Creepin' is a mellow r.eading with Alias on congas and bongos only, and piano chording overdubbed from Perla. Steve's King Tut is another laid back tune and the onlycutonthediscthat sounds a bit weak at times. A tenor/drums adventure, reminiscent of those Trane/Eivin duets, comes under the title Duet (what else) offering the heaviest Grossman on the record. This album was recorded in June '75 & June '76. They played their first gig as a band at the Tralfamadore in January '76. Since then, they completed an extensive tour of South America, playing the entire continent. The record is very fine, but can't capture the excitement or intensity of a I ive S.A. performance - you know the old saying "you gotta be there." It comes close. You can be sure that if and when they return to Buffalo it'll be a blowout. Check this one out and play it loud. B.W. .,....,~!! s·: This is Art's f1rst American release in five years, and offers some great music from all the musicians involved. True to Farmer form, the music is very lyrical, often rather laid back and great I istening. Hawes' modal Downwind kicks things off with a taste of good things to come in statements from Farmer, Pepper and Hawes. My Funny Valentine is a piano/flugelhorn duet, a good vehicle to present Art's ballad artistry (he has no shortage of that quality) and Hawes' complete command of the acoustic piano. Namely You and What Am I Here For swing light and easy, then the proceedings lay way back for I Can't Get Started, done without Pepper. Then its the up-tempo Namely You to wrap it all up, with more noteworthy solos from both Arts and Hampton. One highpoint of this album is the work· of Pepper who is back in circulation and will probably have a lot of recording work in the future. Anew Pepper disc- Living Legend, has just been released by Contemporary. Next we find Mr. Farmer on the CTI label with CRAWL SPACE (7073). This one is very reminiscent of some of Freddie Hubbard's CTI efforts - smooth, highly polished and mostly funky. Some studio regulars are here - Steve Gadd, Eric Gale and Will Lee, with Geo. Mraz adding acoustic bass on Siddharta and Jeremy Steig plays flute. Farmer is again relaxed, warm and lyrical, his style being adaptable to many types of sessions. This is the regular "CTI sound" and will please the many folks who enjoy it. For Art's regular fans however it might leave a bit to be desired. A minus here is the work of Steve Gadd, a drummer who once showed some promise but has become stagnant in his own funk. Gadd spends almost all of the time here on the high-hat repeating himself again and again. He rarely touches the cymbals and never swings. This is one of the better CTI studio-recorded albums in some time but is not one of Farmer's better efforts. Perhaps more creative drumwork could've made the session more interesting. Again - if you do like the funky CTI sound, check this one out. The third Farmer release comesfromSweden'sSonetlabel, titled'A SLEEPING BEE (715). I had been looking for this since Art told me about it in 1974, just after he recorded the session in Stockholm. This is some nice Farmer, with Red Mitchell on bass, Sabu 'Martinez on congas and Scandinavian musicians �playing piano, guitar and drums. The program is similar to the Contemporary date- balladsandup-tempotunes,witha version of Smiling Billy, composed by a long time Farmer associateJimmy Heath. The sound is quite fresh and contemporary. Red Mitchell is superb throughout and the young musicians hold their own. Farmer also plays trumpet on this album (he does not on the two above). In summary, here are three albums that bring the music of a fine musician to the listening public. The CTI disc should turn on a lot of new people to Art Farmer. For his regular fans I'd first suggest the Contemporary. and the Sonet. Unfor-: tunately, both are going to be difficult to find in Buffalo. They are available in Toronto. B.W. 3 FROM CONCORD Among the newest rei eases from Carl Jefferson's Concord records is Jones/Brown/Smith (CJ 32). This is an album of music by one fine rhythm section with the great pianist Hank Jones, bassist Ray Brown & drummer Jimmie Smith. Hank, the elder brother of Thad & Elvin (Jones) recently played a delightful two weeks at the Statler, and tbis rPcord wi II please anyone who enJoyed his music there. Brown is a bassist who is always in demand and Smith, although not so well known, has been around as well. The result of their meeting is eight fine trio performances. Ernestine Anderson is a very talc•nted vocalist who's been out of the limelight for some time now. Hello Like Before (CJ 31) is a comeback for her and is probably already owned by all her old fans who've heard its out. It's a brand new recording with Hank Jones, Ray Brown & Jimmie Smith in accompaniment. She does standards and newer tunes, such as Send in the Clowns, It Don't Mean a Thing if it Ain't Got That Swing is short but very sweet. If you're not familiar with her, but into Carmen McRae, etc., give a listen- I think you'll enjoy this release. Violinist Joe Venuti and guitarist George Barnes pair up for an album recorded Live at the Concord Jazz Festival (CJ 30). The July '76 session also included Ray Brown, Jake Hanna & Ross Tompkins and produced some good time, foot stompin music. Sweet Georgia Brown is a gas, setting the mood for the concert which includes an Ellington medley filling all of side two. Both Venuti and Barnes are in great form. Yes -it really swings. B.W. SAVOY REISSUES Arista Records continues its reissue series from the Savoy vaults. The latest batch include Fats Navarro, Fat Girl (SJL 2216), Pete Johnson, Cozy Cole, All S.tar Swing Groups (SJL 2218). Chari ie Parker, Encores (1107) and Stan Getz, Opus De Bop (SJL 1105). The first two are two album sets, the last two are single albums. The Navarro and Parker are the easiest to review as they are what numerous critics have called the cornerstones of Modern Jazz. Navarro is heard with Bud Powell, Sonny Stitt, Kenny Derham, Kenny Clarke, Eddie 'Lockjaw' Davis, Tadd Dameron and Art Blakey among others. The first side features four recordings that initially occupied both sides of 78s and have a somewhat larger group. Especiallythesideswith Dameron are monsters. The Parker alternates are by no means inferior to issued tracks as Bird is in great form on "Billie's Bounce" "Chasin' the Bird" and the rest. Savoy plans to issue another album of remaining alternates. These albums are classic bop. Stan Getz's album fines him in both a swing and bop mood. On the first side we getGetz ina Lester Young mode. The first four tracks on the second side feature him with Hank Jones, Curley Russell and Max Roach and are the strongest stuff as Dexter Gordon's influence leads to strong bop. The last four sides include AI Cohn, Zoot Sims and Jimmy Raney and range from swing to bop. Good music showing Getz's musical development. Drummer Cozy Cole and pianist Pete Johnson lead some fine swing dates. Cozy Cole's sides feature the Count Basielike piano of Johnny Guarnieri and tenorists Coleman Hawkins and Ben Webster are present (though not together) for some hot music. Pete Johnson's sides show him to be more than one of April is Columbia Jazz Month .... at George Duke From Me To You including: What Do They Really Fear? 'Scuse Me Miss/You And Me/Broken Dreams It AlDiMeola Elegant Gypsy including: Flight Over Rio/Midnight Tango Mediterranean Sundance Race With Devil On Spanish Highway Lady Of Rome, Sister Of Brazil Weather Report Heavy Weather including: Birdland/Teen Town/Palladium The Juggler/Havoria Columbia Jazz -this month at Super Savings ! CAY ES NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZ4 �Blue Note Prestige etc. OPEN MON.-SAT. 10-9/SUN.12 -5/ (716)442-8811 the great blues and boogie-woogie pianists as he ranges from blues and boogie to stride and swing. Hot Lips Page, Albert Nicholas, Ben Webster and Etta Jones make appearances here, and produce some very fine Kansas City flavored jazz. Don't overlook this. Pete Johnson can also be heard on a very fine album with Big Joe Turner on the Arhoolie label. As usual with the Savoy reissues the packaging and annotation deserve praise and sound and pressings are good. More cornerstones for your jazz collection. R.W. WEATHER REPORT- HEAVY WEATHER -COLUMBIA 34418 The sixth American release for Weather Report finds the band continuing to head in a more com.mercial directionwhich has been more evident with each album. Wayne Shorter and Joe Zawinul, the group's founding fathers and artistic directors are heard here with Jaco Pastorius, Alejandro Acuna & one M. Badrena making up the current unit. Shorter deserves the most credit and is heard to good advantage on several tunes. One standout is Havona, with Zawinul employing· his acoustic piario, and some nice soprano from Wayne - often reminiscent of his solo album Native Dancer. The acoustic piano is back on Bi rdland, butJoe goes a bit overboard with the synthesizers. Some more lyrical sax work is delivered by Wayne on A Remark You Made (tenor) and Harlequin (soprano), which are separated by a rockish cut- Teen Town .. No new ground is covered by Weather Report here. Its basically the same sound heard on their last few albums; so if you're ready for some more- here 'tis. B.W. JACKIE McLEAN/DEXTER GORDON - THE SOURCE -INNER CITY 2020 With this second collaboration between alto saxophonist Jackie Mclean and tenor giant Dexter Gordon (their first was The Meeting) we have a lasting tribute to the excitement of bebop. Half Nelson, aMi les Davis composition from 1947, opens this live session at the Montmartre Jazzhus and gets up a head of steam which shows both Gordon and Mclean to be in good form. Mclean's solo is fluid and inventive although less assertive than those of Gordon. Jackie has alot of Charlie Parker in his style which, as any alto _player wi II admit, is almost unavoidable. Gordon's solo opens Half Nelson and Dex wastes no time in exhibiting the rich, powerful tone and "Dexterity" that has become synonymous with his name. Gordon offers lots of amusing twists quoting left and right from various tunes. Although Mclean and Gordon are the principles, notethe backing provided by pianist Kenny Drew and bassist Niels-Henning Orsted Pederson. Each takes a well-conceived solo on Half Nelson. Drew has been playing off and on in the company of Gordon since he arrived in Europe many years back and their familiarity with each other is very evident. Drummer Aiex Riel seems quite excited to be in on this live date. He constantly mixes up rhythms, throwing in cymbal crashes, off beat accents and drum rolls to prod the soloists on. He has the good taste, however, to lay back when he should as he does during the standard jazz ballad I Can't Get Started. If you've got The Meeting, you'll want to pick up The Source to complete the evening. J.H. TAL FARLOW - A SIGN OF THE TIMES -CONCORD 26 Tal Farlow, for those who don't already know, is a 55 Y"~r old "genius" of jazz guitar who-;e bePn liv1r>g in relative obscunty in New Jersey- Sea Bright, N.J. to be exact. He play<; in local clubs on weekends - h1s day gig bE•ing si~1n pai'lting (note the cover photo). His recorced work i5 min1mal, b•1t consistently excellent. Farlow is not only technically p•-rfJ?ct, but h<' oft<>n plays with such incredible speed that you wor>der if he hac more hands than normally associatE·d witr. homo sapiens. and h<> always has a free flow of new musical i~'eas His co-wori<ers here are superb as well, two morp jazz greats - Hank Jones and Ray Brown. This is fine music- blues, ballads, and swing tunes. A fitt1ng example of the art1<-try of this lngenrlary g•Jitarist. Of special note is the espec.ally ir>tnguing versinn of You Don't Know What Love Is, and thr· trio's rPnrldion of Stompin' at the Savoy. If you're a Farlow fan, or are unaware of him but in+n Kessel, Rainey, Hall or jazz guitar in general, this album i" highly recommended. Hopefully, Concord Jazz will record some more Farlow soon. B.W. Tal Farlow HUBERT LAWS - THE SAN FRANCISCO CONCERT- CTI 7071 Flutist Hubert Laws has had some very good albums in th<> past, do1ng jazz and classically oriented music His last f<>w however (Col. & CTI) have been plair> typical funk rncords and nowhere near h1s level of music1ansh1p. This album was recorded live with h1s quintet. a horn sectiOn and stn ngs from the San Francisco SymphPny Orch Thero' ·· some funky cuts here, and some Laws inh•rprntations of classical pieces such as Scheherazade, si!'Tlilar to his earlinst CTI efforts such as Right of Spring. Its a goPd production, well recorded and relaxfully l1stc•nable. It is much b<>tter than h1s latest releases, although it doeo, suffc>r from a ma;or problem - repetition; lacks excitement. Bob Jame' fans will l•ke Feel Like Makin Love -with James on piano. Comparatively speaking - th1s is decent Laws. but pr•>bably fared a bit better in concert than on record B W. PASSPORT- IGUACU- ATCO 36-149 The I at est from this German jazz/rock band presents some new personnel, and a slightly different approach. Regulars from previous Passport units are leader Klaus Doldinger on tenor and soprano saxes, flute moog and organ, bassist Wolfgang Schmid, pianist Kristian Schultze and drummer Curt Cress. New additions are guitarist Roy Louis andpercussionistEimer Louis. The band's sound is along the same I ines as previous discs, but more contained and sometimes slightly more commercial on the sextet tracks. Two tunes feature Brazilian percussionists (and were recorded in Rio de Janeiro) adding an interesting new dimension to the music. The most noteworthy track is lguacu - the longest of the lot allowing room for some soloing from Doldinger and the Brazilian section. The largest surprise on this album for Passport regulars , wi II be the absence of the traditional strange Passport cover 8' art. B.W. �SAM RIVERS/DAVE HOLLAND VOL. 2 - IMPROVISING ARTISTS 373848 SAM RIVERS- THE QUEST- RED VPA106 The first volume of Rivers/Holland duets was reviewed in our Nov. '76 issue where Paul Smith wrote that Rivers "has established himself as an individual voice on the saxophones in the past decade." That record featured Sam playing tenor and soprano saxes. The second part finds Sam playing flute on Ripples and piano on Deluge, both Rivers originals. While his piano work here is good, it doesn't consistently offer enough new ideas to sustain interest through twenty three minutes. His flute is another story, making Ripples (the same length) seem to end far too soon. Sam's flute is strong, constantly changing thoughts while being accompanied by some incredible bass work from Dave Holland as they seem to supercharge each other. When you consider both sides, this disc isn't as good as Vol. One, but has a lot to offer on one whole side and should especially be heard by students of bass and flute. A more intense sound is achieved with the addition of drummer Barry Altschul to the Rivers/Holland team on The Quest. This one comes from Italy and was recorded in Milan in March of last year. Expectation opens with free blowing and settles into a very rhythmic adventure with Sam's soprano gliding over Daves repetitive bass theme, all propelled by Altschul. Sam switches to flute for a free but often rather laid back Vision, with space for everyone. Rivers' piano work on Judgement is more interesting here than on the duo album as there seems to be more exchange between the musicians, and the changes from steady time to no time hold ones attention with ease. His main instrument, the tenor, is heard on the energetic Hope, with some powerful work from thetrio closing the album. This import will be an appreciated acquisition for Rivers fans, available for $7.50 postpaid from Coda, Box 87, Station J, Toronto, Ontario M4J 4X8 Canada. The Improvising Artist albums, Vol. 1 & 2, are available locally. B.W. Jack DeJohnette Pictures· are drum/guitar duets with John Abercrombie, a member of Jack's band Directions. They cover some interesting things, doing a rock-ish piece, then a spaced-out, free Picture 4 and lastly a Spanish flavored picture with acoustic guitar and lots of snare work. This is another chapter in the many ECM recordings of DeJohnette and Abercrombie. If you've I iked their previous work you might check out Pictures. Keep in mind though that you've got to dig drums - get the picture? Some more piano, however probably would've made this record more interesting. B.W. SHAKTI W/JOHN McLAUGHLIN - HANDFUL OF BEAUTY COLUMBIA 34372 The second from John McLaughlin & Shakti presents more music_ in the same vein as their previous disc. Shakti, a quartet of lnd1an mus1c1ans, IS heard on various Indian instruments with L. Shankar playing viol in. McLaughlin, on acoustic guitar, and Shankar play over. a bed of Eastern rhythmic and percussiOn textures, prov1dmg a warm meditative sound. There's some noteworthy Indian drum work to be heard here as well. If you like Eastern music, look intoMcLaughlinwith Shakti. B.W. PAUL BLEY/BARRY ALTSCHUL/GARY PEACOCK -VIRTUOSI - IMPROVISING ARTISTS IAI 373844 Listening to these sincere, dedicated musicians, its not hard to understand why they are as influential in the highly improvisatory realms of jazz as they are. Barry Altschul is involved in teaching creative music, as is Anthony Braxton, Sam Rivers and others, besides being a motivating force for his peers. His delicate, swirling style of drumming is cohesive yet it allows plenty of room for the others in the group to move without constraints. Paul Bley seemstoshape much of the direction for Vi rluosi perhaps due more to the nature of the piano than to his dominance within this trio. There is successful interplay between all three men but it is most evident in Gary Peacock's bass I ines as he picks up on each subtle nuance of Bley and Altschul (showing how closely he is I istening) and then gives back his response to them. You can become involved with this album on many levels. As you concentrate more, )loU get more out of the music and it almost becomes as if you're ease dropping on a quiet conversation between three close friends. Virtuosi is gentle, intelligent and thought provoking reassurting the credibility of Altschul, Bley and Peacock as they utilize the freedom of this music to the fullest without a moment of abuse. J.H. CARMEN.McRAE AT THE GREAT AMERICAN MUSIC HALLBLUE NOTE 709 Ms. McRae's latest comes as a two record set, recorded live in San Francisco in June 1976. She's backed by a superb trio consisting of Marshall Otwell/acoustic piano, Ed Bennett/ bass and Joey Baron/drums. Carmen turns but nineteen superb performances, including such standard fare as Green Dolphin St., It Ain't Nobody's Business If I Do, The Folks Who Live on the Hi II, etc. She also coverssomepopulartunes-ASongfor You, Dindi. There's an incredib-le amount of spirit in this music. Carmen gets off on audiences as much as they do on her, making her perfect for l1ve recordings. There's also a good deal of humor and spontaneity here, and a surprise appearance byDizzyGillespie on one track. This is a great vocalist performing some excellent music. B.W. JACK DeJOHNETTE - PICTURES - ECM 1079 Known to most people as a drummer of superior taste and ability, Jack DeJohnette is also a gifted keyboard artist. There have been some tastes of his piano work recorded on some of his American albums, and he's done some sides in Japan playing piano exclusively. Jack's piano can be heard on his latest release, Pictures, on Picture 6 (the tunes are titled Picture 1-6), a floating exercise in lyricism where he accompanies himself on cymbals using mallets to further project the mood. He switches to organ for another less successful duet with drums on Picture 1, but those two cuts are the extent of his keyboard work here. Picture 2 is a very musical drum solo, gradually building in intensity and back down again. The next three 9 RALPH TOWNER - DIARY - ECM 1032 Diary, the first solo recorded work by Ralph Towner, has been available for quite a while as an import, but has just now been rei eased here. Recorded in 1973, this album is a showcase for the talents of this Washington (state) born guitarist/pianist/composer. It is beautiful, meditative music destined to reach your soul with the first un-obstructed listening (take your phone offthe hook). It is aseriesofguitarsolos,guitar/pianoduets and a solo piano version of The Silence Of A Candle. Towner, who plays only 12-string and classical style guitars (noe!ectroniceffects) is a fine pianist, which has been documented through his work with Oregon. He also adds gongs to Images Unseen. There are many high points here, such as the two Towner originals made popular by the Paul Winter Consort while he was w;ith the band - the ~bove - mentioli)ed Candle, and I ceo-us which~ is done here as a one man duet. Very nice. B~W. �Rich, Charlie Ventura & Howard McGhee. These tracks are long, especially considering the date, with the recording time running from seven to fifteen minutes. As usual with J.A.T.P., just about everyone solos on each tune. There's some excellent soloing here from some of the greats, and the sound quality really isn't bad considering the year and the circumstances. Anyone interested in the music of BILLIE HOLIDAY should definitely check out STORMY BLUES (VE2-2515). The three sessions were done back in '54 & '55 in seven and eight piece settings featuring such people as Chico Hamilton, Barney Kessel, Billy Bauer, Cozy Cole, Benny Carter, Harry Edison, etc. Many fine tracks are presented in this set, Willow Weep For Me, Stormy Blues, Come Rain or Come Shine, Prelude to a Kiss and many more. The instrumentalists are exceptioanl -check out I Gotta Right toSingthe Blues as one example. The previous issues of this music were on Verve albums 8099, 8302, 8026 & 8096. An important addition to a Billie Holiday collection. SIXTEEN MEN SWINGING (VE2-2517) comes from COUNT BASIE, as the last of this month's release. The Count, on both piano and organ, leads his big band for two recording dates done in 1953 & 1954. This is dance music, thus various tempos are done to accommodate the dance steps of the time. You'd really have to be able to move to dance to some of these tunes, such as the title track composed by Ernie Wilkins. Thad Jones, Joe Newman, Marshall Royal, Wilkins, Frank Wess, Frank Foster and a host of others are in the bands. More Verve twofers are anxiously awaited. Great music, pressings and packaging. B.W. PAT LaBARBERA- PASS IT ON - PMR-009 The growing number of alumni of the Elvin Jones group, and current members, seem to possess at least one common quality; integrity of style .. By this I mean you can hear the influences upon their style but they interpret the music in an individual and sincere manner. Thus is the case with tenor and soprano saxophonist/flutist PAT LaBARBERA on his first solo effort, Pass It On. You may notice a resemblance in the fiery outbursts to a young tenorplayerwhohas also been associated with Elvin, Steve Grossman. It is not, however, an imitation of anyone. LaBarbera can become reflective and tender as he does on the ballad Little Lady and boil to a raging inferno on Up Loose; or take the song out as with Cellar Muse. His brother Joe LaBarbera, a different breed of musician having had a long and financially prosperous association with Chuck Mangione, reveals considerable drumming skill and versati I ity offering appropriate compliment to Pat. They work well together. The experience of Gene Perla gives his bass playing a unifying effect throughout the album. Two pianists, Don Thompson (who seems to be in great demand for his bass playing as well) and Richard Beirach on side one complete the well-balanced unit. J.H. BARNEY KESSEL -SOARING- CONCORD 33 Oklahoma born guitarist Barney Kessel is one of the great jazz guitarists along with Tal Farlow, Kenny Burrell, Jim Hall, etc. (See Farlow review in this issue). Fortunately for guitar afficiandos his work has been well documented on Concord,_ Contemporary and other labels. Soaring is another superb Kessel recording in a comfortable trio format·with bassist Monty Budwig and drummer Jake Hannah. The program is ballads, taken at all tempos You'll get doses of Kessel's typical bursts of chords and singl,_note prowess utilizing open spaces and lightning fast runs Barney is a guitarist to check out. This album is a good place to start, or a good addition to an alr:eady existing Kess<>l collection. And - its well recorded. B.W. shorts GINSENG WOMAN (Columbia 34421) from ERIC GALE supplies a mixture of musical styles. There's some decent R & B with Grover Washington, Jr. and others, but you've got to be wi II ing to accept some raggae and vocal backgrounds along with it. A similar effort which is even more a potpourri is by EDDIE HARRIS titled HOW CAN YOU LIVE LIKE THAT (Atlantic 1698). Mr. Harris mixes it up with soul and blues vocals, raggae, disco and Latin along with some tracks of cookin' quintet and big band jazz. You say you like all kinds of music? LOUIS ARMSTRONG is heard with the DUKES OF DIXIELAND on GREAT ALTERNATIVES (Chiaroscuro 2003). This one's a lot of fun and a must for all Dixieland fans. The Dukes obviously enjoyed the meeting. The latest from RETURN TO FOREVER is a bit of a change. MUSICMAGIC (Columbia 34682) does away with RTF's energized electronic laden sound and adds vocals by Gayle Moran & Stanley Clarke. A horn section is added as well and Chick plays his usual assortment of synthesizers and pianos. This sounds a lot I ike hip progressive rock much of the time. It's an improvement over the I at est RTF records as their sound was becoming rather stale. The vocals could be better though. Joe Farrell solos on saxes and flute, Gerry Brown replaces Lenny White on drums. ED BICKERT - uED BICKERT" - PMR-010 Jazz guitarists seem to be gaining an affection for the night clubs of Toronto, Ontario. Two I ive recording sessions going on in the same month, one at the Bourbon Street featuring Buffalo-born guitarist Jim Hall and this one at George's, have turned into albums. The session at George's yielded Ed Bickert's latest release entitled Ed Bickert, recorded in June of 1975. It is both relaxing and elegant. Comparisons can readily be made between the styles of Bickert and Hall in tone and phrasing but this is not to say Bickert imitates. His execution is clean without being flashy and his low-key but evocative solos coupled with the well-knit rapport of this trio will undoubtedly win new fans for this relatively unknown guitarist. Bassist Don Thompson (who is also accomplished on piano and vibes) and drummer Ter.ry Clarke, both formerly members of the John Handy Quintet, compliment Bickert through ballads like Where Are You as well as the lightly swinging It Might As Well Be Spring. J.H. MORE VERVE TWOFERS Polydor records has come up with four more two record sets from the Verve catalogue. This particular venture, under the direction of Robt. Hurwitz, has got to be the best thing that happened to jazz in 1976. Some vintage LESTER YOUNG comes to us under the title of LESTER SWINGS (VE-2-2516) offering four fine sessions recorded in '50 & '51. Nat King Cole is at the piano for a bassless trio date, along with Buddy Rich, which produced the first eight cuts. Five more present Pres with the st'rong accompaniment of Hank Jones, Ray Brown & Rich. MJQ pianist John Lewis takes over for the two remaining quartet dates for the last seventeen cuts. This music, originally released on four Verve discs, should be heard by anyone who either missed the records first time around, or is interested in the history of tenor sax. The reigning tenor king Dexter Gordon was himself very strongly influenced by Lester Young. Lester is back again on JAZZ AT THE PHILHARMONIC/ BIRD & PRES: THE '46 CONCERTS (VE2-2518). Nine tracks are heard here, taken from 1946 concerts held in Los Angeles as part of Norman Granz' J.A.T.P. series. Pres is heard on all the tunes; Bird ks on all but twQ. Some of the other musidans present were !Dizzy Gillespie': Coleman Hawkins~ Buddy riew explorations 10 paul smith RASHIED All - LEROY JENKINS -SWIFT ARE THE WINDS OF LIFE- SURVIVAL-112 LeRoy Jenkins is the Worlds Greatest lmprovi"ing Violinist. His mode of operat1on i<; similar to that of the late Albert Ayler. He states a head, or m<it1f, and goes about improvising on all of the possibilities of tt'lat particular hnad. He leaves little or nothing to be uncovered. He improvises on its melody and rhythm until they are extended to their limit'> bringing about multiple rhythms and counter melodies to work with. Rashied Al1 is a Master Drummer and last drummer to work with the late John Coltrane. AI i is always at hi'> best in the duet situation (check out his duet's with John Coltrane and Frank Lowe) and he is definitely up for this encounter with Jenkins. "It'-, For You" features some astonishing brush work by Ali, full of imagination, taken at a rather fast tempo while Jenkins moves along at a slower pace .. By the way Ali interacts with what Jenkins is doing h•.· sort of covers up what's �- I' happening with tlw counter t<>mpos. The concept works very well. On The Stump Jenkins runs the head and from ther" it's AI i' s mus i ca I showcase. This tJ rne he attac~ s the hnad and only after a thorough investigation and dichotomy br<>akdown does he rel1r~quish it once again to Jenkif's. Air's drummi"g on this p1ece is extremely musical Jenkin's opf·ns Swift Are The Winds of Life with the most folk like melody of the set. Ali's drums dance to Jenkin<; melody. You begin to dance with sounds of the violin and drums Then you're swept off to another pi ane and there are wonderful forgotten unseen beings there. They dance with you, everything is simple and very beautiful. You hate to leave but know you must for the time being as Jenkins and AI i bring you home. The Past is high en:,rgy sustaired full of imagination as are all of the other tunes on this album. A very f•ne alhum by two Giant's. P.S HAMlET BLUIETT - ENDANGERED SPECIES- INDIA NAVIGATION - 1025 DAVID MURRAY - FLOWERS FOR ALBERT - INDIA NAVIGATION - 1026 Both of these Albums were reconJ0d in June of last yeJr at Joe Lee Wilsons' Ladies Fort in N.Y.l. I've been told .it's one of the most happening places in the village. B luiett' s date was recorded a few days earlier than Murray's and his side men are impre,.sive, OlvDara- trumpet, Buff3lr/s Jun1e Booth- bass, Phill1p Wilson -drums(the original drummer with the Art Ensemble of Ch1cago.) ancl one of the better percussionist around, Jumma Santcs. Bluiett is another of the fine music1ans to come out of the BAG (Black Art1c;t Group of St. Louis) organization (now defunct) and he l1kemost of BAG's other members are now based in the apple. He also has been a member of the Charles Mingus group. That in itself is some indication of the high caliber of musicianship Bluiett is capable of, Mingus isaperfection1stwhodemandsnothing less than excellence from side men. As for the music here I was a little disappointed. not that the music is poor, it's just that I expected more since I've heard so much very good music from these musicians in the past. Bluiett's playing is reserved most of the time, whether on baritone or flute and rather uninspired. The samething can be said of Dara. There is however some excellent exchange between them in spots. Santos gets in some nice subtle balaton playing but noth1ng more. Booth plays a solid bass, but he'c; not always audible, nor is the rest of the rhythm seCtion. 1 Wi Ison gets off, he's one of the truly great drummers to progress in the last decade. : Murray's set is the more rewarding of the two datEJs for me. Dara ismuchmoreresponsivetothestatements of Marray. They share their thoughts both having a lot to say. David Murray has performed with Sunny Murray's chan~e of the Century Orchestra. Albert Ayler is the main influence I hear in Murray's tenor sound. It is nota copying of it, but more an enhancement of the original essence. I think the beautiful spirit would I ike Murray's dedication to him "Flowers for Albert." Everyone plays with reverence and Murray captures the noble sentimentality Ayler often displayed in his music. "Roscoe" is a duet between the saxophonist and drummer, Wilson, dedicated to Roscoe Mitchell. Here again Murray captures the Kaleidoscopic tones of the great Chicago saxophonist less some of Mitchell's intensity. Wilson's drums are sensit1ve, intelligent,andflowalongeffr:lrtlessly as an undercurrent to Murray's saxophone. There's also a duet between bassist Fred Hopkins and Murray "Ballad for a Decomposed Beauty". A slow to medium tempo, thought evoking tune, a collage of sound textures rise from Hopkins fiddle, bow and f1ngers. Murray inhales, digests and feE>ds back question and answers for Hopkins to deal with. The other tune on the album is for the quartet. Here as throughout the concert the musicians are communicating on a high level amongst themselves and it's there for audience to share and experience. P.S. JOSEPH BOWIE & OLIVER LAKE - SACKVILLE-2010 Joseph Bowie is the badd young brother not long gone from the mean crossroads town of St. Louis. A town known GREAT JAZZ II PAilO-RCI ncn LOWEST PRICES IN TOWN! LARGEST SELECTION OF JAZZ IN THE WORLD! 1800 MAIN at LAFAYETTE SUN thruWED 10am-10pm :J'HURS, FRI & S~ 10am- mid~ight �for its tough funky gut- bucketers and musicians of excnllence on all levels. Bowie has paid h1s St. Loui5 due<: and was a standout member of BAG (Black Art1st Group of St. Louis). Now departed from the frontier town which would nnt allnw the BAG organization to survive, (don't get overly ups<>t St. Louians. More than ninety-percent of America is GUll_ TY of suppressing creativity and genius) Bowie has leaped in~o the world creative music community. Feet firmly planted m h1s space, trombone at the ready, he is about Universal Justice. He will not be denied. Bowie breathes into his horn and multiple blasts against the unnatural cruelty and inhumanity of the land are emitted. Short, immediately necessary articulations are sounded along with long haunting phrases which penetrato "~fie soul. The trombonist is not alone on the quest. Ol1ver Lake. a brother BAG member is totally committed. He also composer! all of the music performed by the duo on this recording Lake is a master dramatist, with reeds or flute he gives th<> worlrl his presentation of truth and fiction that range from a tinge of humor to the tragic. The singular excellence of these two men is displayed in abundance, but it is the collective beauty and empathy that crosses over into the world of pure mag1c wh1ch is the ultimate strength of this music. Much thanks to the people at Sackville for documenting this event which took place at the "A" space in Toronto last April. p S. son of jazz bill besecker It is in turn-of-the-century New Orleans where "jazz" is said to have been born, the offspring of a variety of black folk musics and the 12 tone Western harmonic system. For years it was a novelty, and Americans from Chicago to New York to Orleans swarmed to hear the music, idolize the musicians and experience in emotional terms this release from the growing industrial pressures effecting our society which this mt~sic provided. Not \'O many years p•assed before this novelty wdre off, and while so'me continued to I isten, most did ndt. The 12 music however could not survive without an audience and readily found one across the Atlantic. . Jazz "fever" spread I ike fire through the European continent, possibly because it was so "foreign" it never could have been born there of its own accord. Yet, there was a familiar nerve struck inthealreadyapparentexistential rebellion to industrial society already a concern of European art forms. Predictably following this crest of adulation came imitation, and soon the now maturing American jazz form became a parent to an offspring which shared seed with classical traditions and still differing folk traditions. The new child's attempts at jazz were little but mirrored imitations, but despite the lack of attention given thi~ young music the musicians were still eager to learn and to 1dent1fy with the American music and the socio-economic conditions from which that music drew its energy. So the Europeans bore no restraint nor extravagance at the financial and motivational support it offered to the touring and somet1mes reloca~mg Americans I ike Sidney Bechet, Benny Carter, Coleman Hawkms, etc. After a time of learning, and also a time of isolation in which the ignored European jazz musician sought to i~depe~d­ ently develop his own style of expression (that same 1solat1on was sought and found by ignored Americans in Europe where they have also developed new styles of expression outside the American commercial market - Dexter Gordon, Ornette Coleman and Don Cherry are but a few examples), the fruits of his labor have become apparent. New styles, as varied as the folk traditions that underly them, but all hinging on the richness of the Western classical tradition and the expression of an intellectual conflict with existence and reality, have evolved. This sane of American jazz wi II meet "deaf ears" on th~se who may seek to "I imit" definitions and I ikewise the evolution of a world-wide expressive tool, but to borrow a comment by Italian record producer Aida Sinesio, "If jazz is a form of artistic expression, it musn't have any kind of limit, for art and culture are everybody's own." Aldo Sinesio is the producer of a series of jazz albums on Horo records, featuring the talents of world wide musicians. The series of 33 albums is entitled Jazz A Confronto and the 31st of that series features the talent of Italian born bassist Roberto Della Grotta. As composer and leader of the date, Roberto does not allow his bass to dominate the recording. He contrasts impressionistic bowing on the high registers and tastefully controlled solos .with .forceful walking patte.rns through the subtly varying t1me Signatures of h1s melod1~s. Influences from varying sources are heard occasionally, but as a whole the record bears no great debt to any American. Outstanding are the sidemen/soloists who become more impressive on each I istening and I'm sure wi II find their way into American studios before too long - Antonello Sal1s, piano; Giancarlo Maurino, saxes; Marzio Zoffoli, guitar and flute; and Mario Marnelli, drums. I'm sure some of you who follow .the import mar~et have at least heard of the Frank Wright Quartet's live French recording, Lasi Polka in Nancy? (Sun/Center of the World Productions CW002). The title alone is enough to arouse anyones curiousity. The music wi II serve as no anti-c! imax either. All American expatriates - Rev. Frank Wright on tenor, pianist Bobby Few, bassist Alan Silva, an.d Muhammad. A!i on percussion offer the avant-garde at 1ts best. Begmnmg w1th a composition by Bobby Few entitled "Winter Echoes", the record blasts with tumultuously rising and falling chords not unidentifiable with the current WNY winter. "Guanna Dance" sounds collectively improvised except for the opening statement by credited composer Alan Silva. Each musician is featured in lengthy solos here. But the pride and joy of the album has to be Few's "Doing the Polka" which despite the fact that it wouldn't be the hit of many WNY weddings, it could serve as a satirical pioneer effort for a new form of .improv.ised music, similar in purpose to Anthony Braxton's 1mprov1sed parade music on his recent Arista release Creative Orchestra Music 1976. All that is lacking is an accordian. An anthology of the pianist/bandleader Jef Gilson, is available in a 4 record series on Palm Records, entitled 1945/1975 Anthology Jef Gilson, two of which I've heard and enjoyed: The Big Band Era (Palm 20) and The Beginning of Jean-L~c Panty (Palm 19). These recordings cover the early to m1d '60's in French Jazz. Panty has his own. album here because Gilson i.s the man who gave his violin its first major oppor- �tunity to play jazz. On this album he is featured as both soloist in Gilson's big band, and even as a clarinet sideman on one recording. The tunes are dated, but should interestPonty fans. The Big Bnad ... is dated likewise, but in sections has been redubbed with 1975 solos bringing the album successfully up to the moment.. It is an excellent example of how arrangements have not changed so radically in the past 10 years in the commercially oriented big band. Finally, for this debut column, is a small but exciting recording by a brass band from the Netherlands who call themselves the "Orkest De Boventoon". They've released a 33rpm single entitled simply De Boventoon (BVHAAST 004) featuring two compositions played by their 20 piece band .. The march by Willem Van Manen, "Ambling March" is the more swinging of the two, but the power behind these young musicians and the chasmic sound they create are reminiscent of Braxton and Mantler efforts with larger bands which make both tunes memorable in their own way. The haunting melody of "Een BIM slaatje" I ingers long after the initial I istening. The records I've dealt with this month were obtained through Innovative Records/P .0. Box 518/Hempstead, NY 11550. Write them for a free catalog, telling them BJR and the Prodigal Son sent you. That reminds me also to remind you to tune in to The Prodigal Son on Tuesday nights at 11 PM on WBF0-88.7 FM for selections from the above and many other albums by members of the European community. See you next month. Bill Besecker, the Prodigal Son blues/ by ron Weinstock After a ~onth that brought Muddy Waters, Bobby Bland and B.B. King legendary blues artist, Robert Jr. Lockwood, will be appeari g at.the University of Buffalo Folk Festival Friday evening, Ap i I 15. (The festival runs through Sunday the 17th). Lockwood, tlh& stepson of Mississippi bluesman Robert Johnson has played and recorded with many of the greats such as Sonny Boy Wi II iamson (with whom he appeared on the famous King Biscuit Tit' e radio program in the early 1940s). Little Walter, Muddy W ters, Eddie Boyd, Willie Mabon, Otis Spann and Roosevelt Sykes. One of the blues finest guitarists, his fluid chord-work should also appeal to jazz enthusiasts. He has influenced many other guitarists including B.B. King and the late Fre~di;;King. A number of new albums came my way this month documenting the less well known of America's folk'traditions. Queen Ida and the Bon Temps Band is heard on Zydeco (GNP Crescendo GNPS 2101) a fine collection of musical gumbo. Queen Ida is the only zydeco artist to have an album other than Clifton Chenier. Playing a push-pull diatonic accordian (as opposed to a piano accordian) behind her brother AI Lewis' guitar and vocals, a set of very relaxed enjoyable music results. The music is more traditional cajun though about half the album is in a bluesy frame. Very infectious. Live recordings document blues from Fort Worth/Dallas and Saint Louis. Robert Ealey and His Five Careless Lovers Live at the New Blue Bird Nite Club is an infectious and rocking set recorded in Fort Worth (Blue Royal BR 300) as singer Ealey, tough keyboard player Good Rocking Ralph and a mostly young white band go through aseriesofblues and boogie. Highlights include a nice "Sweet Sixteen" "Black Night" and a hot "Further on Up the Road." Good party music. Clayton Love, once pianist for Ike Turner, turns in a bluesy, if somewhat short, set, Mississippi Music, Mud& Misery (Flash Back Records), recorded at the Carousel in St. Louis. Love, a very mellow singer and strong pianist, plays as producer Sid Wallace raps for over seven minutes about Mississippi and the blues and the various people from there (emphasizing his (Sid Wallace's) home town of Tunica. This goes into a nice rocking blues "Big Question." A fast "Worried Life Blues" opens the second side which also includes a really nice "St. L,ouis Blues" and a nice treatment o~ "Tore Up", an Ike Turner song that Otis Rush has also recorded. "Key to the Highway" closes with some harp backing. The only reservation of this album is the playing time, as the music is fine. Barrelhouse R.ecords has a small catalog of blues and rockabi lly records. Of the three latest releases one is a sure winner, the other two are plagued by some recording prob-lems. Bring Me Another Half a Pint (BH 09) features some of the lesser known Chicago harp players. Drummer Kansas City Red is heard with harpist Nate Armstrong tofineadvantagr>on "Monr>y Tree" and sounds like Robert Jr. Lockwood on Lockwood's tune "Mean Black Spider." Nate Armstrong's "Red Light Boogie" is a fine chromomatic harp feature. Easy Baby has gentle vocal and strong harp on his "Good Morning Mr. Blues." Sonny Boy McGhee turns in two strong performances, sounding very much. l1ke his mentor John Lee Wi II iamson. Earl Payton's tracks are' pleasant but recorded when he had a broken arm and don't allow him to show his ability. Billy Branch turns in an assured vocal on "Hootchie Kootchie Man" and brilliant harp work recalling Walter Horton. Billy currently travels with Willie Dixon and is a name to remember. Steve Wisner recorded these sides and the sound is good. Special note must be made of Walter 'Big Red' Smith's guitar work. Steve also produced the fine Good Rockin' Charles album on his own Mr. Blues label. George Paulus own productions for his lable, Blind Joe Hill's Boogie in the Dark (BH-08) and Joe.Carter's Mean and Evil Blues (BH-07) feature what is interesting music, but the vocals of both are poorly recorded making it difficult to estimate their abi I it ies as vocalist. B I ind Joe Hi II, a one-man band from Akron, Ohio is less affected as his abilities in the Jimmy Reed mode are well preserved. Through a wide range of material, "Boogie in the Dark", "Tin Pan Alley" "Hideaway" "Man ish Boy", "Sweet Home Chicago" and "She Gotta Go" he proves adept on harp guitar and keeps the beat with bass drum and high hat cymbal. As 'Mit' Schuller's liner notes claim, Joe Hill is an artist of 'incredible singularity'! Joe Carter is a fineslideguitaristwhocan recall both early Muddy Waters and Elmore James: With just Big Red's second guitar and drummer Johnny Jun ious he produces rocking music. I can't make any judgment on his singing because of its distorted character, though on the Elmore James tunes "I'm Worried", "It Hurts Me Too" "Shake Your Moneymaker" and "Dust My Broom" a certain enthusiasm is apparent. A nice treatment of Robert Jr. Lockwood's "Take a Little Walk With Me" is also included. Only one tune.really falls apart and that is Muddy's "Blow Wind Blow". Despite its flaws an enjoyable set that makes one wish more care had been shown to the details. If George Paulus is trying to get a down home sound he perhaps succeeded too much. I have seen the Queen Ida in local stores, the others I or- Creative Artists Program Service & the U. B. Jazz Club present in concert plus the Nasara Abadey Modern Percussion Ensemble Thurs., Apri114 - 8PM Fillmore Room/Norton Hall- U. B. $1.50/students $ 2 I non students 131-------------------------..1 Tickets available at Norton ticket office �dered from Living Blues, 2615 N. Wilton Ave., Chicago, Ill. 60614, (Southern Record Sales, 42 North Lake Ave .. Pasadena, Calif. 91101 can also supply). The new Living Blues should be available when you read this and includes an obituary article on Freddie King (with interviews) and big feature on Son House; Willie Dixon currently has a column and extensive revinws and news is also included. Single copies now cost $1.00 and a six issue (1 year) subscription runs $5.50. Serious blues fans should check it out if you haven't already. Finally, WBFO will be bringing in Jimmy Dawkins to the Tralfamadore Cafe the last weekend in May (May 27-29). Jimmy is the most original guitarist to emerge in the blues in the past 10 years and will be bringing some tough West Side Chicago Blues to Buffalo. More details next month. Mon.-Fri. Midnight-3 am "Round Midn1ght" Mon.: Paul Wandell Tues.: Steve Rosenthal Wed.: Vincent Jones Thurs.: Paul Meyer Fri.: Babe Barlow Saturday 3am-8am "Pulse" -Vincent Jones Sam-Noon "Freedom Flight"- Ed Smith Midnight-6am "Opis in Modern Music: Jazz by Request - Pres Freeland Sunday: Noon-two "Jazz Contours" -Bill Wahl llpm-midnight Big Bands w/Bob Rossberg Midnight-3am "Roots, Rhythm and Sound"- Dave Jacobs 3am-8am "Progressively Yours" - Harry Schuster radio CANADA - SELECTED LISTINGS CKTB- 97.7 FM J. is for Jazz w/Jack Cole- every Sunday night 8-10 PM. CKQS- 94.9 FM Music For Night People w/Paul Fisher - Mon. thru Sat. midnight-3 AM. From bebop to now w/BJR's Hal Hill - 1st 3 Sat. nights each month 10-Mid. Don's Discs w/Don Keele Iast Saturday. CJRT - 91.1 FM Jazz Scene w/Ted O'Reilly Mon.-Fri. 10PM-1AM, Sat. 6 AM - Noon, Jazz in Concert w/O'Reilly Sat. 7-10 PM. CFKM - 99.9 FM All That Jazz w/Phi I McKellar Sun. 10 PM - 6 AM. WEBR- 97.0 AM WNED - 94.5 FM Jazz in the Night - every night 7-midnight w/AI Wallack. WBLK- 94 FM The Sound of Jazz w/Carroll Hardy - Sat. nights 10 PM 1 AM. WADV- 106 FM Jazz Nitely w/Geo. Beck - Mon.-Fri. 11:30- 12:30. Jazz w/Joe Vendetti Sun. 8-12 PM. WBFO 88.7 FM Mon.-Fri. Noon-Two "Spirits Known and Unknown" Mon.-Fri. llpm-Midnight Mon. "Modern Jazz: The first 20 Year" - Dick Judelson Tues. "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" - Paul Smith Thurs. "In Concert" - Ed Smith Fri. "The Hot and The Blue Art" - Dave Benders wlhat'~ buffalo area Vieni-Su - West at Breckenridge - Jaiz Tues., Fri. and Sat. nights. Tralfamadore Cafe- 2610 Main at Fillmore- 836-9678- Jazz Wed. thru Sun. nights (see ad) Roy Haynes Hip Ensemble April 22, 23 & 24 (see ad Pg. 15). Pierce Arrow - Elmwood at Gt. Arrow - Jon Weiss Quartet Thursday nights. Statler Hi Iton - Downtown Room - 856-1000- Name Jazz Tues. thru Sun. Gerry Niewood & Timepiece April 5-17. (see ad) Holiday Inn - Delaware & North - Jazz Friday & Saturday nights. Odysey- 1005 Tonawanda St. -Jazz Sat. nights. Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Mar.ina - Niagara St. -Dixieland jazz every.Friday and Saturday night. Fieldstone Manor (Lockport)- Dixielandw/Will Alger on weekends. African Cultural Center - 350 Masten Ave. - Nasara Abadey Apri I 25, Robt. Jordan Apri I 10. Sunday Series- begins at 6 PM. Birthright - in concert Thurs., April 14 at Fillmore Room, Norton Hall U.B. also - Nasara Abadey Modern Percussion Ensemble music begins at 8 PM (see ad) The Jazz Club - Niagara Falls Blvd. just north of BrightonJazz Friday & Saturday nights. Weather Report - in concert - See ad. Chuck Mangione - in concert - See ad. Studio 167/Cold Spring Warehouse - 167 Leroy at FillmoreThurs., April 21, 9:00PM Elliott Sharp, guitars & woodwinds solos & duets with tape; Friday, April29, 9:00PM- Jon Weiss Quartet for further information contact 856-8469. APRIL TRALFEVENTS JAZZ Wed. thru Sat. Jam Session- Sun. 9-1 Concert of the Month: Roy Haynes Hip Ensemble/April22,23&24 ACOUSTIC Tuesdays Open Mic-Mon. Live BroadcastWBFO/April26 w/ Local Acoustic Musicians MUSIC HOURS: Mon.-Thurs. 9:30-1:30 Fri. & Sat. 10-2 Sun. 9-1 FULL MENUE SERVED "TIL LATE tralfamadore cafe 2610 main at fillmore 836-9678 lhappenlng 14 TORONTO Yellowfingers - 1280 Bay St. - The best in Jazz. See ad. The Music Gallery - 30 St. Patrick Street, Toronto. Every Tuesday and Friday concerts by CCMC with Casey Sokol, Michael Snow, Bi II Smith, Allan Mattes, Nobuo Kubota, Larry Dubin, Graham Coughtry, Peter Anson. Call 368-5975 for further information. Executive Restaurant - 254 Egl inton Ave., East - Saturdays 2-6 PM - John Dela Trio. Inn on the Park - Leslie & Egl inton Ave., East - Saturday matinees - various groups. . Grossman's Tavern - 379 Spadina Ave. -Fridays and Saturdays from 8 pm. Saturdays 3 pm., Kid Bastiens Camelia Jazz Band �tralfjazz presents the incredible drummer & his explosive quintet/memories of the Revilot days Featuring Hannibal Marvin Peterson on Trumpet APRIL 22, 23 & 24 ~~~~9s-~r. 10 - 2 TICKETS/ $5 available at: Tralfamadore, Norton Hall, Record Runner, Festival, Amherst Tickets Unlimited (Eastern Hills Mall). ROCHESTER: Village Record Shop/ 699 Park Ave. TORONTO: Sam the Record Man/Sherway Gardens Mall no minimum ·low prices· no reserved seats ~ Tralfamadore Cafe 2610 main street at fillmore 836-9678 NEXT: SAM RIVERS QUINTET I May 20,21 & 22 w/David Holland, Barry Altschul, Ted Dunbar & Warren Smith Tralfjazz Is a co-operative effort by the Tralfamodore Cafe & Bu.ffal.o Jazz Report. presented for the stah• of the art. lliiiliiiii~===~-~----=---~-----=---=-==--=--=--==-=-----==--=======-==--=-==----===-=-------~~------~-~-- ~--~- -~~-- �Bourbon Street - 1~0 Queen St., W. -Barney Kessel Apri I 4-16; Pepper Adams Aprr I 18-30. George's Spaghetti House - 290 Dundas St. Ted Moses April 11-16, Ed Bickert 18-23, Moe Koffman 25-30. Captains Table- 2475 Lake Shore Rd., W. at Bronte Rd. -good jazz w/Jazz Courier Sat. afternoon from 2 PM. No admission, musicians welcome to sit in. Plaza Two Hotel - Greenery Lounge - Yonge/Bioor Square Claude Jones Mon. thru Sun. 8-12 PM. Chelsea Bun - Chelsea Inn, 33 Gerrard St., W. -pianist John Arpin Mon. thru Sat. 9-1. Malloney' s, 85 Grenvi lie Street, Saturday Afternoon - Climax Jaxzz Band. Garden Party- 82 Avenue Road- Joel Shulman (ne: Joe Saye) Sunday session with guests, phone 961-1114 for information. Albert's Hall, The Brunswick, 481 Bloor St., West- MondayWednesday - Kid Bastien, Thursday-Saturday - Jim Abercrombie. · Chez Moi - 30 Hayden St. - Saturday Afternoon - Si lverleaf Jazzmen. ROCHESTER Monticello - Bob Durst (ragtime pianist) March 28 thru April 30. Red Creek - Apri I 6 thru 9 NRBQ, Apri I 27 thru May 1 Buddy Guy and Junior Wells. Eastman School of Music - Apri I 8th, 8 PM Eastman Theater Bill Evans Trio. Admission charged. April25thEastmanTheater -Eastman Jazz Ensemble and the New Jaiz Ensemble. Free. University of Rochester - Apri I 7, 8 PM - the River Campus Jazz Ensemble at Wilson Commons. R.I.T. -April 15 Eastman Jazz Ensemble. J.J. L9unge - Apri I 1,2, 3 and 8, 9, 10 Spider Martin. SYRACUSE Spirit of 35 - Dave Hanlon Funky Jazz Band every Friday and Saturday night. ~~IIII~W~IIIr«m~.w ]a1~~ Toronto's Finest Jazz 1280 BAY STREET (at Yorkville) TORONTO I 964-1984 APRIL EARLY EVENING DUETS NIGHTLY 6to8pm April 18- 23 Bernie Si:mensky w Dave Field April 25-30 Bruce Harvey w Kieren Overs 9pm to 1arn April 4-9 Herbie Spanier Quartet April 11-16 Ed Bickert Trio April 18-23 Pat LaBarera Quartet April 25- 30 Eugene Amaro Quartet AFTER HOURS SUNDAY Fri. & Sat. 1:30am to 4am April 8 & 9 Andy Krehm Quintet April 15 & 16 Dharma Song Apri I 22 & 23 Art De vi IIi ers April 29 & 30 Russ Little Quartet 6:30pm to 9:30pm Apri I 24 Ed Bickert Trio May 1 Sam Noto Quartet COMPLETE DINNERS & LIGHT SNACKS ALWAYS AVAILABLE I FULLY LICENSED TheGreat.e$t. JAZZ in the World 'Live' at the VVW~TVW~ *Gerry Niewood/ApriiS-17 * Earl "Fatha"Hines/ Aprii19-May 1 buffalo jazz report 1335 main st. buffalo, n.y.14209 u.s.a. PERIODICALS &. BINDERY LOCKWOOD MEMORIAL LIBRARY iS. U.H.Y .A. B. ;BUFFALO; NY 14214 return postage guarenteed ---·----- -------. -. SJ6 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4421 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 38 Date A point or period of time associated with an event in the lifecycle of the resource 4/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 38 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/1e858ac956710912e63180b113210010.pdf ecf47a6da79e29d753af5aab7538f9d9 PDF Text Text A!ljy I buff.alo ja~z teportJ · . .· ·. ...· ' litloe Turner Klaus Doldinger Gary Burton Eberhard Weber Two Generations · ofBrubeck 1 ML g may'77 \ q1') J ~ iuu~!: �Glenn was a critical and popular smash. Big Joe Turner and Lloyd Glenn are being brought to the Tralfamadore by Pub I ic Radio Station WBFO-FM as a benefit for the station. The concerts wi II launch I istener support week at WBFO al)d besides great music you wi II be helping WBFO to expand its service to the community and to continue improving its programming. As Benny Green has written "Joe Turner is one of the very few who sing the blues as though born to it." · · (Joe Turner quote from Paul Clinco's interview with him, Living Blues, Autumn, 1972) lig Joe Turner "Joe Turner can take the most innocuous song:and invest it with tremendous significance. He has a big, commanding voice w.hich has served as the inspiration for many singers, from J1mmy Witherspoon downwards, and it is interesting to observe that when rock-'n'-roll became popular during the nineteen-fifties Joe was able to stage a come-back without any alteration to his basic singing style." -Aiun Morgan in Jazz on Record The legendaJ:"y blues shouter, Big Joe Turner, will be coming to the Tralfamadore Cafe Friday through Sunday May 27 through 29 along with pianist Lloyd Glenn. Big Joe is perhaps the premier blues shouter and a major figure in the histories of blues, jazz and popular music. Lloyd Glenn if less known than Joe is a finepianistwhoseassociationwith T-Bone Walker and Lowell Fulson as well as his own recordings insure a place in blues and jazz history. Joe Turner was born in Kansas City, Missouri in 1911. He started singing professionally at the age of 14 and in the 1930s was associated with the late Pete Johnson, who spend his last years in Buffalo, at the Sunset Inn where Joe tended bar and sang and Pete tinkled on the ivories. In 1938 they were participants at the famed "Spirituals to Swing Concert" that John Hammond organized at Carnegie Hall. Later in 1938 Pete and Joe joined pianists Meade Lux Lewis and Albert Ammons at Cafe Society. Besides Joe's great singing the Cafe Society was headquarters of the three greatest boogie woogie piano players. Joe also started a recording career, that is still going strong, recording with Pete Hot Lips Page, Art Tatum and others. Joe sang with Count Basie, Any Kirk's Twelve Clouds of Joy with whom Mary Lou· Williams was playing piano, Duke Ellington, and Joe remembers that "I sang with Benny Goodman on the air when he had the Camel Hour, with Lionel Hampton and Teddy Wilson, and I sang with their trio." Joe continued to record in the forties and made sides for a variety of labels including National, Savoy, Swing Time, Aladdin and Imperial. People he worked with on those records include Pete Johnson, Albert Ammons, Russell Jacquet, Don Byas, Art Farmer and Fats Domino. In 1951 Joe was signed to Atlantic where his first session produced "Chains of Love" which earned Joe a gold record. With Atlantic Joe was a monster hit maker on the R'n'B charts with "Sweet Sixteen", "Honey Hush" "Shake .Rattle & Roll" (which Bill Haley would later cover). "Flip Flop & Fly" (with Elmore James' band) and "Corrine, Corrina" which Joe first did with Art Tatum. 1956 produced a reunion album with Pete Johnson Boss of the Blues which was aptly titled as they produced a great album of Kansas City Jazz and did new versions of "Roll 'Em Pete", "Cherry Red" amongst the tunes associated with Joe. Joe has continued to record and perform. The last few years he has sung with the Johnny otis Show and recorded several .excellent albums on Pablo. His late 1976 engagement at New York's Cookery with Lloyd Partial Joe Turner Qiscography Rock in' the Bl.ues .~ Atlantic Big Joe is Here - Atlantic Big Joe Rides Again- Atlantic Boss of the Blues - Atlantic Best of Joe Turner - Atlantic Joe Turner: His Greatest Recordings - Atlantic B I ues - Savoy Careless Love - Savoy Jump in' the Blues - Arhool ie (with Pete Johnson) Roll 'Em- Bluesway Super Black Blues - BluesTime (with T -Bone Walker and Otis Spann) · The Bosses - Pablo (with Count Basie) Meets the Trumpet Kings - Pablo (with Dizzy Gillespie, Clark Terry and Roy Eldridge ' Nobody in Mind -Pablo(withMiltJacksonand Roy Eldridge) THE BRUBECKS TO PLAY SHEA'S BUFFALO Dave Brubeck, one of the few jazz musicians that can honestly be called a "household word" will bring his three sons to the Shea's Buffalo Theater May 13. The band, known as Two Generations of Brubeck includes Dave on piano, with sons Darius/keyboards, Chris/electric bass and trombone, and Danny/drums. Brubeck disbanded his famous quartet with Paul Desmond in 1967, and has been touring regularly with his sons over the last few years. Their music spans contemporary jazz and that of Daves original band of over twenty ago. The date for a night with the Brubeck Family is Friday, May 13 at Shea's Buffalo, 646 Main St. Tickets are $7.50, 6.50, 5. & 4. Phone 847-0050 for more information. II~ haircutter 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store 2 MUSIC AT THE SHORELINE THE SHORE COFFEEHOUSE features live entertainment every other Saturday evening (May 7 & 21) from 8 to 12 PM at 200 Niagara Street (in the Shoreline Apartment complex). The coffeehouse provides the opportunity for musicians to perform in an open mike format and for artists and craftsmen to display or sell their works. Located on the West Side near City Hall, the coffeehouse serves Buffalo and provides a place for people to meet in the Downtown area. "The Shore" is always fi lied with many different styles of music, poetry, humor, and art. The atmosphere is dependent on those who participate and it is always friendly and accepting with people listening, singing, clapping, and performing together. Everyone is wei- �Spring Membership Week •' ... '' t. '' <' i WBFO presents Four evenings of outstanding music! Big Joe Turner "The Boss of the Blues" with Lloyd Glenn, piano Friday - Sunday, May 27 - 29, 9:30 pm $5 at door, no minimum, no reserved seats. Tralfamadore Cafe 2610 Main Street Dance & Concert ·C. Q.. Price Big Band C.Q. Price former Count Basie composer/arranger Monday, May 30, 9:30pm $3 per person/$5 per couple Statler Hilton at door Terrace Room Both events to benefit WBFO. For further information, call 831-5393. WBFO PUBLIC RADIO IN BUFFALO 88.7FM state university of new york at buffalo - --- - ----· - - - · ------ ---·-----·-------~-·~-- --· - - ------------------- -- --·----· -----~----·--------·- ------------ - - ------ - �for a two-week night club engagement by the Ramsey Lewis Quartet, the kind of gig that for Lewis is becoming a rarity. Speaking with Ramsey you get the decided impression he prefers the college circuit with its lucritive pay scale, short hours and easy tour schedule to the late hours and comparitively low pay scale of the night club scene. This date found Ramsey utilizing a pleasant mixture of heavy rhythm, funk, and jazz which has proven successful for him in the past and extends to his most recent albums. Overall,· it was an enjoyable performance. His current group includes Keith Howard/drums, Ron Harris/bass, Byron Gregory/ guitar, and a remarkable percussionist who also handles alto san, flute and vocals, Derf Reklaw Raheem. Ramsey's best moments were on the acoustic piano as opposed to his use of electronics. Further south on the coast of Florida in Miami, former Buffalonian Joe Rico seems to be up to his ears in jazz as you might expect. He operates his own spacious room called Joe Rico's Room booking big names likeMcCoyTyner,Phil Woods, Maynard Ferguson, Jack DeJohnette' s Directions featuring John Abercrombie and others on a regular basis, sometimes having two groups alternating during the same evening. Recently Buffalo's New Wave was featured at this oasis in an area otherwise thirsting for jazz. Rico also informed me he has a 3-hour-a-night jazz show on a Miami station which he engineers and announces right from his club. Simply by flicking a switch he can go "live" from his stage to the air whenever the spirit moves him. Good news for those who remember Joe Rico when he was actively involved in the jazz scene in Buffalo. J.H. come to relax and enjoy coffee, tea, and pastry. Admission and refreshments are free. Sponsored by "The Church in the Shore! ine". Night· May 12 GARY BURTON & EBERHARD WEBER TO PLAY BUFFALO ECM recording artist Gary Burton will bring his quartet to the Terrace Room of the Statler Hilton for a one night concert- Thursday, May 12. The concert will be presented by the BJR and friends as the monthly series of fine jazz presentations continues through the summer. The magnificent German acoustic bassist Eberhard Weber, another ECM artist, wi II be touring with the quartet when they play here. The band consists of Burton/vibes, Danny Gottlieb/ drums, Steve Swallow/electric bass and yetanother ECM artist - Pat Methany on guitar. BIG WEEKEND FOR BUFFALO May 12th to May 14th is a Jazz/Pop Weekend in Buffalo, including performances by Tony Bennett, Dave Brubeck, Mitch Miller, and Gary Burton. Thursday, May 12th the action is at the Statler Hilton with Gary Burton Quintet performing in the Hotel's Terrace Room, featuring bassist Eberhard Weber, sponsored by Buffalo Jazz Report and the Tralfamadore Cafe; and Jazz Guitarist Chari ie Byrd in the Hotel's Downtown Club. Friday, May 13th, singer Tony Bennett performs a Dinner/ Concert in the Statler's Golden Ballroom; Dave Brubeck will put on a concert up the block at the Shea's Buffalo Theatre; and Mitch Miller will be appearing with The Buffalo Philharmonic Orchestra at Kleinhans Music Hall. Saturday, there will be a Jazz Fest/Jam Session in the Statler's Rendezvous Room, sponsored by the Statler Hilton, and IMPROV Records, a joint venture of Tony Bennett and Statler owner Bill Hassett. The Jam will include Byrd, Marian McPartland Trio, Vic Dickenson, Herb Hall, Buddy Tate, Jimmy McPartland, and others, as yet unannounced. Eberhard Weber Burton, the extremely popular vibist who's been sweeping the polls recently, last appeared in Buffalo at the Buffalo State Jazz Festival three years ago - and he and his band stole the show. Eberhard Weber has appeared on many ECM recordings -three of his own and discs by Ralph Towner and Burton. This will be his first visit to Buffalo. The Statler's Terrace Room was chosen for it's size, acoustics, layout centralized location and air-conditioning. Every seat is a good seat. Seats wi II be set concert sty! e on the m~i n level, with tables (first come, first served) on the terraces. Draught beer and other drinks will be available at low prices if desired. Two extra-long sets will be heard-one price for the night. , Tickets are I imited to faci I itate a comfortable atmosphere so get them early. Also - advance tickets are cheaper. See the ad in this issueformoredetails. Dexter Gordon wil"l be the next one - S~nday, June 26. FLORIDA JAZZ NEWS Ramsey Lewis Plays Rare Club Date in Ft. Lauderdale/Joe Rico Alive and Well in Miami The Bachelor's Ill in Ft. Lauderdale, Fla. was the scene 4 CHUCK ISRAELS UNITED WITH BILL EVANS FOR AN EVENING by JEFFREY CYLKOWSKI The Bill Evans' Trio provided an expressive, prolific evening of Jazz, April 12 at the Eastman School of Music. Chuck lsraels, Bill's old colleague from 1961-66, now director of the National Jazz Ensemble, sat in for Eddie Gomez on bass. Eliot Zigmund, Bill's new drummer, completed the trio. Bill's music is lyrical, passionate, and completely personal. He was complimented by Chuck's beautiful embellishments and creative solos, for, as Bi II mentioned during the concert, the audience was I istening to "true improvisation" because Chuck had not played with him in 11 years. Eliot Zigmund's use of the inverted cymbal and his occasionally obtrusive playing detracted from Bill and Chuck's perfor- _ mance. A major portion of the program consisted of ballads, with the trio performing many old favorites such as My Foolish Heart, My Romance, and All Mine. An unforgettable segment of the concert was Bill's playing of Gershwin's piece, Summertime, a new addition to the trio's repertoire. Bi II and Chuck were bri II iant as they played around the motif throughout the tune. · Bill is technically flawless, emotionally stirring, and a master of the Jazz piano, with a unique style of his own. Every note he plays is extremely valuable, I ike those of the late John Coltrane. A memorable, worthwhile, and rare occasion was had by all those who attended this concert. We_ love you, Bill. ��John Hunt Speaks With Passport's Klaus Doldinger Passport Recently WBFO had the opportunity to talk by phone with Klaus Doldinger, leader and founder of the German jazz/rock group Passport. With his colorful German accent Klaus told us that Passport was formed in 1971 and has gone through various personnel changes. The newest members are Roy and Elmer Louis on guitar and percussion respectively. The other members of Passport have been the same since 1972: Wolfgang Schmidt on bass, Kristian Schultz on keyboards, Curt Cress on drums, and ~laus Doldinger on tenor and soprano sax, flute and electronic keyboards. HUNT: You incorporate both jazz and rock elements in your compositions. DOLDINGER: Well, not only jazz and rock but there.are other elements too. First of all, I had a classical education. When I was eleven years old I was on the piano, at fifteen the clarinet and saxophone and I studied composition and all you need to know to be a music director for conducting and so on. ~y e~perience with jazz made me want to learn everything m.cludmg folk lor~ and other ~lements: Our music has a very w1de range especially the Latm Amencan touch which is an important part. We were in Brazil on ourfirst South American tour in 1964. That tour and the one last year were very important parts of the whole story. HUNT: As a young musician in Europe did you ever have hopes of coming to America one day to perform? DOLDINGER: We did a tour in 1975 for seven weeks and that was really a very, very beautiful thing. We met many people and of course I never imagined that it would be possible one day to come over here and do such a bi~ tour like we did uALLIANCE z ~ en Steve Grossman/tenor sax Gene Perla/electric bass Don Alias/drums & congas PMR-013 A Monster on 6 in '75." I'm looking forward to another tour we' II probably make if our new album lguacu does well. HUNT: Let's talk a I ittle bit about lguacu. It has strong South American influences. Could you relate the story to us on how lguacu came about? DOLDINER: Part of it was recorded in Brazil and Rio de Janiero where we met several very, very good Brazilian per-· cussion players. One of them was Pedro Santos who plays most of the unusual percussion effects on the tunes like Bird of Paradise. It was of course important for the recording of this new album. Other parts were pre-recorded in Munich and we only did some over dubs in Rio. Altogetherthe whole thing was possible only because we did the Brazi I ian tour, otherwise we would have done a totally different album. HUNT: When can we look for a tourofthe United States by Passport? DOLDINGER: Well, that really will depend on how well our album will get over. The agencies, unfortunately, only watch, or seem to watch at least, the Billboard charts, the Cashbox charts and if you're in the top 100 or something like that everybody will be interested in having you do a tour, if not they are not interested. Like now, I am privately here on my own expense but to bring the whole band over here costs so much money. I have to rely on certain things so that the agency says, 'Okay we want those cats over here for a concert tour and we' II pay for the transport,' and so on. It makes a difference. HUNT: One of the things that always impressed me about you was how you moved into those jam sessions, the Doldinger Jubilee Concerts, with people I ike Brian Auger, Johnny Griffin and Les McCann. DOLDINER: Oh yes! Well, they have all been friends of · mine. Johnny Griffin I met for the first time in '63 and Brian Auger was one of the first rock musicians I ever played with. It was in '68 or something, we met and played together. My wish was to, once in awhile, bring certain people together I appreciate very much and I had pi ayed with and met before, so I did this. Also, especially Pete York the drummer who was with Spencer Davis and Stevie Winwood before. It was really fun. Everybody I iked it very much. The second tour was with Les McCann, Phi II ip Catherine and Buddy Guy. That was g.reat fun. You know, nowadays it seems to me too many bands l1ve m a closet. They don't jam and its about time that once in awhile some people from different corners come together and make music. With Atlantic, there is a musician I I ike very much, Herbie Mann and he is planning to bring a band together for the summer season of different W.E.A. artists like David Sanborn Sonny Fortune and Steven Gadd, for instance.,Wewill try to get th1s proJect done to play for, lets say, 10 or 20 concerts which �would really be a gas. HUNT: I take it you'll be participating in this tour. 'DOLDINGER: I will of course! I always will do things like this because its as important as to havea band - to meet other musicians and to play with them. I do hope one day my group and I will be. able to come back and I'm sure it will happen. IL'hot the whole band, I can come alone and maybe play with an''American rhythm section. I wi II try any way. But for the moment I have to wait to see how our album will do. The summer jam sessions will first of all be in Europe .on different festivals like Montreux and maybe we'll get a thmg together for, November in the United States. q~a. Price Big Band That beautiful big band sound is alive and well. And best of a I)., it's right here in Buffalo. C.Q. Price and his 16 piece band m(lke music that ·reaches the rafters and keeps toes tapping. This highly melodic music is being preserved like fine architecture and enjoyed I ike rare wine. More than bringing back the big band era, the C.Q. Price band makes it new again. ,'Band leader C.Q. Price, who does the arrangements and plays alto sax, spent four years with Count Basie as composer, ar-ranger and alto sax man. Two of Price's many compositions ana arrangements which were recorded with Basie have recently been re-issued on the RCA (France) black and white label; "Don't You Want and Man Like Me" and "Shoutin' Blues". Before Basie, C.Q. Price was with Horace Henderson in New York and made a number of recordings, including "You Don't Mean Me No Good" and "Smooth Sailing." According to Nat Hentoff's book Jazz, "C.W.'s solo was outstanding." Eddie lnge, on tenor sax, had his first big name band experience with McKinney's Cotton Pickers, and his first recording (Victor) as arranger and clarinet solo in "You're Driving Me Crazy". lnge played with Don Redman more than eight years, and with Andy Kirk fo-r twelve years. He recorded with Victor, Decca, Brunswick, Bluebird and Variety labels. Albert Riding (Eggie), on trombone, was with the Roy All-Star Jazz Fest/Jam May14 Rendezvous Room Statler Hilton don't miss it ! details on pages 4 &14 Eldridge big band and Billy Eckstine through the 1940s and recorded with Decca. (Titles on Request). Leroy Johnson, trumpet, played with Charlie Mingus; Bill Mosny, trumpet, with Fats Waller; Prince Moss, vocalist, with Nat Towles. AI Tinney, piano, played with Hot Lips Page before the war, with Sydney De Paris afterward, and later. spent 15 years with the Jive Bombers. His friend, Charlie Parker, was in one of Tinney's early bands. Tinney has been with the Buffalo Jazz Ensemble for the past three years and is it's music director. Other members of the C.Q. Price big band are: James Young (Graff), tenor sax; Bob Crump, baritone sax; Art Anderson, alto sax; Max Thein, bass; Cubby Copland, drums; Stanley Day, trumpet; John Hargrave, trumpet; Maynard Wright, trombone; Willie Dorsey, trombone; Jimmie Legge, trombone; and Doristene Tydus, female vocalist with the band. C.O.'s band will perform at the Terrace Room, Statler on May 30 for WBFO. See the ad in this issue for details. Entire Blue Note stock -this month at Super Savings· Blue Note AT ALL 12 LOCATIONS! NOW AT ELMWOOD/ FOREST & SUMMIT PARK MALL SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZ~ i i I �ATTENTION WNED 94.5 JAZZ LISTENERS! Anyone who had been I i sten i ng to jazz every evening on WNED 94.5 FM should switch their dials to WEBR 97.0 AM. WNED recently switched over to classical programing, but the jazz can be heard on the station's AM sister station. AI Wallack presents the same fine music every night from 7-midnight, and Jack Sheehan takes over on weekends. SAM RIVERS DATES POSTPONED The presentation of the Sam Rivers Quintet scheduled for this month at the Tralfamadore has been post-poned. As things worked out, the cost of the band would have made ticket prices prohibitive due to the limited capacity of the club. Both the BJR and the Tralfamadore feel that our concerts should be presented at the lowest possible prices so that everyone can see all the music that comes to town if they desire. It just wasn't possible and we plan to bring Rivers to town in the future, but at this time we don't know when. EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS- Christine Engla Eber and Sabrina Mayberry Smith. PHOTOGRAPHER -Michael Ketter. CORRESPONDENTSRochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the pub I i sher. The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. Dexter Gordon "Here Comes the Bride", "Anything You Can Do I Can Do Better", etc. Woody follows Dexter's solos with superb statements of his own, spinning off from the inspiration he'd just received from the Titan. I remember Woody dane i ng aboutthe stag" as Gordon soloed, becoming psyched for his own round. The feeling spreads for Mathews turn as the trio takes off after Woody The program is made up of Gordon originals Backstairs, Fenja; Woody Shaw originals Little Red's Fantasy, InCase You Haven't Heard; a Mathews piece Let's Get Down & jazz standard 'Round Midnight, It's You or No One & Jimmy Heath's Gingerbread Boy (a hot rendition). There's room for stretching out on each cut - the shortest running 11 minutes. There's over 100 minutes of music on the discs; a healthy average of 25 per side. Dexter Gordon's recent mass popularity among U.S jazz fans IS well deserved. People are becoming interested in the roots, and Mr. Gordon's music is the most logical place to find them. There's a lot of history here, though-the music is very modern. Dexter's always been a modern player, and he shines in the company of the Woody Shaw-Louis Hayes band. Don't pass this album up. It's a must that will be an integral part of any jazz collection. Spend an evening at the Vanguard with Dexter Gordon a11d celebrate his homecoming. B.W. record~ DEXTER GORDON - HOMECOMING - COLUMBIA 34650 We are living at a time when there are so many jazz albums being released that it is impossible to keep up with the flow. Collectors are going crazy while spending themselves silly, DJ's are having a ball and reviewers are suffering from writer's cramp. Yet there hasn't been a significant increase in truly and unconditonally great albums in spite of the upsruge of quantity. But Dexter Gordon came back. One result of his U.S. tour in the last part of 1976 was this live session at New York's Vi II age Vanguard. I was fortunate enough to have been at the Vanguard the night all but one of the eight tunes on this tworecord set were recorded. After returning home, I mentioned in the January BJR that "unless a miracle comes along, the forthcoming live album should be the jazz record of '77." Here we are in May, and it sti II stands. Dexter, the reigning king of the tenor sax who's influenced other giants such as John Coltrane and Sonny Rollins, is joined by four excellent musicians for this set. TrumpeterWoodyShaw and drummer Louis Hayes have been leading a quintet which is one of the finest in modern jazz. Four-fifths of that band are here, with pianist Ronnie Mathews and bassist Stafford James. Mathews, James and Hayes are an impeccable, tight, firey rhythm section, propelling Gordon to exhillarating and highly imaginative heights. Dex tosses out his usual quotes from 8 DON MENZA- FIRST FLIGHT-CATALYST 7617 Fans of Buffalo's Don Menza will easily remember these early months of '77. First some great Menza was heard on Pete Magadini's album Polyrhythm. Now Dan's own disc comes along, with some fine blowing from the powerful saxophonist. Don is in the company of another Buffalonian Tom Azarello, and two others who were frequently seen in the area - trombonist Frank Rosol ino and pianist Frank Strazzeri (heard on one track) Nick Cerol i/drums and Alan Broadbent/piano plus two �percussionists round out the band. The burn.ing Samba De Rollins is a standout asMenzaandRosolinoshine (another version is on the Magadini album and all Menza freaks should own both). He continues on tenor for the ballad Magno I ia Rose, and for Apri I' s Fool -and Collage- both cook in' tracks. The second ballad Mz. Liz finds Don on soprano,.and the third, Ballad of the Fallen Matador offers some of his flute work. While he's good on all instruments, I most enjoy his main instrument - the tenor, which he picks. up again for the hard swinging Groove Blues. Some first class Menza can be heard on First F I ight. My only objection is the unnecessary synthesizer, which (luckily) is used only sparingly. B.W. OF STEREO LP'S BENNY GOLSON - KILLER JOE - COLUMBIA PC 34678 Saxophonist/composer/arranger Benny Golson, noted as a co-leader of The Jazztet (which included a young McCoy Tyner) is after new audiences with Killer Joe - his first album in many years. He's gone the Quincy Jones route with a very commercial record, utilizing funky rhythm, a large rosterofmusicians and vocals. He includes a new version of his own Killer Joe among the nine tunes, seven of which are originals. You won't find any information on the jacket so with the above in mind accept this advice. If you dig Quincy Jones latest albums you'll probably like this. If you're looking for the Benny Golson you remember (the one who inked "Along came Betty", "I Remember Clifford", "Whisper Not", "Stablemates", etc.). you won't find him her.e. B.W. OPEN MON.-SAT. 10-9/SUN.12 -5/(716)442-8811 Berlin, and ldris Muhammed. Except for E II is' and Co's vocals on the two "top 40" hopefuls - Kiss and Say Goodbye and Big Daddy, this may be of interest to R & B funk fans ala Eddie · Harris, Hank Crawford, etc. The Brecker Bros. disc offers more slick funk in the same vein as their previous discs. One improvement here, however, is that some of the tunes give Randy and Mike some room to play more than trite riffs. Tabula Rasa is one such cut- a high energy jazz-rocker offering some good blowing. The Bros. most consistently good recorded work, though, remains on other art1sts albums - Horace Silver for example. B.W. PEE WEE ELLIS - HOME IN THE COUNTRY -SAVOY 3301 THE BRECKER BROS. -DON'T STOP THE MUSIC- ARISTA 4122 .Saxophonist Pee Wee Ellis offers some good R & Bon his album Home In The Country, which is the first newly recorded disc from Savoy since the label was taken over by Arista. Ellis has recently joined forces with Dave Liebman, who is heard on Pistachio - one of the better cuts. Some of the other musicians appearing are Geo. Benson, Bernard Purdie, Jeff ART PEPPER & MILT JACKSON ON SAVOY Among th<: five records in the latest Savoy r<>lease is a two-record set from ART PEPPER, titled DISCOVERIES (2217). While the first di-sc was prevwusly issued on Savoy (rrcc. '52 w/Russ Fret•man, Bob Whitlock & Bobby White), tne second r•:cord contains material never before rr>leased. Univ. of Buffalo U.U.A.B. Music Committee Presents 3-Time Downbeat Poll Winner TWO GENERATIONS OF the brilliant Brazilian vocalist BRUBECK flora purim Brubeck and Jazz- They're one and the same. Come, / hear, Brubeck and his three sons for ONE SPECIAL PERFORMANCE at Shea's Buffalo. w1Girto mor•ira FRIDAY, MAY 1311}-SPM Tickets: $7.50, $6.50, $5,$4 Sat.,May14 Fillmore Room/U.S. Tickets: $2.50 students $ 3.50 public at Norton Haii/U.B.only Shea's Buffalo Theater Center for the Performing Arts 646 Main St. 9 Tickets & Reservations/ 847-0050 �That 1954 session features Jack Mo11trose (not J•<. Mont<> rose) on tenor w/Ciaude Wi II iamson, Monte Budwig and Larry Bunker. Both sessions offer some great, swingi11g music from thn alto-ist, who's music strongly reflects h1s two strongest influences on his style at that time - Bird & Lee Konitz The '54 date is especially interesting due to th" two h'lrnmen working extremely well together. Pepper, who spent a good deal of time in prison for drug use, just had a brand new record released on Contemporary records. A single disc has come out on Savoy fpr MILT JACKSON. The title pretty much explains the musir - THE FIRST Q (1106) presents the very beginnings of the Modern Jazz Quartet in three sessions in 1951, '52. Milt and Jofln Lewis are heard on all three, with bass and drums by Ray Br0wn and Kenny Clarke, Percy Heath and AI Jones, and then Heath and Kenny Clarke. The music reflects the sounri now lo'lg associated with the MJQ thl-oughout, regardless of thn personnel changes. An historically important album. B.W. MARK LEVINE - UP 'TIL NOW - CATALYST CAT 7614 There are several things you may find appealing about this album. First, the acoustic instrumentation rings with a clarity and individualistic style that is painfully absent from much of today's music. Additionally, pianist Mark Levine has selected three front line horn men (Tom Harrell/trumpet, Mike Morris/tenor, Ray Pizzi/flute, alto, tenor) who conjoin well in the ensemble passages but who solo with authority. Levine has worked or recorded with Joe Henderson, Bobby Hutcherson, Woody Shaw and Blue Mitchell and studied with Jackie Byard which is a wide enough variance in styles and approaches to offer promise for a solid foundation. All compositions but one on Up 'Til Now are by Levine, reflecting his abi I ities as a composer by knowing how to make best use of his own soloing and that of Harrell, Morris and Pizzi He also gives deserved solo space to bassist Peter Barshay on the title selection and drummer Jimmy Robinson on Owed to Joe. J.H. JOHNNY HARTMAN - MUSICOR - 2502 Many people are aware of the fine music vocalist Johnny Hartman has offered in the past. He's had some very good releases on the Impulse and Perception labels, including a disc with John Coltrane. His newest album, on Musicor records, is a heavy let\ down. He drifts through a bunch of dull songs, all written bythe same two people -one of which is the producer of th<> album. The unidentified orchestra has nothing to work with and follows suit. The result is an album that might end up getting lots of play on "background music" stations or super market sound systems; but there is nothing here for fans of Hartman the jazz singer. Blame it on the producer. B.W. NATIONAL JAZZ ENSEMBLE VOL. 2 - CHIAROSCURO 151 This is the second album for Chuck lsraels' Nati0nal Jazz Ensemble offering some more quality big band music: in a variety of styles. NJE is a "jazz repertory orchestra" which spans the many forms of jazz. You'll hear modnrn, almost free music such as the lovely Sarabande, with tasteful voice work by Margot Hanson. There's straight ahead big band jazz to be heard on Extract I, done in3 movements with some avant garde. There's Jelly Roll Morton's King Porter Stomp, the Duke's Cotton Club Stomp, Monk's I Mean You, thn clas-;ic Stompin at the Savoy, Bird's Confirmation and much more among the fourteen tunes. This band, which operates only f1ve weeks a year, has an extremely well rehearsed sound, often very modern anrJ contains some fine talent. Such people as Bill Goodwin and St<>ve Gilmore (from Phil Woods' band), Mike Lawrence, Jimmy Knepper, Arnie Lawrence and Joe Romano are on the roster An interesting, different orchestra album that rewards repeated listening. B.W. AL HAIG - INTERPLAY - SEABREEZE RECORDS SB-1005 The name AI Haig I ingers in the memory as being one of the outstanding be-bop pianists. His associations with names like Dizzy Gillespie, Charlie Parker and Stan Getz established him, but somewhere in the recent past his name became lost in the shuffle. Interplay is in no way an appeal to nostalgia. It is forceful, articulate piano with complimentary bass provided by Jamil Nasser. Looking at the album jacket, you notice eight songs, jazz standards most of them, but given a sincere and commanding treatment by Haig. Clipping along through Milestones he plays with an accuracy and flair that is a joy to hear. The ballads like Ellington's Prelude to a Kiss and Strayhorn's Passion Flower are savored like a fine wine when played in the hands of AI Haig and Jamil Nasser. Duo albums are lately becoming about as rare as high utility bills but if you're looking for honest, acoustic piano and bass playing that refuses to imitate you should give Interplay a listen . J.H. May Tralfevents .JAZZ 6, 7 Existing Reality .13,14 Javaz 20,21 Oscar Alston <tentative) 27-29 Big JoeTurner-WBFObenefit Jeremy Wall Trio-Wednesdays Spyro-Gyra-Thursdays Jam on Sundays 9-1 NORMAN CONNORS - ROMANTIC JOURNEY - BUDDAH 5682 Norman Connors, former drummer with Pharoah Sanders, has been recording cross-over music for quite a while now. With Romantic Journey Connors has himself officially crossed over- into soul. · The only tune of interest to jazz fans would be Pharoah Sanders Thembi, featunng the composer on soprano. The rest of the six tunes are filled with soul music, including Falsetto vocals by one Phillip Mitchell. It's interesting to note that the only cut arranged by Connors is Thembi. B.W. ACOUSTIC 17 Swinging Whale Boys 10,24 John Brady 17 Bflo.ComedyWkshp. 8-10 31 Kathy Moriarty Trio Open Mic Mondays tralfamadore cafe 2610 main at fillmore 836-9678 10 BARRY MILES- SKY TRAIN- RCA BGL 1-2200 Judging from previous recorded efforts by Barry Miles, man of many keyboards, you might expect sensitive, wellconstructed music on his latest, Sky Train. Miles' most recent album previous to Sky Train, a duo with Eric KlossTogether (Muse MR 5112) was a prime example of good taste. Prepare yourself, then, for what wi II probably on the whole be a let down. There are moments, especially on Side B, that show Miles' skill. The all-acoustic piece, A Waltz for You, moves from it's dominant ballad form to a light, graceful swing with ease. But on the whole it is in the vein of so many "progressive" or "fusion" albums of late that it becomes indistinct, neo-rock ala recent Return to Forever material. To make comparisons to Return to Forever might for some be a compliment but not musicians the calibre of Barry Miles and Eric Kloss. Alto saxophonist Eric Kloss is featured prominently I I �(as he should be). He is stradled, however, by a rigid. formattha·t allows little room for creative expression. Bassist Anthony Jackson, guitarist Vic Juris and drummer Terry Si Iveri ight seem well suited to this comparitiv'ely simplistic, highly imitative material. · J.H. WALTER BISHOP, JR.- SOLILOQUY -SEABREEZE SB-1002 An abundance of solo piano albums have been released lately which is rendering commonplace what was once a delightfully rare musical event. There is littk in Soliloquy that distinguishes it from being a slightly better than average solo piano performance largely due to the· fact that Walter Bishop, Jr. has established himself, in his stints.with Miles Davis, Charlie Parker, John Coltrane arid others, ,as an accompanist rather than as asoloist. Bishop's strongest suit is the variety and reatment of chord structures and_ intelligent bass I i'les which come from his solid left hand. Jazz standards like I Can't Get Started and All the Things You Are dominate the selection of songs which makes for pleasant listening but unfortunately offers nothing new or challenging. J.H. BENNIE MAUPIN - SLOW TRAFFIC TO THE RIGHT - MERCURY 1148 The second release for the long standing Herbie Hancock reed-man, Bennie Maupin, offers music very much in the Hancock tradition. Trumpeter Eddie Henderson and synthesizer wizard Pat Gleeson, both heard here, were part of Herbie's Mwandishi Band - along with Maupin. The sound is similar to, though slightly more commercial than, Eddie Henderson's •recent waxings on Blue Note - somewhere between the sounds of Hancocks Mwandishi and Headhunters bands. The best tunes are Water Torture and Quasar- Maupin originals which were previously recorded on Hancock's Crossings album. Pianist Patrice Rushen, bassists Ralph Armstrong, trambon ist Craig K i I by, drummer James Levi and Hancock guitarist Blackbird McKnight complete the band. This music should especially please those who like the music of the Headhunters. B.W. THE PHIL WOODS SIX LIVE FROM THE SHOWBOAT- RCA 2-2202 . We've been rather fortunate this month to be exposed two three excellent, I ive, two-record sets, offering music from some of jazz' finest. First there's Dexter Gordon's Vanguard dates, then Herbie Hancock's Newport Concert, and now Phil Woods live recording from the Showboat, just outsideWash., D.C. Recorded on the same nights that Dexter spent in Buffalo, this set finds Woods' quintet, with percussionist Alyrio Lima, in peak form. Guitarist Harry Leahy had just joined the band and is superb throughout. Woods himself is simply magnificent. Their version of Cheek to Cheek, running over 1l minutes is a highpoint of the set- filled with creative soloing, fire, soul and humor - and it swings hard. Another extended feature is a reading of Randy Weston's Little Niles, deserving of the same praise as Cheek. Woods displays his ballad virtuosity on several cuts, including Stevie Wonder's Superwoman (Where Were You When I Needed You). and the Latin Lady J. i'm Late is red hot. The rhythm section of Leahy, Mike Melillo, Steve Gilmore and Bill Goodwin provides first rate support at all times; and Leahy and Melillo deliver fine solos throughout and offer one composition each. This album presents a bright, interesting and exciting band on some nights when they were obviously "on". The program of tunes is varied and balanced, the recording quality is good and Woods -one of the masters- is in top spirits. It is without a doubt Woods' finest RCA effort yet and is highly recommended. Bet you can't keep yourself from tapping your foot! B.W. HENRY FRANKLIN- BLUE LIGHTS- OVATION 1801 Bassist Henry Franklin has had previous releases which, unfortunately, had little to offer. Blue Lights, however, immediately caught my ear with its crisp, bright uncluttered good I istening sound. The hornmen - trumpeter Oscar Brasheer, saxophonist Charles Owens and trombonist AI Hall, Jr. are clean and consice both in the ensembles and solo passages. Brasheer, a disco-studio regular, gets some elbow room THESE RECENT ARRIVALS Weather Report Heavy Weather including: Birdland/TeenTown/Palladium The Juggler/Havana JEFF BECK LIVE WITH THE JAN HAMMER GROUP iricluding: Scatterbrain/Blue Wind Darkness-Earth In Search Of A Sun She's A Woman/FreewayJam & MANY MORE AWAIT YOU AT LOWEST PRICES IN TOWN! LA~GEST SELECTION OF JAZZ IN THE WORLD! 1800 MAIN at LAFAYETTE SUN thruWED 10am-10pm THURS, FRI & SAT 10am- midnight ./' �circumstances. Check out his other sides. Hopefully, Catalyst will again record him in a different setting. Joe Pass, however, is one of the few that can succeed, and does with flying colors on Virtuoso #2. As with the previous Virtuoso (Pablo 2310 .708) Pass commands your attention throughout each of the tunes. He mixes it up, offering ballads and up-tempo pieces where you can almost hear a bass and drums. His improv.isations are rich, full of new thoughts and ideas. The choic~ of niaferial is tops - Green Dolphin St., Giant Steps, 500 Miles High· and Windows are among the twelve B.W. tunes offered. Very' nice. hear AIY&A• AY&A HERBIE HANCOCK - V.S.O.P. - COLUMBIA 34688 This one came as a bit of a surprise - and a very enjoyable one at that. There was ho advance pub I icity for this two record set, recorded I ive at the '76 Newport Jazz Festival, but now that its out the word is spreading fast. The Concert - "Herbie Hancock Retrospect" was broken down into three segments. The first, represented on sides one and two, featured Miles Davis 60's band - Hancock, Wayne Shorter, Ron Carter & Tony Williams, with Freddie Hubbard on trumpet. Three tunes are heard - Maiden Voyage, Nefertiti and Eye of the Hurricane. The quintet sounds great, and its a pleasure to hear these cats burning in the Mainstream groove again. Shorter plays both tenor and soprano saxes, and Herbie plays the new Yamaha electric grand piano- a small instrument with an acoustic sound. Tony & Freddie burn along as well and Carter is up to his usual high level -of bass work. More excellent music is heard, from the "Mwandishi Band", on side three. The sextet is made up of Hancock, Billy Hart, Bennie Maupin, Eddie Henderson, Julian Priester and Buster Williams. It's Herbie's bitches brew era band-a time at which he began the extensive use of electtronic keyboards/synthesizers. This was a fine unit and it's a treat to hear them on the two cuts - Toys and You'll Know When you Get There. The music is not as electric as many of his band's later recordings, and Herbie uses only electric and acoustic pianos and clavinet. It's very much in the bitches brew vien. Toys is straight ahead and full of well channeled energy, You'.ll Know offers the spacey sound heard on their discs for Warner Bros. and Columbia. It is more energetic than the original version on Mwandishi (Warner). Another fine performance. Side four presents the Headhunters, or as Herbie says "the funk group". Fans of the headhunters band should find it much to their I iking. Maupin gets off some good work on sopra" no and tenor, and in fact pretty much steals the show. On Hang Up Your Hangups. Wah Wah Watson is, for my ears, a bit boring and unimaginative and might have contributed more if he'd stayed home. Nonetheless- he's the big feature throughout Spider. The best music from the Headhunters band has only been released in Japan - as a I ive 2-record set titled "Flood". • This album should be checked out by everyone who enjoys any of these three Hancock bands. Herbie dedicates the concert B.W. to Miles, and I'm sure he's pleased. at these clubs : Mon.-Bona Vista 1504 Hertel Ave. Tues.- Jack Daniel's Forest near Elmwood Thurs.-Tralfamadore Main at Fillmore Sat.- Odyssey 1005 Tonawanda St. Sun.-Jack Daniel's here and uses it. The res music that swings, tender ballads and one funk track - the title piece. A highlight is Chick Corea's What Was. There's really nothing new or incredible here- but you will find a good sounding band that'd be very hard to dislike. Also - excellent rEcording and pressing quality. B.W. JOEL SHULMAN - NOWHERE BUT HERE - ATTIC LAT 1014 Nowhere But ·Here is quiet, introspective music recorded live in a Toronto jazz club owned by pianist Joel Shulman known as "The Garden Party." The concept for the album is unique in that featured soloists are invited in but are never on the same cut at the same time. For example, Trust in Me and After You're Gone are duets between Shulman and Guido Basso on flugelhorn while Once Upon a Summertime is bassist Don Thompson in a duo with Shulman. Besides Basso and Thompson, there are duets between Shulman and flutist Moe Koffman on Sea of Tranquility and Lover Man and then Shulman and vocalist Ada Lee have a go at it on a swinging version of Nowhere But Here. Thompson reappears on vibes for a beautiful duo rendition of When the World Was Young. Shulman is a strong pianist who seems well suited to the role of accompanist but Eleanor Rigby and We'll Make Our GardenGrowshow him able to handle solo piano as well, as he does three Sundays of each month at "The Garden Party." J.H. MICHAEL HOWELL -ALONE - CATALYST 7615 JOE PASS- VIRTUOSO #2- PABLO 2310 788 A solo guitar album is a tough project to pull off, where few dare to try and very few succeed. Michael Howell put out some very good albums for Mi;_stone not too long ago, and sounded nice on Art Blakey's Prestige albums. There are some good moments onthis solo guitar album, but as a whole it is less than a success. A bass added for some tracks would've helped, but, as good as Howell is on the electric guitar, anentirealbumofthisacoustic work sounds incomplete, too informal and lacks a constant flow of fresh ideas. Howell should be heard by guitar fans, but under different 12 MICHAEL MANTLER- SILENCE -WATT 5 Eng I ish born Michael Mantler continues to pursue the course he first set when he composed and arranged the first album for the Jazz Composer's Orchestra, the interpretation of modern prose dealing with the problem of interpersonal communication. His latest release, Silence, is similar in presentation to No Answer (Watt 2) in the sense that he utilizes both a small in· strumental ensemble and vocals. · '' The theme of Silence, not unlike the earlier adapt ions, has to do with the inability we all have to meaningfully commun,cate ourselves to others, via conversation, and the ability to communicate, instead, by "silence". The I imitless misinter· pretations feasible from our everyday conversations would make communication near impossible were it not for the back drop of silence which exists between and behind our words. Being a musician, Mantler substitutes music for silence because obviously he feels that music can express things wh1ch might otherwise remain inexpressible. In that sense, Manlier may view himself as an element outside the basic communica· tion problem since he is in command of another mode of ex· pression. Whether or not music has the same inert problems inherent in language, I will not dare comment, yet. . The album is a showcase of musical styles and time s1g· natures. At times as tedious as the language it backdrops. �while at others, quite amusing. The vocal interpretations are difficult to ignore for their representationofmeaninglessfrustration. Carla Bley is a first rate vocalist. Hobert Wyatt and Kevin Coyne are both uniquely .o.riginal. However, I feel the album wi II more I ikely be appreciated by students of modern theatre than traditional jazz fans. · · B.B. ultimately relaxes you by purging you off all 'ybur previous musical conceptions. This is not a stepping stone into the avant-garde. It is simply a sink or swim situation and I believe that has to be the only way you can approach it. It's tough, but the satisfaction gained can be well worth the effort. son of jazz blues/ by ron weinstock bill besec"ker There seems to be a misconc~ption, that European jazz is a musical genre severed from the world of mainstream jazz and that the musicians are but imitators of American stylized forms. Needless to say, thisattitudecoulpbearsome education. First off, European jazz has beer1 melding quite solubly for some years with its American patriar:ch, most notably in the ,infiltration of Europeans into some of the most respected jazz bands of our day (i.e. Joe Zawinul w/Cannonball, Miles, and Weather Report; David Holland w/Chick: Miles and Anthony .I Braxton; Mahavishnu w/Tony W1ll1ams, .Miles, etc.; and the names can go on and on). Complete bands of Europeans have also entered the American jazz scene (Michael Urbaniak/ Urszula Dudziak and Passport come to mind immediately). Now mere imitators could not have reached or maintained such stature for long. These musicians have influenced Americans as well. What guitarist has not .been forced to react to Me Laughlin in some way? The emigration of American jazz musicians shouldalsotell us something else besides their obvious distaste for the business side of American jazz. The expatriates would not have sacrificed so much to leave the stateshadthey expected to make yet another •sacrifice by playing with musicians of dubious quality. No, they would not strive for musical integrity while playing with imitators. The European jazz musician knows what he is doing, the American musicians know it, and it should be time the American jazz audience can recognize it also. Brew Moore is one of the "wanderers of Jazz" who after leaving the States has found a home with some excellent European sidemen. As a graduate of the Kai Winding and Claude Thornhi II bands, he has well grounded roots from wh1ch to draw in his excursions with foreign sidemen. His last album, Brew's Stockholm Dew (Sonet SNTF 624), sounds almonst I ike it had been produced in the states, years back. The I ive recording features blues-oriented tunes over a backdrop of jazz-st~rved European fans who act I ike they can never get enough. Brew plays with that non-stop quality of a true master horn man. He breathes a life into his horn such has not been heard on an overproduced American album in years. Were Brew Moore to return to the states, there probably would be few to greet him, yet it still scares me to think how many creative energies we have lost along the wayside. Moore's sideman on this record have produced their own disc entitled, Lars Sjosten, Jazz Pianist (Phillips 6316016). Having appeared also as a sideman for Kenny Dorham, Ben Webster, Art Farmer, Sonny Stitt, Wayne Shorter, etc. has given Sjosten an almanac-like repertoire of styles. He IS a sensitive and melancholy player, articulate and rhythmic, yet dreamy and varied. Sture Nordin on bass and Fredri~ Noren on drums are his more than competent s1demen. Obv1ously a great many of our own jazz musicians are award of Lars' outstandingabi I ities. Search this one out, for I ike the Brew Moore album, they just don't make them like this in the states any longer. We'll examine other expatriates and their sideman in the future, but here are a few other releases that have crossed my path. When an ensemble attempts to meld so many worldly influences into so few pieces of music, the expected result is usually, c;m overly thin representation of nothing. Not so with the Wil!em·Breuker Kollektief, Live in Berlin(BVHAAST008 I SAJ-06). Folk influences a Ia everywhere are utilized both subtly and imposingly. Experimental in hisapproachtoarranging and directing his soloists lends the greatest credence to this record. It is not too "heavy" to lack humor, which can bring criticism from the serious few. The bulk of the material is from "La Plagiata", an earlier recorded work by Breuker. At times it is similar to the humorous, light moments of Americ·a·s JCOA, like segments of both Roswell Rudd's Numatik · Swing Band and Don Cherry's Relativity Suite. More closely reminiscent of JCOA's bulk of recorded rna~ terial is European Echoes (FMP 0010) by trumpet player Manfred Schoof. The music socks you, awakens you, uses you and March and April have been good months for li.ve blues in Buffalo. Muddy Waters came to town with Johnny Winter and James Cotton for an entertaining show at the Shea's though Winter's contribution was strictly his name as he sang terribly and his guitar playing characterized by the typical excesses of rock guitarists. The following weeks concert of B.B. King and Bobby Bland as each did nice sets of their hits and did a duet together to close a fine evening of blues. Johnny Shines, Big Walter Horton and the Rhythm Rockers were at the Belle Starr in Colden. The Rhythm Rockers are an excellent white blues band led by John Nichols on vocals and guitar and Ron Leavy on piano (He played with B.B. for several years). They played some fine West Coast styled blues mostly and did provide strong support for Horton and Shines. Horton proved himself the greatest I iving harp player alive with his warm fluid style of playing andhisfattone. Shines played some electric slide guitar and sand with his gut-tearing vibrato. The high I i ght of the night I saw them was the duets of Horton and. John Nichols which was great stuff. I missed Muddy's appearance at the Belle Starr.with his regular group though I'm told they did well. Finally Robert Jr. Lockwood's appearance at the folk festival was marred by the sound at the Clark Hall. Robert's guitar work suffered as he and his band's other vocalist Otis Trotter sang well. Robert's white guitarist Mike Hahn did much of the soloing and displayed considerable mastery. "Hold Everything" was Robert's best number as the sound was sorted well enough for Robert's dazzling chord-work to shine. It was nice, but Robert and his band should be booked into a club where they can get a better feel. Robert is playing weekends (Thursday through Sunday) in Cleveland. For those who caught Walter Horton and Johnny Shines at the return of DEXTER GORDON featuring Louis Hayes w/ RONNIE MATHEWS & STAFFORD JAMES will occur SUN., JUNE 26 s:3Q pm Terrace Room- Statler Hilton More details next month! 1.3 �wllilct'igj FOUR SEASONS Statl.er Hilton - Do~ntovyr) :Room - Charlie Byrd May 3-15 Manan McPartland May 17-29, Dizzy Gillespie opens May 3l Terrace Room - Gary Burton Quartet with Eberhard Webe · Thurs., May 12, 8:30PM; C.Q. Price Big Band Mon., May 30r 9:30 PM. Rendezvous Room- All-star Jam Session Sat Ma' 14 w/Herb Hall, Buddy Tate, McPartlands, etc. ., y T~alfamadore Cafe- local jazz Thurs. thru Sun. Jam Sundays B1g Joe Turner "Boss of the Blues" May 27-29 sponsored b · WBFO. · y Gary Burton Quart,et v.;ith E;b'erhard Weber Thurs., May 12 _ Terrace Room - Statler· Eduardo's- Bailey Aye·.:~ Maynard Ferguson May 18. Two Generation of Brubeck - Shea's Buffalo Theatre - Fri May 13. ., Mr: Tandbury's - 1'107 Sycamore -Susan Slack w/Jon Weiss Tr10 Sundays 9-1 -No cover. The Jazz Club - Niagara Falls Blvd. just north of BrightonJazz Friday & Saturday nights. . Pierce Arrow - Elmwood at Gt. Arrow - Jon Weiss Quartet Thursday nights. Vieni-Su - West at Breckenridge - Jazz Tues., Fri. and Sat nights. · Holiday Inn - Delaware & North - Jazz Friday & Saturday nights. Odysey- 1005 Tonawanda St. -Jazz Sat. nights. Anchor Bar - Main· & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Mar.ina - Niagara St. -Dixieland jazz every Friday and Saturday night. . Fieldstone Manor (Lockport)- Dixielandw/WiiiAigeronweekends. MOTOR INN presents it's new jazz club with YOUNG-CLARK QUARTET JAMES CLARK I Guitar HERMAN YOUNG I Bass BILL YOUNG/Vibes DUFFY FORNES/Drums FRI. & SAT. 10-2 SUN. 9-1 Jam Session Th• JIIICLUI TORONTO Yellowfingers - 1280 Bay St. - The best in Jazz. See ad The Music Gallery - 30 St. Patrick Street, Toronto. Every Tuesday and Fnday concerts by CCMC with Casey Sokol Michael Snow, Bill Smith, Allan Mattes, Nobuo Kubota, Larry Dub1n, Graham Coughtry, Peter Anson. Call 368-5975 for further information. Executive Restaurant - 254 Egl inton Ave., East - Saturdays 2-6 PM- John Dela Trio. Inn on the Park - Leslie & Eglinton Ave., East -·saturday mat1nees - vanous groups. Grossman's Tavern - 379 Spadi na Ave ..- Fridays and Saturdays from 8 pm. Saturdays 3 pm., K1d Bast1ens Camelia Jazz Band Captains Table- 2475 Lake Shore Rd., W. at Bronte Rd. -good Jazz. w/Jazz Couner Sat. afternoon from 2 PM. No admission, mus1c1ans welcome to sit in. Plaza Two Hotel - Greenery Lounge - Yonge/Bioor SquareClaude Jones Mon. thru Sun. 8-12 PM. Chelsea Bun - Chelsea Inn, 33 Gerrard St., W. -pianist John Arpin Mon. thru Sat. 9-1. Malloney's, 85 Grenvi lie Street, Saturday Afternoon- Climax Jazz Band. Garden Party- 82 Avenue Road- Joel Shulman (ne: Joe Saye)Sunday sess10n wdh guests, phone 961-1114 for information. Albert's Hall, The Brunswick, 481 Bloor St., West- MondayWednesday - K1d Bast1en, Thursday-Saturday - Jim Abercrombie. Chez Moi - 30 Hayden St. - Saturday Afternoon - Si lverleaf Jazzmen. 1376 NIAGARA FALLS BLVD. at Brighton/Maple NO COVER NO MINIMUM 836-2940 th.e Belle Starr I wou I d suggest you check up on their recordings. B1g Walter's album on Alligator (4702) features his fluid work backed by Eddie Taylor. Carey Bell, one of Walter's pupils on ~.he harp also duets with his teacher on a nice set ranging from Hav1ng a Good T1me", "Little Boy Blue" to "Trouble in Mind." Johnny Shines has several fine albums out. His Advent album (2803) i.s stunning featuring six solo performances in the MISSISSippi Delta tradition and five tracks where he is backed by guitarist Philip Walker's band. One of the band tracks "My Love Can't Hide" is done over a smouldering band with Shine's vibrato singing creating an intensitymatchedonlybyotis Rush. I agree with Living Blues that this is not to be missed. Both of these albums have been available for some time now but as many .may be unfamil.iar with these, do try to pick up o~ them. ~hJI1p Walker JncJdentallyhas a solid new album, Someday Yo.u II Have These Blues (Jol1et 6001). Philip had a now out of pr!nt album on .Playboy and has done much session work (Johnny Sh1nes and Eddie Taylor for Advent) and is a fleet fuitarist and a grainy singer who comes through with strong performances. Particularly fine are "Mama's Gone", "EI Paso Blues" and a gospel number "When It Needs Gettin' Done". Definitely one to check out. If you can't find it at stores try Southern Record Sales, 42 North Lake Ave., Pasadena, Cal. 91101. Stores interested in carrying this album night write Joliet Record Co P .0. Box 67201, Los Angeles, Ca. 90067 or Southern Record Sal~s for information on where they might be able to acquire cop1es for sale. A.nother ~est Coast bluesman is Sleep Jim Berry who I had acqUJ~e~ a fme 45 of a few years back. That single "Long Time Blues IS Included on h1s album The Berry Patch (Consolidated BR-103) an album which is mixed in material and quality but does Include some good strong slow blues notably "Long Time" and "Dehydrated Love." Southern Record Sales can supply this Its great to have James Peterson back in Buffalo playing the blues weekends at the Sunset Inn on Main Street. Buddy Guy and Junior Wells are scheduled at the Belle Starr May 4-8 and of course the great Big Joe Turner and Llyod Glenn at the Tralfamadore at the end of May (the 27-29) as a benefit for WBFO and part of Listener Support Week. l~appenUns ROCHESTER J. J. Lounge- Jaman- every Fri., Sat. & Sun. Red Creek - Duke Jupiter May 12-15, Gypsy May 25-29, Son Seals Blues Band June 1-4 (tentative). Auditorium Theatre -May 17- 8 PM- Chick Corea & Return To Forever . Town & Country Dinner Theatre - May 11 7:30 & 10:30Maynard Ferguson. Tickets $6.50 & 5.50. 14 SYRACUSE Spirit of 35 - Dave Hanlon Funky Jazz Band every Friday and Saturday night. · �bjrI tralfjazz/ wbfo present ~RECORDING ... ·~ l ' - ~ ' • ARTISTS ON TOUR _..'·. - Gar Burton Quartet FEATURING IIIRIIARD WIIIR German Acoustic Bassist Gary Burton/vibes Pat Metheny/guitar Steve Swallow/electric bass Danny Gottlieb/drums one night only· Thurs., May12 8:30pm TERRACE ROOM-STATLER HILTON Tickets: $5.50 advance $6 door Tickets on sale now at Tralfamadore Cafe, Record Runner, Norton Hall, Festival, Amherst Tickets Unlimited (Eastern Hills), Elmwood VillageTickets-510Y2 Elmwood ROCHESTER: Village Record Shop/699 Park Ave. TORONTO: Sam the Record Man/Sherway Gardens Mall . Additional info/out of town ticket reservations -716/836-9678 NO MINIMUM NO DRESS CODE LOW DRINK PRICES �~~lllii~Wfrlll(fffi)~l ~G)~~ Toronto's Finest Jazz 1280 BAY STREET{at Yorkville) TORONTO I 964-1984 COMPLETE DINNERS & LIGHT SNACKS ALWAYS AVAILABLE I FULLY LICENSED , Dinner Duets Nightly After Hours Monday thru Saturday 6 pm to 8 pm Mqnday thru Saturday 9 pm to 1 am 1.30 am to 4 am Friday & Saturday May 9-14 (6 pm-8 pm) Jerry Toth (saxophone). with Ed Bickert (guitar) Saturday 14th Ed Bickert Duo :May 9-14 (9 pm-1 am) ~ndy Krehm Quartet (guitar), featuring: Harvey Kogen (reeds & flute) with Dave Piltch (bass). Bob Mclaren (drums) Sunday Dinner-C.oncert 6.30 pm to 9.30 pm May 13 & 14 (after hours) May 15 (6.30 pm-9.30 pm) Rob McConnell- (trombone) Rick Wilkins Quintet (trombone), with Gary Williamson (plano) lan McDougall Quartet (saxophone), with Brian Browne (plano), Michel Donato (bass), Howle Silverman (drums) May 16-21 (6 pm-8 pm) May 16-21 (9 pm-1 am) May 20 & 21 (after hours) May 22 (6.30 pm-9.30 pm) Ed Bickert Glenn MacDonald Quartet Jane Fair Quartet Art Ellefson Quartet (guitar), with Don Thomson (piano & bass) (saxophone), with Gary Williamson (piano), Dave Field (bass), Bob Mclaren (drums) {saxophone), with Frank Falco (plano), Dave Plltch (bass), Bob Mclaren (drums) (saxophone), with ian McDougall (trombone), Gary Williamson (plano), Dave Piltch (bass) May 29 (6.30 pm-9.30 pm) May 23-28 (6 pm-8 pm) May 23-28 (9 pm-1 am) May 27 & 28 (after hours) Jo Sarjeant Gary Williamson Trio Terry Logan Quartet Brian Browne Trio (piano), with Marjorie Hames (bass) (piano), with Dave Field (bass). Bob Mclaren (drums).· {guitar), with Keith Jones (bass), Brian Wray (plano), Jim Norman (drums) (piano), with Terry Browne (bass), Doug Johnson (drums) May 30-June 4 (6 pmc8 pm) · May 30-June 4 (9 pm-1 am) June 3 & 4 (after hours) June 5 (6.30 pm-9.30 pm) Lorne Lofsky lhor Kukurudza Bruce Cassidy Quartet· Andy Krehm Quintet Phil Nimmons Quartet (guitars) (trumpet), with Frank Falco (plano), · Dave PI Itch (bass), Bob Mclaren (drums) S"L a L"Ie r H.I1 L" o n (guitar), featuring: Harvey Kogen (reeds & flute)·& Memo Acevedo (percussion), with Dave Piltch (bass), Bob Mclaren (drums) 107 DELAWARE AVENUE ·Two Mol. w.o. Hassett Entetprises buffalo jazz report 1335 main st. buffalo, n.y. 14209 u.s.a. return postage guarenteed PERIODICALS & BINDERY LOCKWOOD lLE:tWRIAL LIBRARY ~s.U.N.Y •.4.B. l3UFFALO, NY 14214 SJ6 (clarinet), with Gary Williamson (piano), Dave Field (bass), Stan Perry (drums) 856-1000 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4422 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 39 Date A point or period of time associated with an event in the lifecycle of the resource 5/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 39 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/3841bc8cfb86495734645ffad5a5e270.pdf 2d5ad3e6ac85836c13f501294386ab18 PDF Text Text ·buffallo jazz tepoti 0 : June'77 lssue40 Free ! I t1 17 . ~(j DIZZY GILLESPIE i �~~---------------------------------------------------------- recently on Pablo. His previous Statler visit caused the hotel management to move the proceedings to the Rendezvous Room on weekends to accommodate the huge crowds .. Leonard Feather saiditwellwhenhewrotethat "(Diz) is one of the four or five most important figures in the entire history of jazz." Dizzy will be followed at the Downtown Room by saxophonist Spider Martin. Dizzy Gillespie The great trumpeter Dizzy Gillespie will return to the Statler Hilton's Downtown Room for a two week stand, wh1ch began May 31 and runs unti I June 12. Gillespie, who started on the trombone at age 14, was one of the primary influences in shaping the be-bop revolution in jazz. Diz worked with the big bands of Cab Calloway, Teddy Hill and Mercer Ellington in the late 30's; and spent the early forties with Ella Fitzgerald, Benny Carter, Earl Hines and others. He joined Billy Eckstine's big band in June '44, and started touring with his own bands in 1945, alternating between big bands and small combos. One of his big bands, heard on Savoy 2209 - Dee Gee Days, features .a young John Coltrane on alto saxophone. . . Gillespie has been leading his own bandssince'45 featunng many fine musicians, including Leo Wright, Junior M~n~e, James Moody, Michael Longo, Kenny Barron andLaloSch1fnn. Recent groups have featured drummer Mickey Roker, guitarist AI Gafa and saxophonist Ray Pizzi. Diz is regarded by most jazz trumpeters and a large portion of jazzfans throughout the world as the greatest living jazz trumpeter. He is also a fine composer and has an excellent rapport with the audience, talking and joking between tunes. He's had several records, done in various contexts, released DIZZY GILLESPIE - RECENT RECORDINGS Dizzy's Big 4- Pablo 719 · Oscar Peterson & Dizzy Gillespie- Pablo 740 Big 7 at Montreux - Pablo 749 Afro Cuban Jazz Moods - Pablo 771 Carter, Gillespie Inc. -Pablo 781 Dizzy's Party- Pablo 784 Bahiana - Pablo 2625 708 EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS - Christine Engla Eber and Sabrina Mayberry Smith. PHOTOGRAPHER - Michael Ketter. CORRESPONDENTSRochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this pub I ication may be reproduced without written consent from the publisher. THE EMIL PALAME BIG BAND The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distril:iuted free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. A Screaming 16 piece band -with DICK GRIFFO Sun., June 12 &26 9-1 Admission $2 tralfamadore cafe 2610 main at fillmore 1 836-9678 ROOM" .......,.......,......,... Mark Records MES 51213 ' - - - - - - - - _ ; ,___________.;...._ __, 2 JAZZ CLUB ON THE FALLS BLVD. Live jazz in the Buffalo area has generally only been heard within the city limits. Recently, however, a new club has opened up in the Tonawanda/Amherst area - in the Four Seasons Motor Inn on Niagara Falls Blvd. at the Brighton/ Maple intersection. Guitarist James Clark and bassist Herman Younghavebeen co-leading a quartet at The Jazz Club (great name) for several weeks on Fri. & Sat. nights. The Jazz Club instituted an open jam on Sunday nights a few weeks back which has proven quite successful. People such as Birthright guitarist Greg Millar have been dropping by to join in. There's no cover' or minimum imposed, and the club has a good assortment of beers and wines for the connoisseurs. Music begins at 10 Fri. & Sat.; 9 on Sundays. Drop by. V.S.O.P. BAND IN CONCERT On July 8, Festival Concerts wi II b<> presenting Herbie Hancock & the V.S.O.P. band at Shea's Buffalo Theatre. It's the same all-star lineup that is heard on the first half of Herbie's recent Columbia album - V.S.O.P. (PG 34688). The band will include Freddie Hubbard on trumpet, Wayne Shorter - tenor & soprano saxes, Herbie Hancock - piano, Ron Carter - bass and Tony Wi II iams - drums. Quite a cast! All of these musicians are famous enough that detailed biographies in a jazz magazine are unnecessary- their credentials are miles long; the Miles Davis Band, the Blue Note years, etc. Two shows wi II be presented, and each wi II be opened by saxophonist John Klemmer's band. See thP ad in this issue for details. �Association For Jazz Performance 1 presents 1 THREE WEEKENDS OF GREAT JAZZ! Joe Ford Quartet Reedman w/ McCoy Tyner w/ Tom Schuman, Sabu Adeyola, Nasara Abadey · JUNE 3,4&5 Phil DiRe Quartet w/ Justin DiCioccio, Nick Molfese, AI Tinney JUNE 17, 18 &19 Saa~Noto· JoeRODIBRO ·Quintet w/ Tom Schuman, Nick Molfese, Louie Marino JULY 1,2 &3 ALL EVENTS: Fri., Sat.10 PM; Sun. 9 PM ADM.-$ 4; $3 AJP Members INFO: 842-0420 Tralfamadore Cafe 2610 Main Street This program is made possible in part by a grant from the N.Y. State Council on the Arts. 'I �A NEW BUFFALO BIG BAND June presents a unique band playing Sunday Matinees at the Tralfamadore Cafe. This presents t~~ opportunity for the community to hear a big band sound ongtnattng from Buffalo-based musicians. A unique experience and one the artists hope will generate interest and excitement to all generations of musicians and listeners alike. The members of tf-te band are Jerry Eastman - bass, guitar; Nasara Abadey ~ drums; AI Tinney- piano; Bilal Abdulah- sax; Abdul Rackmandrums, percussion; Greff Young - bass clarinet, alto, soprano, baritone saxes, flute; Wi II ie Dorsey- trombone; Art Anderson alto, baritone sax,. clarinet; Leroy Johnson - trumpet; guest vocalists, Beverly Sims and Joyce Fuller. This will be_a_ working group for composers, with most o! the compostttOnsas originals, plus standards~ A sort of bndge to _the generatton gap- A modernsoundmixedwithtasteand matunty. The music is very modern and also traditional. "Work in a Big Bqnd of this nature is basically one of the necessary elements that any developing musician must go through because it develops discipline within each member of the ensemble" - Jerry Eastman. One of the most important aspects of this group is to provide a chance for each of its members to develop. Ultimate aim: as support evolves to make it larger and call it a jazz orchestra. P.W. For the second time in less than a year the Buffalo Jazz community has been plagued with overkill. The deadly devil was last present in October of last year, when Sonny Fortune, McCoy Tyner, Gerry Niewood, Steve Kuhn, Kenny Burrell, Birthright & Flip Phillips all appeared here during a two week period. The result was less than good attendance for the events. Last month things were even heavier. Most of the month's events were in fact packed into a single week. From May 10 thru 17 you could see Charlie Byrd (Statler), _Elvin J~n~s (Eduardo's - Which was booked too late to even mclude tt tn the May issue), Gary Burton with Eberhard Weber (a BJR concert at the Statler). Marian McPartland , an all-star jam session, Tony Bennett (all at the Statler). Two Generations of Brubeck (Shea's Buffalo). and Flora Purim w/Airto (U.B. Fillmore Room). Within a few days either way you could hear Chick Corea's new Return to Forever, Stan Kenton or Maynard Ferguson. Now that's ridiculous. The result - poor attendance and lots of money lost. Naturally, people want to hear these bands butfew can aff~rd more than one event in a weeks time. Flora did well -but tt was on campus and the student-activity fee funded U.U.A.B. Music Committee doesn't need to break even and has to spend the money anyway - therefore - low ticket prices are possible. Byrd, Burton, Brubeck and Jones all bombed. The point here is that it shouldn't have happened. We at the BJR are working to set up a communication network between promoters so that events aren't cramed into a single week or month. For example - we had Burton booked a month iri advance. Two weeks later U.U.A.B. comes up with Flora. Both groups attract virtually the same audience so someone had to lose. This is not to say that Flora shouldn't have been booked, but since Burton was already contracted Flora's date could've been moved to relieve the congestion. Who's fault? Ours for not communicating with U.U.A.B., and theirs for not communicating with us. This situation is unfair to the people who want to see the music, unfair to the bands who have to play for minute crowds and a drag for the promoters who lose all the money. If everyone presenting jazz will agree to balance the concerts/club dates, etc. - everyone wi II benefit. With a solid network of communication setup, you shouldn't again have to choose between a thousand events. We'll work for that. Bill Wahl WORKSHOP A Jazz Workshop wi111 be held at the Univ. of Toronto. July 4 to 8. Fee $100.00. Re'sident Band for the Workshop wtll be Phi I Nimmons - Nimmons 'n' Nine plus Six. For furthe~ information and registration contact: Prof. R. Chandler. Btg Band Jazz Workshop, Faculty of Music, University of Toronto, Toronto, Ontario M5S 1A 1. Hampton Hawes- another Jazz great dies. HAMPTON HAWES DEAD AT 49 Pianist Hampton Hawes died in late May of a brain hemorrhage. Our sources said it was the result of a "crash." Hawes, raised in a strict religious environment, taught himself piano as a child. He played professionally as-a teenager, and went on to work with some of the best in jazzChari ie Parker, Bi II ie Hoi iday, Dexter Gordon, Wardell Gray, Art Pepper, Shorty Rodgers, etc. . . . . Hamp became a heroin addict, as so many mustctans dtd tn the 50's, and was arrested and sent to jail in Texas. After serving half of a ten year sentence, he was pardoned ~y Pr~s­ ident Kennedy. As a result, Hamp turned to the stratght ltfe. Some of his best recorded work can be heard on many sides by himself and others on the L.A. based Contemporary label. His music reflects roots of gospel and blues. He was an excellent pianist and will surely be missed. llf~ID haircutter 59 Kenmore Ave. 836-1781 (eorner of Windemere) behind jewelry store 4 BABE RETURNS After lengthy illness Babe Barlow has returnedtoher shows on WBFO: Fri. 12-3 AM "Round Midnight" and "Shades of Blue" 11 PM- 12 Sat. Good to have her back. �WHO NEEDS NEW YORK? To us·e a Pres Freeland (WBFO) line - The Queen Apple Jazz Festival is upon us. No longer is there a need to spend all that money to travel to NewYo,rkfor summer jazz. It's just as hot and muggy here, and it-you'll check through this issue you'll find enough live jazz events to keep most people more than satisfied. Spend that money in Buffalo and keep it happening here. We need it. MAY 'n- A BRIEF REVIEW We couldn't even make it to all the jazz events last month so don't feel bad if you didn't. The following is a brief synopsis of what we saw, based on my own presence or that of our staff: Charlie Byrd - at the Downtown Room - played his usual easy I istening. pop and Bossa-Nova material generating I ittle, if any, excitement. Attendance - poor. Gary Burton - Statler Terrace Room - the music was very good but less than we expected from Burton & Eberhard Weber. The fact that Pat Metheny had left the band two days earlier obviously caused some problems although his replacement Bill Wahl, Pat Riley & Paula Wahl pose after Burton concert. PHOTO: Bob Riley FESTIVAL PRESENTS V.S.O.P. Blue Note Prestige etc. OPEN MON.-SAT. 10-9/SUN.12 -5/ (716)442-8811 Mitch Coodley p4'rformed admirably under the circumstances. The Terrace Room proved a good place for one night concerts. Attendance - poor. Elvin Jones - ~duardo's on Bailey - Jones always plays well but the band la1d back throughout most of the engagement, lacking the inspiration that only a packed house can give. His band. includ_ed Ryo Kawasaki, saxophonist .Chico Freeman & bass1st Jun1 Booth. Pat LaBarbara sat in on Wed. night of the week-long engagement. Attendance was poor - many people didn't even know he was there. Dave Brubeck- Shea's Buffalo- Brubeck played a beautiful concert - grand, backed by his sons Darius/electronic key- · boards, Chris/electric bass & trombone and Danny/drums. The stars of the show were Pops & Danny - a fine young drummer. Chris offered some good trombone, but weak bass. Darius deserves a lot of credit for his arrange:(l'.lents, but much less tor his keyboard work. Overall it was a very fine concert - especially the- second half where one "Mad Cat" offered some incredible harmonica work. In addition to Take SHEA'S BUFFALO THEATER Very Spacial One-time Performance FRI. JULY 8th 2 Shows! 7 & 10:30 P.M. ALL SEATS RESERVED $7.00,$6.00 & $5.00 HERBIE HANCOCK WAYNE SHORTER TONY WILLIAMS • RON CARTER & FREDDIE HUBBARD ALSO: THE JOHN KLEMMER BAND \ TICKETS FOR BOTH .SHOWS ARE ON SALE NOW AT FESTIVAL TICKET OFFICE IN THE STATLER. HILTON & ALL THEIR OUTLETS IN WESTERN N.Y. & CANADA INCLUDING U.B.NORTON H~LL, BUFFALO STATE, ALL MAN TWO STORES & PANTASTIK STORES, D'AMICO'S IN THE FALLS A SAM THE RECORD MAN STORES & TRALFAMADORE CAFE. Mail Orders accepted now: SEmd certified check or mqn~y. order, stamped sel£-addre~secl· envelope & 50¢ per order service charge to Festival· Ticket· Office; Statler..lliltoll Hotel, Buffalo, N.Y. 14202 or call 854-7173 for more information. I I �Five and other Brubeck Quartet favorites, they ripped off a super blues with "Mad Cat" up front. Attendance - poor. Flora Purim and Airlo - Fillmore Room, Squire (Norton) Hall U.B. - an exciting, intense concert from the Brazilian vocalist and her nine-piece band, which included Ai rto Moreira, trombonist Raul De Souza & pianist Hugo Fattoruso. Flora sand and communicated with the audience with excellent musicianship, vivaciousness, wit and charm. A highlight was Airlo's Batacuda - an all-percussion extravaganza involving the entire band. They had everyone in the place moving and smiling. Attendance- excellent. Marian McPartland - Downtown Room, Statler -Marian and her trio played some great music on opening night, mixing it up with standards, blues and modern tunes. Ms. McPartland is an excellent pianist and if you haven't checked her out yet, you should. Her music is always good, whether performed solo, duo or trio. Opening night attendance - excellent. All Star Jam - Statler - I missed this one, but the word from the field is that there were some fine moments as well as some poor ones. I hear that Spider Marlin stole the show. B. W. Attendance - good. When You Are In Toronto This Summer, Be Sure To Visit The Jazz and Blue1 Record Centre 893 Yonge Jtreet 416-929-5065 recordf. bookf. magazine1. jazz information import fpecialift N alfo: Ufed and budget recordf / Jazz Specialists For 17 Years D.C. Recorded on the same nights that Dexter spent in Buffalo, this set finds Woods' quintet, with percussionist Alyrio Lima, in peak form. Guitarist Harry Leahy had just joined the band and is superb throughout. Woods himself is simply magnificent. Their version of Cheek to Cheek, running over 11 minutes is a highpoint of the set- filled with creative soloing, fire, soul and humor - and it swings hard. Another extended feature is a reading of Randy Weston's Little Niles, deserving of the same praise as Cheek. Woods displays his ballad virtuosity on several cuts, including Stevie Wonder's Superwoman (Where Were You When I Needed You), and the Latin Lady J. i'm Late is red hot. The rhythm section of Leahy, Mike Melillo, Steve Gilmore and Bill Goodwin provides first rate support at all times; and Leahy and Melillo deliver fine solos throughout and offer one composition each. This album presents a bright, interesting and exciting band on some nights when they were obviously "on". The program of tunes is varied and balanced, the recording quality is good and Woods- one of the masters- is in top spirits. It is without a doubt Woods' finest RCA effort yet and is highly recommended. Bet you can't keep yourself from tapping your foot! B.W. NCOrdtDi THE PHIL WOODS SIX LIVE FROM THE SHOWBOAT- RCA 2-2202 We've been rather fortunate this month to be exposed two three excellent, live, two-record sets, offering music from some of jazz' finest. First there's Dexter Gordon's Vanguar_d dates then Herbie Hancock's Newport Concert, and now Phil Wood~ live recording from the Showboat, just outside Wash., THE WOODY SHAW CONCERT ENSEMBLE AT THE BERLINER JAZZTAGE - MUSE 5139 Anyone who heard and enjoyed the Louis Hayes-Woody Shaw Quintet last year at the Tralfamadore should look into this album, recorded I ive at the '76 Berlin Jazz Festival. The Quintet is intact here - Shaw, Louis Hayes, Ronnie Mathews, Rene Mclean & Stafford James - with guests Frank Foster on tenor and soprano saxes & Slide Hampton on trombone. The program is kicked off with Joe Chambers Hello To The 6 Formidable drummer Louis Hayes. �Wind, a lengthy modal tune taken at medium tempo, with statements from Shaw, Foster & Sl iqe. Next is the hot Obsequious with Mathews' pi.ano solo leading into exchanges between Woody & Sltde, later shtfttng to Rene on alto& Foster on tenor. Louis Hayes delivers one of hissuperbdrumsolosbefore the closing. Mathews' Jean Marie is next - a 3/4 time excursion with some excellent piano work from the composer, a flute passage from Rene and soprano from Frank followed byWoody's trumpet. McLean wrote the closing tune, In the Land of the Blacksa. red hot cut serving as a showcase for Slide, Woody & Rene htmself. This is a superior album by<! superior quintet. The addition of Foster & Hampton serves as extra icing on the cake. Definitely worthwhile. B.W. GRANT GREEN - IRON CITY - MUSE 5120 The out of print Cobblestone catalogue is slowly re-appearing, with new covers, under the Muse banner. Grant Greens Iron City, Cobblestone's second release, is the latest to come back. It's a trio date; Green is, of course, on guitar, with Big John Patton or organ and Ben Dixon on drums. The music here doesn't do much for me. I've heard better work from Patton, and Green has many better examples of his music on record- one in fact is another Muse disc- Green Blues (M 5014). There are a few good "spurts" here, but overall the record lacks feeling and excitement. B.W. RANDY WESTON - BERKSHIRE BLUES - ARISTA AL 1026 It was my pleasure to review an earlier Randy Weston album, Carnival (AL 1004). which was a tribute to Duke E II ington. That album proved Weston capable of playing in the style of someone else without resorting to outright imitation. Berkshire Blues reaffirms Weston's skills on the piano and shows his intelligent choice for accompaniment in Vishnu Bill Wood on bass and the ever tasteful Lennie McBrowne on drums for side one of the album. McBrowne and Wood were early members of the Randy Weston sextet. Although this is Weston's latest release, it is comprised of material recorded in two sessions in Coming soon to the I.1~~~~~ ~!Ji~m~ .~II.~ ~ .~-~~ Glenwood, N.Y. KINGFISH MIGHTY JOE YOUNG HARVEY MANDEL & OTHER NATIONALY KNOWN GROUPS For info. as to dates & location, phone 941-6655. Outside patio now open. TAKE A RIDE TO THE HILLS August and October of 1965. Listening to the seven selections I doubt if you'd be able to discern that the recording sessions are twelve years old. Four of the seven are Weston compositions including a solo piano version of lfran which was also recorded on the album Blue Moses in 1972. lfran appears on side two all of which is Randy at the solo piano, a treat for anyone who appreciates quality keyboard playing. You'll notice Weston's fondness for waltzes in the title cut, Berkshire Blues. j.H. A BUCK CLAYTON JAM SESSION VOL. 3 - CHIAROSCURO CR 152 This is a blowing album with a number of fine musicians getting off on 4 of Mr. Clayton's compositions. Those on this record include Harry Edison, Hannibal Marvin Peterson Vic Dickenson, Lee Konitz, Buddy Tate, Bob Wilber, Hank J~nes, Richard Davis, Jimmy Knepper, Earle Warren, Budd Johnson and Bobby Rosengarden. As one of the tunes is titled this is "Jazz Party Time" as the music hot and the spirits high. RW ~~the most beautiful sound next to silence~' KEITH JARRETT ARBOURZENA Steve Kuhn and Ecstasy Motility with JAN GARBAREK & CHARLIE HADEN - ECM+1094 A brilliant debut group recording by Steve Kuhn's Ecstasy. RECORDS I LOWEST PRICES IN TOWN ! LARGEST SELECTION OF JAZZ IN THE WORLD! 1800 MAIN at LAFAYETTE SUN thruWED 10am-10pm THURS, FRI & SAT 10am- midnight �hear AIY&A• AY&A at these clubs : Mon.-Bona Vista 1504 Hertel Ave. Tues.-Jack Daniel's Forest near Elmwood Thurs.-Tralfamadore Main at Fillmore Sat.- Odyssey 1005 Tonawanda St. Sun.- Jack Daniel's DEXTER GORDON/AL COHN/BARRY HARRIS/LOUISHAYES/ SAM JONES/BLUE MITCHELL/SAM NOTO - TRUE BLUE XANADU 136 Don Schlitten, who produced a great many sessions for Prestige, Muse and other labels, must have been elated on October 22 of last year, the day this session was recorded. He had good reason to be, as one of his favorite musicians (Dexter Gordon) who plays his favorite instrument (tenor sax) was playing better than ever, and happened to be on hand for this all-star blowing session; a rare occasion. Recorded just before Gordon signed his nowfamousColumbia contract, this session presents seven of jazz' finest in a two tenor, two trumpet and rhythm format. The set begins with Lady Bird, Tad Dameron's be-bop classic, with everyone getting a fair shake at the mic. The ballad How Deep is the Ocean follows, with sensitive solos from the four hornmen. True Blue fills all of side two. It's a blues track, taken at a good pace, and is a perfect jam vehicle. Again, everybody shines. AI Cohn seems more inspired when paired with a Dexter Gordon or Zoot Sims than when he's by himself and delivers some fine work. Three of the musicians on this album are due in Buffalo soon. Sam Noto, a Buffalo native, will be playing the Tralfamadore (date not set at this writing); and Dexter Gordon and Louis Hayes wi II perform together on June 26. Whether or not you can catch them I ive, this record deserves your attention. B.W. A second volume is forthcoming. STANLEY COWELL- BLUES FOR THE VIETCONG- ARISTA AL 1032 Contained on this album are selections wr:itten, with only one exception, entirely by pianist Stanley Cowell. Cowell is known for his varied approach tothepianowhich includes great sensitivity as"in Sweet Song, dynamic explosiveness as in Departure, and outright swinging as in The Shuttle. Even though Blues for the Viet €ong is Stanley Cowell's rr1ost recent release it is material recorded nearly eight years ago. ft would have been exciting and challenging music had it been issued then. The fact that it sounds so fresh and vital in 1977 is a tribute to Stanley and to his choice of sidemen, Steve Novosel on bass and Jimmy Hopps on drums. Cowell has been an innovator throughout his career and has been associated with others such as Max Roach, Marion Brown and Charles Tolliver who are pioneers in their own right. An innovator, yes, but he has the skills to give proper treatment to jazz standards I ike Rodgers and Hart's You Took Advantage of Me without sounding the least bit contrived. If you enjoyed Cowell's previous Arista album, Brilliant Circles, you will want Blues For the Viet Cong. J.H. LINC CHAMBERLAND - A PLACE WITHIN - MUSE 5064 Line who? Well, Line Chamberland is what you might call a "monster guitarist" who's been playing around clubs in Stamford, Connecticut, but makes his living from teaching guitar. His debut album should turn a few heads around. Chamberland plays with incredible speed, accuracy and energy combined with good taste. He does some unbelievable runs throughout the album, and is clearly the star of thesession. David Liebman isonhand,playingtenorand soprano saxoffering some nice work, as does bassist CLyn Christie. Drummer Bob Leonard is hot and cold, playing some unimaginative stuff on some of the more energized tunes, but tasteful when he lays back. But it's Chamberland that deserves your attention and B.W. DEXTER GORDON ON INNER CITY Inner City records has been releasing Dexter Gordon's Danish Steeplechase recordings in the United States & Canada. The following comments will briefly describe the ones we've heard: THE APARTMENT - Inner City 2025 finds Dex in the company of two musicians he's been most heard with in Denmarkpianist Kenny Drew and bassist Niels- Henning Orsted Pedersen, along with drummer Albert uTootie" Heath. This is an excellent quartet session and the album's been one of my favorites since it's initial release as an import two years ago. The sound is clear and crisp, and each member of the band p!ays magnificently. Three tunes often played I ive by Gordon are heard Stroll in', Wee Dot and The Apartment. Also included is a beautiful version of Old Folks, a duo feature for Dexter and NielsHenning Orsted Pedersen, done in tribute to the late Ben Webster. Recorded: May & Sept. 1974. MORE THAN YOU KNOW - Inner City 2030 is Dexter's 8 DEXTER GORDON �1l I .l ,~ first recording with an orchestra under his own name. The orchestra is arranged and conducted by Danish trumpeter Palle Mikkelborg, and .includes American expatriates suchas Ed Thigpen al~ng with Danish musicians. A different settmg for Dexter, who· is the only horn soloiston the record. A sw?et version of Coltrane's Naima is here, as well as a new readmg of Ernie's Tune (which almost gets avant-garde for a while). An interesting change, with some great Gordon solos. ~nyone who enjoys large bands might look into this one, though 1ts not by any means a "scream in' big band". In a "nutshell" its simply some highly orchestrated Dexter Gordon. Recorded: Feb. & March '75. Its back to the quartet for STABLE MABLE - Inner City 2040. Niels- Henning Orsted Pedersen delivers some dyn~m!te basswork, especially on the quick paced So ~hat. P1amst Horace Parlan is hot and cold, but sounds especially good on So What (a fine cut). Red Cross is eight minutes of Dexter as the only soloist, propelled by Parlan, Pedersen.and drummer Tony lnzalaco. Dex plays soprano on In A Sent1mental Mood, but his sound on that instrument is nowhere near: the ca.l1bre of his tenor work. Stable Mates is a cooker, and Just Fnends is just a few steps behind. There's some good.Dexter here, and So What is especially enjoyable. Recorded: Sept. 19?5. SWISS NIGHTS, VOL. 1 - Inner City 2050was recorded l1~e at the Zurich Jazz Festival of 1975. Kenny Drew is back, as IS Niels-Henning Orsted Pedersen. The drummer is Alex Riel, a Dane heard on many other European reco'rdings. Dexter delivers some great, lengthysoloshere,andthework of Drew. and Pedersen is first class as usual. One drawback is R1el's drumming - which gets sloppy at times on Madness and he's recorded poorly. The program has only four tunes - You've Changed, Days of Wine & Roses, Jobim's Wave and Sonny Rollins Tenor Madness. All four of these albums present some fine music. My vote for the standout is The Apartment. Choose yours according to your taste, and with regard to what you can catch on the radio. Each disc is receivinggoodairplayinBuffalo, Rochester and Toronto. There are more Dexter albums on Inner City- two volume,s with Jackie Mclean, The Meeting & The Source, which have been previously reviewed; and a new one - Bouncin' With D~x, which I've not heard yet; but, based on these - I'm lookmg forward to it. B.W. GLEN MOORE AND DAVID FRIESEN - IN CONCERT- VANGUARD VSD 79383 In Concert is not the usual I ive recording. It is performed by two bassists, Glen Moore and David Friesen, who each double on piano during the album. Certainly a typical format for jazz but the resulting music is as beautiful as it is technically satisfying. Glen Moore is the better known of the two for his membership in the group Oregon but Friesen has had experience playing with Jack DeJohnette, Billy Harper, Joe Henderson and others. The album is not lacking il) variety. Suite for Bass, Cello and Violin is just that with Friesen on cello and Moore alternating between viol in and bass. Love Song has Moore on bowed bass while Friesen accompanies him on piano; a juxtaposition from the opening selection on the album Children of the Kingdom which finds Friesen on bass and Moore on piano. The numerous strong points of In Concert are: the.variety of instruments used and the musical flavoring and textures achieved, the obvious technical abilities of Glen Moore and David Friesen, the fact that they were performing before an audience which puts special demands on the musicians, and the fact that this is a rare occurrence except for a very few other bass duets. J.H. WOODY HERMAN 40th ANNIVERSARY CONCERT, CARNEGIE HALL - RCA BGL2-2203 Since he emergedon the jazz scene just over 40 years ago with his first thundering herd, Woody Herman has remained one of the most popular and energetic of all the big band leaders. Many alumni of the Woody Herman herds over the years have gone on to become major jazz names in their own right. On November 20, 1976 some of them - Zoot Sims, AI Cohn, Stan Getz, Jimmy Guiffre, Jake Hanna, and many others were reunited at Carnegie Hall to celeQratethe 40th anniversary of Woody Herman's leadership of his big band. The personnel of Herman's groups have changed over the years but as with NEW MUSE THE WOODY SHAW Clifford Jordan/ Remembering Me-Me CONCERT ENSEMBLE FRANK FOSTER RENE MCLEAN SUD£ HAMPTON RONNIE MATHEWS MR5105 Houston Person with Jimmy Ponder/Stolen Sweets MR5110 S"DlFFORD JAMES LOUts HAYES AT THE BERUHER JAZZTAGI!. Grant Green with Big John Patton/ Iron City MR5120 Woody Shaw with Slide Hampton, Frank Foster/Live Berliner Jazzt~ge Line Chamberland with Dave'Liebman/ A Place Within MR ·s·iaE.--- MR5064 This Month at Super Savings! s SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA I -- ------=-====-;;.;;-=-;;.;;-··-"'··-""-""_""._'-'_""__""..-"'._"'. ""._"' .._=·-"'·-==""-=-~~~~=-~--' �Duke Ellington's orche.stra the standard clolarts, (the songs that helped to bring them to national prominence) have remained with Herman's herd andarefoundonthis well-recorded double album. Cousins, Apple Honey, and Brotherhood of Man are here as well as Four Brothers which brought the legendary tenor team of Cohn, Sims, Guiffre and Getz back together in an amazing display of rapport that seems to have been Hermaninspired. Record one of the two record set consists of the Herman alumni while record two is Woody's "New Thundering, Herd" featuring Dennis Dotson/trumpet, Jim Pugh/trombone and Gary Anderson on tenor. On both records the music is impressive. For new fans of Herman's, old fans who wish to become reacquainted, this record should become pari of your collection. J.H. DON PULLEN - TOMORROW'S PROMISES - ATLANTIC SO 1699 Pianist Don Pullen is well respected for his work with Mingus, as well as solo efforts in the avant-garde r.eal~. His new Atlantic album should attract new fans w1th Its accesible sound; and, at the same time, it will probably disappoint many of his avid followers. It is; in Don's own words, "funk". Although the basic theme is funky, it isn't the mindless variety that's been flooding the market of late. There's some creative playing here from Pullen, saxophonist Geo. Adams, trumpeter Hannibal Marvin Peterson and others that should serve as an example to other musici-ans that funky music need not be played in a creative vacuum. Big Alice, done with a rock 'n roll beat (ala Bo Diddley) offers solos from Adams, Randy Brecker, violinist Michal Urbaniak & Pull~n onac?ustic piano. It and Poodie Pie are the most commercially onented tracks. Both are Pullen originals. Two ballads are includedAdams' Autumn Song & Ira Wormack's Lets Be Friends, the latter of which boasts sweet vocals by Rita DaCosta (Mrs. Stanley Turrentine). The only tunes that would be of real interest to Pullen regulars would be Kadji, an African/Latin piece, and Last Year's Lies and Tomorrow's Promises - a duet between Pullen and Adams, who plays tenor and soprano saxes, flute and bass clarinet. Promises is the only "outside" track on the album; memories of his Ita I ian Black Saint and Horo imports w/Adams and Sam Rivers. A different approach for Pullen. The album will turn a few heads - in different directions no doubt, but those interested in what is termed "funky jazz" these days should turn to Pullen for a tasteful way of playing it. . B.W. STEVE KUHN - MOTILITY - ECM-1-1094 Steve Kuhn has always been a pianist that rei ished freedom within the thoughtful framework of his playing. For this album, Motility, Kuhn employs his regular working group Ecstasy, which gives him this freedom. Steve Slagle, whose style resembles that of ian Garbarek is heard on soprano and alto sax and flute. Slagle is featured prominently and blends well with Kuhn's open ended style of piano playing. Kuhn offers compositions that are slightly Latin in flavor such as Deep Tango well as beautifully, light and airy compositions such as Rain Forest which sounds somewhat classically inspired. Kuhn has used the electric piano inthepastbut his stated preference is the acoustic and he uses it exclusively on this record. Harvie Swartz on bass and Michael Smith on drums, are both tasteful in their supporting roles. Motility represents approximately 42 minutes of pleasant listening- the right combination of free improvisationa and structure - to be another positive step forward for Steve Kuhn. J.H. THE PRESTIGE/MILESTONE TWOFERS THE GENE AMMONS STORY: ORGAN COMBOS- Prestige 24071 is a re-issue of the late tenor giant's first two sessions using organ. The organists are Jack McDuff & Johnny "Hammond" Smith, and other sidemen include Joe Newman, Frank Wess and Art Taylor. The music is mostly blues-rooted, and everyone gets some room to stretch out. The music was recorded in 1960 & 1961. R.W. ERIC DOLPHY - STATUS - Prestige 24070 is a complete re-packaging of the albums Here and There and Dolphy in -Europe Vol. 2. The European rhythm section heard on four tunes leaves a bit to be desired, but Eric's solo bass clarinet rendition of God Bless the Child is superb. Status Seeking is a fine track - with Booker Little, Mal Waldron, Richard Davis and Ed Blackwell - running over 13 minutes. Some good Dolphy is here; and Prestige has just about re-issued all of their Dolphy albums with this set. This is '60 & '61 material. COAST TO COAST from the late CANNONBALL ADDERLEY - Milestone 47039 brings two of 'ball's Riverside discs back into circulation. Record one was originally Quintet in San Francisco (Riv. 311) with Nat Adderley, Bobby Timmons, Sam Jones & Louis Hayes. It was and still is a good session including versions of Timmons' This Here, Randy Weston's Hi-Fly & Cannon's Spontaneous Combustion among the five tunes. Cannonball's bands were always heard to better advantage I ive than in the studio, and even better I ive music is heard on record two - Sextet in New York (Riv. 404). This Village Vanguard date in 1962 featured 'ball with Nat, Yusef Lateef, Joe Zawinul and that great bass drum team again Sam Jones & Louis Hayes. It is a more spirited performance and includes a super versions of Jimmy Heath's Gemini, and Lateef's Planet Earth. Yusef plays tenor sax and oboe. These recordsare the same as the originals except that a previously unreleased version of Straight, No Chaser replaces the originally presented Bohemia After Dark on the San Francisco session. Some great Cannonball and a good buy. An historically important set taken from the old jazzland catalogue comes out for FATS NAVARO - Milestone 47041. This music goes back to 1948 and was recorded I ive at the Royal Roost in New York. Although re-issued under Navaro's name, the dates were under the leadership of pianist Tadd Dameron. Fats, in fact, does not play on side four. The other musicians involved throughout the various tracks are Allan Eager, Curly Russell, Kenny Clarke, Kai Winding & Rudy Williams. Milt Jackson is heard only on one tune - Symphonette. The recordings were originally done as airchecks- therefore, shaky but acceptable sound quality. Of the many re-issue packages issued for WES MONTGOMERY, MOVIN - Milestone 47040 is one of the very finest. Record one, done in an L.A. studio, was recorded in 1960. Wes is heard with flutist James Clay, Victor Feldman, Sam 1------~------------------__.10 Jones & Louis Hayes. Two takes of a blues original, Movin' JUNE at the TRALF MON.-OPEN MIC TUES.-SWINGING WHALE BOYS WED. -JEREMY WALL TRIO THURS. -SPYRO-GYRA 3,4, 5 JOE FORD 10,11 NEW WAVE 12,26 EMIL PALAME BIG BAND 17,18,19 PHIL DiRE 24,25 EXISTING REALITY Juiy 1,2,3 SAM NOTO & JOE ROMANO tralfamadore cafe 2610 main at fillmore 836-9678 �Along, are included, along with Body & Soul, Miles: tune up among the eight tracks. This is a good sounding qumtet and some fine soloing is heard. The second disc is a live 1962 date at Tsubo's in Berkeley, California. Here Wes is joined by Johnny Griffin, Wynton Kelly, Paul Chambers & Jimmy C~bb. When you add Wes & Griffin to Miles Davis' rhythm sectton, and the feeling is right, you get a hot band. Wes' best recordings are his I ive sessions, and this set along with the Verve package titled Small Group Recordings (VEZ-2513) are perhaps the finest examples. Wes & Grif a_re in great fo.r'!' and the section performs at their. usual h1gh level. Ongma~ ly issued as Movin' Along (Riverside 342) and Full House (R1v. 434). Highly recommended for guitar fans. B.W. Note - see reviews of the FANTASY twofers in the blues column. RAY PIZZI- APPASSIONATO- P.Z. 333 Mr. Pizzi first came to my attention via his passionate soprano work on Dizzy Gillespie's recent dance record Dizzy's Party. More of that same quality canbeheardon his self-produced album Appassionato, featuring West Coast musicians such as Mark Levine, John Heard and Joel DiBartolo among others. His emotional music is first heard on Maddelena- an excercise in floating lyricism combined with fire, played on soprano and backed with guitar, piano, bass and drums. Ballad For M.P.Z.' offers more in the same vein, a feeling continued throughout much of the album. Prayer For Simon finds Pizzi on flute and bassoon, hand I ing each with good faci I ity. My Cat is a burning vehicle for soprano w/Greg Mathieson on organ. Pizzi offers a variety of styles here- ballads, swingers, a funky number and the nearly outside Transmo. If you've heard his work and want more, or want to check out something stimulating and different, look into this album or his forthcoming Pablo release. Ray should be in Buffalo soon with Diz. Appassionato is available from P.Z. Records, P.O. Box B.W. 8137, Van Nuys, CA 91406; $5.98 po_stpaid. IC 2008 THE MEETING Dextei-Gordon & Jackie McLean IC 2020 THE SOURCE Dexter Gordon & Jackie Mclean IC 2025 THE APARTMENT Dexter Gordon Quartet IC 2030 MORE THAN YOU KNOW Dexter Gordon & Orchestra GARY BURTON QUARTET WITH EBERHARD WEBER PASSENGERS- ECM 1092 The previous collaboration between vibist Burton & German bassist Eberhard Weber, Ring (ECM 1051), was indeed a treat. Their second outing, Passengers, offers some morefinemusic in the same vein, but is less stimulating. . The entire band seems a bit more reserved here, not as bright as expected. Part of the problem is probably due to the muffled recording quality, which is certainly not an ECM tradition. Nonetheless, fans of Burton's recent bands should be pleased with the music- which is very much like their recent Buffalo concert. Pat Metheny wrote three of the six tunes included, Steve Swallow contributed the ballad Claude & Betty; and there's a new version of Weber's Yellow Fields. The longest cut is Chick Corea's Sea Journey, which is the most energetic of the lot. A good album, with some nice ballad work featured. Good listening, though not exciting. B.W. ELMO HOPE - LAST SESSIONS - INNER CITY 1018 These are 1966 sessions featuring Mr. Hope's swinging piano in a trio setting with bassist Jimmy Orr and drummers Clifford Jarvis and Philly Jo Jones helping the proceedings. Elmo Hope's fluid and precise playing is full of swing and humor whether or the latin-tinged Bird's View or the bluesy Toothsome Threesome with just a tinge of Monk in his angular playing. Ten years after his death,this as well as recent reissues, should promote his reputation as in the case of too many other jazz artists posthumourously. RW CLARK TERRY & COLLAGE - PROFESSOR JIVE - INNER CITY IC1015 Much has been said about the elements of classical music that can be applied to jazz and vice versa. With the album, Professor Jive, Charles Schwartz, has paired one of jazz' most versatile musicians, Clark Terry, with seven members of the Boston Symphony orchestra (a group called Collage) to produce music which parodies with taste compositions by Stavinsky, lves, and Ellington. The album consistsofone extended available at RECORD THEATRE IC 2040 STABLE MAB.LE Dexter Gordon Quartet IC 2050 SWISS NIGHTS Dexter Gordon Quartet IC 2060 BOUNCIN' WITH DEX Dexter Gordon Quartet 0 All albums are $6.98. Licensed by SteepleChase Records Exclusively on lnnerCityi~i.::: �work, Professor Jive, which is divided into four movements, riffs, biffs, whiffs, tiffs. Although whimsical in title, certain movements, especially the third (whiffs) and fourlh(tiffs), have serious movements. One of the strengths of this piece is the rapid manner in which Schwartz is capable of changing the mood from serious to humorous as in the second movement (biffs). For some jazz I isteners there wi II not be enough swinging thereby inherintly restricting the full use of Clark Terry's trumpet work. The rapid mood changes seem now - spontaneous lacking both the true freedom of jazz and the order of classical. Terry's soloing on muted trumpet, flugelhorn and trumpet seems able to flow with these abrupt changes as only a musician with such a wide background and experience could do. Collage acts as a constantly shifting backdrop upon which Terry can express himself. J.H. DAVID LIEBMAN - LIGHT'N UP, PLEASE - HORIZON 20 Liebman appears to be changing direction. After successful albums with his band "Lookout Farm", and a great duo album with Richard Beirach, the saxophonist comes up with an R&B disc. He's joined forces with tenorman Pee Wee Ellis, who's heard throughout the album. While there are some good R&B instrumentals here, there's also some vocal tracks that just don't make it at all. Leon Thomas is listed, but does nothing of musical worth. Though not up to Liebman's usual standard, this album does offer some jazzy R&B that's better than most. Try to I isten to it befc1·e you buy it. B. W. NEWLY RELEASED Here's a few new releases that we've heard about but not received yet, or received too late for review this month. Reviews wi II appear in July. JOHN COLTRANE - AFRO BLUE IMPRESSIONS - from the new PABLO LIVE (2620 101) label distributed by Pablo records. It's a two record set of 'trane recorded I ive in Sweden, West Berlin and other locations w/Tyner, Garrison & Jones. MILT JACKSON AT THE KOSEl NENKIN (Pablo Live 2620 103), another 2-record set was recorded I ive in Japan in March 1976. He's with Ray Brown, Teddy Edwards, Cedar Walton and Billy Higgins. Should be great. THE GUITAR PLAYER - MCA records' guitar album with various guitarists - another 2-record set. MCA 2-6002. Also: A new Arista-Freedom release. son of jazz bill besecker Say goodbye to the myth. In Jazz Forum#44, Dave Liebman talked about that "appreciative European jazz audience" we've always been hearing about from our returning arl!sts. Wha~ he rel.ates is somewhat surprising. In effect, he sa1d the typ1cal jazz audience there is the most backward jazz audience in the world. While it will listen to the "new devices" of ja;tz (the electronic and abstract derivatives), it does so only "grudgingly". "Be-bop" alone still is the on!y truly appreciated · form over there. Thi's poses potential problems for all would be jaz~ e_xpatriates who prefer to play in an atmosphere of almost limitless creativity. At the same time it poses real problems for resident-born musicians who often find themselves ignored by their own countrymen even if they do play be-bop. The "appreciative ... audience" is for American Be-bop players, only. For native Europeans to play electric or avant-garde jazz they run a greater risk of financial ruin than their American counterpart. Yet, it is these types of Artists who survive and llchieve international recognition for their efforts. Case in point, Eberhard Weber, a non-traditional bass player who built his reputation with the fanatical Wolfgang Dauner and later with his own collection of ECM albums. Last month he appeared locally with Gary Burton's Quartet. Other non-be-bop Europeans are producing albums which are gaining international reputations. One of the pioneers of Polish Jazz, Zbigniew Namyslowski, has led a group of fellow Poles (Thomas Szukalski - s & t saxes; Wojciech Karolak - e piano; Pawel Jarzebski - bass; and Czeslaw Bartkowski - drums) in production of an album quite 1,mique for the genre. In these times of getting back to one's own "roots", Namyslowski has dug back to traditional songs of his own land in ordeiiJ to adapt them f0r modern jazz treatment on Kujaviak Goes J:lunky (MUZA SX 1230). The result is exceptional. Having n~ver heard a straight version of "Gesowka" or "Appenzeller's Dance", I cannot even dare imagine how much change had gone into the jazz adaptation. The modern charts are funky, pleasing, danceable (?) and damn surprising. Namysloilvski has a deserved reputation as an astounding alto player in his country, and he is constantly praised by some of his more noted countrymen for sp.eci~l improvisational achievements. If you'd l1ke a starlmg po1nt m Pol ish jazz beyond Urbaniak, Stanko and Seifert, this may be the place. Impressionistic solo pianist albums are always special. Something about the "one-man-orchestra" is so enchanting that when it's interpreted by a highly individual artist, it is always an event. Adam Makowicz can be broadly and loosely termed a modern player with some conservative tendencies. One Swiss critic, who witnessed Makowicz's performance with Europe's festival-like "Piano Conclave", whichbringstogether pianists from around the world, wrote, "None of the piani~ts revealed such a variety of style -from Art Tatum to Ke1th Jarrett- as Makowicz." The Solo album, Live Embers (MUZA SX 1218) is a collection of standard length compositions by Makowicz, Scott Joplin and John Coltrane. One of the many high points on this record is the varied- metered "Milowe Kroki", which you may. have heard before as "Giant Steps". Makowicz runs through the changes of this difficult tube both languidly. and like lightening. Coltrane's "Countdown" Joplin's "Solace" and "The Entertainer", and six compositions of Makowicz round out this most pleasing album. . Jacques Thollot, often associated with avant-garde musicians of both Europe and the States, has ;produced an album which I thought would have given insight in;lo his own personality. But it is quite hard to grasp exactly what he was after when he structured the basic ideas for Watch Devil Go (Palm 17). The format of the album sounded promisingly individual. Sixteen compositions, the majority of which play under two minutes in length, are offereddealingwith images of the occult. 12 The result however is unsatisfactory, ultimately because what �the album needs most, it lacks - a "sound". From one cut to the next, the change. is so startling, there is no flow. The tunes sound as if they had been played by at least five different groups, all with dissimilar intentions. It is true contrast can be adventurous, but without some musical thread holding it together, .it sounds I ike ramblings from scattered sections of the Universe. There are some first-rate moments: the acoustic trio pieces are quite powerful at provocative imagery; Charlene Scott's vocal on the title track is reminiscnet of both Jeanne Lee with Gunther Hampel and Dee Dee Bridgewater with Heiner Stadler; and Francois Jeanneau is given stretching room on "In Extenso". One last comment, I'm sorry to report that Jean-Francais Jenny Clarke's potential was ignored in this production and his name should be removed from the record jacket. B iII Besecker blues. PRESENTS by ron weinstock ARTHUR PRYSOCK The Belle Starr out in Colden, NY continued to bring blues acts to the Buffalo area. Early May saw Buddy Guy and Junior Wells. I caught their opening act andwasn'ttoo impressed with their new back-up band. When both Philip Guy and Buddy started to take the spotlight things got better and things were going well till Buddy broke a string during Junior Wells stint. Buddy wasn't able to get back in tune and it was a I ittle disappointing. Others told me that other nights went much better. · Son Seals' debut at the Belle Starr, and first Buffalo area appearance in a couple years, was one of the finest blues acts I've seen in awhi Ie. Son is an acidic singer and fiery guitarist and accompanied by a tough and tight band, including the aptly named Harry 'Snapper' Mitchum on bass, Pete Allen on guitar and Tony Good on drums, provided quite a full sound. Son played quite a varied set doing hot versions of "I Wonder Why" "Sweet Angel Child," Why I Sing the Blues" as well as tunes from his two Alligator albums such as Ray Charles' "I Believe", Junior Parker's "Telephone Angel" and his own "No, No Baby" and "Down on My Knees." "Your Love is Like a Cancer·~ is my own favorite taken at a rocking tempo with its stinging lyrics and guitar work. Son onthebasis of his records and his I ive performances deserves to be better known. If you are near where he is playing, do check him out. As far as records go Fantasy has a twofer series of blues re-iss.ues. John Lee Hooker's Black Snake (F-24722) is reissued from two sets on Riverside. Hooker is solo on onerecord and on the other side bassist Sam Jones and drummer Louis Hayes accompany on most of the material. There is better John Lee Hooker availabl e, but their is also a lot worse 1 stuffto I isten to by him. : / 1 Sonny Terry & Brownie Mcrhee are one of the blues most celebrated duos delighting apdiepces for many years. Midnight 1 Special (Fantasy F-24721) ¢apt ures Sonny's exhuberant harp playing and Brownie's fluid guitar. While this isn't downhome country music but rather music for a whitefolk audience these 1960 sides show that their professional approach doesn't mean the music lacks warmth or spirit. There mastery of the rural blues tradition shines and this set provides ample testimony to their contribution to American music. Finally the Belle Starr continues to bring blues acts to the area. June 23-26 blues singer and guitarist Mighty Joe Young will be out at Holland-Glenwood Road. Mighty Joe Young is one of Chicago's finest musicians, a fact readily seen by his being in demand as a session man. He has recorded behind the late Magic Sam, Jimmy Dawkins, Willie Dixon, Koko Taylor, Otis Rush, Jimmy Rogers, Fenton Robinson, Tyrone Davis among others. He has four albums out including the fine Blues With a Touch of Soul on Del mark, an album on GNP-Crescendo and two sets on Ovation. Joe is a mellow singer with a clean fluid guitar attack. This will be my first chance to see him in about six years. Hope to see you there. June 3,4&5 BILL DOGGETT June 7-11 $3& $4 COUNT BASIE. Sun., June12 $15, 7.5o&s SABAT A June14-20 WOODY HERMAN Sun., CHARLES EAR LAND 1 1 June26$15,7.50&5 June 28-July3 $3&4 COMING: 7/17 Glen Miller; 8/12 Lionel Hampton; 8/28 Buddy Rich; 9/18 Tommy Dorsey. Basie & Herman: Dinner & Show $15; Bar $7.50; 2nd Show $5. Dinner served Daily from 4 PM. Blues on WBFOSaturday - Shades of Blue with Babe Barlow 11 :00-m'idnight Monday- Raggin' the Blues with Linda Namius as part of This is Radio from 4:00 to 4:45 PM Wednesday - Bon Ton Roulet with Ron Weinstock Part of This is Radio from 3:00 to 4:00 PM Thursday - Ramblin' With the Blues with Ron Weinstock10:00 to 11:00 Adm.$5 Let us entertain you! PI an your next party around ·our coming. star attractions. 13 �WANTED Jazz oriented person to do weekend programming at local radio station. Person must be creative and willing to work Saturday and Sunday nights and some sit-in work. Contact AI Wallack at 886- 0970. E.O.E. Radio WEBR- 97.0 AM WNED - 94.5 FM Jazz in the Night - every night 7-midnight w/AI Wallack. WBLX- 94 FM The Sound of Jazz w/Carroll Hardy- Sat. nights 10 PM1 AM. WADV- 106 FM Jazz Nitely w/Geo. Beck - Mon.-Fri. 11:30 - 12:30. Jazz w/Joe Vendetti Sun. 8-12 PM. WBFO 88.7 FM Mon.-F1·i. Noon-Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midnight Mon. "Modern Jazz: The first 20 Year" ~ Dick Judelson Tues. "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" - Paul Smith Thurs. "In Concert" - Ed Smith Fri. "The Hot and The Blue Art" - Dave Benders Mon.-Fri. Midriight-3 am "Round Midnight" Mon.: Paul Wandell Tues.: Steve Rosenthal FOUR SEASONS MOTOR INN presents it's new jazz club with .TR.IPLE EXPOSURE ORGAN TRIO FAI.&SAT. 10-2 SUN. 9-1 Jam Session Th• JIIICLUR 1376 NIAGARA FALLS BLVD. at Brighton/Maple NO COVER NO MINIMUM 836-2940 Wed.: Vincent Jones Thurs.: Paul Meyer Fri.: Babe Barlow Saturday 3am-8am "Pulse" - Vincent Jones Bam-Noon "Freedom Flight" -Ed Smith Midnight-Sam "Opis in Modern Music: Jazz by Request- Pres Freeland Sunday: Noon-two "Jazz Contours" - Bi II Wahl 11pm-midnight Big Bands w/Bob Rossberg Midnight-3am "Roots, Rhythm and Sound"- Dave Jacobs 3am-8am "Progressively Yours" - Harry Schuster CANADA - SELECTED LISTINGS CKTB - 97.7 FM J. is for Jazz w/Jack Cole- every Sunday night 8-10 PM": CKQS- 94.9 FM Music For Night People w/Paul Fisher - Mon. thru Sat. midnight-3 AM. From bebop to now w/BJR's Hal Hill - 1st 3 Sat. nights each month 10-Mid. Don's Discs w/Don Keele I ast Saturday. CJRT - 91.1 FM Jazz Scene w/Ted O'Reilly Mon.-Fri. 10PM-1AM, Sat. 6 AM - Noon, Jazz in Concert w/O'Reilly Sat. 7-10 PM. CFKM - 99.9 FM All That Jazz w/Phil McKellar Sun. 10 PM -6AM. NEW RADIO SHOW IN BURLINGTON Jack Cole is now hosting a jazz show on CING-FM 108 in Burlington, Ont. "What's Happening" can be heard Mon.Thurs., 10:05 PM - Midnight, and Sundays from 11 PM1 AM. SAVOY SPECIAL June 11, CKQS 94.9 FM will present a Savoy re-issue special. The special will be heard Hall Hill's From Be-Bop to Now 10 PM - Mid., and continue on Paul Fisher's Music For Nightpeople at midnight. Savoy records (lots) will be given away. what" lhappening Horizon - New Band at Jack Daniel's Wed. & Sat., Inn Between Sundays, Vieni Su Fridays. Statler Hilton - "Downtown Room" - Dizzy Gillespie May 31June 12; Spider Martin June 14-26. Grover Washington, Jr. - June 10, Kleinhans Music Hallsee ad. Maynard Ferguson - Saturday, June 25, Shea's Buffalo Theatre. See ad . Eduardo's - Bailey Ave. - Arthur Prysock - June 3, 4 & 5; Bill Doggett- June 7-11;CountBasie-June 12; Woody Herman June 26; Chas. Earland June 28 - July 3. See ad. Tralfamadore Cafe -Main at Fillmore- jazz Wednesday thru Sunday nights. See ad. Association for Jazz Performance Series- all at the Tralfamadore Cafe, 2610 Main St. Joe Ford Quartet June 3, 4.& 5; Phil Dire Quartet June 17, 18 19; Sam Noto/Joe Romano Quintet July 1, 2, 3. See ad for more information. Mr. Tandbury' s - 1107 Sycamore - Susan Slack w/Jon Weiss Trio Sundays 9-1- No cover. The Jazz Club - Niagara Falls Blvd. just north of BrightonJazz Friday & Saturday nights. . Pierce Arrow - Elmwood at Gt. Arrow - Jon Weiss Quartet Thursday nights. Vieni-Su - West at Breckenridge - Jazz Tues., Fri. and Sat. nights. Holiday Inn - Delaware & North - Jazz Friday & Saturday nights. Odysey - 1005 Tonawanda St. - Jazz Sat. nights. Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Mar.ina - Niagara St. -Dixieland jazz every Friday and Saturday night. Fieldstone Manor (Lockport)- Dixielandw/Will Algeronweek14 ends. �I Notice: Dexter Gordon concert cancelled A Brand Jozz Collection From Vtthl.oYe Ed 13icl~ert "Ed 13icl~ert" PMf'l--010 with Don Thompson and Terry Clorl~e Don Thompson "Country Place" PMf'l--008 with Gene Perla and Joe Lo13orbero Doug f'l-iley "Dreams" PMf'l--007 with Michael Stuart. Don Thompson and Claude f'l-onger Pot Lo13orbero "Pass It On" PMf'l--009 with f'l-ichord 13eiroch. Don Thompson. Gene Perla and 13ernie Senensl~y "New Life" PMf'l--006 with Michel Donato and Marty Morell PMf'l--004 "Elvin Jones Live" with Chid~ Corea, Fronl~ Foster. Joe Farrell and Gene Perla PMf'l--005 Elvin Jones is "On The Mountain" with Jon Hammer and Gene Perla Also Available \ PMf'l--001 "Open Sl~y" Dove Liebmen, Fronl~ Tuso and 13ob Moses PMf'l--002 Steve Grossman · "Some Shapes To Come" with Jon Hammer, · Gene Perla and Don Alios PMf'l--OOJ Open Sl~y "Spirit in the Sl~y'' Dove Liebman. Fronl~ Tuso and 13ob Moses Exclusiw'ly on P.M.IWcords AVAILABLE AT CAVAGE'S �~llllk@>W~III~I TORONTO Ontario Place - Concerts - Count Basie June 7; Moe Koffman June 15; Ramsey Lewis June· 17; Chuck Mangione June 18 & 19; Nelson Riddle June 26; Phil Nimmons June 27; Hagood Hardy July 3; Stan Kenton July 16; Moe Koffman .July 30. Jazz on the Lake - Jim Galloway's Metro Stampers and the Ginni Grant Quintet Wed., June 8. Louisiana Joymakers & Ultimate Sound Wed., June 22. Both are 8-11 PM. Phone (416) 924-1373 for reservations. Sammy's Cellar ~ 254 Egl ington Ave., E. - Cas a Lorna Dixieland Band - Saturdays 3-6 PM. Yellowfingers - 1280 Bay St. - The best in Jazz. See ad. Grossman's Tavern - 379 Spadina Ave. - Fridays and Saturdays from 8 pm. Saturdays 3 pm., Kid Bastiens Camelia Jazz Band Albert's Hall, The Brunswick, 481 Bloor St., West- MondayWednesday - Kid Bastien, Thursday-Saturday - Jim Abercrombie. Chez Moi - 30 Hayden St. - Saturday Afternoon - Silverleaf Jazzmen. ~Q,g;7il 1280 BAY STREET (at Yorkville) TORONTO /964-1984 NIGHTLY Monday thru Saturday - 9 pm to 1 am Battle of the Tenors Eugene Amaro Quartet vit/Steve Lederer June 13-18 Batt! e of the Trumpets Sam Noto-Guido Basso Quintet June 20-25 Batt! e of the Trombones Dave McMurdo Quintet feat. Jan McDougall June 27-July 2 SUNDAY Jazz Special Plaza Two Hotel - Greenery Lounge -' Yonge/Bioor Square Claude Jones Mon. thru Sun. 8-12 PM. Chelsea Bun - Chelsea Inn, 33 Gerrard St., W.- pianist John Arpin Mon. thru Sat. 9-1. Monticello- Marian McPartland- June 20- July 2. J.J. Lounge- Spider Martin June 3, 4, 5, 10, 11, 12. Eastman Theatre - Chuck Mangione Quartet & Orch. June 17 & 20. 8 PMTickets. $7, 6, 5.50, 4.50. Red Creek - Son Seals June 1-5; French Cooking June 7-11; Mighty Joe Young June 14-18; Buster Brown June 28- July 2. SYRACUSE Spirit of 35 -Dave Hanlon Funky Jazz Band every Friday and Saturday night. * July4~9 DINNER- CONCERT AFTEff HOURS 6:30 pm to 9:30 pm 1:30am to 4 am Friday & Saturday Gary Morgan Quintet June 17 & 18 Alvin Pall Quintet feat. Carolyn Cook June 24 & 25 China Jazz Sextet July 1 & 2 Herb Spanier Quartet July 8 & 9 ROCHESTER * Toronto's Finest Jazz June 14 - 26 . st a t Ie r H.I1 t o n 107 DELAWARE AVENUE 'Two Mont w.o. Hassett Entetptlses buffalo jazz report 1335 main st. buffalo, n.y.14209 u.s.a. return postage guarenteed PSRIODICALS & BINBERY 'l' . ~. .. J,..., .... _,;.:.,:._,, ......... ' r_ .·~ ~ ~ ~- ,·. - ... " A DAVE CAPLAN PRODUCTION COMPLETE DINNERS & LIGHT SNACKS ALWAYS AVAILABLE I FULLY LICENSED DIZZY GILLESPIE thru June 12 SPIDER MARTIN Pat LaBarbara Quartet June 19 Ed Bickert Trio June 26 Bernie Senensky Trio July 3 Eugene Amaro Quartet July 10 ~ .·~ • . , - .... ,· •••• .~ -·' r . ;.._· SJb . . -:v .. ,, ··:- � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4423 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 40 Date A point or period of time associated with an event in the lifecycle of the resource 6/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 40 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/157d7da6d0dd1bb70676e295c01e508a.pdf b1730cca4130bc4d5d34e5de1866e3f0 PDF Text Text ~~ffallo jaz~L tepott Issue 41 · Free Wayne Shorter Freddie Hubbard ·\ · Herbie Hancock V.S.O.P. 1OJ \ l 1 rJ l t>J)(j / · Tony Williams Ron Carter ' .1. i! lI �V.I.O.P.julq 8 There should be no doubt that the most outstanding jazz event for Buffalo since the appearance of Dexter Gordon last year will be the V.S.O.P. Quintet - in concert on Friday, July 8. The concert will be presented by Festival East, "with a little help from QFM 97." The site will be the Shea's Buffalo Theater. The V.S.O.P. Quintet is made up of five "stars" of jazzHerbie Hancock, Wayne Shorter, Freddie Hubbard, Ron Carter & Tony Williams. The name V.S.O.P. means "very special one time performance", used originally for the concert at the 1976 Newport Jazz Festival. That night - June 29 - at New York's City Center was a reunion of sorts for Hancock. This band did a set, followed by Herbie's earlier 70's sextet, followed in turn by the pianists current funk band "Headhunters." These five musicians certainly have enough credentials to satisfy anyone. Shorter and Hubbard were co-workers in Art Blakey's Jazz Messengers in the early 60's. Hubbard went with Max Roach for a whileandhasled his own groups or made brief appearances with others since leaving the drummer. Shorter went on to join Miles Davis' famous quintet of the sixties, along with the rest of the V.S.O.P. band- Carter, Hancock & Wi II iams. Throughout this period, each would record as leaders on various labels - with their cohorts and others as sidemen. One such recording finds the current touring quintet almost intact - on one of the most popular albums of the era - Herbie's Maiden Voyage (Blue Note). The only difference was that George Coleman played tenor for the date rather than Shorter. Another recording that comes to mind is Wayne Shorter's Speak No Evil (Blue Note). where the quintet is again "almost" together, except that Elvin Jones is on drums instead of Williams. Then, of course, there's all those Miles records - with no Freddie. Not until the release of the V.S.O.P. album on Columbia did these men, who were often associated with each other, fin11lly appear together on wax. Currently Herbie, Freddie, Ron & Tony lead successful bands of their own. Wayne co-leads Weather Report with pianist Joe Zawinul. This makes the tour an even bigger event that each of them could temporarily leave their own groups and appear on stage at the same time! Remember the date - July 8. If you miss this one, there's no second chance. Also on the bill will be saxophonist John Klemmer and band. Klemmer is himself enjoying widespread popularity, and has just released a newalbumon ABC records. There'll be two shows at 7 & 10:30 PM. But, don't forgetit's only one night. Don't miss it - be sure to get your tickets soon. For more information consult the ad in this issue, or phone Festival at 854-7173. Latest Recordings V.S.O.P. - Columbia 34688 John Klemmer- Life Style- ABC Records FREE PARKING AT /Am THE RECORD mAn /HERWAY GARDEn/ Best Domestic & Imported Jazz Records & Tapes Available Take Evnns Ave. Cutoff (OEW pr10r to 427 Hwy.) On Your Next Trip to Toronto Inquire About Our Discount C I ub MembershiP ••••••••••••••••••••••••••• 2 JOHN COLTRANE This month, July, is the tenth year since the passing of John Coltrane, one of the most powerful figures of both the saxophone and modern jazz. Born John William Coltrane on Sept. 23, 1926 in Hamlet, North Carol ina, he first became known as a member of the bands of Dizzy Gillespie, Johnny Hodges, and Earl Bostic. He began to gain respect among musicians during his years with Miles Davis, between '55 & '60. In 1960 he formed h1s own quartet, experimenting with personnel until he found the musicians who could provide the exact sound he wanted pianist McCoy Tyner, bassists Reggie Workman or Jimmy Garrison and drummer Elvin Jones. Eric Dolphy, who played alto sax, flute and bass clarinet, would also play with the group frequently during the early years. Originally, Coltrane was influenced heavily by Dexter Gordon, but went on to form his own unique sound, playing lengthy, intense solos which weren't always well received by the critics of the time. While some labeled it "sheets of sound", others condemned it as "anti-jazz" or "noise." Around '61 Coltrane began to employ the Indian improvisational concept, where improvisations are often based on predetermined modes (scale arrangements) rather than chords. Coltrane's music was full of emotion, and its intensity continued to build as time went by. It has often been said that it was drummer Elvin Jones who provided the right drive to allow 'trane to scale the heights no saxophonist had previously reached. That same drive has pi-oduced many fine saxophonists of today in the Coltrane tradition - Steve Grossman, David Liebman, Azar Lawrence & Pat LaBarbara. During the last years of his life, Trane became deeply rei igious and consciously aware of the Lord. He wrote a good deal of music during this time, including "A Love Supreme" i . 1 �which is one of the Hallmark jazz albums and a vital part of any Collection of Coltrane music. · John Coltrane is only now receiving the popularity he deserved during his I ifefime. He was a great man as well as a great musician. In an interview I did with Elvin Jones last year he referred to Trane as "an angel." He compared his years with John to "a kid in school being on a continual recess." He seemed to give ·others the freedom to play and create. Trane was a master of not only avant-garde but beautiful ballads and straight ahead blues. He's influenced countless other saxophonists to date and his legacy will always live on. On the anniversary of his death- Sun., July 17- I will be featuring his music on "Jazz Col"ftours" on WBFO beginning at noon. His music will also be fe/atured throuQhout my shows during July This issue of the BJR is dedicated to the memory and the spirit of John William Coltrane. Peace. B.W. PAUL DESMOND SUCCUMBS TO LUNG CANCER PAUL DESMOND 11/25/24- 5/30/77 To say that Paul Desmond was perhaps one of the greatest lyrical improvisors ever to have emerged in jazz must indeed be an understatement. Paul's alto was the dominant sound of the historic Dave Brubeck quartet for the better part of two decades. The group was tremendously creative, and had a sound that was able to capture the attention of m iII ions of I isteners, many of whom would not have ordinarily been listening to jazz. During and after his tenure with Brubeck, Pall! performed and recorded in many different group and orchestral settings. His playing was never less than superb. There was· more to it than just the notes he played or how he played them. The magic of Paul Desmond was in his sound, I really mean it. His tone was astonishingly beautiful. The reason I mention this is because we are in an age where electronic wizardry seems to be enveloping most of the musical frontiers including jazz. In the process we seem to be losing something very im- Cecil TAYLOR port ant. A musician's tone on his instrument can and should be like his personal signature, his identity which sets him apart from all others. J You don't hear many new musicians talk about tone quality any more today. They talk about a lot of things but they never talk about tone. · Paul Desmond was born in San Francisco, California. His father was an organist for the silent movies. What that had to do with Paul's development I do not know. But one·thing is for sure, he turned out to be one of those rare musicians who had to play but one note, and you knew right away that it Was the unmistakable alto saxophone of Paul Desmond. For me it was one of the most beautiful sounds in the world. Malcolm LeiQh MORE JAZZMEN DIE Two more _jazz musicians have recently left us. Trombo.::" nist Bennie Green and French hornist Julius Watkins both passed away in late May. PALAME BIG BAND TEARS UP TRALFAMADORE Emil Palame's 16 piece big band will continue to play at the Tralfamadore Cafe this month, with four dates scheduled. . The band screams and they've been packing the club tighter w1th each appearance. Hopefully, a big band night will be a regular weekly occurence sometime in the near future. Check it out - hell of a sax section. BUDDY RICH TO PLAY EDUARDO'S Drummer Buddy Rich will bring his big band to Eduardo's on Bailey Ave. on July 8. The club has previously hosted the big bands of Stan Kenton, Maynard Ferguson, Count Basie and Woody Herman. Rich's new album, Plays & Plays & Plays just came out on RCA (too late for review) and a quick sam piing reveals it to be his best in some time. Also - the Glen Miller Orch. will play Eduardo's July 17, and Lionel Hampton will be in on Aug. 12 & 13. INNERCI1Y~ BRAND DDIICIIGH Dollar Bob IC3003 The Children of Africa IC 3001 Dark To Themselves Archie SHEPP 0 IC 3002 Steam ~ SUNRA IC 2045 Vol. 2 AT ALL 12 LOCATIONS! CAY AGES t¥NI AT ELMWOOD/FOREST & SUMMIT PARK MALL IC111211 Cosmos SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZ4 �SLEEPY JOHN ESTES DIES Sleepy John Estes, one of the country blues finest singers and songwriters, passed away Sunday, June 5, 1977. Born in 1904 he spent most of his life around the Memphis area in Brownsville, Tennessee. John was never a remarkable guitar~ ist, but he possessed a crying voice and composed some of the finest blues, often from his personal experiences. HereGorded for Victor in 1929 with mandolist Yank Rachel and later for Decca. These classic early recordings, such as "Divin' Duck Blues", "Floating Bridge", "Everybody Ought to Make a Change" and "Someday Baby", are available on various anthologies as well as reissued in Europe and Japan. He was rediscovered in the Brownsvi lie area in the early sixties where he was living in an abandoned sharecropper's shack. John appeared at folk festivals, clubs and toured Europe three times and Japan twice. He was about to tour Europe for the fourth time when he suffered a stroke which led to his death. Since his rediscovery John recorded several fine albums for Delmark and influenced such folk and rock artists as Taj Mahal, Ry Cooder and Mike Bloomfield. Thenumberof country blues artists is rapidly dwindling with John's death and the deaths of Bukka White and Thomas Shaw earlier this year. Their music has made this .a better world to live in. R.W. EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith Paula Wahl, Ron Weinstock. ' ILLUSTRATORS- Christine Engla Eber and Sabrina Mayberry Smith. PHOTOGRAPHER - Michael Ketter. CORRESPONDENTSRochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the publisher. The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. DOUBLE IMAGE Elliott, Zoot Sims, Attila Zoller, Chet Baker and many others. The four musicians that comprise Double Image have combined their strong individual musical styles with a mutual compatibility to create an ensemble that is rapidly making a place for itself in contemporary music. Double Image will appear at the Tralfamadore Cafe, 2610 Main at Fillmore, July 15, 16 & 17, Fri., Sat. & Sun. nights. See the ad in this issue for details. DOUBLE IMAGE - THIS MONTH AT THE TRALFAMADORE Double Image, consisting of David Friedman and David Samuels both playing vibraphone, marimba and percussion, Harvie Swartz on acoustic bass and the exciting new drummer/ percussionist Michael DiPasqua, offers a totally new group sound. Because of its unique instrumentation and fresh approach to individual and group improvisation, Double Image has been quickly and steadily achieving popularity both here and abroad. After 6 short months the group has already performed at New York's renowned Bottom Line, completed a successful tour of Europe, appeared at the world famous 1977 Newport Jazz Festival· and just recently recorded an album on the Inner City label. New York Times critic JohnS. Wilson remarked, " .... The group is completely innovative. There is no precedent for it in Jazz ........ At their best they develop and project a feeling of intensity that held the room in a pin-drop silence ..... " Each member's list of credits is quite impressive. David Friedman, aside from having 2 albumsoutunderhis own name, has recorded and performed with Hubert Laws, Wayne Shorter, Horace Silver and many others. David Samuels has been a main-stay in Gerry Mulligan's recent groups. He appeared on 3 of Mulligan's albums as well as Gerry Niewood's latest LP. Niewood's album also contains several of David's compositions. Harvie Swartz has played with practically every known Jazz artist at one time or another. Recently, however, he was featured as a composer and performer on both of Friedman's albums and Steve Kuhn's new album on ECM. Michael DiPasqua has performed and recorded with Don 4 SPIDER MARTIN AT ATTICA John "Spider " Martin's quintet visited the Attica Correctional Faci I ity on Saturday, June 11th to play for the inmates. This is now a traditional thing with Spider who visits all of the penal facilities in the Western NY area as many times a year as his busy schedule will allow. The original members of the group are still here -Joe Locke (vibes), Richard Felice (drums), Russeau Taylor (guitar). The only change has been the addition of bassist Oscar Alston and as an added dimension, vocalist Beverly Simms, of "Birthright". The group's forte is diversibility. Its ability to swing from mainstream jazz to disco, soul, rock, dealt out with imagination, dedication and improvisation. The quintet opened with "Gentle Thought," a Herbie Hancock tune featuring Martin on sax backed up melodically by Locke on vibes. A Charlie Parker tune, "Half-Nelson," gave us a chance to hear guitarist Taylor's pleasingly delicate guitar solo, together with Alston's intensity on bass. The tenor man's clean, velvet-toned feel for ballads blended with Locke's bell-like sounds on vibes, leaves no doubt as to Martin's ability as a musician. A keen sense of phrasing, a unique timbre and flawless diction were just a few of Beverly Simms's high cards shown on "Milestones" and Lou Rawls's "You'll Never Find Another Love Like Mine." As a closing tune she rendered a chorus of Billie Holiday's "Good Moning Heartache," and the 441 attending men gave her and the group a standing ovation. A Spider Martin performance is at once professionally polished and based on the unpredictabi I ity of persona I creativity in enhancing the group's image. AUDIENCE RESPONSE: Excellent. Now recording on IMPROV RECORDS, owned by singer Tony Bennett and hotelman, Bill Hassett, "Spider" told th1s interviewer that he feels very happy and comfortable with this label and has just released anew album, "Absolutely John 'Spider' Martin," recorded in March. This year the group has been invited to the Newport Jazz Festival in NYC. "This is where I've been trying to get all my life," says Martin aveteranoftheNiagara Falls- BuffaloRochester jazz circuit. I've been moving up one step at a t1me, but I'm always looking back to see if there is someone on the 0 �Join Herbie Hancock's class reunion and listen to some of the tastiest jazz ever, from Herbie's past and present, on "VS.O.P" (Very Special One-time Performance), a double live album recorded at last year's Newport Jazz Festival in New York. Now "VS.O.P" is on tour, and Herbie will be bringing you some of those great moments along with his mates, "The Quintet:' composed of Freddie Hubbard, Wayne Shorter, Tony Williams and Ron Carter. "VS.O.P" is one reunion you can't afford to miss. Weather Report Heavy Weather including: Birdland/Teen Town/Palladium The Juggler/Havona On Columbia Records and Tapes. Produced by David Rubinson & Friends lnC.RonCanerappearscounesyofMilestoneRecorJs. :)0\"COLUMBIA;· '! MARCAS REG.(C' 1977CBSINC. Appearing at Shea's Buffalo Theater, July 8th. �lower steps that I can help up. Our thanks to the local chapter of the American Federation of Musicians, Hospital Audiences and the Musicians' Performance Trust Fund who sponsored the concert. A word of thanks also to Volunteer Services and all administrative personnel and officers who were involved in making th1s show a success. Oliveros Mclloyd McCOY TYNER - SUPERTRIOS - MILESTONE 55003 Everyone who enjoyed McCoy's earlier trio record Trident with R?n Carter and Elvin Jones, should be pleased with Supertnos. Half of t~i~ two record set is played by Tyner, Ron Carter and Tony W1ll1ams. As you:d e~pect, especially from McCoy & T_ony, the energy level IS h1gh as they rip through Tyner ongmals - Blues on the Corner & The Greeting, Coltrane's Moments Notice, Monk's I Mean You and Jobim's Wave. The only ballad, Prelude to a Kiss, is done as a duo by Tyner and Carter - they sound gorgeous. Record two is a second trio - Tyner with Eddie Gomez and Jack DeJohnette. I find this set more rewarding than the first - DeJohnette's drumming is strong, exact and precise, but less overbearing than Wi II iams. Gomez is a master and does some extremely tasteful work, often in the upper registercheck out Stella by Starlight. Again the energy level is high but there:s. more dynamics in the performance. The only non~ Tyner ong1nals among the six cuts are Stella & Billy Strayhorn's Lush Life. In summary - four sides by two groups of musicians who deserve th~ I ab~l "s_upertrios". McCoy sounds great with each, and the d1vers1ty m the sound of the trios makes for even better I istening. B. W. record~ JOHN COLTRANE - AFRO BLUE IMPRESSIONS - PABLO LIVE 2620 101 It is fitting that Norman Granz' Pablo records should kick off their new "Pablo Live" label with this John Coltrane set. Not onl_y is this the tenth year anniversary of his death, but these l1ve European recordings are just what thousands of Coltrane fans have been waiting for. All of this music is newly released - at least in this country. For some reason no dates are given, but I figure it to be November or December 1962- a tour which included Stockholm Copenhage_n, West Berlin & Austria. This is Coltrane's great quartet wdh McCoy Tyner, Jimmy Garrison & Elvin Jones turning o_ut nine magnif~cent performances. It is easy to not~ the vdal 1mpact that Elvm Jones had on this band- it's almost as thoug~ he and _'"':rane are performing as a duo with Tyner ~nd Garnson prov1~1ng a foundatio,n for the excursions. Tyner, 1n fa_ct, lays out e.n~lrely on Chasin TheTrane, and during good ,port10ns of Lonn1e s Lament and Impressions. It is Coltrane and Jones who shine the most throughout these recordings, though the excellent work of Garrison and Tyner cannot be overlooked. Tyner's extended solos on My Favorite Things and. Impressions and Garrison's rock steady, powerful basswork throughout are an example of their incredible talent. The entire quartet performs at their finest level throughout these four sides. . The f_act that J_ohn <?oltrane led one of the greatest quartets 1~ the h1story of Jazz IS not only a testament to his ability and g1ft to choose and inspire musicians, but also to his musicians for allowing him to reach the plateaus he did. These recordings are an important page in the history of the Coltrane quartet that should not be passed by. Some of the cuts not mentioned above are Naima Afro Blue, I Want To Talk About You, Cousin Mary and Spi~itual. I found the recording quality to be good, as are the pressings which come in p_lastic lined sleeves. I also found Benny Green'~ (the Engl1sh cnt1c-not the trombonist) liner notes to be ridiculous and suggest that you don't waste your time reading them. Also - there's no excuse for the exclusion of dates and locations. But, the sound and the music is what counts and it's excellent. Strongly recommended. I hope there's more to come. Thank you Pablo! B.W. er.a 59 Kenmore Ave. ELVIN JONES/JAMES MOODY /CLARK TERRY - SUMMIT MEETING - VANGUARD 79390 . Summ_it Meeting is a sort of "Vanguard All Stars" session, With Elv1n, Moody & Terry joined by fellow Vanguarders Bunky Green (alto sax) and the fine guitarist Roland Prince. Guests AI Dailey/piano, David Williams/bass and Angel Allende/percussion round out the octet. Everyone a~pears to be in good spirits and each plays up to or above h1s usual h1gh standard. Both Summit Song and Blues for Clark were penned by Bunky Green, who seems to have an affinity for 3/4 time. Moody's Tee Pee Music burns straight ahead, while Moody Magic is a melodic, almost spacey bal~ad written by_ p_roducer Ed Bland. Jones, an Ellington tune, IS a hard dnvmg blues taken at a medium tempo. Moody, Terry & Green solo on each track and all three sound better than most of what I've heard on their own respective Vanguard releases. Elvin & Williams work well to~ether (Williams was a member of his quartet) and keep thmgs strong and steady; they're superb on Moody Magic. Jones takes more solos here than on his own discs· another result of the good time jam session feeling present 'throughout the album. Another former member of Elvin's band Roland Prince, is always great to hear and his many solo~ here are no exception. . Th_is is a very_ successful session that rewards repeated l1stenmgs. You m1ght get a kick out of the back cover photo too - only one of the five musicians pictured is correctly identified! B.W. MILT JACKSON - AT THE KOSEl NENKIN - PABLO LIVE 2620 103 ~~~ haircutter 836-1781 (corner of Windemere) behind jeweJry store 6 From the opening tracks it becomes clear that Milt Jackson has been capture~ in his element on this album. In the way of background, th1s IS a double album recorded live in March of 1976 at the Kosei Nenkin in Tokyo, Japan with no additional string section or overdubbing to clutter the music. It's been awhile since I've heard Milt so inspired on any record- the times I've caught him live, especially after he's warmed to the audience and room, have beenajoytohear. His accompaniment cons1sts of Ray Brown on bass, Cedar Walton on acoustic and electric piano, Teddy Edwards on tenor sax, and Billy Higgins on drums. Collect1vely the members of the group provide the backdrop for Bags to play in front of but Walton and Edwards are standout soloists. Most of the selections are uptempo and Milt's vibes swing precisely and effortlessly throughout all four s1des. The degree of rapport between these musicians seems high. Notice how easily they trade off with one another at the beginning of The Prophet Speaks and the camping of Cedar Walton throughout. Jackson once expressed a feeling that it was difficult for his vibes and an electric piano to work well together 1n a l•ve s1tuat1on but here is proof that it can be done 1f taste 1s appl1ed. The whole Pablo Live series has been high quality material but this two-record set may be best mus1c to come from Milt Jackson since the finest days of the Modern Jazz Quartet. J.H. �EDITH WILSON WITH LITTLE BROTHER MONTGOMERY HE MAY BE YOUR MAN (BUT HE COMES TO SEE ME SOMETIMES) - DELMARK 637 Edith Wilson's career in show business goes back to the vaudeville blues recordings she made in 1921. Her career included touring Europe with Sam Wooding's Orchestra, singing with Louis Armstrong and Fats Waller in Connie's Hot Chocalate Revue, being Kingfish's mother on the old Amos 'n' Andy radio show and being the personification of Aunt Jemima. This delightful album, where she is accompanied by a traditional group, the State Street Ramblers, is a recreation of the music of the twenties and shows that at the age of seventy she possesses great vibrancy. Material ranges from popul artunes to great double-entendre tunes I ike "My Handy Man Ain't Handy Anymore". The title tune Edith originally recorded in the early twenties and like the entire album possesses great spirit, warmth and humor. The State Street Ramblers, led by Little Brother Montgomery and including Franz Jackson, Preston Jackson (now with the Preservation Hall Jazz Band) and lkey Robinson provide warm Dixielandish backing which adds to the infectious character of the music. Little Brother contributes a vocal to "The Same Dog", a wry duet with Edith and this album is also notable for presenting some of his piano work with a band on wax. A most valuable release that represents one of the few recent and readily available recordings of the vaudevilleblues. Even more important, a very entertaining album thatfans of traditional jazz and blues should get their hands on. R.W. DOUG & JEAN CARN - HIGHER GROUND - OVATION 1702 If you're already a fan of Doug & Jean Carn, you'll find Higher Ground a let down from some of their previous recordings. . The short tunes featuring Jean's voice are up to par, but some of the tracks with instrumental soloing lack spirit. I've also found three tracks which are exact duplicates from the albums Revelation and Spirit of the New Land. There's no such credit, nor is there a trumpeter I isted, but Charles Tolliver's trumpet was a clue to check it out. Jean Carn is, with Dee Dee Bridgewater, one of the top young_ jazz_ vocalists - a beautiful voice. But, you'd be better off w1th e1ther of the above-mentioned records (Black Jazz B.W. Records #'s 16 & 8). BILL EVANS- QUINTESSENCE- FANTASY F-9529 B iII Evans has to rank as one of the world's most tasteful pian!sts .. His work over th~ last several years has been primanly m tno settmgs w1th Eddie Gomez on bass, Marty Morrell on drums, ~nd more recently Elliott Zigmund taking over for Morrell. H1s latest release, Quintessence is a delig_htful dep~rture from his highly polished trios, exp~ndingthe un1t to ~ qumtet. The rhythm _s~ction i_s co-anchored by drummer Ph1lly Jo Jones and prol1f1c bass1st Ray Brown. Philly Jo uses his brushes with the deftness of a surgeon on Thad Jones' A Child Is Born and Martina then he steps out to swing on ~ass Face. The composer of Bass Face, Kenny Burrell, is 1ncluded here and you'll enJOY the way Kenny's sensitive guitar CO":Jplements the understated playing of Evans throughout the ent1re album. The tenor sax of Harold Land is heard here bringing to mind some of the much earlier recordings of Evans with the I ikes of Cannonball and Lee Konitz. Each member of the quintet seems to have his ears wide open which makes for natural interplay. A unison lead is played by Land and Burrell on Sweet Dulcinea where Evans comps masterfully in the back~ ground for several measures before taking a solo. Quintessence is an illustration that as easy as itwould be for Evans to dominate the proceedings he does not and the result is a beautifully balanced album. J.H. Editors Note: Another Bill Evans album will be released in the fall featuring Evans' regular trio plus Lee Konitz and Warne Marsh. NORMAN GRANZ' J.A.T.P. IN TOKYO - LIVE AT THE NICHIGEKI THEATRE - PABLO LIVE 2620 104 Among the trio of releases in the new Pablo Live series is this boxed - three record set, recorded live in Tokyo in November 1953. The first two sides present the J.A.T.P. (Jazz at the Philharmonic) all stars, which on this occasion included names like Ben Webster, Flip Phillips, Oscar Peterson, Benny New music that stays newFROM WARNER BROS. David Sanborn Band/ Promise Me the Moon. The renowned saxophonist's saxes and vocals are backed here by his brand new band, most members of which had a hand in writing the songs, including "Heart Lake," "Morning Salsa" and "We Fool Ourselves.': AI Jarreau Live in Europe/Look to the Rainbow. This tworecord set captures the excitement of the wildly successful European tour of this unusual artist. Titles include "Rainbow in Your Eyes" and "We Got BY:' On Warner Bros. Records and Tapes On Warner Bros. Records and Tapes EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA �EARL HINES - EARL HINES PLAYS GEORGE GERSHWIN • CLASSIC JAZZ CJ31 One of the reasons why the music of George Gershwin has been so easily integrated into the jazz world is because of the thoughtful harmonic sequences he employed and the catchy simplistic melody lines. Over the years Gershwin's music ha~ provided a nearly perfect base for jazz improvisation. It was Earl Hines who gave generations of pianists the model for soloing and improvising with the right hand by freeing it from the somewhat structured and rigid stride piano form of Fats Waller, James P. Johnson and others. Earl Hines Plays George Gershwin brings together the compositions of Gershwin, and the improvisational skills of the "Fatha" at the solo piano in a two record set that should please fans of both men. Hines' fleet right hand weaves in and out of the melodies of Gershwin classics I ike Summertime, Rhapsody in Blue, Love Walked In and Embraceable You, albeit with execution that attimes leaves something to be desired. The spirit and unique Hines style is always present and so is the rolling bass lines and steady comping provided by the left hand. You must remember that at the time of this October 1973 recording session Hines was 70 years old and yet he possesses a vigor and enthusiasm in his playing even today that is the envy of pianists half his age. Listen to the flourishes and runs of his right hand and his classic octave trills which makehistreatmentsofthese Gershwin compositions uniquely Hines. Most Earl Hines performances contain at least one Gershwin number but now we have a true collector's item with the Fatha displaying his endless imagination through four sides of well-recorded solo piano. J.H. A NEW JAZZ CLUB DOWNTOWN RICHIE'S 848 MAIN ST. at VIRGINIA 886-8844 presents TENDER BUTTONS A NEW JAZZ/ROCK SENSATION ! FRI. & SAT. NIGHTS 10=30-2:30/NO COVER CLIP THIS AD! GET2 DRINKS FOR THE PRICE OF 1! Canadian money at par. Carter, Ray Brown & Roy Eldridge. They do four jamsTokyo Blues, Up, Cotton Tail and a ballad medley, with a different soloist for each of the seven ballads. Side three is the Oscar Peterson trio - with Ray Brown & Herb Ellis. For myself, some of the best moments are on the next side, with the Gene Krupa trio. Benny Carter & Oscar Peterson join the great drummer who's having a grand time on each of the four cuts. The rest is some prime Ella Fitzgerald, who is heard on nine tracks with her quartet - pianist Raymond Runia, Herb Ellis, Ray Brown & J.C. Heard. The remaining tune- Perdido -is another J.A.T.P. all stars jam- with Ella. An expensive set but well worth it for collectors and J.A. T. P. fans. The recording quality isn't bad considering the year. It is only the full ensemble passages that are a bit muddy. The packaging, pressings, notes and data are all above average. B.W. THE GUITAR PLAYER - MCA 2-6002 This two record set features nine first class guitarists, playing music specially recorded for this package, with two tracks, heard either solo or with their own bands. Lee Ritenour, plays some of the best guitar I've heard from him, with a sextet including Ernie Watts and Patrice Rushen. Laurindo Almeida offers three acoustic tracks - one solo and two trio. Joe Pass demonstrates his solo virtuosity for three cuts; Larry Coryell is heard solo on three more; and, another trio of songs comes from the Herb E IIi s/Barney Kessel quintet. Another guitar duo, Irving Ashby & John Collins play two tunes with superb backing from Hampton Hawes, John Heard & Billy Higgins. Last, but not least, is two tracks of blues from B.B. King with six musicians in the band, including Leonard Feather on piano. All of this material was recorded in 1976 and comprises an excellent package for all enthusiasts of the guitar. It's all well recorded, and informative data on each guitarist is included. B.W. Today's Art! SR 5008 ~ ~ 1800 MAIN at LAFAYETTE SUN thru WED 10am -10pm THURS, FRI & SAT 10am - midnight 8 PAT METHENY- WATERCOLORS- ECM- 1 - 1097 Here we have the second album as a leader for guitarist Pat Metheny, a former member of the Gary Burton Quartet. The album opens with the title track, Watercolors, which displays the airy quality of Metheny's guitar (made even more light sounding by the ever-present use of a slight amount of reverberation on his guitar). Lyle Mays at the acoustic piano sounds very self-assured and makes use of the full range of the keyboard. His comping is effective and his solos flow beautifully from one idea to the next with certain techniques that bring to mind an earlier Chick Corea. The next selection, lcefire, is a solo guitar statement from Metheny that makes a strong case for his skill on the instrument. Oasis opens with the resonant bass of Eberhard Weber but the piece meanders through chord changes that don't take full advantage of Weber's astounding technique. In the next piece, Lakes, we are treated to a much fuller use of Weber's bass playing as he skampers over the full range with great speed while retaining his beautifully clear tone. It should be mentioned that Danny Gottlieb's drums offer a pleasant backdrop giving the music a lightly-tinged but tasteful rock flavor. Gottlieb is unlike many so-called jazz/rock drummers who bash away mindlesslyattheirdrumsets drowning out the soloists and adding nothing to the music. Commercially, this album should win a wider audience for Metheny's guitar work especially with the tune River Quay from side two. River Ouay is a short piece patternedvaguelyafter the current successful endeavors of George Benson that wi II most I ikely get lots of airplay. Overall, an impressive album for guitarist Pat Metheny. J.H. �GARY BARTZ- MUSIC IS MY SANCTUARY- CAPITOL 11647 Over his last several albums, Gary Bartz' music has possessed a quality that could be referred to as street music. The problem with his latest release is that the jazz element has been replaced with a slick, funky sound that makes the music more commercially appealing but less musically rewarding. Syreeta Wright did a fine job on Bartz' previous disc, but is less convincing here in her regular Motown role. Vocals from Bartz & Syreeta are heard throughout, as are background voices. Gary's sax solos are restrained - nowhere does he cut loose as he can well do. This is the Bartz sound but its very much watered down; better suited for dancing than listening. B.W. A New Jazz Quintet ll()l?IZ()~ at JACK DANIEL'S/Wed.&SAT.10:3Q FOREST NEAR ELMWOOD AL COHN - AL COHN'S AMERICA- XANADU 138 If you're one of the many who h~ve dismissed AI Cohn _by thinking his public career ended w1th h1s last duo date w_1th Zoot Sims, think again. This recording, AI Cohn's Amenca made in December 1976, shows believer and skeptic alike that AI Cohn has not only retained the same sassy, Lester Youngish command over his tenor sax that he had while working with Woody Herman's herd and with Zoot Sims; he has improved on it. Lately Cohn has been working primarily on studio recordings, film scores and the like. But jazz is a part of him and Al's playing here is exciting, precise and filled with energy. It brings out the best in his co-workers: Sam Jones/bass, Leroy Williams/drums and_ Barry Har~is at the piano. To ~et the full impact of his playing, put on s1de B wh1ch opens with Bright, a Cohn original that starts with AI jumping out at a fast clip,'followed by anequallyswingingpianosolo from Ba~ry Harris (a charter member of the Xanadu stable and recording partner of Cohn's on Play It Now) and then a fe~ nice drum breaks by Leroy Williams. A touchingduetbyHarns and Cohn, Skylark, is next and proves again the sensitivity and grace of both musicians. There's not a bad song on the record and Cohn's treatment of America the Beautiful one side one shows that while he displays his prowess on tenorthroughout, he also has a good sense of humor. J.H. PIERCE ARROW AGENCYI THURS. 9:3Q 3036 SENECA ST.,WestSeneca DON CHERRY - HEAR & NOW- ATLANTIC 18217 ORNETTE COLEMAN - DANCING IN YOUR HEAD - HORIZON 21 . Here we have two master of the avant-garde performing music that is unlike what you'd expect from either of them. Cherry's previous release (on Horizon Records) projected a much mellower sound than normally associated with him. Hear & Now is even tamer, mixing funk with Indian music and rock guitar. It's very listenable fusion music though it won't please regular Cherry fans. Ornette, who has signed with Horizon, atte~pts to pl~y avant-garde and funk at the same time! It doesn t work_. H1s band- two electric guitars, bass & drums can't seem to f1g~re out what's happening here and neither can 1:_ One s?ng f_ills most of the record and it just keeps degenerating. Th1s m1ght have been fun to record, but I doubt if anyone would share the enthusiasm after spending six bucks and tossing it on the turntable. You just might want to dance on it. B.W. EXCEPTIONAL ALBUMS FROM ,. FREEDOM ARISTA TEDCURSOH STAHLEY COWELL RICHARD TEITELBAUM FLIP TOP BLUES FOR THE VIETCOHG TIMEZOHE RAHDY WESTOH JULIUS HEMPHILL BERKSHIRE BLUES DOGOHA.D. YITH AHTHOHY IRAXTOH IHDEHT AT THE LARGEST RECORD STORE IN THE WORLD 1800 MAIN at LAFAYETTE SUNthruWED 10am-10pm THURS, FRI & SAT 10am - midnight �When You Are In Toronto This Summer, Be Sure To Visit The Jazz and 8lue.1 Record Centre 893 Yonge ltreet 416-929-5065 record.!. bookJ. magazine1. jazz information " import .1peciali.1t al.1o: u.1ed and budget record.! Jazz Specialists For 17 Years TED CURSON- FLIP TOP - ARISTA AL 1030 Of the many positive impressions conveyed by this album, one of the most noticeable is the full-bodied sound of this quartet (heard on side one only). The use of two lead instruments - Ted Curson on trumpet and Bi II Barron on tenor sax gives the quartet a somewhat big bandish sound. The success of this venture is due in no small part to the contributions of Herb Bushier on bass and Dick Berk on drums who hold the rhythm together with steady hands. You' II be amazed after listening to Flip Top to know that side one was recorded nearly thirteen years ago yet it has a very contemporary sound. Despite the minor mode and challenging chord changes in Bill Barron's Desolation, the solos from both Curson and Bushier are precise in their attention to the musical framework. Precise but not stiff as Barron and Curson both display great lyricism. This is true also in the treatment of Curson's Searchin' for the Blues, which swings at a medium tempo, and Barron's Light Blue, a short boppish number. Side two DOUBLE IMAGE DAVID FRIEDMAN) VIBES & MARIMBAS DAVID SAMUELS HARVIE SWARTZ ACOUSTIC BASS MICHAEL DiPASQUA DRUMS/PERCUSSION JULY15,16&17 admission: $3 FRI.& SAT.10-2; SUN. 9-1 no minimum 000000 EMIL PALAME BAND BIG SUN.-JULY 10,24,31;TUES.19th. Adm. $2/no minimum 9 PM tralfamadore cafe 2610 main at fillmore 836-9678 is quite a different story having been recorded Iive with Curson on trumpet as featured soloist with the Zagreb Radio Orchestra at the Yugoslavia Jazz Festival held in Ljubljana Yugoslavia; a recording made at least ten years ago. Curso~ seems quite inspired by the presence of the Zagreb Orchestra (an Ellington-influenced big band withheavyemphasisonbrass conducted by Zita Carno). All tunes performed on side two ar~ Curson originals and it sounds so comfortable that you get the impression he might have written them originally with a big band in mind. At any rate, we have two radically different settings for the music of Ted Curson which makes Flip Top all the more satisfying. J.H. MILES DAVIS- WATER BABIES- COLUMBIA 34396 It took a long time for me to get a copy of this recently released album; but the music is well worth the wait. Side one - three cuts in all -features Miles with what has come to be known as the "ESP Band". All of these musicians except Miles, will play Buffalo this month (July 8) - Herbi~ Hancock, Wayne Shorter, Ron Carter & Tony Wi II iams. This is the mid '60's all acoustic Miles sound heard on many sides such as Miles Smiles, ESP, The Sorcerer, etc. Side two brings us to the Silent Way/Filles De Kilimanjaro era - late '60's, with electric piano and the addition of Chick Corea & Dave Holland. Again - more great music as we go to the very beginnings of what we now know as "jazz rock" by the man who created it. An important addition to a Miles Davis collection -all previously unreleased music. B.W. ANTHONY BRAXTON- THE MONTREUX/BERLIN CONCERTS ARISTA AL 5002 In 1971, Anthony Braxton recorded a two-record set for Freedom entitled "The Complete Braxton." The title was not his idea ~ in fact, "Several Facets of Anthony Braxton" would have been a much more appropriate one. In that session, Braxton changed costumes between every scene and showed us his versatility on everything from a bebop quartet to a written piece for five tubas. Now, six years later, we have in our hands "The Montreux/ Berlin ·concerts." This album is no less than a milestone, not only in Braxton's career, but in the entire history of this music as well. In it, Braxton has gathered his many disparate influences together into one totally integrated music. There are three groups and two festivals represented on these four sides, but don't look for any seams - there aren't any. Instead, listen to written music, improvised music, bebop, contemporary classical, and parade music - and marvel at how they've all become Anthony Braxton music. Oh, and don't be afraid to laugh and get excited. The group laughs all the way through the march and during his alto solo on Side One. Braxton cuts loose with a wild, rapy wai I that sounds just like Eddie Lockjaw Davis! As for the sidemen, I think everyone knows what Dave Holland, Barry Altschul, and Kenny Wheeler can do. Those unfamiliar with what George Lewis can do are in for a shock. Monster players like this don't usually appear out of nowhere, but here he is, folks, and there's nothing wrong with your turntable speed. Side 4 is entirely taken up with a composition for chamber orchestra (the Berlin NewMusicGroup)andtwosoloists (Braxton and Lewis). Most of these things turn out to be oil-andwater confrontations; this one is a wedding. Jim Laniok GEORGE MURIBUS- GEORGE MURIBUSTRI0'77- CATALYST 7619 Mentioning the name George Muribus probably does not stir much recognition unless you are familiar with Azteca, a group led by Coke Escovedo. That should not stop you from paying close attention to the music contained in the George Muribus. Trio '77. Muribus is a gifted pianist and on this recording he displayed diversity and a breadth of talent that reflects influences of Bill Evans, Lennie Tristano and just a touch of Oscar Peterson. In other words, he can go out but he knows how to come back. On Coltrane's Giant Steps he gives the often-performed number a pleasant new twist by taking it out of the standard 4/4 time signature and making it 5/4. Drummer 10 Lee Charlton is given a drum solo to openthe piece which is �followed by a short solo by Muribus and ·a brief statement by bassist Len Lasher. Lasher composed four of the seven songs on the album and has previously distinguished himself as a member of Tommy Flanagan's group, as a student at Julliard and as a member of the _San Francisco Symphony for the past th1rteen years. The tr_adJtJonal Greensleeves is taken a step further than most v_ersJOns as Muribus again slips into a comfortab!e 5/4 t1me s1gnature. He moves in and around the melody I Jne w1th ease and grace and then turns it over briefly to Lasher for another bass solo. Most of the songs on this album follow this kind of pattern where each member gets a chance to show his wares. There is an inherent empathy and equality amongst the members of this trio that makes it seem easy for them to perform challenging material. J.H. JULIAN PRIESTER AND MARINE INTRUSION - POLARIZATION - ECM 1098 Trombonist Julian Priester's second ECM effort is a sextet ?ate recorded in Germany in January of this year. He uses h1s own band, made up of musicians who's names are new to me. Although no one except Priester is outstanding by himself, they work very well as a unit. Polarization is a trombone solo with a second track overdubbed - a light and reflective sound which goes right into Rhythm Magnet, played over a repeating bass pattern. The sound is much like Herbie Hancock's band's, from the albums Mwandishi thru Crossings, of which Priester was a member. Trumpeter Eddie Henderson's band also continues in ~he sa~e. traditi~n. Wind Dolphin shifts to the avant garde, wh_Jie ComcJ_dence 1s a sweet ballad, played with trombone, gUitar and plano only. Scorpio Blue is another ballad with the same se!-up plus bass. The full ensemble returns for Anatomy of Longmg as we return to the "Mwandishi sound". There's some good tenor work here from Ron Stallings. Ray Obiedo' s electric guitar solo is rather dubious but some brief interplay follows from Priester & Stallings to repair any damage. A good record !rom Priester who ~as been a consistently good trombonist smce he emerged w1th Sun Ra in the 50's. B.W. FLORA PURIM - ENCOUNTER - MILESTONE 9077 Of the many albums Brazilian vocalist Flora Purim has done, this is the most jazz oriented. The several personnel groupings on this disc make for an interesting, balanced program of music. Saxophonist Joe Henderson is on hand for versions of Chick Corea's Windows and his own Black Narcissus, during which he takes an un~ accompanied tenor solo. Two cuts find Flora in the company of McCoy Tyner - Airto joins in on the first while the second is a straight piano/vocal duo. Beautiful. Among the musicians heard on various cuts are George Duke, Ron Carter, Raul De Souza, Hermeto Pascoal and Urszula Dudziak, who adds her own brand of vocals to the title track. There's no commercial ism here - just great music in the Brazilian jazz vein. In fact, it often swings. This one is well worth checking out- Flora & Company are in great form. B.W. PABLO-r<LIVE AFRO BLUE IMPRESSIONS JOHN COLTRANE 2 RECORD SET PREVIOUSLY UNRELEASED MATERIAL ENTIRE STOCK: PABLO & PABLO LIVE ! 7.981ist 9.98 list Pablo NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL 11.981ist SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL now 4.99 now 6. 99 now 7.99 EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA �HENRY FRANKLIN- TRIBAL DANCE -CATALYST CAT-7618 You may r.ecall the name of bassist Henry Franklin from his associations with Freddie Hubbard, Hampton Hawes and Bobby Hutcherson, among others. His first recording as a leader for Catalyst, Tribal Dance, is a strong statement that takes in elements of straight ahead playing and the freedom and expansiveness of the avant garde. The album opens with Tribal Dance, a hard-driving composition by trombonist AI Hall. Hall's trombone is part of a three-piece horn section consisting of Jerry Rush on trumpet and flugelhorn and Charles Owens on tenor and soprano sax conducted by composer Jack Fulks. Pianist Dwight Dickerson who has appeared on previous Catalyst lp's provides steady backing for the high energy numbers but also sets the pace and is featured prominently on the ballad For Penny. That's one of the most pleasing elements of this re.cord: these musicians have the sensitivity to play a ballad without missing a note and yet can improvise freely with each other without destroying continuity. The young drummer, Son Ship (Woody Theus) uses the full range of his set including various percussive devices shifting easily from fast to slow pace as in Spring Song. Son Ship's solo on Cosmos Dwellers indicates that as he develops further we wi II be hearing a lot more from him in the future. Charles Owens is a standout, not only on saxes but also on the English horn and flute. Running through each composition is the consistently powerful bass playing of Henry Frankl in who possesses a cleartone and sure control of his instrument. J.H. KEITH JARRETT -STAIRCASE - ECM - 2 - 1090 Much of Keith Jarrett's music has a sameness to it that has both negative and positive aspects. On the negative side, a certain monotony sets in after you become fami I iar with the way he structures his compositions. Jarrett always leads toward the same goal and utilizes similar voicings and fingering techniques to get you there. On the positive side, he does have an unmistakable style and an unquestionable command over the piano. It is also a decided plus factor that he chooses to perform on the acoustic piano rather than resort to the temptations of electronic gimmickry. Staircase is a double album divided into four separate compositions, Hourglass, Sundial, Sand, and Staircase. On the whole this record is a step in the right direction from his previous album, the pompous Hymns/ Spheres. Staircase even has moments of new venturing for Jarrett such as the modal qualities expressed in Part 1 of Sand. But where McCoy Tyner can build a solid base of rhythmic support into the modal chords in his left hand, Jarrett does not. The net result is more of the same music that we've heard before from Jarrett. Pleasant I istening but noting new. J.H. blues JAN GARBAREK - DIS - ECM 1093 Norwegian saxophonist/flutist Garbarek teams up with guitarist Ralph Towner for Dis, a duo recording with some help from Den Norske Messingeksett (brass) on one cut. Wind recorded through the aid of an "Aeolian harp" is added on three more tunes. A "spooky" sound prevai Is and Garbarek & Towner certainly play well, but nothing really happens. Both musicians have many better examples of their work available on ECM & I'd suggest that you buy them first or hear this one before commiting yourself. There are some nice moments, but overall this album would have a limited appeal. B.W. hear AIY&A• AY&A at these clubs : Mon.-Bona Vista 1504 Hertel Ave. Tues.-Jack Daniel's Forest near Elmwood Thurs.-Tralfamadore Main at Fillmore Sat.- Odyssey 1005 Tonawanda St. Sun.-Jack Daniel's 12 by ron Weinstock Big Joe Turner and Lloyd Glenn were a treat at WBFO's benefit presentation at the Tralfamadore Memorial Day weekend. Lloyd Glenn is simply a magnificent pianist and Big Joe still can fill a room with his blues shouting. There were problems at times with the local rhythm section though there was excellent music to be heard all three nights. Thanks to those of you who came. Though perhaps more a funk player than a bluesman today Johnny 'Guitar' Watson gave a slightly ragged but striking performance at the Shea's Buffalo. Looking quite debonair and receiving gold albums for the locally distributed DJM albums Ain't That a Bitch and A Real Mother For Ya, Watson played a set of tunes mostly from these two albums. He included a funky "Gangster of Love" and showed considerable stage presence. My only fault can be with the material and execution which is somewhat contrived (to my ears at least). Hts bluesy guitar was present for the solos, but the flow from vocal to solo wasn't as natural as possible. The music strikes me as too calculated as I was waiting for Watson to take off on an explosive solo. These are my own reactions to both the concert and the recent recordings though no doubt many disagree. I don't dislike the music, just frustrated by aspects of it. Incidentally an import on Red LightninTheGangsteris Back (0013) features many of his early recordings. Despite a couple of clinker tracks this album has some great rockin' blues with some wonderfully violent guitar work. The original recording of "Gangster of Love" is included. Blues enthusiasts can't help but be knocked out by this set which if not available locally may be had from Southern Record Sales, 42 North Lake Ave., Pasadena, California 91101. Write them for information and prices and ask for their latest listings of blues, folk and jazz albums, both domestic and import. You might also try the Jazz and Blues Centre in Toronto. New Orleans Jazz & Heritage Festival (Island ISLD 9424) provides documentation of the R&B portion of the 1976 edition of what some call the finest music festival anywhere. Featured are the Texas blues of Lightnin' Hopkins as well as the legendary Professor Longhair (these may be Fess' only current domestically available tracks), Irma Thomas, with a reallyftne "You Can Have My Husband, But Please Don't Mess With My Man". Lee Dorsey, Ernie K-Doe and Robert Parker (all recreating their hits.) Side one is all taken by the sweet soul of Allen Toussaint one of the unrecognized geniuses of pop mustc today and guitarist Earl King making a rare appearance on record. The Earl King, ·Lee Dorsey and Robert Parker stdes are studio recreations of the I ive gig due to problems in the live recording. Generally a very satisfying set of New Orleans music and blues. The Johnny 'Guitar' Watson is one of many great blues albums from abroad that areavailablebymail. For example Flyright Records put out a set featuring the late tenor sax player J.T. Brown and His Boggie Boys (LP 4712) featuring the raspy sax of Brown as an accompanist to Roosevelt Sykes, Washboard Sam, Elmore James, Little Johnny Jones and others. Some of J.T.'s own mellow vocals are included and some fine JUnp �-----~- No matter what kind of day it's been. No matter what kind of night it's going to be. John Klemmer makes music that makes it better. Lifestyle Music for living and loving from John klemmer. on • l{l'l·nrds - JOHN KLEMMER Lifestyle on sale now at all twelve GAVAGE'S locations. Records $3.99 Tapes$5.49 Hear the John Klemmer Band in concertFriday, July 8 th Shea's Buffalo Theater �blues as well as hard rocking Chica,go blues (as on his own "Sax-ony Boogie", Little Johnny Jones' "Dirty By the Dozen" or Elmore's "Baby What's Wrong") and provides a rounded picture of a unique but underappreciated bluesman. Route 66's reissue of West Coast pianist-singer Floyd Dixon, Opport:Jnity Blues (KIX-1) provides valuable documentation of a style of blues that wasn't in favor with blues collectors until recently. Music ranges from Charles Brown influenced ballad-blues ("Broken Hearted" and "Telephonin"') to jump blues ("Real Lovin' Mama" and "Moonshine"). A treat is the 1951 live recording of the bawdy "Too Much Jellyroll" and "Baby, Let's Go Down To the Woods". This valuable reissue comes from Sweden. Two new series of albums are avai I able only by import. The MCM label of France has recorded a number of Chicago blues artists in the bars they play. Flyright has started issuing the Louisiana Swamp Blues and other music recorded by Crowley, La. producer Jay Miller. Artists such as Slim Harpo, Lightnin' Slim, Silas Hogan and Boogie Jake were recorded and many artists were released on Excello. There is much unreleased material as well as very rare stuff and these albums feature either totally new material or alternate takes. As much of the Excello blues is out of print this series take on added value. I will provide more detailed reviews of this material in future BJR's. There is no store currently carrying Living Blues. Issues may be had for $1.00 or a 6 issue subscription for $5.50 and should be sent to Living Blues Publication, 2615 N. Wilton Ave., Chicago, Ill. 60614. Stores interested in carrying Living Blues ahould also write there. PRESENTS RAY CHARLES CHARLES EAR LAND BUDDY RICH SABATA Fri., July I Blues on WBFO- July 1,2,3 Saturday - Shades of Blue with Babe Barlow 11 :00-rrl'idnight Monday- Raggin' the Blues with Linda Namius as part of This is Radio from 4:00 to 4:45 PM Wednesday - Bon Ton Roulet with Ron Weinstock Part of This is Radio from 3:00 to 4:00 PM Thursday - Rambl in' With the Blues with Ron Weinstock 10:00 to 11 :00 Fri., July 8 Radio July 5,6,7,9,10 M.F.S.B. WEBR - 97.0 AM Jazz in the Night - every night 7-midnight w/AI Wallack. July 12-16 WBLK- 94 FM The Sound of Jazz w/Carroll Hardy- Sat. nights 10 PM1 AM. w/ SAM PEAK on sax GLEN MILLER WADV- 106 FM Jazz Nitely w/Geo. Beck - Mon.-Fri. 11:30- 12:30. Jazz w/Joe Vendetti Sun. 8-12 PM. Sun., July 17 PLATTERS DRIFTERS July 26-31 July 19-24 COMING- SAM & DAVE Aug. 5-7; LIONEL HAMPTON Aug.l2 &13 LADIES NIGHT TUES.- Free Adm., All Drinks$1 Dinner served Daily from 4 PM. Let us entertain you! Plan your next party around our comi·ng star attractions. ~~3297 Bailey Avenue~~ 834-2120 14 WBFO 88.7 FM Mon.-Fri. Noon- Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midnight Mon. "Modern Jazz: The first 20 Year" - Dick Judelson Tues. "The Prodigal Son" - Bill Besecker Wed. "Creative Extensions" - Paul Smith Thurs. "In Concert" - Ed Smith Fri. "The Hot and The Blue Art" - Dave Benders Mon.-Fri. Midnight-3 am "Round Midn1ght" Mon.: Paul Wandell Tues.: Steve Rosenthal Wed.: Vincent Jones Thurs.: Paul Meyer Fri.: Babe Barlow Saturday 3am-8am "Pulse" -Vincent Jones Sam-Noon "Freedom Flight"- Ed Smith Midnight-6am "Opis in Modern Music: Jazz by Request- Pres Freeland Sunday: Noon-two "Jazz Contours" -Bill Wahl 11pm-midnight Big Bands w/Bob Rossberg M i dn i ght-3am "Roots, Rhythm and Sound" - Dave Jacobs 3am-8am "Progressively Yours" - Harry Schuster �CANADA - SELECTED.LISTINGS CKTB- 97.7 FM J. is for Jazz w/Jack Cole- every Sunday night 8-10 PM. CKQS- 94.9 FM . . . Music For Night ~eqple w/Paul Fisher - Mon. thru Sat. midnlght-3 AM. From bebop to now w/BJR's Hal Hill - 1st 3 Sat. nights each month 10-Mid. Don's Discs w/Don Keele last Saturday. · · CJRT - 91.1 FM Jazz Scene w/Ted O'Re1 lly Mon.-Fri. 10PM-1AM, Sat. 6 AM - Noon, Jazz in Concert w/O'Reilly Sat. 7-10 PM. CFKM - 99.9 FM . All That Jazz w·Phil McKe~lar Sun. 10 PM -6AM. NEW RADIO SHOW IN BURLINGTON Jack Cole is now hosting a jazz show on CING-FM 108 in Burlington, Ont. "What's Happening" can be heard Mon.Thurs., 10:05 PM - Midnight, and Sundays from 11 PM 1 AM. 1 JAZZ IS ALIVE on CKQS RADIO "From Bebop to Now" with HAL HILL 10PM to Midnight 1st. 3 Saturdays of the Month "Music For Night People" with PAUL FISHER Mon. thru Fri.- Midnight-3 Saturdays- Midnight -5 CKQS .94.9 FM 0000000 Music Lessons: Guitar, electric bass, string bass and composition. Theory and ·improvisation incorporated into each lesson. Gerry Eastman - 883-1340. what'(g; lhappening BUFFALO Horizon - at Jack Daniel's Wed. & Sat.; at Pierce Arrow Agency (3036 Seneca) Thurs. V.S.O.P. Quintet - Hancock, Shorter, Hubbard, Carter and Williams - Friday, July 8, Shea's Buffalo Theater. Shows at 7 & 10:30 PM. See ad. Tralfamadore Cafe - 2610 Main- 836-9678- local jazz bands Wed ..thru Sun. nights. Double Image with David Friedman & David Samuels July 15, 16 & 17. See ads. Niagara Hilton - Niagara Falls, N.Y. - Big Bands- See ad. A Festival Presentation "with a Little Help from Q-FM 9 _ JULY at the An Evening of Exceptional Music with TRALF MON.-OPEN MIC TUES.- WHALE BOYS except 19th. WED. -JEREMY WALL TRIO THURS. -SPYRO-GYRA 1,2,3 SAM NOTO/JOE ROMANO 8,9 PAUL GRESHAM QUARTET 15,16,17 DAVID SAMUELS/DAVID FRIEDMAN "Double Image" 10,19,24,31 EMIL PALAME BIG BAND 22,23 JON WEISS QUINTET 29,30JAVEZ tralfamadore cafe 2610 main at fillmore Statler Hilton ~ Downtown Room - closed for summer:- will re-open in September. The Jazz Club - 1376 Niagara Falls Blvd.- jazz Fri. & Sat. nights 10-2; jam sessions Sundays 9-1. See ad. Eduardo's - 3297 Bailey - Glen Miller Orch. July 17; Lionel Hampton Aug. 12. Ray Charles July 1; Chas. Earlard July 2 & 3. See ad for update and more info. Vieni-Su - West at Breckenridge - Jazz Tues., Fri. and Sat. nights. Holiday Inn - Delaware & North - Jazz Friday & Saturday nights. Odysey- 1005 Tonawanda St. - Jazz Sat. nights. Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Mar.ina - Niagara St. - Dixieland jazz every Friday and Saturday night. Fieldstone Manor (Lockport) - Dixielandw/Will Alger on weekends. 636-9678 FRI., JULY 8 TWO SHOWS! 7&10=30 SHEA'S BUFFALO THEATER 'ALL SEATS RESERVED $7.00,$6.00 & $5.00 Tickets: Festival in the Statler and all their outlets including Audrey & Del's, Tralfamadore Cafe, Amherst Tickets and all Man Two & Pantastik Stares. -------------------------------------- 15 ~----------------------------------~ �THE FOUR SEASONS MOTOR INN presents it's new jazz club with Herman Young Trio FRI.&SAT. 10-2 Sit-in jam sessions STAn KEnTon ORCHESTRA IS COMING TO THE NIAGARA NIAGARA FALLS, N.Y. SUN., JULY 31 at 8p.m. Get your tickets now!! Th• JIIICLUI 1376 NIAGARA FALLS BLVD. at Brighton/Maple NO COVER 836-2940 Horizon - at Jack Daniel's Wed. & Sat.; at Pierce Arrow Agency (3036 Seneca) Thurs. TORONTO Bourbon St. - 180 Queen St., W. - Bob Dorough Trio thru July 9; AI Cohn Quartet July 11-23; Herb E II is Quartet July 25-Aug. 6. Blondies- 1954 Yonge St. Jazz Mon. - Fri. 9-1. Sammy's Cellar - 254 Egl ington Ave., E. - Cas a Loma Dixieland Band - Saturdays 3-6 PM. Yellowfingers - 1280 Bay St - The best rn Jazz. Grossman's Tavern - 379 Spadina Ave. -Fridays and Saturdays from 8 pm. Saturdays 3 pm., Kid Bastiens Camelia Jazz Band Albert's Hall, The Brunswick, 481 Bloor St., West- MondayWednesday - Kid Bastren, Thursday-Saturday - Jim Abercrombie. Chez Moi - 30 Hayden St. - Saturday Afternoon- Silverleaf Jazzmen. The famous Stan Kenton Orchestra playing for your listening and dancing pleasure in the Rainbow Ballroom of the Niagara Hilton Tickets $6 at the Hi Iton or send check or m.o. to: BIG BANDS c/o Niagara Hilton Falls & Third Sts. Niagara Falls, NY 14303 (Limited reservations avail able) Plaza Two Hotel - Greenery Lounge ~ Yonge/Bioor Square Claude Jones Mon. thru Sun. 8··12 PM. Chelsea Bun - Chelsea Inn, 33 Gerrard St , W. - pianrst John Arpin Mon. thru Sat. 9-1. ROCHESTER Port Side - 1300 Empire Blvd. - Joe Romano & Windsong Thurs. thru Mon. outdoor jam session July 10 feat. Joe Romano & others. Glass Onion - 81 Marshall St. at Monroe - vibist Joe Locke's Quintet July 5. Bruce Mills July 12, 19 & 26. J.J. Lounge- Existing Reality every Fri., Sat. & Sun. Monticello- Sonny Kompanek nightly except Sun. Eastman Theatre - arrangers Hoi iday feat. Phi I Woods July 29- 8:15PM Tickets $3, 4 & 5. Phone 275-3037. SYRACUSE Spirit of 35 -Dave Hanlon Funky Jazz Band every Friday and Saturday night. buffalo jazz report return postage guaranteed HILTON AT THE INTERNATIONAL CONVENTION CENTER Sundays: l-6pm outside at the swimming pool; inside later from llpm-3am. 1335 main st. buffalo, n.y. 14209 u.s.a. X PERIODICALS & BINDERY LOCKWOOD rH::MORIAL LIBRARY !S.U.N.Y.A.B. BUFFALO, UY 1.4214 ,,] � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4440 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 41 Date A point or period of time associated with an event in the lifecycle of the resource 7/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 41 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/026d67c836f21246d2828ad77f52b59d.pdf 1220c8a4ef89b4bb802bee43ba8078a0 PDF Text Text buffallo Jazz tefiOit ML l August'77 lssue42 Free 6~ • I, I /;;>·r'' -/ , y ...... /'A .. ' ~uddyRich Big Bands! Lionel Hampton Emil Palame also: Art Pepper interview �EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS - Christine Engla Eber and Sabrina Mayberry Smith. CORRESPONDENTSRochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this pub I ication may be reproduced without written consent from the pub I isher. The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. lmprov records. He was responsible for booking such artists as Stanley Turrentine, Kenny Burrell & Phil Woods into the club. A man who preferred to remain behind the scenes, Gary Bove did a lot for jazz in Buffalo and is surely missed. HANCOCK, SHORTER, CARTER, WILLIAMS & HUBBARD AT SHEA'S BUFFALO The V .S.O.P. Concert July 8 could quite safely be termed the jazz event of the year - it would be hard to top it. A better name for this band is the alternate used in the promotion of the event- "The Quintet." I attended the first show, during which they played two of modern jazz' most popular compositions- Hancock's Maiden Voyage and Shorter's Nefertiti. Free of electronics or funk, the band played masterfully - perfect ensembles and magnificent, though often laid back, soloing. There were some problems, however. The concert started about an hour late, and the amateurish sound company blasted everyone out of their seats when John Klemmer's band opened the concert. The sound was uncomfortable - distorted to the point of not being able to distinguish between the instruments. Klemmer put on a decent performance, but his band wasn't quite up to his level. The best moments were his solo saxwork and a duo with his pianist. The sound was better for the quintet, but Herbie had to keep standing up to give hand signals to the sound people before there was any balance. Shorter was relaxed and reflective and Big Bands! During the month of August, anyone who enjoys big bands will be able to satisfy their appetite with little or no problem. Lionel Hampton will be at Eduardo's on Bailey for two ngiths with his orchestra. Hampton began as a drummer, and later switched to vibes, becoming the first jazz musician to play the instrument. His first recorded vibes solowasdone in 1930, with the Les Hite band then fronted by Louis Armstrong. He played with the famous Benny Goodman Quartet (w/Krupa & Teddy Wilson) for four years, and formed his own orchestra in 1940, which he's led ever since. Buddy Rich, one of the best known drummers in the world, comes to Eduardo's for a one night stand. He recently sold out an appearance at the same club. Rich, a drummer of phenomenal technique and drive, started working on stage at the young age of 18 months, with his parents vaudville act, playing "Stars & Stripes" on a snare drum. After working with many big bands, he formed his own in 1946. In addition to a host of albums as a leader, he can be heard on discs with Charlie Parker, Count Basie, J.A.T.P., Art Tatum and others. Rich, whose talents also include singing, tap dancing and acting, always features first class musicians in his bands. Emil Palame's 16 piece band can be heard at Eduardos, The Tralfamadore & Starvin Marvin's. Emil led the "Fredonia Jazz Ensemble" for three years. He graduated last year and at age 23 is leading a screaming band, playing a good amount of gigs in the area. Most of the arrangem~mts are his, and some come from trumpeter Howie Shear. Saxophonist Dick Griffo was on the band's album - Make Room (Mark Records). and played the band's first Tralfamadore gig a few months ago. He's now with Woody Herman! The Palame band will also appear at the Artpark Jazz Festival next month, opening for Stanley Turrentine. ' We've just received word that bassist Gerry Eastman's "Little Big Band" will be at the Tralfamadore the last two Sunday nights of August. The band is made up of some of the finest local musicians. Eastman is a member of Birthright, one of this cities foremost jazz groups. . For information on these events, consult the ads in this issue for Eduardos, The Tralfamadore & Starvin Marvin's. GARY BOVE The director of entertainment for the Statler Downtown Room, Gary Bove, died of cancer on July 27. Bove, an attorney, served as legal counsel to Bill as well as tending to Downtown Room operations and Hilton's 4 at age Hassett those of 2 SHORTER �HANCOCK and CARTER photos: Bob Riley his soloing the same. Williams re-assured everyone that he's one of the elite jazz drummers. Carter was incredible. Herbie, on acoustic grand piano, a remedy for sore ears and eyesdressed conservatively in white shirt and black pants and playing as I knew he could be almost forgot. Hubbard started off poorly, but the lack of applause let him know the audience wanted no bull. Then he burned. No-one stole thE spotlight in any way - an equal partnership. Since it started late, the band quit after playing five tunes. For the amount of time people were applauding there could've been a short encore, but there was none. The band played less than an hour. I'm told that the second show went on much longer and the band stretched out more, with a different program of tunes. Musically speaking, it was a concert no one should have mis.sed. And, though there were numerous faults with the production, Festival deserves a word of thanks for making it happen. B.W. MORE HOT WAX ON e~ Fantasy Prestige Milestone ck ~~~' (~~; SUPERTRIOS BILL EVANS Quintessence AT THE LARGEST RECORD STORE IN THE WORLD 1800 MAIN at LAFAYETTE SUN thruWED 10am-10pm THURS. FRI & SAT 10am- midnight Rochester locations: Midtown Plaza Greecetowne Mall Henrietta Towne lines Gates Eastview Plaza �'"--~~~~~~~~~~~~~~~~~~~~~~~~~~- photo: Gerry Bahl �thing more rewarding than to get toplaywith his group. Before Miles it was Coltrane, I loved the way he played, the speed, dexterity, the knowledge that he had, especially his middle and late period. Hal: A lot of that shows in your playing. I find that on the Living Legend album, a sparsness that Ornette Coleman used in his playing, and Coltrane too, and I feel you must have been influenced by Coleman in a subtle way. Art: It's the melody that I feel, Ornette and Don Cherry, in particular I think of the Lorraine record of some long time ago. Hal: You also like speed, I noticed at the club you have a tremendous amount of dexterity with yourfingering, it ios almost as if you can't spit enough out fast enough. Art: On Ol'le hand I like the sparsness, the openness that Miles has, the occasional note, then I also love the way Trane played with speed, it's like a Jekyll and Hyde thing in my mind, and those are the things I I ike most, - and of course the beauty. Hal: Are you impressed with the calibre of the musicians you are working with in Toronto? Art: Yes, Bernie Senensky, the pianist, is an excellent player; and I love the way he voices the changes, the way he moves changes within say a seventh chord, the way he'll go up a half step or down a half step, and the way he thinks. He's a very listening player, a very learned player, and a very swinging player. And the bass player, Dave Pilch, is just fantastic. It's amazing the things he can do at such a young age. And the drummer too, Terry Clarke, phew! He sure can cook. ART PEPPER Speaks With Hal Hill The great alto saxophonist Art Pepper has made a smashing comeback to the scene after being inactive for almost a decade. Jazz fans were first treated to two magnificent newlyrecorded albums on Contemporary Records - Living Legend, with the late Hampton Hawes, Charlie Haden & Shelly Manne; and The Trip - with Elvin Jones, George Cables & David Wi II iams. Then Art played New York, receiving standing ovations at the Newport Jazz Festival, as well as the same type of acclaim from critics and listeners afforded Dexter Gordon last year. · Art appeared at Bourbon Street nightclub during the week of June 13th-18th. This was his first tour as a jazz soloist away from the State of California. (He had toured with the Kenton Orchestra in the late '40s). During t~e week's engagement Art and his wife Laurie spent considerable time with BJR correspondent Hal Hill who conducted this interview with Art. The interview and recordings from recent releases were used on Hal's programme "From Bebop to Now" on CKQSFM 94.9 on Saturday, July 16th, under the sub title "ART PEPPER TODAY-A MAN AND HIS MUSIC." . Hal: Who do you I i sten to today? Art: For historical purposes I listen to John Coltrane, Pres & Bird. For inspiration now its Miles. Today I really listen to everything, unlike many other people, I listen to singers, country music, rock, all blues. I kind of I ike everything, anything, so long as it's good, classical music, anything that's done well, I like and appreciate. Usually I find that my mood tends to direct what I listen to. I have a Bill Withers 8 track tape in my car that is just marvelous, and when I'm in a certain mood I'll put the Bill Withers tape on. Also, my wife has a tape that she put together of some different singers, a side that I did with Melanie - the Photographs al. bum. But if I'm in jazz mood, I'll listen to the last album I made, just to I earn - what I did wrong, or right, just as a learning experience. Hal: To where you've progressed to? Art: Right, the things I like, and didn't like, it all depends on my mood. But if we are talking strictly about jazz, then I will listen to Miles. Hal: You mentioned the other night in the club that Miles was one of your inspirations. Now of course Miles plays trumpet, why would you lean towards that kind of inspiration, because of his rock fusion, or because of his advanced techniques? Art: He is music to me. He is jazz music. He is so great, that it is just beyond comprehension. I have his Live Evil tape, the first time I played it I really didn't like it that much, and then I played it again, and every time I played it I I iked it more. And the guys in the band, DeJohnette, Chick Corea, Dave Holland, John Mclaughlin, Gary Bartz, the wholebandwas fantastic, beyond description. Then when Miles came in they were playing this simple little line, a kind of unison little line I think that John Mclaughlin started, just the most basic type of thing and Jack DeJohnette was just roaring behind this line, and· it was just like wild animals. It was animalistic and beautiful at the same time, then Miles came in with just one note, or two notes, or three notes, and his playing was in the middle register, low I ike he used to do with Gi I Evans, and also the Kind of Blue album with Coltrane, Sketches of Spain, Miles Ahead, and all those things with Gil. Hal: You obviously have an affection for Gil Evans. Art: Yeah, I loved all those things, but now Miles has gone way beyond that, and some people don't like him at all. Miles has eliminated the space, that I liked about him before, but now the space is even greater, every note is like a gem, he has reached theepito.meofmusic. I can't think of any- Note: We went on to discuss current recordings, new material ready for release, the upcoming gig at the Vi II age Vanguard, and the Newport Jazz Festival appearance. A new album called No Limit with Carl Burnett-dms, George Cables-piano, and Tony Dumas on bass. His contract with Contemporary records, the possibility of doing a tour once a year with his own group, the thrill of doing the current tour. And lastly, advice to young upcoming musicians, "Be yourself". Editor's note: Hal Hill is the manager of Sam the Record Man at the Sherway Gardens Mall. He stocks an incredible amount of jazz with some great European imports. Drop by and see him. Somehow, he also finds time to represent BJR in Toronto and do a show on CKQS Saturday nights from 10-midnight. BEAUTIFUL BABE Babe Barlow, known to many as the big, beautiful doll 197 lbs. of pure brown granulated sugar, received another feather in her cap in radio by going to theN. Y. State Womens' Meeting in Albany June 8-10 and returning with a 3 hr. taped report, aired on WBFO (N.P.R.). Babe showed that she's not only in the know about jazzbuthasa good sense of humor while easily handling a report of this type. Babe later commented "it was something I really wanted to do, and being a woman did help." Babe, a former child movie star who played Farina in "Our Gang" comedies during the silent film era over 50 years ago, is heard on 'Round Midnight (Friday nights 12 Mid. - 3 AM.) and Shades of Blue (Sat. nights 11PM -Mid.) on WBFO88.7 FM. FREE PARKING AT /Am THE RECORD mAn /HERWAY GARDEn/ Best Domestic & Imported Jazz Records & Tapes Available Take Evnns Ave. Cutoff ( QEW pnor to 427 Hwy.) On Your Next Trip to Toronto Inquire About Our Discount Club Membership 5 �MICHAEL CARVIN - THE CAMEL - INNER CITY 2038 This is another of the Inner City releases from the Danish Stepplechase series. Carvin is a superb drummer who has worked with numerous leaders, including Freddie Hubbard, Woody Shaw, Cecil McBee, Hampton Hawes, and McCoy Tyner. His quintet for this 1975 session is quite impressive- Sonny Fortune, Cecil Bndgewater, Ron Burton & Calvin Hill. Naima runs over 8 minutes and features Fortune on soprano sax as the only soloist- gorgeous. Kwabena's Blues is a modal tune starting with slow paced ensemble passages, and switching to a quick tempo for solos by Cecil, Sonny & Calvin. Short, but well done. Sonny shows his affection for the blues as he opens the snail paced M.C. Blues, with additional offerings from Cecil and pianist Burton. The title track rocks, with Carvin chugging and churning throughout. Sonny rips off one of his unmist.akable alto solos (if you missed him in Buffalo last year you m1ssed a lot) followed by Burton & Bridgewater. Carvin del ive~s an extended I esson in musical drums before the closing. A fme group effort that will espec1ally please those looking for more from Sonny Fortune. B.W. When You Are In Toronto This Summer, Be Sure To Visit The Jazz and Slue/ Record Centre 893 Yonge ltreet 416-929-5065 recordl'. bookl'. mogaziner. jazz information - import J"pecialiJ't alto: uted and budget record I' Jazz Specialists For 17 Years YELLOWFINGERS JAZZ In the last year a club called Yellowfingers has established itself on the Toronto Jazz scene in a very large way. Competing with two already well established bastions of jazz, namely Bourbon Street and George's Spaghetti House, Yellowfingers fought it's way to recognition for many fans who had heard of, but not had the opportunity to see the many, many superb musicians that Toronto has. The settings originally made extremely popular by young guitarist Andy Krehm, who was the first musical director, have brought packed houses on weekends, and comfortable crowds the rest of the week. Regular nightly sessions, After Hour sessions on weekends, Sunday Dinner Concerts provide work for the cream of the crop as far as musicians are concerned, a chance to write, try out some new ideas, and generally excite a throng of new jazz fans. The new musical director is Dave Caplan, well known jazz afficianado, who has made some changes to the benefit of the club. Yellowfingers is a good place to spend some jazz time, anytime, and the musicians being presented there deserve to be heard. COUNT BASIE -PRIME TIME - PABLO 2310 797 The news of Count Basie' s iII ness late last year had many wondering how soon (if at all) he'd be able to return to the grueling pace of I ife on the road and the special demands of the recording studio. After only a four month respite he hopped ng.ht ba~k on the bus and back into the recording studio. Pnme T1me, recorded 1n January of this year, is classic Bas1e -.from his economical piano statements to the joyful, full-bod1ed arrangements of Sam Nestico. Basie's bands have always swund as few other big bands on earth can. He remains a perennial traditionalist. But to let you know his ears are always aware of new ideas, B~sie has included a comfortably modern p1ece called Bundle 0 Funk written by Nestico that features the rare (for Basie) addition of a Fender bass in the hands of Reinie Press. Sweet Ge?rgia Brown has guite a lengthy p1ano openmg from Bas1e and 1t sounds as spntely and alive as al~ays with a touch of th~ Basie humor thrown in. Ja-Da, Reachm Out and Sweet Ge_org1a Brown arethearchetype Basie tunes - sometime t;JUted trumpets, wah-wa.h trombones led by AI. Grey a.nd Curt1s Fuller, the l1ght gUitar comping of his ongmal gu1tar.1st Freddie Greene and the unflagging, toe tappIng tempo. H1s recent performances show him to be fit in good spirits and in full control of another great Basie orchestra. J.H. record"' RECORD REVIEWERS: Bill Wahl (B.W.), John Hunt (J.H.), Tom Mazzone (T.M.), Ron Weinstock (R.W.), PauiSmith(P.S.), Jim Laniok (J.L.). PAUL BLEY /GARY PEACOCK/BARRY ALTSCHUL - JAPAN SUITE - IMPROVISING ARTISTS 37.38.49 Bley, Peacock & Altschul have proven themselves time and again to be worthy of their positions in the forefront of the jazz avant garde; both separately, and together as a trio as heard on Japan Suite. The music was recorded at midnight on July 25 of last ye~r at the Yam~ha Music Festival in Japan. Side one (Japan SUite. 1) opens w1th Peacock dancing about h1s bass, setting a rockmg mood, soon joined by Altschul who reinforces same. Bley comes in breaking the trio into freedom before they embark. on a course bordering on structure and improvisation; play1ng, as he often does, some gorgeous piano, reminiscent of .such tu.nes as Mr. J.oy. Again th.ey are (loosely) rocking wh1le sha~mg and c.reatmg. Peacock 1s powerful and serious; Altschul IS a creat1ve percussionist, all over his set, and a master of cymbals. Each I is tens attentively, a positive characteristic which is obvious throughout the album. The second side (Japan Suite II) does away with structure all together, opening with a lengthy display of percussion with Bley plucking the strings inside the piano, Altschul on his assortment of whistles, gongs, cymbals and drums and Peacock all over his instrument. Bley switches to the keyboard as the piece continues, the trio offering some excellent free-form music. · ~imilarities between the end of side two and the beginning of Side one suggest that this could've been all one tune issued here in halves in reverse. Whatever the details rna/be- no matter. This is a first rate album. B.W. CTI SUMMER JAZZ AT THE HOLLYWOOD BOWL: LIVE ONE - CTI 7076; LIVE TWO - CTI 70n· LIVE THREE CTI 7078 ' These three records were recorded live in 1972, a period dunng wh1ch CTI records recorded some fine music - music that brought thousands of people from rock to jazz. ~he label's lineup at this time was most impressive, and they re a II here. The outs 1de of the Jackets don't list any tunes, so we' II cover each disc. ~ive One opens with a straight ahead blues, opened by organist Johnny Hammond. Solos come from Hank Crawford Joe Farrell, Geo. Benson & Hammond before thefull ensembl~ closes. Grover Washington, Jr. is up nextfor Inner City Blues/ What's Going On. Its a funk groove, but Ron Carter & Jack DeJohnette are as tastefu! here as everywhere else throughout the three d1scs. Benson 1s spotlights on California Dreaming, a tune also heard on his studio recorded "White Rabbit" album. It's. a fine ~ersion, and George is the only soloist. The last cut 1s Fredd1e Hubbard's First Light, and Freddie is the only. solo 1st her.e. Each track runs just over 8 minutes. .L1ve Two begms w1th the medium tempo Blues Force featunng Stanley Turrentine & Milt Jackson. Next, things get funky w1th Aretha's Rock Steady with statements from Benson, Grover & Hammond. Hubert Laws does a medley of tunes from h1s. early (&.best) CTi efforts- Theme from Love Story/Pavane /F1re & Ram. Well done and Laws is the only soloist for th.e fourteen mmutes. Hubbard is back for a version of People Mkae 6 fourteen minutes. Hubbard is ba.ck for a version of People Make the World Go Round - a beautiful composition which he does justice. Live Three opens with Funk Fathers, which is the same tune �that is issued as "Sister Sanctified" on the Turrenti~/Milt Jackson album "Cherry" released on CTI the same year as this concert. (Somebody goofed somewhere on the titles.) This version features Stanley & Benson. Cherry follows, a ballad highlighting Milt Jackson & Turrentine. Bowl Full 0' Blues is a slow, hard blues with solos from Crawford, Hubbard & Hammond. Esther Phillips appears, on "Live Three" only, for the two closing cuts. She's at home with the blues and she doe.s it on Cherry Red. The show ends with a fine version of God Bless the Child, featuring Esther & Benson. All these records offer some good music in early CTI tradition. The full ensemble is heard in support throughout most of the tunes and there's none of the slick, synthetic funk or overproduction found on the label's more recent records. The time playing averages to about 35 minutes per disc. Now you know the tunes, so the choice should be easier. B.W. UNITED STATES REISSUES ON DELMARK Founded in the early fifties, United Records was one of the first black owned record labels in post-war Chicago. It produced a formidable catalog of releases in jazz, blues, gospel and R&B. Delmark purchased the rights to the material a few years ago and the albums reviewed below are the initial reissues of the material, with a Junior Wells album and several blues reissues on Pearl forthcoming for blues enthusiasts. The artists Paul Bascomb, Tab Smith and Chris Woods were pari of a jazz roster which included Gene Ammons (reissued on Savoy) among others. Paul Bascomb, along with brother Dud (a trumpeter). played a major role in creating Erskine Hawkins' Big Band. Bad Bascomb (Delmark DL-431) featured his Coleman Hawkins' influenced tenor in the context of the 1952 big little band recordings that are included. This is a fine bluesy album featuring several vocals by altoist Frank Parler, who is reminiscent of Billy Eckstine, and a Louis Jordan styled vocal on "Pink Cadillac". This is a fine swinging set which also includes the fine piano of Duke Jordan. Blues fans who think they don't like jazz should give this a try. Because of You was a #1 R&B hit in 1951 for Tab Smith selling over 500,000 copies. Tab Smith was an alto player, who doubled on tenor, who served in Count Basie's Band and the Mills. Blue Rhythm Band, and formed a big little band in 1944. Along with the title track, a fine ballad performance, this Delmark issue (DL-429) features a mix of ballads and blues performed with a fat sweet tone. Like the Paul Bascomb this album helps the big little band scene and is swing rooted jazz. Chris Woods is possibly better known because of his association with Ted Curson, and the Jazz Composer's Orchestra in recent years. Somebody Done Stole My Blues (DL-434) reveals Woods to be a bop flavored alto player who possessed considerable warmth and fluency in the earlyfiftieswhen these recordings were made. Dig his responses to Jewel Belle's vocal on "Raining" as well as his blues-drenched solo. Most of the album features his own quintet, and the title track (two takes of it are included) is a jumping blues. The recording of Xavier Cugat's "Brazil" (which was recently a disco hit) provides some nice latin-tinged bop. Delmark is to be congratulated for putting these albums out. For a small label to reissue recordings by obscure artists is quite a risk yet these albums provide valuable documentation of not only lesser known jazz artists but of some popular black music of the early fifties. The sound is clean and the pressings are good. The albums· include interesting packaging, generally thoughtful annotation and discographical detai Is (though on the Chris Woods' set there are some inaccuracies or information is left out). I like these, especially the Bascomb and Woods, very much and await further issues of United Records material. R.W. · BEN WEBSTER - MY MAN - INNER CITY 2008 This is one of the late Ben Webster's last recordings. Webster, one of the great jazz tenor players, resided in Copenhagen during his later years, and ·often played at the Montmartre Jazzhus, where this music was recorded in l973. The tunes are standard Webster fare - such as Sunday, I Got Rhythm & Exactly Like You. My favorites are Willow Weep MOSE MOVES I BARRY ALTSCHUL with THE WOODY. SHAW -· CONCERT ENSEMBLE Sam Rivers, Dave Holland, Muhal Richard Abrams, George Lewis You Can't Name Your Own FAANKFOSTEJI RENE. MCUlAN SLIDE HAMPTON RONNIE: MATH£WS STAFFORD .lAMES LOUIS HAVES ATllfl: eERLINER JAZZTAOE at 1800 MAIN at LAFAYETTE SUNthruWEO 10am·10pm THURS, FRI & SAT 10am- midnight Rochester Locations: Midtown Plaza Greecetowne Mall Henrietta Towne Lines Gates Eastview Plaza For free catalog send to BJ, MUSE RECORDS, A DIVISION OF BLANCHRIS, INC., 160WEST71stSTREET, NEW YORK, N.Y.10023 �SAVOY REISSUES Among new Savoy reissues is The Roots of Rock 'N Roll (SJL 2221). A collection of rhythm 'n' blues recordings from 1947 to ~956, this double album set provides fine examples of th~ mu~1c that would b_ec_ome rock. A~tists include Johnny Ot1s, L1ttle Esther (Ph1ll1ps) Huey 'P1ano' Smith, and Big Jay McNeely. Sides range from the 13 year old Little Esther sounding like Dinah Washington, to wailing tenor sax to lively doo-wop sounds. Many of the originals are high priced collectors items, and the music is of considerable merit. Excellent notes from Bob Porter cap a fine package. Of greater jazz interest is CHARLIE PARKER Bird at the Roost (SJL 1108) and LESTER YOUNG Pres Lives (SJL 1109). On the Lester Young set the only other identified person is Jesse Drakes. Annotator Ira Gitler speculates these sides were recorded at a dance and there is much spirited playing. The Bird dates from 1949 air checks from the Royal Roost. Kenny Dorham, AI Haig, Tommy Porter, Max Roach, Milt Jackson and Lucky Thompson make up the 'All Stars!' Typically fine Bird with high I ights including "Scrapple From the Apple" (the quintet version that opens the album) and "Half Nelson." HOWARD McGHEE is another of jazz's unrecognized masters. Maggie (SJL 2219) documents the trumpeter in 1948 and 1952. The 1948 are some nice bop sides including Jimmy and Percy Heath and Milt Jackson among the personnel. McGhee is both a lyrical and hot trumpet player who is a thoughtful soloist as these sides show. The 1952 sides include J.J. Johnson and aren't as uniformly satisfying. Material here ranges from Dixieland style material to more boppish stuff. A nice introduction to a man still laying down some fine sides. Ben Webster, Ike Quebec, John Hardee, Illinois Jacquet and Coleman Hawkins are all featured on The Tenor Sax Album (SJL 2220). The music is mostly swing rooted and ranges from the lush toned Mr. Webster to the blowing Texas Tenor of Illinois Jacquet. R.W. BONA VISTA 1504 HERTEL PRESENTS Sun.- Golden Glide (ACOUSTIC) Mon.-Spyro-Gyra Tues., Fri.- Billy Brite PHONE 836-8985 CANOl'S KITCHEN OPEN 5 PM - CLOSING For Me and Old Folks. Ben was a master at slow blues and ballads - pure sex - and these are no exception, as his satin soft yet full tone comes through. The up-tempo cuts find his tone more "gruffy" than usual. The Danish rhythm section Oie Kock Hansen, Bo Stief & Alex Riel- plays well throughout. B.W. An important album by one of the departed greats. ARCHIE SHEPP - STEAM - INNER CITY 3002 Shepp is known to many as an avant gardist, a repuration he gained during the sixties. His more recent work has mellowed out substantially - as documented on albums such as Montreaux One and Two (Arista), and those on the Italian Horo & Black Saint labels. Steam was released on Germany's Enja label, coming to these shores via Inner City. It presents Shepp with his trio bassist Cameron Brown & drummer Beaver Harris, recorded live in Germany last year. This is straight ahead jazz, and some of the best Shepp I've yet to hear. The renditions of Ellington's Solitude, Shepp's Steam & Calvin Massey's Message From Trane (only 3 cuts are heard) are superb, as is the individual work of each of the three musicians. This is simply excellent Shepp. B.W. DAVE MATHEWS BIG BAND- NIGHT FLIGHT- MUSE MR 5098 Dave Mathews is much more successful as a leader of his own big band than he is as an arranger for other artists. His arrangements for Esther Ph ill ips, Hank Crawford, Mark Murphy and others have been over-funked, impersonalized statements that lack the originality and sensitivity displayed in his two albums as a leader for Muse. The Live at the Five Spot album (Muse MR 5073), reviewed in an earlier BJR issue, was an exciting introduction to the powerful musical statements Mathews can make. Night Flight has virtually the same personnel as the Five Spot recording except Sam Burtis replaces Michael Gibson on trombone and Sue Evans is included on percussion. After the first few bars ofM i Iton Nasciemento's Vera Cruz you' II hear the tightness of the arrangements in the ensemble passages that also manage to give room enough for some fine soloing from. Frank Vicari on tenor sax and Joe Shepley on trumpet. This is followed by a traditional rendition of Miles Davis' All Blues with a Chambersish bass intro by the multi-faceted Harvie Swartz who has been heard recently with the group Double Image. Guitarist Sam Brown's camping shows a great deal oftastebuthissolos still have the same lack of direction and continuity evidenced in earlier days with Jarrett and others. The reports of the Mathews big band at Stryker's in New York have been very positive and with this assemblage of young, fiery talent its no wonder. If you've only heard Dave Mathews as an arranger you're missing alot and Night Flight would beaverypleasantway to get acquainted. J.H. CHARLES EARLAND - REVELATION - MERCURY 1149 The jazz organ has never been one of my favorite instruments. However, I used to love Larry Young until his recent releases on Arista. Another favorite was Charles Earland he had drive and a different, gutsy sound. Things do change. Revelation is a funk disc with Earland leading a Mundane ba~d, himself focusing on electric piano and synthesizers. His un1que sound of yesterday has turned into the indistinguishable sound of a thousand other funk bands. There are a few good tracks where one can recall the original Charles Earland but its not enough. ' Perhaps some day both Young and Earland will return to restore life to the jazz organ. In themeantime, perhaps they'll make some money to make the current phase worth it a II. B.W. LIVE ENTERTAINMENT THURS., FRI. & SAT. NIGHTS EMIL PALAME BIG BAND The First Three Fri. & Sat. Nights in August. Dine Looking through Walls of Glass, with a View of the Niagara River! 1093 E. RIVER ROAD/GRAND ISLAND/773-9177 8 OSCAR PETERSON, JOE PASS, RAY BROWN- THE GIANTSPABLO 2310 796 The talents of Peterson, Pass & Brown have been recorded and released in substantial quantities and various Pablo albums since the label's first release in 1974. The Giants presents them as a trio delivering some top flight music. Caravan and Riff Blues are taken at breakneck tempos, with superb interplay and soloing. Who Cares also moves along at a quick clip as Pass shines. Peterson plays organ on three tracks, and the best of these is Blues For Dennis. However, I'd very much prefer to hear him stick to the piano. Jobim, a duo with Brown out, is a gorgeous ballad - with a focus on gentle lyricism. While the organ tracks are a bit weak, the remainder of this album i,s well worth your attention. B.W. \ �RAY PIZZI RAY PIZZI -CONCEPTION - PABLO 2310 795 Having been impressed with Ray Pizzi's previous album, the self-produced Appassionato, I looked forward to this Pablo release. No disappointments! Pizzi plays soprano and tenor saxes, flute and bassoon here and handles each with ease. If you're familiar with Pablo records, you'll know that its rare for a new artist to be recorded as a leader. The records are usually Dizzy, Basie, Joe Pass, Oscar Peterson, etc. Listening to. Conception will reveal the reasoning NormanGranzusedwhenhesigned Pizzi he's not only an excellent musician, but he's got a sound of his own - not a common thing with young musicians these days. Pizzi plays with so much passion you can't help but feel his music. To this he injects melody, grace and fire in combinations he sees fit. He gets great support from fellow L.A. musicians such as guitarist (ex-Shelly Manne) John Morell, bassists John Heard & Joel DiBartolo, pianists Mark Levine & Greg Mathieson and others. You'll find the elements of bop, Latin, mainstream, and a bit of jazz/rock in the music of Ray Pizzi. Look into this guy - I think you'll be favorably surprised. B.W. BARNEY KESSEL/HERB ELLIS - POOR BUTTERFLY -CONCORD 34 Barney Kessel and Herb Ellis are well known to afficiando's of jazz guitar. Each is a master performer in his own right. Poor Butterfly is one of several Concord albums on which they can be heard together. Except for a few tracks, its a rather laid back session. They show their skill and sensitivity, as one plays the head or solos the other lightly comps, allowing ample space to each other. There's no ego problems here, just a pair of first rate guitarists striding along with the help of Monty Budwig/bass and Jake Hanna/drums. This is good listening - music most anyone could enjoy. Light and melodic. B.W. JAKE HANNA QUINTET - JAKE TAKES MANHATTAN CONCORD 35 A loose, jam session type feeling prevails on this disc by West Coast drummer Jake Hanna. His band is made upofformermembersof Woody Herman's various aggregations - pianist John Bunch, alto & tenor saxophonist Carmen Leggio, bassist Michael Moore & trumpeter Danny Stiles. The tunes date back to the twenties, th irlies and forties - such as Pres' Lester Leaps In, Manhattan, Them There Eyes. Except for two tunes, the tempos are rather relaxed. The band members each offer some good solo work - Leggio perhaps stands out the most. Unlike many drummer led records, Hanna I imits himself to bright, solid accompaniment and rarely solos. This was originally to have been someone else's date, prevented by illness. The band carried it just fine. B.W. FATS WALLER --PIANO SOLOS 1929-1941 - BLUEBIRD AXM2-5518 LITTLE BROTHER MONTGOMERY -CRESCENT CITY BLUES -BLUEBIRD AXM2-5522 These two latest additions to RCA's Bluebird reissue series offer valuable documentation of jazz and blues piano history with the typically fine packaging and annotation of the series. Fats Waller's place in jazz as a master of stride piano should be (if it isn't) common knowledge a11d the Piano Solos provides a generous helping of his spark I ing piano. Eurreal Montgomery, a gr~at barrelho~se blues pianist is represented by t_he ov~rwhelm1_ng bulk of h_1~ pre-World War 2 recordings. Bes1des h1s own fme composlt10ns such as "Vicksburd Blues No. 2" and "The First Time I Met the Blues", and the fine barrelhouse "Farish Street Drive", he accompanies singer Annie Cole, "Monkey Joe" Coleman and Creole George Gueson whose "Goodbye, Good Luck to You" is melodically the same as "Nobody Knows You When Your Down and Out". The instrumental "Shreveport Farewell" is a ragtime flavored number which along with Little Brother's accompaniment to "Goodbye ... " shows his skills transcended the blues idiom. If l'spent most of this review on Little Brother's music its because no one should be have to be told of Fats Waller's place in jazz and American music. Of course the solo performances are essential. The Little Brother Montgomery double set is likewise an important reissue for blues enthusiasts demonstrating his place in blues pianq history. R.W. SONNY STITT- TRIBUTETODUKEELLINGTON-CATALYST 7620 Stitt has got to be one of the most recorded of jazz musicians. New Stitt albums seem to be released every other month. Quantity, however, is no guarantee of quality; and this E II ington tribute falls short of Sonny's normal. standard. The biggest problem here I ies with the strings, which ar'e totally unnecessary and prevent the basic quintet from stretching out. Stitt's solos are all right, but not of the memorable variety. There's so much better Stitt available on Catalyst, Muse and other labels that I couldn't recommend this as a prime choice for building a Stitt collection. B.W. VICTOR FELDMAN - THE ARTFUL DODGER - CONCORD 38 Feldman has chosen to leave his vibes at home, employing only piano and electric piano for this recording. He offers a balanced program of nine tunes here, with fine support from bassists Chuck Domanico or Monty Budwig, drummer Colin Bailey & trumpeter Jack Sheldon (the funny guy from the Mer'v Griffin Show who's an exquisite trumpeter) who also adds vocals to Haunted Ballroom. Six of the nine compositions are Feldman's, including Agitation, which is slightly similar to Miles' tune of the same name (Feldman wrote Seven Steps to Heaven, but Miles changed the bridge and became the co-composer). It's a good trio date • (Sheldon's work is heard only on the one track) and worth your attention if you're into piano music or Feldman in particular. B.W. NOW AVAILABLE! bjr t-shirts TRALFAMADORE CAFE THE ARTPARK STORE THE PEOPLE/147 Allen St. PAUL GRESHAM 9 Composer I Saxophonist photo: Philip Gresham �When they're not up front, the music is I ittle more than average - if that. Recommerded only for devoted Terry fans. Catalyst records has been releasing an enormous quantity of material lately. EARL HINES/MARVA JOSIE- Jazz is His Old Lady ... & My Old Man (7622) presents the same basic band (with some guests) that appeared at the Statler and on Hines' lmprov record. However, where the lmprov di~c kept vocalist Marva Josie in the background, this album puts her up front. So if you dug her live, check this one out- its her show. Percussionist WILLIE BOBO has a new one on Blue Note. Tomorrow is Here (LA 711-G) has little to offer to jazzfans since there's little or no jazz here. It's a commercial/soul disc full of short tunes and weak arrangements. ROLAND PRINCE - FREE SPIRIT - VANGUARD 79388 Guitarist Roland Prince has been heard to good advantage over the last couple of years on albums by Elvin Jones, James Moody, The "Summit Meeting" disc and his own debut recording Color Visions (Van. 79371). Prince comes from Antigua, in the Caribbean, and plays with a bright West Indian flavor. He's joined by some notables - Frank Foster, Michael Carvin, Kenny Barron, Frank Wess, etc. Though no groundbreaker, the album is good listening, with the music setting a playful-like mood. The tunes are originals by band members, including two from Prince, and a pop tune Alone Again, Naturally - this version probably being the best on record, done with a quartet. The high points here are AI Foster's Senorita and Prince's People's Song and Free Spirit. And, of course, Rolands guitar B.W. which is always a pleasure to hear. Other Recent Releases - some of these will be reviewed next month. Dave Frishberg- GettingSomeFunOutofLife- Concord 37 Richie Kamuca - Drop Me Off in Harlem - Concord 39 Eric Kloss & Richie Cole- Battle ofthe Saxes- Muse 5082 Jo Jones - The Main Man - Pablo 799 · Enrico Rava - The Plot - ECM 1078 Hilton Ruiz - Piano Man - Inner City 2036 Carla Bley - Dinner Music - Watt 6 Steve Lacy/Michael Smith - Sidelines - Imp. Artists 37.38.27 Arild Andersen - Shimri - ECM 1082 GENE RUSSELL - LISTEN HERE -OVATION 1803 I'm not very familiar with pianist Gene Russell. Unfortunately, he does I itt I e here to make me remedy that situation. This is a piano trio recording, with the addition of a conga player for two tunes. While Russell has support from two talented artists - Henry Franklin & Ndugu, the overall sound is not more than what you'd expect from a cockta i I band. There is also a guitarist listed, but I can't hear him at all. The choice of material is decent, but this is not one of your best bets for new releases. Kind of a lazy affair. B.W. New Directions BUDDY RICH PLAYS AND PLAYS AND PLAYS .... RCA 2273 Don't pre-judge this new Rich big band album on the basis of his previous disco record. Rich & Company play their tails off on this hard driving, full steam ahead set of music. The program consists of blasting cookers, swinging medium tempo cuts and delicious ball ads. There's a wealth of fine soloists, including Bob Mintzer/tenor sax and flute, Steve Marcus/tenor & soprano saxes and John Marshall/trumpet. There is one cut that doesn't quite fita funky number with a vocal chorus titled Kong. Overall, this is an album that big bandfanciers should have in their collection, regardless of Kong and a few unnecessary engineered fades. B.W. BARRY ALTSCHUL - YOU CAN'T NAME YOUR OWN TUNE MUSE MR 5124 How could it miss? Thefivemusiciansonthis record are all new jazz heroes, and not only that, they've all been performing together in various combinations for years. Sam Rivers, Muhal Richard Abrams, Dave Holland, and trombone sensation George Lewis join percussionist Barry Altschul for his longawaited debut as a leader. Ever since the mid-sixties, Altschul has been attracting attention with the likes of Paul Bley,ChickCorea, Sam Rivers, and Anthony Braxton. Not content to confine himself to the tonal limits of the standard drum kit, Altschul expanded his timbral pallette with such things as gongs, bells, temple blocks and whistles. On this album, Altschul exhibits a wide stylistic range, as well as a tonal one. The title tune is a raucous, jagged, neobebop romp with boisterous solos by all, sounding I ike a group of men trading their best dirty jokes. "For Those Who Care" makes me think of four people who, having lost a bet, must walk backwards for a day. Natal Chart is a hilariously warped fusion of avant-garde and dixieland. This album is so good that even the horrendous, self-consciously hip I iner notes and the poor pressing quality can't dampen my enthusiasm. Get it! J.L. SHORTS Another record comes on Savoy for JOHN COLTRANE & WILBUR HARDEN (1110). The title is DIAL AFRICA and the music was recorded in 1958 with Curtis Fuller, Howard Williams or Tommy Flanagan, AI Jackson & Art Taylor. Its fine music and a good companion to the Coltrane/Harden twofer issued earlier on Savoy. If you enjoy LONNIE LISTON SMITH'S recent work, you might try his latest.LIVE! -RCA 2433- was recorded in May of this year at Smucker's Cabaret in Brooklyn, with Smith heading his regular working group. There is one drawbackthL group's cosmic sound isn't captured quite as well here as in the studio. The recording is rather muddy. CLARK TERRY offers THE GLOBETROTTER - Vanguard 79393. It's a decenf disc, but that's due to the work of pianist Ronnie Mathews and guitarists George Davis & Roland Price. II~ haircutter 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store 10 CECIL TAYLOR -INDENT- ARISTA FREEDOfv.,11038 In conversation or reading about Cecil Taylors' Music some points that are always mentioned are his conservitory training, the speed and accuracy of his arpeggio runs, his ability to blast out clusters of tones, and his incredible technique in general. All of this is true. Technically, there is nothing that Taylor can not accomplish on his instrument. Taylor has been an improvising artist and composer of the highest order for many years. His playing is ,filled with intensity and emotion, yet there is something moreto his music, something other worldly. Cecil's music is a part of the invisible vapor which connects the mundane and the super mundane. While listening to the music you sense that Taylor is moving through and hovering over and about his instrument, being initiator and initiate of the creation taking. At different space periods in the Music I had the sensation of being in several places at the sametime. Sun Ra, John Coltrane, Albert Ayler, Duke Ellington, and Cecil Taylor are some who have carried, and continue to carry on this magic correctly. Listen to Indent and allow yourself to be part of it: Finally, this is the reissue of the limited edition on Cecrl Taylors' Unit Core Records. The one you've been trying so hard to find. P.S. �CECIL TAYLOR UNIT - DARK TO THEMSELVES - INNER CITY 3001 There are these Ceci I Taylor fanatics (myself included) who think that his is the most wondrous music in all the world. We've all had this record for months now, since it originally came out last year on German Enja, so this is a review for those who would I ike to investigate this master of the avantgarde, but don't know where to start. You can startbygettingTaylor's solo LP- INDENT (Arista/ Freedom AL 1038) and after you've accustomed yourself to his hurricane-and-avalanche pianistics, then you're ready for the Unit. Dark was recorded I ive last summer in Yugoslavia and each side is an extract of a much longer performance. Streams features a long and loose ensemble with much of the call and response that is a hallmark of Taylor's music. This gives way to ferocious solos by Raphe Malek (trumpet) and DavidS. Ware (tenor). Chorus of Seed is even better. The interaction between Taylor and Jimmy Lyons (alto) is telepathic, but then, why not? They've been together since 1961! Taylor's own solo is filled with goodies, including some gospel-tinged chords near the beginning. Throughout, Marc Edwards' drumming always supports, never intrudes. His entrances are like those of a man who sneaks into bed without waking his wife. By the time you notice him, you just assume he's always been there. Essential Taylor, as are most of his recordings. J.L. WILD FLOWERS 1 - THE NEW YORK LOFT JAZZ SESSIONS - DOUGLAS NBLP 7045 Side one opens with "Jays" written by Kalaparusha Maurice Mcintyre. Kalaparusha is sounding beautifully melodic for this tune. Chris White on bass and electric bass, and Jumma Santos drums, set a steady beat for Kalaparushas' tenor to build his melodic lines around. He builds to a certain tension, releases, and the group goes out smoothly. Ken Mclntyres' quartet plays an original, New Times. The tune is a nice rhythmic piece. Mclntyres' alto sax is easy and confident while pianist Richard Harper hammersoutthechords in the background. Percussionist Andrei Strobed, and conga player Andy Vega create interesting rhythmic patterns throughout the piece. Sunny Murray and his Untouchable Factors treatment of Over the Rainbow is the finest versionofthis tune ever played. Byard Lancasters' alto sax solo is sweet, sentimental and very pretty. Murray displays what meterless drumming is about while still holding a group together. This piece is one of the highlights of the five albums, and contributions by tenor saxophonist David Murray, vibes player Khan Jamal, bassist Fred Hopkins help to make it so. Rainbow is another of Sam Rivers compositions in which he sings praise to the beauty and glory of nature through his soprano saxophone and voice. JeromeHunterandJerryGriffen, bass and drums· respectively provide ideas for Sam but never become overbearing for they are aware that it is Rivers story that is being presented. Wildflowers ·1 ends with a piece by saxophonist Henry Threadgill USO' Dance. Air, Threadgill, Fred Hopkins bass, and Steve McCall drums is one of the rightest improvising groups in the music today. The sixth sense is prevalent in their Music, hopefully in the near future the world music community will be given the privilege of hearing more of what they have to say. ' P.S. Editors Note- The Wildflowers Loft sessions was released in five volumes. We'll try to cover them all over the next few issues. JULIUS HEMPHILL - DOGON A.D. - ARISTA FREEDOM 1028 I saw Julius Hemphill a few months ago perform his work Roye' Boye' and the Gotham Minstrels. He wore a silver sequin tuxedo with black velvet trim, red tennis shoes with silver sequin trim, no shirt, and white hat with the brim broke down on the right side. He played his saxophones and flute to the accompaniment of his own pre-taped stereo music, monologue, and verbal statements. The music and symbols had personal meaning for me, but only Hemphill knew exactly what 11 support live music! I they were about. Julius has staged several multi media presentations in the past few years. A concerned artist's statement~ on cultur~ and societies, past,. present, and to be. 1 ment10n these th 1ngs because they are Important factors that should still be considered while hearing Hemphills' recorded music. Hemphill is backed by three excellent musicians here Baikida E.J. Carroll trumpet, Abdul Wadud cello, and Phillip Wi I son drums. Three originals by Hemphi II, Dogon AD, Rites, and The Painter make upthealbum. All of the compositions are fresh and rewarding "Painter" displays Hemphills very personal flute style. "Dogon" is my favorite with the quartet sounding at times I ike a mini Sun Ra Arkestra. When Wadud is not keeping a rock steady beat his cello becomes an extra horn adding color to Hemphill's andCarroll'ssolos,or another percussion instrument which adds to and inspires Wilsons drumming. Hemphill has that rare and special qualityforthe blues that the other great Texas saxophonist contain. His playing and composing are rewarding experiences. Dodon A.D. was recorded in St. Louis Feb. 1972 on the same date as "Hard Blues" and released on Hemphills Mbari records. Thanks once again to Arista for re-releasing the Music of this greatthough relatively unknown Artist. P .S. RICHARD TEITELBAUM with ANTHONY BRAXTON - TIME ZONES- ARISTA FREEDOM 1037 , Electronic Music is still one of 1musics mfants and the commercial market is manufacturing thousands of their own electronic and keyboard wizards. Unfortunately these made to order wizards can't pi ay much other than manufactured formula music. Fortunately there are a few musicians around I ike Richard MCJ\ RiCOADS New Releases ONLY 3.99 MCA-2283 If you're into guitar. .. Guitar Player... MCA2-6002 An Album of Contemporary Styles By Laurindo Almeida • Irving Ashby • John Collins Larry Coryell • Herb Ellis • Barney Kessel B.B. King • Joe Pass • Lee Ritenour 2 Record Set ONLY 5.99 AT ALL 12 LOCATIONS! CAVAGE'S �Teitelbaum. Teitelbaum works at finding, and knowing the poss.ibi I ities and capabi I ities of electronics, and he is always mUSICal. Anthony Braxton and Richard Teitelbaum have performed together many times in the past eight years. Both men are superior improvisors. Their musical empathy goes beyond description, and their ability to anticipate each others next immediate action is phenomenal. The multi dimensional magnitude of this Music stretches beyond word explanations Braxton's reeds and Teitelbaum's synthesizers carry out the latters two compositions in momenttomomentcompletness as one. Listen. P.S. AUGUSTralfevents FRI. &SAT. NIGHTS Gerry~~~~,m~~ blues David Samuel1 LIGHTNIN' HOPKINS IN TORONTO The New Yorker Theater on Yonge Street in Toronto was the scene of a rare concert appearance by the legendary Texas bluesman Sam 'Lightnin' 'Hopkins on Sunday, July 17. John Hammond opened and did a wide variety of blues from the pens of Blind Boy Fuller, Robert Johnson, Blind Willie McTell and others singing as if the blues possessed his soul. After a brief intermission, during which the movie "Jammin' the Blues" with Lester Yound, Red Callender and others was shown, Lightnin' took the stage accompanied by a very competent drummer and a loud but enthusiastic bass player. Opening with a fast boogie Lightnin's presence immediately estab1ished itself. Speaking and singing with his distinctive Texas drawl, the inherotor of the tradition of Blind Lemon Jefferson and Texas Alexander went through such classics as "Mojo Hand," "If You Ever Loved a Woman" and "Trouble in Mind." On the last piece he transformed a overworked number into pure Lightnin' with his bittersweet singing and Texas guitar. "L ightnin' s Boogie" was another instrumental feature including quotes from "What I Say." Whether rapping about getting busted in North Carol ina or singing about the heartaches of Love, Lightnin' stood out as a rare individual whose character comes out in his music. A rarity perhaps but perhaps why he is a le~end even after one sees him. Quintet -Aug.12 ,13/DOWNBEAT Poll Winning Vibist Returns! Joe Romano Quartet .. Aug.19, 20 Jame1Ciark Quintet-Aug. 26,27 ------------ SUN ... BIG BAND NIGHT! Emil Palame 0 0 0 16 PIECES -Aug. 7,14 Gerry Eastman 10 PIECES- Aug. 21, 28 _ _ _ _,-.cw. - - - - - - - Mon. Open Mic Tues. Swinging Whale Boys{closed 16th.> Wed. Jeremy Wall Trio Thurs.Spyro-Gyra Good food & drink nightly tralfamadore cafe 2610 main at fillmore 836-9678 L-----------------------------------~ by ron Weinstock 12 Ray Charles' Eduardos appearance and engagements by Mighty Joe Young and Guitar Johnny and the Rhythm Rockers at the Belle Starr marked the last week in June and the beginning of July. Ray Charles was a treat with a really tight band. Mighty Joe Young played some tough guitar and sang strongly on his first Buffalo area appearance. Guitar Johnny and the Rhythm Rockers played in a wide variety of blues styles with conviction and expertise. Pete Lowry's Trix label is one of the few labels recording solo blues performers today. They have a number of fine country blues albums and have issued seven new albums in the past few months. The albums are uniformly generous in playing time and they all feature fine music. Two of the new issues are fascinating piano blues records. Big Chief Ellis (Trix 3316) presents thetastypiano and singing of Wilbert Ellis. Big Chief was once a member of the New York blues scene though he now lives in Washington, D.C. His playing is characterized by a strong left hand with thoughtful decorations from his right hand. His singing is plaintive and this set is mostly slow or moderately tempoed pieces which are very mournful in tone. The inclusion of Brownie McGhee, Tarheel Slim and John Cephas as guitarists on different tracks adds variety to the set, though Big Chief's craftsmanship makes this a thoroughly recommended collection of low-key blues performances. Detroit After Hours Vol. 1 (3311) features a number of pianists recorded I ive at a Blind Pig (an after hours club). The performances vary in quality and sophistication of the music. Little Dickie Rogers has a wonderful medley of "I Surrender Dear-St. Louis Boogie." Boogie Woogie Red, one of the few artists on this set to have recorded previously turns in two numbers. This live recording captures some nice r.e1axed sounds as well as some of the spirit of the place. W1th a booklet by Mike Rowe discussing the music, this makes another fine release from Trix. The last Trix album to be reviewed this month is Homesick James' Goin' Back Home (3315). This is Homesick James' first acoustic album as his slide guitar has been generally re- �corded in a band setting. Tinges of cousin Elmore James can be heard in "Walking the Backstreets" which is reminiscent of "Dust My Broom." Delta rhythms characterize "1000 Women Blues" and a fascinating "Homesick's Contribution to Jazz" includes quotes, from a number of jazz tunes. Homesick is gigging around Chicago as a solo artist these days and on the basis of this album is definitely someone to see if you plan to go to the Windy City. Albums by Pernell Charity, RoyDunn, Tarheel Slim and Dan DelSanto will be reviewed next month. The Clifton Chenier Band's Cajun Swamp Music Live (Tomato TOM-2-7002) is a winning double r.ecord of the zydeco king recorded I ive at Montreux. Material ranges from waltzes and rocking blues to country. Englebert Humperdink's "Release Me" receives fresh treatment from Clifton who wails on the accordian. A couple of numbers features Clifton's Jimmy Reed style harp, and brother Cleveland on rubboard and the band keeps things rocking along. Songs are in English and French, excellent liner notes are included and some great music. The cover art leaves something to be desired. Might y Joe Young impressed me with his Belle Starr engagement, but his new album on Ovation records (OV-1706) doesn't do him justice. The album reminds me of sides Freddy King recorded with Leon Russell on Shelter, and just doesn't grab me. Joe has better records out. You might check Blues with a Touch of Soul on Delmark. Another disappointing album is Big Joe Turner, Things I Used to Do (Pablo 2310-800). Despite the presence of Llyod Glenn, Eddie Vinson and Blue Mitchell the album suffers from unimaginative arrangements and a couple of Joe's vocals falter: badly. There are some good moments from Joe and Lloyd Glenn is just wonderful. This is not up to Joe's earlier Pablo sets. • Gusto Records of Nashville have put back into print anumber of records from the old King Records catalog. The late Freddy King is represented by two albums containing some of his finest work. Freddy King Sings (King 762) contains twelve splendid vocal performances with some of the late guitarists mastery of the blues guitar. Hideaway (King Ks-1059) has four of the vocals but includes six classic instrumental workouts BLUES SHAKIN SMITH and his Blues Band-Wed.&Sat. STEADY ROLLIN' BAND Thursdays BONA VISTA 1504 HERTEL 836-8985 CANOl'S KITCHEN OPEN 5 PM - CLOSING including the famous title track and the extended improvisations of "Remington Ride." Another King reissue, Travelin' to California (KS-1060) contains excellent late fifties, early sixties recordings by Albert King. Despite a couple of weak tracks this albumcontainssomegreatbluesandagood dose of Albert's pinched note guitar. While not a guitarist, Roy Brown was a very influential blues sin.ger. His crying blues was among the first in use gospel vocal techniques and has influenced B.B. King, Bobby Bland, James Brown and others. Hard Luck Blues (KS-1130) includes a number of great slow blues and rocking ·boogies. I wi II review other King reissues in future issues. The new Alligator album by Blind John Davis (AL 4709) arrived after the rest of the column was written. This thoroughly delightful album by the veteran blues pianist was recorded before an enthusiastic German audience. The material is quite varied, ranging from flowing boogies to appealing ballads like "When I Lost My Baby." Considerable charm is given such standards as "Everyday I Have the Blues" and "Summertime" whereas "Moanin' the Blues" is a nice low-key blues. Blind John is quite an entertainer and pianist whose Shakin Smith and his Blues Band Monday- Knickerbockers 2500 Walden Ave., Cheektowaga Wednesday - Bona Vista 1504 Hertel Ave., Buffalo Friday- Falcon Eddie's Seneca St. (near Cazenovia), South Buffalo Saturday - Bona Vista Blind John Davis Sunday- Alexandrias Cabaret Pine and 78th, Niagara Falls SHAKIN' SMITH MINI-LP AVAILABLE AT ALL APPEARANCES 13 photo: Amy O'Neal talents transcend the blues idiom. Those who have been fortunate enough to. see Blind John Davis I ive wi II know what to expect. This is a thoroughly ingratiating album that I strongly recommend. It is particularlynicetoseethispiano blues album joining new albums by Big Chief Ellis and the Detroit After Hours on Trix. R .W. I i I �CANADA - SELECTED LISTINGS CKTB - 97.7 FM J. is for Jazz w/Jack Cole- every Sunday night 8-11 PM CKQS - 94.9 FM · . Music For Nigh1 People w/Paul Fisher - Mon. thru Sat m1dn1ght~3 AM. From bebop to. now w(BJR's Hal Hill _ 1st 3 Sat. n1ghts each month 10-Mid. Dons Discs w/Don Keel I ast Saturday. e CJRT - 91.1 FM Jazz Scene w/Ted O'Reilly Mon.-Fri. 10 PM- 1 AM Sat 6 AM - Noon, Jazz in Concert w/O'Reilly Sat. 7-1() PM. CFKM - 99.9 FM . All That Jazz w/Phil McKellar Sun. 10 PM - 6 AM CING - 108 FM . What's Happening w/Jack Cole Mon. - Thurs. 10:05 PM _ midnight; Sundays 11 PM - 1 AM. PRESENTS CANADIAN-AMERICAN EXCHANGE The second tape exchange between Canadian & American Jazz Radio announcers will take place Aug. 13 & 14. Bill Wahl (BJR Editor), of WBFO, will be heard on CKQS 94.9 (Toronto) on Hal Hill's "From Bebop to Now," between 10 & midnight on Sat., Aug. 13. Hal Hill of CKOS, will be heardonWahl's Sunday (Noon- 2) show, Jazz Contours aired on WBFO Aug. 14. Both shows will last an hour. SABATA AUG. 2-14 LIONEL HAMPTONO clla"f~Jifiied This space is avai lableto private individuals, organizations, mail-order houses, etc. The cost is 10¢ per word- minimum charge $3. Send copy and payment to BJR - 1335 Main Street, Buffalo, N.Y. 14209. FRI., SAT. AUG. 12 & 13 DYNAMIC SUPERIORS Wanted - used albums from 50's & 60's - including Lee Konitz on Verve; Art Farmer on Columbia; many contemporary records releases. Must be in good condition. Send lists with your asking price to BJR, Bok K, 1335 Main Street, Buffalo, N.Y. 14209. Imports from Japan and elsewhere. Sony, East Wind, Trio, BYG, Timeless and many other labels. Albums by Coltrane, Braxton, Miles, Woody Shaw, etc. Free lists - International Records, Box 717, Dept. B, Mentone, California 92359. AUG.16-21 EMIL PALAMEO Trombone for sale - King 3B, excellent condition. Phone 941-6415. Music Lessons: Guitar, electric bass, string bassandcomposition. Theory and improvisation incorporated into each lesson. Gerry Eastman- 883-1340. AUG.16-21 wlhat'(g; lhappening BUDDY RICHO BUFFALO SUN.,AUG.28 O-BIG BANDS LADIES NIGHT TUES.- Free Adm., All Drinks $1 Dinner served Daily from 4 PM. Let us entertain you! Plan your next party around our coming star attractions. ~~3297 Bailey Avenue~~ 834-2120 14 Tralfamadore Cafe - 2610 Main at Fillmore- 836-9678. Jazz Tues.' thru Sun. Nights. See ads. Big Bands on Sundays. Eduardo's - Bailey Ave. - Lionel Hampton, Emil Palame & Buddy Rich Big Bands. See ad. . Clarence Town Park - Free concert with Emil Palame B1g Band Aug. 21. Bona Vista - 1504 Hertel - Jazz & Blues - See ad. Jack Daniel's - Forest near Elmwood - Spyro Gyra Tues. & Sun. nights; Horizon Wed. & Sat. . Starvin Marvin's - 1093 E. River Rd., Grand Island. Emil Palame Big Band -See ad for dates. Vieni-Su - West at Breckenridge - Jazz Tues., Fri. and Sat. nights. Holiday Inn - Delaware & North - Jazz Friday & Saturday nights. Odysey - 1005 Tonawanda St. - Jazz Sat. nights. Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Jafco Mar.ina - Niagara St. - Dixieland jazz every Friday and Saturday night. Fieldstone Manor (Lockport)- Dixielandw/WiiiAigeronweekends. i �Artpark Artpark Artpark Artpark zz Septem.ber 7-11 Lewiston, N.Y. Wednesday, Sept. 7, 8 pm Urbie Green, Zoot Sims, Clark Terry Thursday, Sept. 8, 8 pm Lionel Hampton and his Orchestra Friday, Sept. 9, 8 pm Kenny Burrell also appearing Chris Woods Saturday, Sept. 10, 2 pm Manhattan School of Music Chamber Jazz Ensemble Saturday, Sept. 10, 8 pm Stanley Turrentine ' also appearing The Emil Palame Big Band Sunday, Sept. 11, 2 pm Ramsey Lewis also appearing John "Spider" Martin Sunday, Sept. 11, 8 pm Artpark All-Stars Top jazz artists from Western New York Festival produced by Bill Hassett Tickets: $4 inside, $3 lawn (lawn seats eves. only}. For information, call·(716} 754-4375 or from Buffalo, 694-8191 �·y~lllllolwfrlll(lfll)g<al FOURtNS ~G)~~ MOTOR INN presents it's new jazz club with MARK TWO FRI. & SAT. 10-2 DROP BY & LISTEN! Th• JIZZ CLUB 1376 NIAGARA FALLS BLVD. at Brighton/Maple NO COVER 836-2940 TORONTO Yellowfingers - 1280 Bay St. - The best in jazz - see ad. Albert's Hall - The Brunswick - 481 Bloor Street, West. Nightly from 9 pm - Dr. McJazz. Forum - Ontario Place - August 6 - 8:30pm. Dave Brubeck. Showboat - Ontario Place - Artists appearing: Metro Stampers, Climax Jazz Band, Harvey Silver, Midnight Special, Bobby Gimby, Dick Smith, Dr. McJazz. Call 965-7164 for schedule and times of performances. Jazz-on-the-Lake -Saturday, August 13th -Jazz Marathon on the lake. Wednesday, August 31st - Tribute to New Orleans Jazz. Phone 924-1373 for further details. (Tell them you saw the info in BJR) Bic's - 11 Yorkville- nightly- call 923-2943 for information. Lil Porky's- 21 Yorkville- nightly- call 967-4493 for information. ~helsea Bun - Chelsea Inn - 33 Gerrard St., W. - pianist John Toronto's Finest Jazz 1280 BAY STREET(atYorkville) TORONTO /964-1984 Nightly: Monday thru Saturday - 9 pm to 1 am August 1- 6 Bruce Cassidy Quartet featuring Harvey Kogen 8-13 Herb Spanier Quintet featuring Michael Stuart 15-20 Battle of the Keyboards- Doug Riley and Don Thompson Quartet 22-27 Mother Necessity Big Band Leader- Ted Moses Quintet featuring Mike Malone After Hours: Friday & Saturday-1:30am to 4 am 5- 6 Swan Song Quintet featuring Don Englert and Mike Malone 12-13 China Sextet featuring Don Englert and John Goldsmith 19-20 Tenor· Violin Battle: Jane Fair'Terry KingQuint. 26-27 Michael Stuart' Keith Blackley Quartet Sunday Dinner-Concert 6:30 pm to 9:30 pm 7 Steve Lederer Quartet 14 Terry Logan Quartet 21 Boss Brass Trombonist: Bob Livingston Quartet 28 Russ Little Quartet COMPLETE DINNERS & LIGHT SNACKS ALWAYS AVAILABLE I FULLY LICENSED Arpin Mon. thru Sat. 9-1. Blondie's- 1954 Yonge St. Jazz Mon. -Sat. 9-1. Bourbon St.- 180 Queen St., W.- Herb Ellis thru Aug. 6. Phone 598-3020 for additional Aug. bookings. ROCHESTER Monticello - Junior. Mance Aug. 1-13. Rio Clemente Aug. 1527. Ray Bryant Aug. 29-Sept. 10. J. & J. Lounge· - Spider Martin Aug. 5, 6, 7; 12, 13, 14. Nate Rawls & the Sound Spectrum Aug. 19, 20, 21; 26, 27, 28. Red Creek - Fat Aug. 2-6, Room Full of Blues Aug. 9-13; Duke Jupiter Aug. 23-27. Glass Onion - Joe Locke Jazz Quintet - every Tues. plus Aug. 17 & 18. Port Side - every Sun. & Mon. is Windsong w/Joe Romano. Stevenson's- 111 East fo ., - T~> .. h~n P-rr>tl>.,.,..1; •· Fri 8· Set nights - 9-2. Showboat - 4770 Lake A' buffalo jazz report 1335 main st. buffalo, n.y.14209 u.s.a. return postage guaranteed PERIODICALS & BINDSRY LCCK:OOD ~S~C?IAL LIB?ARY ·-s •u• r-.; • Y.. r~ • B• BUFFALO. NY SJ6 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4441 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 42 Date A point or period of time associated with an event in the lifecycle of the resource 8/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 42 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/522bc5ca853352f4dfd3898cd1155c4b.pdf 63472fb7ab92776a9558046e84e2e262 PDF Text Text · SEP. 1 5 1 buffallo II september'77 issue43 free ·._·. JGZ_· Z f<epOII ~IL l 6~ . ~r \f\11 ' Zoot Sims ·at artpark JOE HENDERSON at the tralf . �EDITOR Be p'UBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS- Christine Engla Eber and Sabrina Mayberry Smith. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the pub Iisher. The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. Artpark The first annual Artpark Jazz Festival will take place Sept. 7-11 at Artpark in Lewiston. The festival is produced by Bill Hassett, owner of the Statler Hilton. The five day series wi II start on Wednesday night at 8 PM with trombonist Urbie Green, the great saxophonist Zoot Sims and trumpeter Clark Terry. Thursday at 8 the Lionel Hampton Orchestra takes the stage. Friday its Kenny Burrell; and an appearance by saxophonist Chris Woods, whose been heard to good advantage recently on albums by Ted Curson. On Saturday there'll be an afternoon concert (2 PM) featuring the Manhattan School of Music Chamber Jazz Ensemble, and Stanley Turrentine will be on at night, opened by the Emil Palame Big Band. Ramsey Lewis wi II be the head Iiner Sunday afternoon and there'll also be a set from Spider Martin's band. The final concert will be on Sunday night, featuring jazz artists who are products of Western N.Y. - bi lied as Artpark All Stars. It'll be a session with such people as Sam Noto, Joe Romano, Gerry Niewood, Spider Martin & Marley North, along with Ron Corsaro 18 piece big band. You will note that it is labeled the "first annual", which we presume to mean that there wi II be more such fest iva Is to come. Its good to see that Artpar.k is doing some jazz again, after two seasons without a single jazz event. The opening summer in '74 included concerts by Miles Davis, Chick Corea, Herbie Hancock & the Paul Winter Consort. For further information and prices, consult the ad in this issue. MENZA RECORDS FOR SACKVILLE Buffalo born saxophonist Don Menza recorded a new album for Toronto's Sack vi lie Records on August 16. The rhythm section consisted of Wray Downes/piano, Dave Young/bass and Pete Magadini/drums. Menza can also be heard on Magadini's self produced album "Polyrhythm" on the drummer's own Briko label. Sackville is also recording a duo album featuring two of the musicians on Menza's date- Downes & Young. Both albums wi II be avai Iable shortly. ABADEY ENSEMaLE TO PERFORM The Nasara Abadey Modern Percussion Ensemble wi II perform in concert on Sept. 18. The event will be held at the Paul Robeson Theatre of the African Cultural Center at 6 PM. Abadey, a founder & co-leader of Birthright, has been awarded a CAPS Fellowship. GERRY EASTMAN UNVEILS BIG BAND Bassist Gerry Eastman, formerly of Birthright, premiered his 11-piece band at theTralfamadoreCafeAug.21. This group offers a laid back sound with colorful arrangements and a good sense of swing. He has assembled some of the finest Buffalo musicians, both black and white, young cats and guys who've been around for years. The horn section consists of Willie Dorsey/trombone LeRoy Johnson/trumpet, Art Anderson/reeds and flute, Do~ Knecht/baritone sax and bass clarinet, Bilal/reeds, and Richard Tabnik/reeds and flute. As for the rhythm sectionthe great AI Tinney is on piano, with Greg Millar/guitar Nasara Abadey/drums and Abdui-Rachman Oadir/congas and percussion. Gerry Eastman isthebassist, leaderanddoes most of the arrangements and original compositions. On opening night things got under way with a sweet version of 01 iver Nelson's Stolen Moments. Next was an ori gina I Native Son, a percussion loaded modal tune which really took off with Bilal's soprano solo. Wayne Shorter's Children of the Night opened rather "out", with Dorsey & Johnson blowing through their (removed) mouthpieces before the band settled into a loose swing. This is a band to checkoutverysoon. It represents a working unit of musicians from various styles and backgrounds working extremely well as a unit. Check this issue for September dates. B.W. EMIL PALAME TO PLAY MR. ANTHONY'S The Emil Palame Big Band will play Mr. Anthony's on Transit Rd. on Sept. 13. Therewillbethree shows, with tickets priced at three dollars. Dinners will also be available by reservation. Look for the ad in this issue for details. SPYRO-GYRA ALBUM DUE This month you'll be able to pick up a copy of an album done by Spyro-Gyra, one of the most popular area jazz bands. The album was self-produced and wi II be released on their own label. This long awaited disc features vibist David Samuels as a guest with the band. A review will appear on these pages next month. JAZZ SUPPER CLUB Gul istans Restaurant at Main & Ferry is now a jazz supper club. Music can be heard Thurs. thru Sunday nights from 10-3. Suppers are served from 7 PM - 2 AM. Check out the ad in this issue. BOURBON STREET & GEORGE'S Two homes for Jazz in Toronto are George's Spaghetti House located at 290 Dundas Street East, and Bourbon Street which is at 180 Queen Street West. The Spaghetti Hollse began it's venue as a Jazz House back in 1955, thru the interest of it's owner Doug Cole, and was to become the home for Moe Koffman and his group plus numerous other local musicians of very high calibre. In 1970 Doug started a Dixieland format at Bourbon Street, but because of the lack of interest this format was changed to a home for visiting modern or mainstream artists the like of Frank Rosol ino, Barney Kessel, Red Norvo, and many more too numerous to mention. As this policy has paid off, booker Paul Grosney Iistens attentively to artists who wi II draw the audience, and also in turn listens to the audience who may wish to hear their favourite artist, for example, this correspondent's v.(ish was recently granted with the appearance of Art Pepper. A close liaison between Paul Grosney and Moe Koffman has to exist so that the rhythm sections for each club, (Moe also acts as booker for George's) so that no conflict may arise when artists request to work with certain Toronto based musicians. Both clubs serve excellent Ita Iian food, and provide an exceptional warm atmosphere from their staff, and the good jazz that eminates from both places each andeveryweek is truly an excellent bonus to any visitor. For the regular patrons either of the clubs is somethingthathasbecomea tradition that shows strong signs of increasing. Incidentally, Doug Cole's interests Iie in the Bebop era, as is attributed to his tastes in a collection of records and tapes of Don Menza, Horace Silver, CharlieParker,CiiffordBrown,Arl 2 Pepper, and Dexter Gordon. H.H. �Smith, Tony Williams, Carol Zeavin, and others. Tuning, timing, composition, performance, as well as recording and performance of student work are some of the areas that wi II be covered. Group and ensemble workshops with guiding artists are held each weekday· with concerts on the weekends. Study on all instruments is available. In co-operation with the State University of New York at New Paltz, the Creative Music Studio is now giving academic credit and preparing a fully accredited program of study. with the emphasis on contemporary music, both improvised and notated. For further information call Creative Music Studio (914) 338-7640 or write to CMS, Box 671, Woodstock, NY 12498. IN THE STUDIO Don Schlitten, of Xanadu Records Ltd., has just finished editing what he, . in his humble opin,~on, conside~.s to be. a "masterpiece". The album, ent1tled Heavy L~ve., IS SIX duets played by tenor saxophonist AI Cohn and p1an1st J1mmy . ·Rowles. In April, Schlitten produced pianist, composer, M1ckey Tucker's second album for Xanadu. Accompanymg Mr. Tucker were Bill Hardman (tp.), Jr. Cook (ts), Ronnie Cuber (bs), Cecil McBee (b), and Eddie Gladden (d). . . Another sextet session was recorded by Schl1tten 1n May when trumpeter, composer Sam Noto completed his third L.P. for Xanadu, which featured Ronnie Cuber (bs), Joe .Roma.no (ts), Jimmy Rowles (p), Sam Jones (b), and Freddie Wa1ts (d). . All three albums are scheduled for release later th1s year. NORMAN GRANZ IN MONTREUX MARATHON In an unprecedented recording marathon, impresario Norman Granz wi II produce fifteen albums in three consecutive nights of the Montreux Jazz Festival, from July 13 through July 15. All of the albums are to appear on Granz's recently introduced Pablo Live label and are scheduled for release and distribution by RCA Records during September and October. The first five albums, recorded on July 13, comprise a Ray Bryant solo effort, a Roy Eldridge quartet, a Milt Jackson and Ray Brown quintet, a Benny Carter quartet and a Tommy Flanagan Trio performance. On July 14, Granz recorded an Ella Fitzgerald set, a Dizzy Gillespie quintetwithJohn Faddis, and three separate Jam Sessions with such stars as Count Basie, Zoot Sims, Oscar Peterson, Roy Eldridge, Vic Dickenson, Jimmy Smith, Joe Pass, Mickey' Roker, Dizzy Gillespie, Clark Terry, Nils. Orsted Pedersen, Eddie 'Lockjaw Davis, Milt Jackson and Britain's Ronnie Scott. Granz's Montreux marathon wound up July 15, when he recorded Paulinho DaCosta, who flew in from Los Angeles with eight musicians for the show, the full Count Basie Band, Oscar Peterson in solo, Joe Pass in solo and the Eddie Davis quartet. CREATIVE MUSIC STUDIO The Creative Music. Studio, North America's leading center for new music is about to begin its Fall term, continuing to offer musicians an opportunity to study with the most creative and productive performer/compos.ers in the field of contemporary music. In 1977 and '78 the Creative Music Foundation in Woodstock, New York offers two expanded 12 week sessions (Fall, Sept. 26 - Dec. 17 arid Spring, March 6 - May 27) and an intensive New Year's session (Dec. 28 - Jan. 6). These programs include such contemporary composer/performers as ... Jon Abercrombie, Karl Berger, Ed Blackwell, Anthony Braxton, Don Cherry, Andrew Cyrille, Jack DeJohnette, Kalaparusha Ahrah Difda, Alex Foster, Dave Holland, Benjamin Hudson, David lzen~on, Michael Gregory Jackson, Lee Konitz, Oliver Lake, Byard Lancaster, Janet Hill Lyman, Roscoe Mitchell, Garrett List. Grachan Monchur Ill, Sunny Murray, Don Pullen, Sam Rivers, Frederic Rzewski, Jumma Santos, Leo another talented composer and keyboard artist.Suffice it to say that he's a wonderful musician in his own right. Ramsey Lewis has been honored with seven Grammy Awa·rds. When you hear"Love Notes:' you'll know why. Great hands make great music. "Love Notes;· by Ramsey Lewis. On Columbia Records and Tapes. APPEARING AT ARTPARK SEPT. 11 * * AVAILABLE AT RECORD THEATRE �or send· for subscription info to Jazz, Box 212, Northport, N.Y. 11768. B.W. Other magazines we recommend .. Coda, Cadence, Jazz Journal International, BJR. Coda & Cadence have been reviewed in previous issues. llfiiD JOE HENDERSON QUARTET TO PLAY TRALFAMADORE The monthly Tralfamadore Concert weekends with internationally known jazz artists will resume Sept. 16, 17 & 18 with a rare East coast appearance of the Joe Henderson Quartet. Henderson, one of the great tenor saxophonists, has been one of the mainstays of Mainstream jazz for the last two decades. He first came to prominence with Kenny Dorham in 1962, and was featured with HoraceSilverfrom '64-'66. He can be heard on Silver's famous recording of Song For My Father and many other albums. Joe also worked wih the Herbie Hancock Sextet in '69 and '70, touring and recording with that band. There was also a short stint with Blood, Sweat & Tears in 1971. Joe, whose been I iving in California, has been leading his own groups throughout the seventies. He has a powerful, robust sound all his own. His solos are at once intense and beautiful, and always invigorating. His many albums on Blue Note and Milestone will attest tothatfact, as well as his work on records such as McCoy Tyner's The Real McCoy (Blue Note). Included among his manycompositionsareBiackNarcissus, Isotope, Power to the People, Gazelle, Black Miracle, AfroCentric & Caribbean Fire Dance. This event- a Tralf Production- carries the BJR stamp of excellence. It should not be missed. See ads for details. haircutter 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store JAZZ MAGAZINE - LOOKIN' GOOD! Last summer a new magazine hit the streets- it was called Jazz. It carried a price of $2.50, which seemed a bit high, considering that there were only 50 pages, and the only real meat. was. a very good article on Rahsaan Roland Kirk. Its a quarterly magazine and the next issue came out in Fall '76. This time there was anotherfinepiece- a long interview with Miles. The mag was getting bigger, and contained· more bits of information and reviews. The spring of '77 issue won me over. A great piece on Ornette and another on Barry· Harris; more reviews and consumer information regarding stereos and records. I subscribed - $2.50 ain't so bad now. The latest issue has 78 pages, a nice piece on Dexter Gordon by Peter Keepnews, a look inside the jazz record business independents and the majors and a wealth of other information. Jazz has good knowledgable writers, interesting features, good reviews and a clean, attractive and classy format. Check with the local major record stores to see if they carry Jazz, record" RECORD REVIEWERS: Bill Wahl (B.W.), John Hunt (J.H.). Tom Mazzone (T.M.), Ron Weinstock (R.W.), PauiSmith(P.S.), Jim Laniok (J.L.). JAZZSCENE PRODUCTIONS PRESENTS TIMEPIECE featuring Gerry Niewood David Samuels and Ron Davis FRI., SEPT. 23 Nazareth Arts Center Rochester Shows- 8&11=30 PM Tickets: $5 Door $6advance Available at Arts Center Box Office, Music Lovers Shoppe (Monroe Ave.), all Roch. Record Theatre Stores, U. of R. & R.I.T. Student Unions. 4 ANDREW WHITE- "MARATHON '75" VOLUME3-ANDREW'S MUSIC 17 VOLUME 6 - ANDREW'S MUSIC 20 "SPOTTS, MAXINE AND BROWN" - ANDREW'S MUSIC 24 Andrew White obviously believes in himself and his music. He has released twenty four albums on his Andrew's Music company and has done transcriptions of solos by Eric Dolphy and John Coltrane. Furthermore according to the notes on his latest album "Spotts ... " we are promised six more albums. Most of his records (including these three) were recorded live at a Washington, D.C. spot the "Top 0' Foolery" - a rather dangerous undertaking because no matter how good music may seem when hearing it I ive, I istening to it on tape can be deflating. These three albums reveal Andrew White as one of our most gifted saxophonists playing with an intensity, imagination and sharpness that recall the great early sixties recordings of Dolphy and Coltrane. His invention never flags on the long extended solos that comprise these albums and he maintains a driving tone throughout the range of the tenor which seems his main ax. Specifics of the albums include a Coltranish treatment of Dolphy's "Miss Ann", and then some Dolphyish lines on Wayne Shorter's "Mr. Jim". On Volume 3, "Impressions" starts with a slow bouncy ensem~e work where the theme is stated. Then the tempo picks up and AndrewWhitesteamsahead. On Volume 6 a White original "Superfly, Tippin'" is hot, and "Giant Steps" is done solo, once again recalling Dolphy before the group states the theme. On "Spotts" a hot version of "Dizzy Atmosphere" quickly moves beyond the song's bop origins and Cannonball Adderley's "Wabash" receives a relaxed treatment as White leads the head. Pianist Donald Waters turns in some fine and lyrical piano before White returns to take charge. Personnel on these records include Steve Novosel on bass; Kevin Toney and Keith Killgo are on piano and drums on Vol. 6 whereas Donald Waters and Bernard Sweetney handle the keyboards and drums on the other records. ·I obviously can't �recommend Andrew's other albums on the basis of these three, but if they are anywhere near as good as these they'd be well worth getting. These records come in white covers with gold lettering. No great hype or sexy (or is that sexist) covers to lure you to the music. Andrew believes in his music enough to sell you just that and when you listen you will believe in him. R.W. CHARLIE PARKER- YARDBIRD IN LOTUSLAND- PHOENIX JAZZ LP 17 ARNETT COBB AND HIS MOB - IN CONCERT - PHOENIX JAZZ LP 18 PHOENIX JAZZ FIFTH ANNIVERSARY ALBUM - LP 16 New releases from Phoenix Jazz are always welcome as their reissues of great swing era and bop jazz generally provide great entertainment. These latest three all have their moments with the Parker being absolutely superb. Yardbird in Lotus land was taken from AFRS transcriptions when Bird came to California. Heard with Bird are Dizzy, Milt Jackson, Lucky Thompson, AI Haig, Nat Cole, Joe Albany, Miles Davis and others. On some of the tracks the sound qua~ lity is poor but the music comes across pretty well and it is incredible. The first three tracks include the band they came to play Billy Berg's for a famous engagement. The versions of "Shaw Nuff", "Groovin' High" and "Dizzy Atmosphere" are burners, with both Bird and Diz taking incredible solos that both extend beyond the two choruses per solo they would take on the recordings for Dial or Savoy. The rest of the album is generally on this high level and one can feel the excitement thirty years later. Texan Arnett Cobb is heard in an engaging set of I ive concert recordings taken from 1952 with quite a bluesy feel. His famous "Smooth Sailing" being a highlight. Dinah Washington is also heard on three trio numbersandthen for a number with Cobb's band with Cootie Williams turning in a marvelous solo. The Queen of the Blues is in great voice here. Arnett Cobb is still playing in Houston and Roy Ames did some sessions with him which hopefully will get released. The Fifth Anniversary Album isacollectionofvarious sides. "Baroadway" is a long jam from Bill Harris' group with great tenor from "Ray Abrams." Two great Dizzy Gillespie tracks from 1945 are present and the version of "Groovin High" from Feb. 1945 includes young Dexter Gordon. Eddie Costa leads a group that includes Jimmy Cleveland and Benny Golson on "Blues" and Coleman Hawkins on Wardell Grey's "Stoned", sounds great. Another very enjoyable album. Get the Parker and if you have the money check the other sets out. R. W. "MAKE ROOM" THE EMILPALAME BIG BAND SUPER SALE AVAILABLEAT ALL 12 CAYAGES WADV-FM AND MISTER ANTHONY'S PRESENT ARILD ANDERSEN - SHMRI - ECM-1-1082 Albums, under the supervision of producer Manfred Eicher possess a certain clear and deep sound quality to them that is identifiable. Taste and a cool restraint are the ingredients of recognizability and they are present on Shmri, an album led by bassist Arild Andersen who has recorded or performed with Sonny Rollins, Don Cherry, Sam Rivers, Chick Corea and a host of other American jazz artists. Andersen's presence can be felt throughout but he doesn't dominate. There is lots of solo space given to multi-saxophonist Juhani Aaltonen. He plays flute on Ways of Days and on Wood Song plays a wooden flute that fits the mood well. No Tears displays Aaltonen's lyricism on soprano whileShmri andDedicationhighlighthistenor. Other qualities in Aaltonen's playing - the occasional hardness and grittiness in the tone - bring to mind another Scandinavian export Jan Garbarek. The beauty of Andersen's extended bass I ines are heard on Wood Song and extensively on Dedication. The title selection is a moody piecethatseemssuspendedin mid air. All compositions on Shmri are written by Andersen except Vaggvisa for Hanna which is a duet for its composer, pianist Lars Jansson, and the flute of Aaltonen. Dedication is probably the strongest piece on the album with a beginning that lays out the melodic themes (stated by Aaltonen's tenor and Andersen's bass) which are expounded on later. It is also the longest selection and contains some pleasing modulations and fine soloing especially from Lars Jansson on piano. Jansson has just a touch of funkiness in his style that comes through on Dedication. It's also present on No Tears whichopenswithsome delicate brush by 21-year-old drummer Pal Thowsen whose spare drumming suits the pace and mood of the album. Thowsen knows when to lay out and sometimes is heard only on tambourine. This is an The Emil Palame Dig Band ONE NIGHT ONLYl TUES. SEPT. ~ 3 at Mister Anthony's 7800 TRANSIT ROAD (AMHERSl) 3SHOWSI DI.._1.._1Eft AT PHONE DINNER RESEIWATIONS 632-6644 PM 7 $9.95-RESERVATIONSONLY 11 and 12:30 SHOWS $3 ADMISSION TICKffi AVAILABLE AT ALL '"'" n 5 CAVAGf5 u::=:=:=:=:=::::__ _;;,-=...:....:...:....:.=::._--,:::::=:=:=:=:==.J �sound as good with Sonny as did Charles Sullivan. It seems tn me that Fortune's music is such a deep, personal and spirit•Jai message that sessions with well known musicians who are not familiar with his music would be less effective than using his own band. The Afro-Americans is probably the best cut hPre. This Fortune original is done in 5/4 time with Sonn\' delivenng some fine music on alto- his best instrument. The titln track could easily bring Weather Report to mind. The time here is 13/4; Sonny is on soprano and drummer/composer Horacee Arnold is added forthi s ten minute track, offering a good amount of room for Sonny to solo over a repeating rhythm pattern. Not All Dreams are Real contains more of his wailing alto, while There's Nothing Smart About Being Stupid is more restrai11ed, though very melodic and good listening. In summary, this is a fine album, though not quite as good as his previous Waves of Dreams (Horizon) or the Strata-East release Long Before Our Mothers Cried. Fortune fans, however should well appreciate this release, and if rumors are co.-red Sonny's best is yet to come. Word has it that Atlantic just recorded Fortune's band l1ve at Montreaux. B.W. BONA VISTA 1504 HERTEL PRESENTS Sun.- Golden Glide (ACOUSTIC) Mon.-Spyro-Gyra Tues., Fri. -Billy Brite PHONE 836-8985 CANOl'S KITCHEN OPEN 5 PM - CLOSING album to hear when you've got time to sit back, reI ax and listen closely. J.H. WALTER BISHOP, JR. - BISH BASH - XANADU GOLD 114 Bish Bash is another in the continuing Xanadu Gold series of rare, previously unreleased material. Considering the state of the art in August 1964, the portion of this album done on that date is of unusually poor quality. Another portion of the record recorded in May of 1968 is dramatically improved and that's when we really get a chance to hear the brilliance of pianist Walter Bishop, Jr. The '68 sesS/lm is a trio that included Reggie Johnson on bass and drummer Leo Morris. Bishop opens by taking off with some totally unrestrained swinging on a Bishop original Minor Motive. Bishop's left hand is not as imaginative as it could be but the right hand explores new technical and thematic ground with a good measure of success. The members of the trio listen well to each other. This becomes even more evident on ballads like Yesterday's Dreams, another original by Bishop. In fact all but one of the compositions on the '68 session are by Bishop except for Gershwin's My Man's Gone Now. It should be noted that although the '64 session (recorded live at the Half Note) is of less than ideal technica' quality, the spirit of that date comes through. The Gordon and Roll ins influenced playing of Frank Haynes on tenor, who died : year later, is particularly steady. It's clear, however, that <,II personnel on Bish Bash look to Bishop for their inspiration in much the same. way that Bishop was inspired while a membe of groups led·· by Miles Davis, Art Blakey and Charlie Pat ·:·,r. J.H. SONNY FORTUNE - SERENGETI MINSTREL - ATLANTIC 18225 Sonny's latest is on a new label though the music continues to be very much in the same vein as his previous discs. Bright lively melodies, strong, percussion laden rhythm, odd time signatures and passionate· Fortune solos prevail here, wh1ch is not the commercial Fortune record that many people expected from Atlantic. TED CURSON - TYPICAL TED - TRIDENT TRS-503 Trumpeter Ted Curson and saxophonist Chris Woods are yet two more of the underknown jazz masters. This set with a swinging French rhythm session was initially issued 1n Europe and this marks its American release. It is simply a fine album of hot modern jazz with Curson and Woods at a high standard. The opening Flatted 5th is a burner followed by the ballad Marjo which contains nice flute from Mr. Woods. Very few groups carry the legacy of the neo-bop, as well as th music of Trane or Dolphy, so well. Incidentally Chris Woods wi II be at the Artpark Jazz Festival September 9th for what should be a most interesting evening of jazz. R.W. Sonny didn't use his regular working band here. The basic unit consists of Woody Shaw - trumpet (2 tracks only), Kenny Barron - piano, Gary King- bass and Jack DeJohnette - drums. Conga/percussionists are heard on each track, except Never Again is such a Long Time - a ballad duet featuring Fortune on flute and guitarist. Jack Wilkins. The use of these big name musicians however was probably a big mistake. One of Sonny's greatest assets at his two Tralfamadore appearances was the excellent, powerful yet sensitive drumming of Chip Lyle. DeJohnette, as good a drummer as he is, doesn't fit as well, sometimes becoming almost obstrusive during Fortune's more intense solos. Woody Shaw, again a first rate musician, do?sn't 6 VERVE RE-ISSUES Polydor has released four twofers of matenal from the Verve catalogue. For starters, there's a fine set from DIZZY GILLESPIE and STAN GETZ aptly titled DIZ & GETZ (Verve VEZ-2521). The first disc goes back to 1953, and things are cooking wdh Oscar Peterson, Herb Ellis, Ray Brown & Max Roach backmg Diz & Stan. Among the eight tunes you'll f•nd a hot version of It Don't Mean A Thing (If It Ain't Got That Swing). and another fast paced cut Impromptu, running close to eight mi11utes The second record could be even better for many peoplr>. Sonny Stitt join~ Diz, Stan, Herb & Ray - with John Lew1s on piano and Stan Levey on drums. Th1s session tool< place in 195fi and only four tunes are heard, the shortest being over 8 minutes long. Be-Bop, We & Lover Come Back an' al' taken at an extremely fast clip. Dark Eyes is slower, but not much. Both records feature excellent musicians playing music up to their standards. �IC 1025 Listen iiiYIN IC 1023 Just Ab i•A"ND IC 2035 Lone-Lee Anthony IC3003 T he Children of Africa Available from . . . . IC 3004 Futures p assed Rochester Locattons: . Midto wn Plaza G ree~etowne Mall enrtetta Towne Lines Gates H Eastview PI aza . Oam- midnight �moods, styles and tempos keep changing making the twelv minute jam not only unique but entertaining, all in true Mingu: form. Pianist Jimmy Rowles is on this track only. Nobody Knows finds Sonny Fortune joining the band, he rips off the openin~ solo on alto. This is a straight ahead rornp, The AFRO-CUBAN JAZZ (Verve VEZ-2522) sessions are available again, featuring the Machito, Chico O'Farill & Dizzy Gillespie orchestras, recorded from '48-'54. Chari ie Parker is featured throughout the first two sides with Mach ito. Another featured artist is saxophonist Flip Phillips, and on side four bassist Lou Hackney is heard with Dizzy's orchestra. Lou resides in Buffalo and can be heard around town, or at the musicians club on Broadway. This music is obviously Latin and historically important. It's loaded with percussion. Tenor giants BEN WEBSTER and COLEMAN HAWKINS have been honored with a set titled (you guessed it) TENOR GIANTS (VE 2-2520). Record one is a 1957 session with the tenor men backed by Oscar Peterson, Herb Ellis, Ray Brown and Alvin Stoller. I latched onto an imported issue of this date ("Blue Saxophones" on English Verve) a few years ago and its been one of my favorite discs ever since. The gutsy, hard core blues - Blues For Yolande is magnificent. Webster and Hawkins are joined on the front line by Roy Eldridge and a third tenor player, Budd Johnson, for the second record, -with rhythm supplied by Jimmy Jones, Les Spann, Ray Brown & Jo Jones. The year is '59, and more of a jam feeling prevails here. A twenty minute version of Duke's In A Mellow Tone fills side four, offering some statements from all the musicians, and Spann offers some tasty guitar work here. Ben & "Bean" are great throughout both records. Another historically important and musically rewarding package. ELLA FITZGERALD recorded a good deal of music for Verve and much has been re-issued. The latest is THE RODGERS AND HART SONGBOOK (VE2-2519). all of which was done at a single 1956 session. She's backed by the Buddy Bregman Orchestra as she runs through thirty four R & H songs. Included are such classics as My Funny Valentine, Manhattan, Mountain Greenery & The Lady is a Tramp. The cuts average 3 minutes and Ella's vocals are limited to the written verses. This was a commercially oriented date thus, no scatting. More Verve sets should be forthcoming before the end of the year. B. W. CHARLES MINGUS- THREE OR FOUR SHADES OF THE BLUES -ATLANTIC SD 1700 Few would expect Mingus to hire three electric guitarists, known for their work in jazz/rock, to play on his new album. Well, he did and the resulting music is fantastic. Guitarists Phi I ip Catherine & Larry Coryell are heavily featured throughout the album, with John Scofield sitting in for two tracks. The first two tunes are classic Mingus compositions. Better Get Hit In Your Soul (better git it in your soul) contains some humorous vocals from the band, before Coryell blasts off (ala Fuztone) and tenor man Ricky Ford follows suit. Coryell & Catherine do some outstanding acoustic work throughout Goodbye, Porkpie Hat. They each do a solo, andare later heard together, after statements from Geo. Coleman & Mingus. The next three tunes are extended blues cuts. Noddin Ya Head Blues is slow and laid back; with a fine alto solo from Coleman after Bob Neloms' piano intro. Coryell, Ford, Catherine& Mingus follow in great form. T_he title track is aptly named. The driven by Danny Richmond, Mingus' long term drummer who's work is first class throughout. Scofield & Catherine are the guitarists on this track. This is simply an excellent album. Whetheryoura guitarist, a guitar fan, Mingus fan or you just dig good jazz- you should have a copy. B. W. THE MYSTERIOUS FLYING ORCHESTRA - RCA APL 1-2137 The Mysterious Flying Orchestra is directed by Bob Thiele, once the director of Impulse Records, and who produced discs for Coltrane and others. He assembled Lonnie Liston Smith, Chari ie Mariano, Larry Coryell, Jon Faddis, Steve Marcus and dozens of additional music1ans for this album, including his wife Teresa Brewer who adds vocals to one track The music is funky and overdone-belowparjazz'rock. Two Lonnie Liston Smith tunes are included wh1r:h fall far short of Smith's own recorded versions. The best work comes from saxophonists Marcus and Bob Mintzer; then, on the other end of the scale, there's Coryell, Brewer and all the strings, horns and drummers. The only mysterious thing about this album is Thiede's reason for releasing it. B.W. NOW AVAILABLE! bjr t-shirts TRALFAMADORE CAFE THE ARTPARK STORE THE PEOPLE /1_4 7 Allen St. PAUL GRESHAM Composer I Saxophonist photo: Philip Gresham 8 JOE VENUTI - IN MILAN - VANGUARD VSD 79396 JOE VENUTI - ELDON SHAMBLIN - CURLEY CHALKER JETHRO BURNS - S'WONDERFUL - FLYING FISH FF 035 Both of these recordings prove the continuing vitality of violinist Joe Venuti. Joe Venuti was one of the first jazz violinists to record. His music is characterized by a fat tone full of swing and exuberance, and both of these albums provide sounds that are described by the title of the Flying F1sh album. Joe Venuti in Milan is taken from a 1971 session with fine Italian musicians who help provide the bright bouncy swing. S'Wonderful brings together Joe with Eddie Shamblin - longtime guitarist with Bob Wills, Curley Chalker - a brilli~nt pedal steel guitarist, and Jethro Burns- a superb mandol1n1~~ who you may know from the Homer and Jethro team. Don �let the country-bluegrass backgrounds deter you, as they swing like mad. I prefer the S'Wonderful partly becauseofthetinge of co.untry music (particularly the idiom known as Western Swmg) whereas the Italian session is more traditional swing. The ltal ian session includes some originals by Joe, and standards such as "Honeysuckle Rose" and "Sweet Georgia Brown". S'Wonderful is mostly comprised of tunes by George Gershwin and Duke E II ington, with the melody of E II ington tunes that opens the album being exceptionally fine. Highly recommended. R. W. MORE STEEPLECHASE ON INNER CITY Inner City records continues to release an extraordinary amount of jazz from Steeplechase, Enja and other European labels, as well as their own recordings. Here are a few recent releases from the Danish Steeplechase line: DUKE JORDAN- FLIGHT TO DENMARK (Inner City 2011) is a 1973 trio recording, done in a Copenhagen studio. Danish bassist Mads Vinding and drummer Ed Thigpenareon hand for this set, mostly made up of mellow ballads. Jordan, known mostly as anaccompanistformanyofthegreat hornmen, comes 3cross well in this setting and shows an 'affection for I ight melodies. A much different, stronger trio sound can be heard on an i!lbum by HILTON RUIZ - PIANO MAN (IC 2036) was rec?rded in New York in '75. Ruiz' sound reflects that of many pian1stsMary Lou Williams, Art Tatum, Jaki Byard & others. Buster Williams & Billy Higgins join Ruiz, who spent a few years in Rahsaan Roland Kirk's band. Included is a Version of Coltrane's Straight Street & Bird's Big Foot. FREE SPIRITS(IC 2043) comes from MARY LOU WILLIAMS. Again, this is a trio disc, and it has my vote for best of the three reviewed here. M.L. is one of jazz' best and she's in top form, with very hipsupportfromBusterWilliams & ~ickey Roker. She only does one original, but includes vers1ons of .Bobby Timmons' Oat Cere, & Miles All Blues. Perhaps this disc will give M.L. some of the exposure she deserves. More on Inner City/Steeplechase next month. B.W. EDWARD VESALA - SATU - ECM 1088 A certain "sound" has been associated with German based ECM records over the past couple of years. Its a clean crisp recorded sound of music that's usually very European' often spacey and not always successful. Drummer Vesala ha; hired such European notables as Palle Mikkelborg, Terje Rypdal and Palle Danielson for a ~ecordingoffiveofhis own compositions. The mus1c JUSt doesn t go anywhere, e1ther sounding like an orchestra tuning up, or a movie soundtrack, or a weak attempt at avant garde. Though some of these soloists are known to be good musicians, it seems that the compositions offer little to stimulate creativity. lfyouareoneofthemany peop.le who enjoy the sound of ECM, you'll find many better albums on the label to choose from. B.W. TETE MONTOLIU - MUSIC FOR PERLA - INNER CITY RAY BRYANT - SOLO FLIGHT - PABLO 2310-798 In this solo piano outing Tete Montoliu wastes no time in displaying his virtuosity. HeopensMusicforPerlawith Jerome Kern's Yesterdays which has him scampering over the eighteights while maintaining a good deal of imagination. Just when you think you've got him pegged he slides into a stride piano break that will knock you out. All of side one is his renditions of pieces by major composers - Van Huesen, Burke, Rogers, Robinson. Side two is made up entirely of selections written by Montol iu, opening appropriately enough with I Feel All Alone. His fingers speak eloquently of patience, nearly impeccable technique and clear direction in his solos whether the compositions are his or not. Regrettably, all of his original· pieces are under three minutes except for Apartment 512 which is over eleven minutes. This lengthoftime allows him to do a little more exploring; continuing some of the thoughts he had briefly stated in pieces I ike What Is lt. Ray Bryant's Solo Flight, which finds Bryant like Montoliu alone at the keyboard, is considerably less exploratory in nature but his bluesy style is no less pleasing. He too has great command over the piano but the rolling bass of the left hand and rapid flourishes of the right bring to mind images of Art Tatum. Montoliu can conjure similar images but also has the flexibility to go out on a limb September-. Month at Cavage's CHARLES MINGUS THREE OR FOUR SHADES OF BLUES GOODBYE PORKPIE HAT BETTER GET HIT IN YOUR SOUL watch for area concert Now on Super Sale! y s NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL SENECA MALL MAIN PLACE MALL . BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTER.N HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZ4 �New Directions GULIJTan·s Buffalo's Jazz Supper Club Presents Zimbabwe Mujahid Thurs.-Sun.10-3 Cover $3/Person · $5/Couple Suppers Served 7-2 MAIN & FERRY STREETS ala Cecil Taylor. Some of Bryants selections are standard jazz fare- Moanin', St. Louis Blues, Take the "A" Train-. but he· includes four originals that hold up well along s1de the Jazz classics. J.H. DIZZY GILLESPIE- FREE RIDE -PABLO 2310-794 I saw Gillespie's previous Pablo album, Di·zzy's Party, as a humorous, well played funk album - but I really didn't expect the great trumpeter to continue in that same style. Free Ride is even more commerc1al, with arrangements by Lalo Schifrin and a score ofstudiomusicians such as Oscar Brashear, Lee Ritenour, etc. Wah Wah Watson, from Herb1e Hancock's Headhunters band is one of the three guitarists. This is more the sound you'd expect from the CTI label than Pablo. Although its very hip disco music its a poor example of the music of Dizzy Gillespie. B.W. THE GEORGE LEWIS SOLO TROMBONE RECORD - SACK-. VILLE 3012 Albums consisting totally of solo trombone music certainly aren't among the biggest sellers. I'm quite a fan of German trombonist Albert Mangelsdorff, who has donesomesolodiscs, and have just recently been introduced to another marvelous bone man - George Lewis. . . . l-ewis covers a wide spectrum of mus1chere, reflectm~ h1s associations with such people as Muhal Richard Abrams, Anthony Braxton, Roscoe Mitchell a~d Count Basie. His ~en­ dition of Billy Strayhorn's Lush L1fe, and h1s own Untitled Dream Sequence are beau~iful. Piece f~r Three Trombones Simultaneously fills all of s1de one, showmgLew1sas ~master avant gardist while achieving some un1que sounds v1a overdubbing. He shows a wealth of ideas, a good sense of humor and a high level of technique and command over the Instrument throughout. . . This may be an odd format but 1ts a f1rst rate album. Trombone students and solo Mangelsdorff fans should definitely not be without it. B.W. SUN RA - COSMOS - INNER CITY IC 1020 Depending on your point of view, Sun Ra is eithe~ a mystical prophet, a genuine eccentric, or a very determmed puton artist. (He is probably all three.) There can be l1ttle argument however, that he has in his overtwenty years of recording, ~onsistently demons_trate? a very pe_rso~a! music.al vision. It is a constantly evolvmg v1s1on, makmg 1t 1mposs1ble to be complacent about any. new Ra album. Cosmos is Sun Ra's first domestic commercial release since the 1973 Astro Black. It is a studio recording, done last summer in Paris. The Arkestra was in a somewhat trimmed down state for this session - twelve men, including just one drummer. Sun Ra concentrates on the rocsichord, a keyboard instrument which often sounds like an electric guitar. As a result of these factors, the album has a laid back TilE JOE IIERDER,OR QUaRTIT The Great Tenor Saxophonistwith the incredible pianist Joanne Brackeen Sept.16,17 &18 Fri. &Sat. 10 PM ; Sun. 9 PM tralfamadore cafe 2610 main at fillmore 3 Sets per Night Cover $5/ No Minimum 836-9678 �feeling 'throughout much of its duration. However, this is by no means a move in a more conventional direction. A lot of other worldly images presented themselves as I was listening to this record - due primarily to the music's juxtaposition of mainstream forms and Sun Ra's unusual voicings and instrumental combinations. An atypical record, but then, Sun Ra never stands sti II. J.L. WALT DICKERSON - PEACE - INNER CITY IC 2042 When I hear the term "moodmusic," I usually think of that sonic annaesthetic (anti-aesthetic) known as "easy listening." What we have here is real mood music played by three very sensitive musicians who create a world of sounds that is at once delicate and intense. Recorded in Denmark in the fall of '75, this is Dickerson's first domestic rei ease since the 60's. It contains two selections, each filling a side. On the basis of this record, I must conclude that Dickerson is the vibist in the new black music-- I know of no one else working in this area. Most of the time his tone is light, dry, and hot -like a marimba- but sometimes he turns on the motor, bangs out a few double notes, and lets them fade completely before he says anything else. Dickerson's cohorts on this date are Andrew Cyri lie and Lysle Atkinson. Cyrille, marathon drummer with Cecil Taylor for over a decade, shows us he can whisper as well as shout. Atkinson is a marvelously unorthodox bassist. He plays with the fascination of a child who, upon encountering the instrument for the first time, sets out to discover its vast capabilities. J.L. Sept. Tralfevents Weekends FAMILY Sept.2&3 Featuring SPIDER MARTIN QUARTETI Sept. 9,10,11 Featuring Jimmy Owens JOE HENDERSON ss QUARTET/Sept.16,17, 18 STEVE LACY - RAPS - ADELPHI AD 5004 STEVE LACY, MICHAEL SMITH - SIDELINES- IMPROVISING ARTISTS INC. - 37.38.47 Steve Lacy plays soprano saxophone and· has been on that instrument for over twenty years. He has gigged in Dixieland groups and with Cecil Taylor, Thelonious Monk and Gil Evans. Since 1965 he has been living in Europe developing his skills as an important voice of the new music and recently made some North American dates including some in the New York City loft scene. These two new releases will hopefully generate an appreciation of his contributions. The Improvising Artists release is a duet recorded in Norway, while the Adelphi, a quartet date, was recorded in New York earlier this year. Lacy is the supreme master of the soprano as for most other soprano players its their second instrument. Lacy's attack on soprano varies being much more linear in conception than most players who play with a circular approach. Compositionally Lacy works off very short angular lines reflecting Monk's influence (also in his playing). Like mucl:l of the new music his compositions lack the readily hummable melodies of older jazz styles or pop music but the playing on both these sets is quite hypnotic, drawing the listener into the textures of the music. Sidelines, the duet album, is marvelous with Michael Smith adding some dissonant piano to cross with Lacy. "Beeline" is a remarkable exercise in musical coloring as Lacy's buzzing playing suggest a beehive. Michael Smith's "Time 2" has a definite 'Trane flavor with Lacy's work being quite relaxing. The title track Raps of the Adelphi set is a short blues line with some strong bass from Ron Miller and free drumming from Oliver Johnson. Steve Potts adds some nice alto and soprano throughout this set. "No Baby" opens with 01 iver reciting "No Baby" several times before Lacy and Potts state that on their horns. The head is simply repeating the "No Baby" phrase with ascending pitch before breaking into some hot playing with some fine collective improvisation. Those already into the new music should of course investigate Steve Lacy's music if they as yet haven't. For others it may be an earopening experienc.e. R. W. WILD FLOWERS 2 - THE NEW YORK LOFT JAZZ SESSIONS CASABLANCA 7046 Flight to Sanity opens Wild Flowers 2 with pianist Sonelius Smiths' The Need to Smile. There are good solos by Art Bennett/soprano sax, Byard Lancaster/tenor sax, and Smith. Olu Daras' trumpet playing on the ensemble passages is a plus, and the remainder of the rhythm section, Harold Smith/drums, Benny Wilson/bass, and Don Moye/conga keep thefireburning. This is the kind of music that always leaves you feeling a I ittle Beverly Simms PAUL GRESHAMTOMSCHUMAN DUO Sept. 23,24 MUJAHID Sept.,Oct.1 -----------Mon. Open Mic Tues. Swinging Whale Boys except 27th Wed. Jeremy Wall Trio Thurs.Spyro-Gyra -----------Emil Palame- Sept. 4 James Peterson- 27th GOOD FOOD & DRINK NIGHTLY tralfamadore cafe 11 2610 main at fillmore 836-9678 �better after listening. Ken Mcintyre must have written Naomi for a very graceful and lovely lady, or perhaps an innocently beautiful child. He· c_areful t~at. his !lute treatment be v~ry gentle with her at a\~ t1mes. P1an1st R1chard Harper compliments Naomi and show concern for her well being. Percussionists Andy Vega an~ Andrei Strobert accent her subtle strength and calmness This version of Anthony Braxton's 73 degrees - S Kelvin i~ an excerpt from the extended performance. Besides Braxton on reeds the credits I ist George Lewis/trombone, Michael. Jackson/guitar, Fred Hopkins/bass, Barry Altschul/drums ~nd Phillip ~ilson/~ercussio.n. The~e i.s also a p_iano playe; mvolved who IS not l1sted. Th1s vers1on m the Kelvm series is one of the best I've ever heard. Braxton plays clarinet and contra bass sax, his alto saxophone solo is a gem. The collective improvisation of the group is outstanding; and the tones created by the ensemble are the colors received during deeper meditations. And Then They Danced written by Marion Brown is evidence of his tremendous strength as a melodic improvisor. Marion's sound is a peaceful refreshing breeze traveling through timeless space,_ bringing joy to those who wi II be touched by it. Leo ·Sm1th and New Delta Ahkris' elements are Oliver Lake/alto sax here, Anthony Davis/piano, Wes Brown/bass and Paul Maddox/drums; add Stanley Crouch/drums fo; Locomotive No. 6, written by Davis. All of these musicians are excellent players. Leo Smith is one of the worlds three greatest trumpet players, in my opinion, but it is the purely musical communion with which these musicians play that remains a part of you after listening. P.S. Artpark Artpark Artpark JCiZZ FeStival September 7-11 Lewiston, N.Y. Wednesday, Sept. 7, 8 pm Urbie Green, Zoot Sims, Clark Terry Thursday, Sept. 8, 8 pm Lionel Hampton and his Orchestra son of jazz Friday, Sept. 9, 8 pm Kenny Burrell also appearing Chris Woods Saturday, Sept. 10,2 pm Manhattan School of Music Chamber Jazz Ensemble Saturday, Sept. 10,8 pm Stanley Turrentine also appearing The Emil Palame Big Band Sunday, Sept. 11, 2 pm Ramsey Lewis also appearing John "Spider" Martin Sunday, Sept. 11, 8 pm Artpark All-Star Band directed by Ron Corsaro and featuring "Spider" Martin, Gerry Niewood, Marley North, Sam Noto, Joe Romano. Festival produced by Bill Hassett Tickets: $4 inside, $3 lawn (lawn seats eves. only). For information, call (716) 754-4375orfrom Buffalo,694-8191. 12 bill besecker In the past, this columnhadbeendevotedonly to jazz artists from countries of the European continents who were the first foreign emulators of American jazz. Since it is becoming increasingly evident that the scope of jazz takes us beyond both America and Europe, it has become our intention to increase the scope of this column to include all international jazz artists so that we may present a more comprehensive view of all the. musical offspring of American jazz. A distinct genre of international jazz which we've touched upon only lightly in the past is music inspired by and written for a particular American performer. Such is an album released by Argentine pianist Alberto Favero entitled Suite Trane: In memoriam John Coltrane (Catalyst CAT -7014). The suite of five movements, composed and arranged by Favero, features an orchestra of 23 Argentine players, 8 of which are featured soloists in various movements. Texturally, the record I ies somewhere between the quartet/quintet sound of Coltrane's groups and the larger ensemble voicings of Mingus. Favero has attempted to create the memory of the master tenor man without the boldfaced imitation expected but with the subtle nuances of ensemble colors. He succeeds enormously. Inspiration is at the meat of creativity and as Coltrane has inspired many, so has he inspired Favero. The Argentine has created one of the best of the Coltrane memoriams without any of the commercial intentions that may be anticipated. This recording is being released 8 years after its production. Some musicians look to other musicians for their inspiration. Others look to non musical sources. "Creativity" itself often lends itself to exploration both philosophically and musically. An exercise in the "creative process" by two Frenchmen, Francois Auger and Richard Pinhas on the album Heldon: Un Reve Sans Consequence Speciale- Heldon: A Dream Without Reason (Inner City 1021) follows the ide a that to create is to do violence to what exists. Despite what activity that I ittle paraphrase seems to conjure, the albums sound is smoothe and controlled. T-he instrumentation is quite unique however: percussion and electronics. Actually the record sounds l1ke a soundtrack to the real worlds of Nietzche, lonesco and Sarlre, but if you've enjoyed The Surman-Martin duets or the I ike, you' II certainly I ike this. Another duo with quite different roots than Heldon features Spanish guitarist/pianist Egberta Gi smonti with South American percussionist Nana Vasconcelos. Their effort, under Gismonti's name, Danca Das Cabecas (SCM 10A0 1 -omprises two sides of the most _.... '· rs. Egberta is a master of the allow him the leisure �of playing multiple melodic lines on this solitary instrument ltke no one I've heard before. He is amazing. While side one is completely Latin in its basics, side 2 wanders off on a solo tangent not unlike the efforts of Keith Jarrett or Paul Bley. Egberto extends his manuverabi I ityfrom the guitar to the piano ' which is nothing less than marvelous. Playing with more traditional instrumentation but not with traditional music forms is JapanesetrumpeterTerumasaHino, whom you may have come to know if you follow Jackie Mclean or Larry Coryell. His album, Hino at Berlin Jazz Festival '71 (Catalyst CAT -7910) features some high energy recordings of 6 years ago with his own quintet. The music, like the Favero album above, is admittedly an extension of Coltrane's work of the '65-'67 era. Hino has noreedplayerin his band so he plays all the horn ltnes himself. Some may find this music more interest.ing ~han his work with the Eleventh House, ~nd deservedly so. Htno ts hts own player, thought at ttmes hts emulation of Miles and Hubbard surface. His quintet is a bit foreign sounding, for obvious reasons and may take a I ittle getting used to. I find it strange though that this music could find no American release for such a period of time, but I imagine as we all become more aware of the excellence of international jazz arttsts, our releases will become more aligned with what is happening at the present time. Bill Besecker blues by ron Weinstock The Bona Vista will be adding ou't-of-town blues acts to th~i r I in~-up of top local bands. October 12 thru 16 Chicago sltde guttar master J. B. Hutto and the House Rockers will be at the Hertel Ave. spot. More details next month. John Lee Hooker is coming to the Belle Starr this month. Since the late forties when he made hundreds of classic recordings for a variety of labels, John Lee's has established himself as one of the blues' major figures. His songs like "Boogie Chillum", "I'm in the Mood", "Boom Boom" and others are of course classics and it is no hype to call him the king of the boogie blues. James Cotton brought his band to the Belle Starr in early August and put down some boogie blues to a packed house. I found the music superficial as it was taken at what I felt was a too hurried tempo leaving no bottom to the songs. Locally, I caught the last few numbers of Shakin' Smith and his Blues Band lately at the Bona Vista and as always he put down some fine blues. His band is really solid, playing with restraint but able to rock when they need to. Shakin' Smith as his fans know is simply .one of the best harp players any~here and he ~as been dotng. hts. best overthepastfew years to keep interest tn the blu~s a.ltve tn Buffalo. If you don't have his fine mini-lp, you can ptck tt up wherever he plays. James Peterson, and his son Lucky were in California recently to record. They will be appearing at a WBFO benefit Tuesday night September 27 at the Tralfamadore. The music starts at 9:00 and wi II mark the return of my show "Old Time Shuffle" (formerly Ramblin' With the Blues) to the air. Old Time Shuffle will be heard at 10 PM Tuesdays instead of Thursdays but wi II be preempted the first three Tuesdays in S~ptember. 1. will be featuring jazz-blues singers such as Jtmmy ~ushtng, Joe Turner, Wyonnie Harris, Eddie Vinson and Louts Jordan on the Hot and Blue Art Fridays at 11 PM during September. Don't forget Babe Barlow and Shades of Blue Saturdays at 11 PM also on WBFO. Bobby Bland's new album Reflections inBiue(ABCAB-1018) opens with a disco setting but listen to the music as the album is solid soul blues with strong material and great singing by the blues giant. Strings and vocal chorus are used intelligently adding punch to "Sittin' on a Poor Man's Throne". Another strong track is "If I Weren't a Gambler" but there isn't a · single throwaway track. I reviewed three Trix albums last issue. Another fine Trix side is Roy Dunn's Know'd Them All (3312). This is a superb album of country blues by a singer who obviously has I istened to Lightnin' Hopkins. Even on such Hopkins' songs as "Mr. Chari ie" Roy Dunn comes off as a strong individualistic blues performer, and besides fine originals there's also reworks of a numberofbluesbysuchgreatsasDr. Clayton and Tampa Red. Lightnin' Hopkins' influence can also be heard in PernellCharity though his music is more marked by the relaxed, ragttme feel ofBitndBoyFullerandotherEast Coast blues artists. BLUES SHAKIN SMITH and his Blues Band-Wed.&Sat. STEADY ROLLIN' BAND Thursdays BONA VISTA 1504 HERTEL 836-8985 J.B. HUTTO & THE HOUSE ROCKERS- COMING OCT. 12-16 His album The Virginian (3309) is another countryblues album worth checking out. While Roy Dunn and Pernell Charity are. new to record Tarheel Slim (real name Alden Bunn) recorded in New York City during the fifties. His Trix album No Time at All focuses on his Carol ina blues roots with a band album promised. Slim plays piano, harmonica and a variety of guitars. The fine pianist Big Chief Ellis joins him on two numbers including a vocal duet "Screaming & Crying". This tune sounds like the duets that Tampa Red and Little Johnnie Jones recordedthirtyyears ago. Overdubbing enables Tarheel Slim to be a virtual one-man. band on the very interesting "Dark Shadows". The title track is an intriquing instrumental and the rest of the album displays his . considerable lyrical, vocal and instrumental talent. Dan DelSanto is a white guitarist who appears on some tracks on the Tarheel Slim and Trixalbumsby Eddie Kirkland. His album White Feathers in the Coup (3314) features a variety of mostly short instrumentals. The music is ragtime, blues and old-time fun. As with all Trix records a generous portion of playing time and tunes are presented. The new Advent album Chicago Blues at Home (2086) captures a number of fine Chicago bluesmen in informal setttngs. Tho~e heard are Johnny Shines, Jimmy Rogers, Eddie Taylor, Louts and Bob Myers, Homesick James and John Littlejohn. The music is relaxed and interesting as the artists have generally been recorded in band settings as either leaders or sidemen. Most of the performances are solid if not spectacular thour Eddie Taylor turns in two particularly superb numbers, especially "Greyhound Bus." Louis Myers "Going Back to the Ghetto" is also noteworthy. Don't expect rocking Chicago band blues, just laid-back blues done with warmth. Advent's sister label Muskadine is a label specializing in reissue of rare blues recordings. Unfinished Boogie: Western Blue S Piano 1946-1952 (104) is my album of the month. A superb disc of barrelhouse blues piano which includes Wilson 'Thunder' Smith on five numbers. "Thunder's Unfinished Boogie" is a breakneck boogie reminiscent ofthegreat Cripple Clarence Lofton, and Lightnin' Hopkins is heard on t~o tun~-~· Coming soon to the ll~~lltAll Glenwood, N.Y. James Montgomery Band/Sept 14 w/CHUNKY,NOVIE and ERNIE John Lee Hooker /Sept 16,17 _papa John Creech/Sept 21 Outside patio now open. 941 6655 10 13 ..T_A_K_E_A_R__E_T_o_T_H_E_H_I_L_L"~"S-------------..1 �Little Willie Littlefield shows Albert Ammons influence and one of his first recordings (He incidentallywrote the classic hit "Kansas City" but sold LieberandStollerthecomposer rights). Mercy Dee Walton is one of my favorites and his three tracks include his sparse piano style with his wry lyrics and bittersweet singing. The rest of the album maintains this high standard. King reissues that are back in print again that should also be of interest to jazz fans include Wyonnie Harris-Good Rock in' Blues (KS 1086) and Eddie 'Cieanhead' Vinson-Cherry Red Blues (KS 1087). Wyonnie Harris was one of the few shouters to rival Joe Turner and had the nickname of Mr. Blues. Such hits of his as "Good Rockin' Tonight", "Good Mornin' Judge" and "Bloodshot Eyes" are marked by exhuberance and humour. Much can be said about Mr. Cleanhead's album which features not only his hiccupping singing but his Bird-tinged alto playing. A couple issues back I mentioned several series of blues imports. A Frenchwoman Marcell Morgantini, came across with the idea of recording Chicago blues artists at the clubs they work. She has released five albums on her MCM label. A notable one is Ma Bea's Rock (900.294) which features Jimmy Johnson and Luther Johnson, Jr. Jimmy Johnson was recently Jimmy Dawkins rhythm guitarist and with Dawkins on rhythm guitar does a fine interpretation of "So Many Roads" that invites favorable comparison with Otis Rush. He and Dawkins both solo on the instrumental title track and Jimmy turns in two more fine vocals adding some fleet guitar playing. Luther Johnson, Jr. is currently in Muddy Waters band and a fine guitarist in his own right. The instrumental ".1 Believe My Time Ain't Long" is a hot Elmore James style instrumental, while "All Your Love" is a fine reworking of the Magic Sam classic. Both of these men deserved to be recorded more. Willie Kent and Willie James Lyons front the house band at Ma Sea's where Ghetto and the above album were recorded. Ghetto (900.291) is a superb album of Chicago blues featuring Willie Kent's growling vocals and Willie James Lyons' strong guitar. Reworkings of several Chicago standards such as "Little Red Rooster" "Dust My Broom" and "Nineteen Years Old" are done with considerable enthusiasm and Magic Sam's influence is heard on "YouDon'tLoveMe" and "I'm Not the Same Person." This is strong stuff. Finally ~lyrigh_t Records has an interestingenthologyBJu From the Wmdy C1ty (4713) wh1ch features a vanety of artis including Jazz Gillum, Tampa_ Red, Walter Davis,_ Sonny Boy Williamson I and Memphis M1nn1e. Stylistically th1s music is the Chicago band blues of the pre-World War 2 era and predates the Chicago blues of Muddy, Wolf. Elmore and others which many of you are more fami I iar with. The music is superb. All of these imports are avai Iable from Southern Record Sales, 5001 Reynard, La Crescenta, Calif. 91214. . ;j .'l .~! !IJ iij i.\ ·il 'I 'I,, Radio WEBR - 97.0 AM Jazz in the Night - every night 7-midnight w/AI Wallack. •I ·I I ,j I WBLK- 94 FM The Sound of Jazz w/Carroll Hardy - Sat. nights 10 PM 1 AM. WADV - 106 FM Jazz Nitely w/Geo. Beck WBFO 88.7 FM Mon.-Fri. Noon- Two "Spirits Known and Unknown" Mon.-Fri. llpm-Midnight Mon. "Modern Jazz: Thr.> fir-;t 20 Year" - D1ck Judelson Tues. "The Prodigal Son" - Bill Besecker Wed. "Creat1ve Extensions" -Paul Smith Thurs. "In Concert" - Ed Smdh Fri. "ThP Hot and The Blue Art" - Dave Benders Mon -Fri. Midn•ght-3 am "Round Midn•qht" Mon.: Paul Wandell Tues.· Sh•ve Rosenthal Wed.: V1ncc·nt Jones Thurs. Paul Meyer Fri Babe Barlow Saturday 3am -Bam "Pulse" - Vincent Jones Sam-Noon "Freedom Fl1qht" -Ed Smdh Midnight .. 6am "Opis in Modern Mus1c: Jazz by Request- Pres Freeland Sunday: Noon-two "Jazz Contours" - Bill Wahl 11pm-midn•ght 81g Bands w/Bob Rossberg Mi dni ght-3am "Roots, Rhythm and Sound" -Dave Jacobs 3am-8am "Progressively Yours" - Harry Schuster U.U.A.B. MUSIC COMM. A Division of Sub-Board I, Inc. Proud Iy Presents Powerful Passionate Progressive Jazz CANADA - SELECTED LISTINGS CKTB - 97.7 FM J. is for Jazz w/Jack Cole- every Sunday night 8-11 PM. CKQS - 94.9 FM Music For Night People w/Paul Fisher - Mon. thru Sat. midnight-3 AM. From bebop to now w/BJR's Hal Hill - 1st 3 Sat. nights each month 10-Mid. Don's Discs w/Don Keele I ast Saturday. CJRT - 91.1 FM Jazz Scene w/Ted O'Reilly Mon.-Fri. 10 PM- 1 AM, Sat. 6 AM - Noon, Jazz in Concert w/O'Reilly Sat. 7-10 PM. CFKM - 99.9 FM All That Jazz w/Phil McKellar Sun. 10 PM - 6 AM. CING - ·108 FM . What's Happening w/Jack Cole Mon. - Thurs. 10:05 PMmidnight; Sundays 11 PM - 1 AM. ella~~Ufiied 8:00P.M. OCTOBER2 CLARK GYM S.U.N.Y./BFLO.-MainSt.Campus This space is available to private individuals, organizations, mail-order houses, etc. The cost is 10¢ per word- minimum charge $3. Send copy and payment to BJR - 1335 Main Street, Buffalo, N.Y. 14209. 14 Music Lessons: Guitar, electric bass, string bass and composition. Theory and improvisation incorporated into each lesson. Gerry Eastman - 883-1340. ·~ I ~ !'.l 11.'· �---------------- - Imports from Japan and elsewhere. Sony, East Wind, Trio, BYG, Timeless and many other labels. Albums by Coltrane, Braxton, Miles, Woody Shaw, etc. Free lists - International Records, Box 717, Dept. B, Mentone, California 92359. WANTED: LPs, VG plus: Phineas Newborn, Contemp. 7622; Paul Smith, Cap. T 757; King 01 iver, Decca 79246; Adam Makowicz, Muza SZ 1218; Blossom Dearie, Verve V-62109, V-62125. Names of tunes based on "I got rhythm". J. R. Smith, 716-836-2166. FOR SALE Pair Bose 501 Speakers, Sansui 2000X Receiver, separate or together - best offer. Call 875-3256 after 5:30 weekdays. GEORGE BENSON A Festival Presentation with a Little Help from QFM 97 RARE & Out of Print Jazz LP's, price lists and auctions. Wm. Carraro, 25 Aberdeen St., Malverne, N.Y. 11565 WANTED - older albums in good condition - Lee Konitz, Arl Farmer on Verve & Columbia; many titles on the Contemporary label. Send your lists and prices to BJR, Box K, 1335 Main St., Bflo. 14222, or phone 883-3909 X 12. BJR Classifieds work! The King 3B trombone advertised last month was promptly sold! whatil happening BUFFALO Horizon- jazz quintet at Night Gallery- 5804 Grant St., Sunday nights; Gaslight West, 23 Letchworth Fridays. Nasara Abadey Modern Percussion Ensemble - at African Cultural Center- Sun., Sept. 18 at 6 PM. Mr. Anthony's- Transit Rd. -Emil Palame Big Band- Tues .• Sept. 13. See ad. George Benson -at Kleinhans Music Hall- Fri., Sept. 9. See ad. Gulistan's - Main & Ferry Sts. -jazz supper club- music by Zimbabwe - Thurs. thru Sun. 10-3. See ad. Jean Luc Ponty - in concert - Oct. 2, 8 PM. Clark Gym - U.B. Statler Hilton - "Downtown Room" - Kenny Burrell opens fall season. See ad for more information. Tralfamadore Cafe - 2610 Main at Fillmore- 836-9678. Jazz Tues.· thru Sun. Nights. See ads. Big Bands on Sundays. Bona Vista - 1504 Hertel - Jazz & Blues - See ad. Jack Daniel's - Forest near Elmwood - Spyro Gyra Tues. & Sun. nights; Horizon Wed. & Sat. Odysey - 1005 Tonawanda St. - Jazz Sat. nights. Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Fieldstone Manor (Lockport) - Dixielandw/Will Alger on weekends. TORONTO Yellowfingers - 1280 Bay St. - The best in jazz - see ad. Albert's Hall - The Brunswick - 481 Bloor Street, West. Nightly from 9 pm- Dr. McJazz. Bourbon Street - 180 Queen St., W.- Marvin Stamm Sept. 517; Red Norvo Sept. 19-0ct. 1. Georges Spaghetti House - 290 Dundas St., E. - great local bands nightly. Lil Porky's- 21 Yorkville- nightly- call 967-4493 for information. Chelsea Bun - Chelsea Inn - 33 Gerrard St., W. - pianist John Arpin Mon. thru Sat. 9-1 Blondie' s - 1954 Yonge St. Jazz Mon. - Sat. 9-1. ROCHESTER Port Side- Joe Romano - Fri. thru Mon. Monticello - top names - phone 442-7300 for information. J. & J. Lounge - jazz Fri. thru Sun. Phone 328-3690. Nate Rawls & Sound Spectrum 2 & 3rd weekends, Existing Reality 4th weekend. Glass Onion - phone 454-4538 for info. Red Creek - phone 464-9856 for info. LIVE IN CONCERT + Opening Act to be Announced FRI., SEPT. 9th TWO SHOWS! 7&10=30 KLEINHANS MUSIC HALL ALL SEATS RESERVED $7.50, 6.50 & 5.50 A! so Appearing in ROC HESTER Sat., Sept. 17 at Audi tori urn Thtr 'Tickets: Festivql in the Statler and all their outlets including Audrey & Del's, Amherst Ticket~ and all Man .Twa & Pantastik 15 I • S • t o • r • e • s . • • • • • • • • • • • • • • • • • • • •. . - �..-------~ y~lll~wflll(li\l)g«ml TORONTO"S UP TOWN JAZZ CLUB ~Q"'"' Restaurant & Supper Club 1954 Yonge Street Near Davisville (Just around the eorner) SEPTEMBER 5-10 PHIL NIMMONS QUARTET 12-17 BRUCE CASSIDY QUARTET 19-24 EUGENE AMARO QUARTET 26 -1 ROB McCONNELL I IAN Me DOUGALL QUINTET OCTOBER 3-8 SAM NOTO QUARTET 10-15 ANDY KREHM QUARTET Toronto's Finest Jazz 1280 BAY STREET(at Yorkville) TORONTO I 964-1984 Nightly: Monday thru Saturday - 9 pm to 1 am SEPTEMBER 5- 10 Sam Noto Quintet featuring Steve Lederer 12- 17 Batt! e of the Trombones - Rob McConnell Quintet featuring I an McDougall 19- 24 MLati n Jazz" Marty Morrell Sextet - feat. Ramon Lopez {Kenton percussionist) 26-0ct. 1 Doug Riley Quartet feat. Bob Mann {guitar) Oct. 3- 8 Kathryn Moses Quartet featuring Ted Moses After Hours: Friday & Saturday-1:30am to 4 am 9 & 10 Butch Watanabe Quartet 16.17 Maury Kaye Quintet feat. two bop vocalists-Erin Heineman & Barbara Reney 30, Oct. 1 Carlton Vaughan Quartet 7 & 8 Bobby Fenton Quartet Sunday Dinner-Concert 6:30 pm to 10:30 pm JAZZ 9PM-1AM 11 Battle of the vibes Don Thompson Quintet featuring Frank Wright 18 Ed Bickert & Jazz Friends 25 Eugene Amaro Quartet Oct. 2 Pat LaBarbara Quartet 9 Bernie Senensky & his Super Combo EXCELLENT ITALIAN & CONTINENTAL CUISINE Open Daily A DAVE CAPLAN PRODUCTION ·Noon till 1 a.m. For reservations eall 482-0055 COMPLETE DINNERS & LIGHT SNACKS ALWAYS AVAILABLE I FULLY LICENSED Appearing at the UUW~TUW~ *KENNY BURRELL september6-11 *MILT JACKSON September13-25* CHICO HAMILTON september27-october2 ffalo jazz report .,............. main st. lo, n.y. 14209 u.s.a. PERIODICALS &BINDERY LOCK~OOD~E~ORIAL LIBRARY 'S.U.N. Y .A. B. l3UFFALO, NY 1421.4 return postage guaranteed .... --·- 'I SJ6 I, , :_II � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4442 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 43 Date A point or period of time associated with an event in the lifecycle of the resource 9/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 43 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/0275327ae3281a5b490b3ff7bf0db21d.pdf 26db59929f4862fcf0b06d7a905144de PDF Text Text - - --------- ~ ' '0 CT 1 4 1977~:~1 buffalo jazz 1 tepott , october '77 issue44 free 1 I ML I E~ l ! ' I l, I Eddie "Cieanhead" Vinson Jean-Luc Panty J.B. Hutto �cleaahead Cherry Red - ABC Bluesway You Can't Make Love Alone - Mega "Jamming the Blues" -Black Lion (English) "Wee Baby Blues" -Black & Blue (French) He can be heard on: Oliver Nelson- Swiss Suite- Flying Dutchman The Johnny Otis Show Live at Monterey - (2 cuts) Columbia SuperBiack Blues Vol. 2 (several tracks)- BluesTime Benny Carter, Cootie Williams - Big Band Bounce- Capitol Called 'Cieanhead' because of his bald pate, Eddie Vinson is still one of the finest alto players and blues singers to some out of the big band era. Born in Houston, Texas, Eddie was in Milt Larkins band (along with Illinois Jacquet, Arnett Cobb, and Wild Bill Davis) when Count Basie recommended him to Cootie Williams who recruited him as a member of his band. With Williams, Vinson rose to prominence as a blues singer. He left Williams in 1945tofronthis own big band which lasted till 1949. One of the more noted members of his band was a young John Coltrane. Eddie Vinson was Trane's first job with a name performer and Vinson's superior playing was a model for the young saxophonist. Eddie made a number of recordings that were popular with black audiences through the fifties combining his good-humored singing with some throaty alto. Vinson was one of the first players to absorb the ideas Chari ie Parker was putting forth and recently recorded "Now's the Time" at Montreux for Black Lion. Eddie's hiccupping singing is usually combined with humorous bawdy lyrics though some of the tunes "Somebody's Got to Go" and "Just a Dream" date back from the great Big Bill Broonzy who was Eddie's chief influence as a vocalist. After his popular successes Eddie moved to Houston in the fifties where he resurfaced in the sixties recording for Bluesway and BluesTime. He became increasingly popular overseas and has recorded several albums overthere. 01 iver Nelson used Eddie on his Swiss Suite sessions. Currently Eddie is centered out of LA. Undoubtedly Eddie has played Buffalo, either with Cootie Williams or his own band. His dates at the Tralfamadore will be his first visit here in years. Do check the man out as he'll blow you away. For information regarding his appearance this month atthe Tralf~madore Cafe & Bourbon St. see the ads in this issue. Vinson discography (partial) Eddie 'Cieanhead' Vinson & Orchestra 1946-47 - Trip Cherry Red Blues - King J. B. Hutto Blues at the Bona Vista J. B. Hutto and the House Rockers will be making their first Buffalo appearance in a few years at the Bona Vista Wednesday, October 12 through October 16. J.B. Hutto is perhaps the finest living exponent of that style of slide guitar .associated with the legendary Elmore James and will bring his brand of Chicago blues to the Hertel Avenue night spot. Born Joseph Benjamin Hutto in Georgia, J.B. sang in gospel groups as a youth. Coming to Chicago in 1949 he started as a drummer. Turning to the guitar he met and learned from Elmore James though J.B. developed his own approach to the blues. In 1954 he made a series of recordings for the Chance label including such classics as Dim Lights, Things are So new from Gato EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw Bill Besecker Paul Gresham, John Hunt, Tom Mazzone, J~hn Osborn, Paul 'smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS - Christine Eng Ia Eber and Sabrina Mayberry Smith. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Dave Hanlon Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report . No portion of this pub I ication may be reproduced without wntten consent from the publisher. SP 4655 Available NOW at fine record stores everywhere. GATO BARBIERI can also be heard on A&M album: -·· SP4597 2 The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge at over 80 locations in Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Loc~p?rt and Jamestown. We are subsidized solely through adverttsmQ and ask that you support our advertisers. Subscriptions are available at $6/year, paid in advance. �Slow and Pet Cream Man. Years of scuffling in the bar scene led to his retiring from the music scene. · J.B. started playing in the mid 1960s and it was at Turner's, a small south side Chicago blues bar, that Pete Welding and Chari ie Musselwhite discovered the slide guitar master was back playing again. Samuel Charters recorded J.B. for his series of albums Chicago the Blues Today on Vanguard and his five songs were among the highpoints of this historical series. Shortly after this J.B. recorded an album for Pete Welding's Testament label that was part of his Masters of Modern Blues series and included the great Big Walter Horton on harmonica. Two albums on Delmark, recorded in 1968 and 1972 followed each showing J.B. tobeanartistthat was transcending the Elmore James school of blues. His last Delmark album 51 idewinder displayed on a track "Too Late" a remarkable lyrical and vocal sensitivity. J.B. has had several albums issued overseas and his most recent album, a Swedish release Blues For Fontessa was highly rated by Blues Unlimited. Reviewer Dave Wi II iams wrote of J.B. that "It's so refreshing not to have all those Elmore licks paraded in mechanical sequence yet again ... His(J.B.'s) singing is harsh and declamatory in style and he invests the songs with tremendous credibility. There is no hint of triteness or casualness which unfortunately can sometimes be traced in a lot of modern blues." J.B. can boogie a crowd till they are tired, but he can also put over a slow blues with great sensitivity. He wi II be accompaniedby Brewer Phillips and Ted Harvey. They are the House .Rockers and were the late Hound Dog Taylor's band. One can't find better musicians anywhere to support J.B.'s tough driving music. Shakin' Smith and h·isBiuesBandwillalso be appearing, so it should be five great nights of blues at the Bona Vista. J.B. Hutto discography (selected) Chicago Blues the Early Fifties - Blues Classics (2 cuts) On the Road Again - Muskadine (3 cuts) Chicago the Blues Today Vol. 1 - Vanguard (5 cuts) J~B. Hutto and the Hawks, Masters of Modern Blues Vol. 2Testament Slidewin.der·- Delmark 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store Hawk Squat! - Delmark J.B. Hutto - Blues for Fontessa - Amigo (Swedish) FESTIVAL ANNOUNCES OCTOBER CONCERT Festival Concerts is continuing to present jazz concerts in Buffalo, after recent successes with V.S.O. P. & George Benson. On October 7 you can hear South America's tenor wizard Gato Barbieri at Kleinhans Music Hall. As of this writing there's a tentative booking for The Crusaders for October29. Vocalist Phoebe Snow returns for a concert on October 28. Both of these events will be held at Shea's Buffalo Theatre. Look for the ad in this issue. for further details. BRITHDAY GREETINGS We at the BJR would I ike to congratulate master drummer Elvin Jones, who celebrated his 50th birthday on September 9. Hope to see E I vi n back in town soon. WBFO Fall Membership Week presents Broadcast Concert and Dance 2·Great Buffalo Bands·2 C.Q.Pric:e Big Band 8-10 pm Spyra liyra llpm-lam Terrace Room-Statler Hilton Monday, October 17 $3.00 admission supports jazz on WBFO �HA~R CUTS ETC. 1098 ELMWOOD AVENUE 886-8650 CHANGES Life is full of changes and some of the BJR staff experienced a few recently. Bill ~ Paula Wahl have a baby girl. Emily-Maya Wahl was born on September 8, weighing in at 5 lbs. 2 oz: with a big smile on her face. John. Hunt was recently marned, as was "Son of Jazz" Bi II Besecker. LIVE MUSIC REVIEW Due to a shortage of space this month, and the need to cover coming events, there will be no live music reviews. . However - a few words have got to be said regardmg Joe ·Henderson at the Tralfamadore. It was a fantastic three nights of music, with powerhouse Joedeliveringsometopflight, solid, pure mainstream jazz. Pianist Joanne Bracke.enwasasgood or better than anticipated and gave the Tralf's baby grand a supreme workout. Thanks for the tunes Joe! cfiZZ~~mm PRODUCTIONS PRESENTS THAD JONES -MEL LEWIS ORCHESTRA SAT.,OCT.15 8:30PM Nazareth Arts Center Rochester Tickets: $5 advan~e $6 Door Available at Arts Center Box Office, Music Lovers Shoppe (Monroe Ave.), all Roch. Record Theatre .Stores, u. of R. & R.I.T. Student Unions & The Village Shoppe or send check or money order to Jazzscene Prod., Box 3627, Rochester, N.Y. 14609. son of jazz bill besecker Sonet Records of London has a series of jaz·z albums which it terms "Giants of Jazz". It features American artists of various repute in settings appropriate to their own fancies. Some of the albums were recorded in Europe with international sidemen. Others were recorded in NYC with completely American casts. The producer is Sam Charters, a man who has an uncanny knack for creating along with the unscathed transfer of sound quality from studio to vinyl, some excellently written I iner notes and attractive concepts of jazz album presentation. Of exceptional note in the series are albums by trumpeter, Art Farmer, and a trombonist by the name of Vic Dickenson. The Farmer LP, A SLEEPING BEE (Sonet SNTF 715) features Ad, playing with an old standby, Red Mitchell on bass, and an international crew including Jan Schaffer on guitar and Goran Strandberg on piano. The music is straight-ahead nononsense stuff, with good melodies, good solos and a good handle on the past. A past from which Farmer still, as Charters says, "glean( s) new bounties from a harvest that's a I ready been marvelously full." TROMBONE CHOLLY (Sonet SNTF 720) is Vic Dickenson playing Bessie Smith along with Joe Newman, Frank Wess, Ray Tunia, Jackie Williams and Milt Hinton. Though none of the above ever played with the famed Ms., they show an adept awareness of her power and personality. The tunes are not all blues (12 bar), but they do give to each that same "blues" feel that was the spark of Bessie's reputation. Take an all female string quartet, combine them with five male players of more traditional jazz instruments and the result is an interesting blend of American style "French" jazz from a group calling themselves, ZAO SHEKINA (RCA/Victor FPL - 1 - 0097). The group, though modern, is not that modern so as to forsake the natural tonality of the classical string quartet for that of a string synthesizer. The breadth of dynamics and color possible from this group is almost limitless, primarily because of the strings but also because a well knit duo of percussionists. The arrangements are the key to their lovely sound, and despite the sometimes awkwardness in arranging multiple time signatures, the group is very compli-. mentary. Compositions are the work of pianist Francoise "Faton" Cahen and the reed player, Yochk'o Jeff Seffer. Janos Gonda is one of the giants of Hungarian Jazz. He has been leading ensembles there since 1962. He has composed for small jazz ensembles, modern dance companies, and films. He is the leading instructor with the Bela Bartok Conservatory since the founding of that institution in 1965. His music is a classic example of the melting pot of the world's musics. His latest LP is entitled SAMANENEK, or SHAMAN SONG (Pepita SLPX 17484). The title song borrows from Hungarian folklore the image of the "Shaman" or medicine man, who can communicate with the supernatural forces. The atmosphere for this strange vision is set with a backdrop of jazz tonal colors hig~-. lighting the mysterious voice of Tamas Berki. Berki conjures voices of pre-history while at the same time displaying the full gamut of a jazz singers control and technique. The language itself is totally unfamiliar which may contribute a portion of the mystery. The other highlights of the album are Gonda's piano work, the soprano and alto of Peter Kantor, the trumpet of Endre Sipos and the trombone of Karoly Friedrich. In their initial release in the states, two of the early albums of Michal Urbaniak have been re-released in a double LP set entitled MICHAL URBANIAK GROUP -THE BEGINNING (Catalyst CAX 7909). The albums feature a mixture of unheard tunes along with some familiar Urbaniak compositions under unfam i I iar titles. The albums are lacking the over-produced sound which was later developed for his Columbia albums, and this in itself adds more value to the music. Much clearer are the roots of Urbaniak. There are tunes which resemble the tonal content of Miles' "Little Church" and Weather Report's "Morning Lake". Also, the music is much freer. There are more avant-garde pieces. Urbaniak also plays sopra~o s~x, flute and tenor sax, instruments for which he was pnmani_Y known before his switch to violin. Urszula i.s here also, a b1t less confident of herself but much more exciting because of _it. In great form also is Adam Makowicz, who years later adm!t'ted his dis I ike of electric piano, but who here performs w_1th the best of them in what he had termed an exciting learnmQ 4 experience. B.B. Jj ��- dEAN·LUC PONTY An Interview with John Hunt Jean-Luc Panty's first Atlantic recording group as a leader had barely been in existence a week when he was booked into Mulligan's night club in Buffalo to a crowd of a couple hundred people in 1975. In the two years since then things have changed greatly forthe34yearoldviolinist. He has won Downbeat magazine's critics' and readers' polls as the top jazz violinist and plays to sellout audiences in concert halls over the world. His recent Atlantic album Imaginary Voyage sold more than 200,000 copies and Ponty returns(ed) to Buffalo with all of this success under his belt Sunday, October 2 at 8 pm in Clark Gym at the University of Buffalo Main Street campus. Ponty was born in the small Normandy town of Avranches in 1942 into a family where his mother and father were both classically trained musicians. He began taking viol in lessons at age 5. At age 17 he was awarded first prize by the Conservatoire National Superieur and then spent three years with the Lamoureux Orchestra. While maintaining his classical lessons, the active Paris jazz scene attracted Panty's attention andsoonhewas jamming regularly with jazz musicians on clarinet and viol in. Those early jam sessions in Paris were the foundation which eventually led to associations· with Frank Zappa, John McLaughlin, Stephane Grappell i, E Iton John and George Duke. In an interview for WBFO recently he explained that despite his numerous collaborations with jazz musicians and winning jazz awards, Panty does not consider himself to be a jazz musician anymore. PONTY: I left the jazz world a few years ago. I always hated categories but once I really was a pure classical musician, then I was a pure jazz musician and I have suffered of that prejudice in the jazz world. The ki.ng instruments were the wind instruments like sax and trumpet and I was being considered to play an odd instrument. That's not the reason why I moved to jazz/ rock but I had much more affinity with progressive rock musicians who were dealing with respect and curiosity with electric instruments. I was much more respected and admitted in their 6 . ---, ranks than by jazz musicians. I wou~dn:t say all jazz musicians but most of them had that same preJUdice toward the evolution of electric instruments as classical musicians had toward jazz musicians. That kind of prejudice was always pretty stupid to me. That's why now I feel perfectly at ease because I'm in no category at all ... and I'm being accepted by more and more people. HUNT: How do you feel about consistently being at the top of the polls for jazz violin, then? PONTY: I am voted (highly) in many polls and I don't attach too much attention to it. Maybe I wi II when I disappear from those polls (laughter). When people tell me, "Oh, you're again first this year in Downbeat," I would be a hypocrit to say I'm not flattered. It's great to hear you're first somewhere. What really pleases me much more is to see the inspiration and sometimes influence I haveonyoungerviolinists, younger musicians taking up the violin. Or when a keyboard player from a famous rock band comes to me and says, "You're viol in playing inspired my synthesizer playing," for instance, that's great. HUNT: When you talk about innovations and willingness to accept new ideasamusicianthatcomestomind is Frank Zappa. How was the experience of working with him? PONTY: It was very interesting and enriching because of his open mind to anythingnew.ltwashis professionalism which was the first thing that struck me. Frank Zappa was the first famous rock musician with whom I toured. It was his difference of approach to a show between him and jazz musicians. A greater respect of the audience and much more concern for other people in their attention to sound. There was a tendency among jazz musicians at a certain time to not worry at all how it sounded in the room as long as they could hear themselves well on stage. HUNT: What you seem to be saying is that you'd like to dispense with all labels. PONTY: As far as putting a label on it you'd have to put at least classical, jazz and rock. I had been so excited by the energy and rhythm of jazz that was so influenced by the Black culture of the Black Americans which was a totally fresh approach in music and sound. It was pretty exotic and foreign to my own roots and it was lacking the structure and discipline of classical music. Sometimes rock musicians lack the skill and flexibility in improvisation that a jazz musician has. The ideal form of music for me was to incorporate the three forms. HUNT: Stephane Grappell i is a I so from F ranee and you've done an album with him. He must have had somewhat of an influence on you. PONTY: Stephane has not really been a musical influence but he has been a very psychological inspiration for me because when I became interested in jazz and I started using the violin then I discovered that other violinists existed and had done that before. The most accessible to me in France was Stephane Grappell i. His music was another style. That is, when I started playing jazz I was attracted by more contemporary styles. The jazz of the early sixties. Stephane was still playing the music of his age, the jazz of the latethirties, early forties which was the swing period. That's still the style he plays but what's fantastic is thathehassomuchfireand honesty and being so faithful to his own personality. I have seen alot of older musicians trying to adapt to changing times and failing and losing their personality because of that. Stephane is a great example for all the young musicians in that respect. He is a true artist and has been recognized as such by the greatest musicians I've known in the jazz or classical world. Even in the rock world, a group like Pink Floyd calls him to record with them: It's amazing to see how recognized he is by all kinds of musicians. All this to say, Grappelli told me to go on- that I had something special and that he never heard anybody use the viol in like me in jazz. Which was fantastic because at the same time he could have treated me as a competitor. To encourage me to go on proved how much of a true artist he is. HUNT: Talking of the violin, I wanted to askyou what kind of set-up you have for your viol in in performance? PONTY: They are Barcus Berry violins. They are notcustom made for me they are standard; made and sold by the hundreds. Mostly to rock bands all over the world and country fiddlers as well. It's a violin body, not a solid body. I have one that is a regular violinasfarasthe tuning is concerned. Then I have a five-string viol in. The extra string is lower. It combines the range of a violin an·d aviolatogether. It's very, very useful for me to play I ines with the guitar for instance, which goes 11 ! · �Photos of Jean-Luc Ponty by Michael Ketter very low. Then I have a bass viol in which Barcu·s Berry calls a "violectra" - four strings tuned like a violin but one octave lower. It sounds very close to a cello. So I basically use three different viol ins on stage. All this goes through a custom bui It device box which has echoplex, phase shifters and all kinds of electronic devices that I had selected over time instead of all those separate units. So I can use them all together, separately or in different combinations. It's my instrument and I'm a violinist even if I use an electric violin. I've has a violin in my hands since I was three years old therefore I'm comfortable with an acoustic viol in. I even recorded some acoustic music on the two first albums, Upon the Wings and Aurora. People identify my sound asanelectricsound.l can play the acoustic violin but it is not really my major work. I like it just to have the whole sp.e~trum of sound possible on the viol in, from the purest old trad1t10nal sound to the most perverted electronic sound (laughter). HUNT: Do purists in either jazz or classical criticize you . for your use of electronics? . PONTY: Not too much because not too many classical violinists come to see me. lnterestmgly enough, its mostly in the States that I see young classical players- violinists or cellists or stri~g players in general,- being interested by what I am do mg. It s great because I don t see that very often in other countries. Nevertheless some of those yo~ng people say, "Why don't you play more of the acoust1c v1oli.n?" I know where they're coming from because I had.tog?thri:>ugh the same prejudice myself. Wh~n I started bem~ Interested in jazz and 1 heard that Stuff Sm1th, a black Amen can, had used an electric violin and at least was amplifying his violin and my first reaction when I heard this was, "Oh what is this? Putting a pick-up on a violin?" When I first started playing jazz 1 realized I couldn't .fight the volume of drums without amplification. I realized I had to buy an amplifier myself and put on a pick-up if I wanted to be-heard. But I found the sound was really ugly and different from a classical viol in. So rather than trying to reproduce faithfully a real, pure violin sound I got the idea to develop a new sound. In a way, it made me play differently. I got a kick out of it. A bit later I started taking off from the idea of violin and just pioneering andtryingtofind an electric sound on the viol in. HUNT: Other than Grappelli and Smith therewerefewother models for you to follow for jazz violin. When you first heard jazz as a young violinst what made you decide to play that form of music? PONTY: It happened by accident. I started playing jazZ on clarinet which was my third instrument. One day I was jamming somewhere and didn't have my clarinet with me. All I had was my viol in so I took my viol in and jammed and musicians came to me and asked me where I came from and how I came to jazz with a viol in. I said, "I'm a classical violinist but I play jazz on clarinet and picked up my violin tonight." They said, "But nobody uses the viol in I ike that. The.re are violinists playing jazz WBFO Fall Membership Week presents Trio Terrifique at the Tralf al lou max TINNEY MARINO THEIN p1ono drums boss Frida~. October 1~ and Saturda~. October 15 Tralfamadore Cafe 2610 Main Street $2.50 admission benefits WBFO jazz programming �but I've never heard anybody like you." Out of curiosity I tried buy any album by any jazz violinist I could find. I couldn't find many especially in Paris. I realized nobody was using the viol in in a contemporary jazz style which was bebop, you know Miles Davis and that kind of musician. So I discovered since nobody was doing it I had a chance to do something really new on the viol in in thatfield. That's how I got into jazz on the viol in. HUNT: If youweretalkingtoanaudienceofyoung people just getting started on an instrument how wouldyoutell them to approach it, to fulfill their goals in music? PONTY: To be very dedicated. I had the chance to find one musician I ike Stephane Grappell i who encouraged me to leave the classical music and to go on because he said I had enough talent to do it. But if I didn't meet Grappelli and listened only to other guys they would have discouraged me and its very dangerous to I is ten to other people. I think you have to I i_sten mostly to yourself and find out if you really have enough fa1th and perseverance. If you really have a strong enough feeling about something you are going to pursue it somehow. Some rr:usicians have become very famous without much background 1n music. In my case, everything I've done helps me today. _The fact that I had alot of training in writing and reading mus1c and learning the techniqueofhowtoplaytheviolin and even piano, everything helps me today. I think it's good to have as much knowledge as possible in order to be prepared and be able to evolve. HOUSE OF GUITARS to Upstate's Music Building •3 Floors of Musical Instruments for the Rising Young Stars from Earth" - Fan letter Quote *Lots of Used Gibson Jazz Guitars *Save up to 70% on Professional music equip. Most Jazz, Blues, 2 for 1 Deals on Blank Rock albums Tapes - 3.85 ea. RECORD REVIEWERS: Bill Wahl (B.W.), John Hunt (J.H.), Tom Mazzone (T.M.). Ron Weinstock (R.W.). PaulSmith(P.S.), Jim Laniok (J.L.). CHICK COREA- A.R.C. - ECM-1-1009 Recorded in January 1971, A.R.C. represents a period of major transition for Armando Anthony Corea. It was recorded just after he had been with Miles Davis and before the Paris "Circle" concerts that included mult1-reedman Anthony Braxton. Chick's accompaniment on A.R.C. is bassistDavidHolland and percussionist/drummer Barry Altschul who have lately been working extensively with Braxton. The association between Holland, Altschul and Corea actually began late in 1970 just after Holland and Corea had left Miles, sothere existed a great deal of empathy amongst the trio that allowed them the free~ dom to musically explore. A.R.C. is more improvisatory than anything Corea's new fans have heard but there are familiar sign posts. Side one opens with an expansive version of Wayne Shorter's Nefertitti where Corea swirls in and around the melody, stating it in only the briefest possible terms. Ballad for Tillie and A.R.C. also utilize a very bare structure allowing a maximum of improvisation. Holland's bass playing prods but also compliments precisely while Altschul uses all manner of percussion including bells, whistles and effective conventional drumming. It has been written that Chick felt he wasn't sufficiently communicating with his audience during this "Circle" period although he was musically satisfied. Thecommunicatio·n is in abundance between Corea, Holland and Altschul and for those who are only familiar-with Chick's "Return to Forever" efforts you should make A.R.C. part of your collection to gain the proper perspective on his music. J.H. *Specials on Moogs, A.R.P ., Oberheim, Roland, Polymoog Synthesizers *Save on Fender Rhodes pianos, R.M.I., Hohner, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards. *Sunn & Moog lab amplifiers for keyboards. *Up to 70% off on Pro Drum Sets - new and used selection (all brands) *D'Angelico New Yorker on displa;r *Gibson's Howards Roberts, L5's, Johnny Smiths, Byrdlands (Guild Artist Awards) *1/2 off on drum heads - 1/2 off on microphones *Large selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets. *Drum sticks (nylon or wood tip) $1 pair *Good selection left handed guitars *Sale on all brands of guitars, basses and amplifiers - Gibson, Fender, Guild, B.C. Rich, Martin Alembic guitars and basses; Sunn, Ampeg, Music Man, Marshall, Kustum, Mesa Boogie & Polytone Jazz Amps. *New and used horns - trumpets, saxes, trombones, flutes, woodwinds, flugelhorns. *30% off music books, instruction books, headphones *Imported LP's, rock star T-shirts, strobe lights, hit 45 singles. *Switchblade combs $7.98 *No admission - No cover charge. Free limited addition H.O.G. Bumper Stickers, Buttons. 645 TITUS AVE. Ph. 716- 544- 3500 ROCHESTER, N.Y. (The House of Guitars Luvs You Baby) Open Mon.-Sat. 10 AM-9 PM/Sun. 1-5 PM. Take N.Y.S. Thruway to Exit 45 on to Expressway 490, to Express 47 North to Titus Ave. 8 MUNDELL LOWE -GUITAR PLAYER - DOBRE 1007 Mundell Lowe is a Mississippi native whose been I iving in California for the last twelve years doing writing and studio work. He's a skilled guitarist and it's a pleasure to listen to him on Guitar Player, as he plays seven cuts with the backing of bassist Nick Ceroli & drummer Monty Budwig. There's a lot of guitar to be heard here and the music is pure, clean and thoroughly enjoyable. Although Lowe is a respected composer, only one tune is his - the ballad Early Morning Soft Shoe. The version of Bird's Scrapple From the Apple is a standout, and two Ellington tunes are on the pro-. gram ...: Satin Doll & Prelude to a Kiss. Most of the cuts are quite laid back although Scrapple moves alongwell. It's melody thats the major theme here. In listening to Lowe, parallels can be drawn to the sound :_,_, �four tunes, my favorite is Harold's House of Jazz. It's the longest cut (13 minutes). but its also the only fast up-tempo cutwhich is the best vehicle for a "battle". It doesn't just cook it burns, offering plenty of room for Cole & Kloss to show their wares - and they do. The alto-ists are the only soloists throughout both sides, except for a briefstatementfrom Laird.· This is a good buy for alto freaks! The Adelphi record joins Cole with the Reuben Brown Trio - a fine Washington D.C. area rhythm section whose sound is tight and well oiled. This music is more bop oriented than that of the "battle" disc - straight ahead and (for the most) it swings. Cole brings Phil Woodstomindashe rips through such numbers as Bird' s Confirmation and the hot title track. There's also a version of Lucy & Desi - the old I Love Lucy theme jazzed up. Bernard Sweetney's drumming is clean, crisp and accurate. Sweetney has always been a tasteful drummer, and can be heard to good advantage discs with Andrew White. This band, called "Alto Madness" can often be heard in the D.C./ Philadelphia/New Jersey area and is obviouslywell rehearsed. Both of these albums should give you a good amount of pleasure astheyintroduceRichieCole.l'lllookforward to more from Cole (& Kloss) soon. · B.W. of other guitarists such as Jim Hall & Barney Kessel. If you want some nice, soft guitar music in your diet- Mundell Lowe B.W. can fifl your needs. BOBBY HUTCHERSON - KNUCKLEBEAN- BLUE NOTE LA 789 Blue Note records has changed directionsodrasticallyover the last few years that this record seems way out of place in their later catalogue. The fact is that its more typical of the quality mainstream jazz the label was known for in the sixties, and Bobby Hutcherson is their only remaining artist to keep those memories alive on new recordings. Holdovers from his previous discareBobby'sregularbandmembers Manny Boyd/flute & saxes,.bassist James Leary and drummer Larry Nash. Guest Freddie Hubbard solos on all but two tracks and sound in good form. Hutcherson plays both vibes and manmba and solos on each cut except 'Til Then - a short ballad feature for pianist George Cables and Boyd's flute. Hadley Caliman - a powerful West Coast tenorman offers a noteworthy solo on Knucklebean - tied with Sundance Knows. For the albums hottest cooker. This is an acoustic sound- infactGeo. Cables plays almost all acoustic piano - using the Fender Rhodes only on the spacey ballad Why Not. A very enjoyable, balancedandwell performed album .from Bobby Hutcherson. B.W. MONNETTE SUDLER QUARTET /QUINTET - TIME FOR A CHANGE - INNER CITY 2062 ,.Every now and then an unknown artist comes along with incredible talent sweeping people off their feet. Along comes just that kind of musician - a 24-year old tiny woman from Philadelphia and a hell of a guitarist - Monnette Sudler. The album opens with Easy Walker & Monnette soon bursts forth with a torrent of technique and energy. She immediately comes across as a blend of Wes Montgomery & P<!t Martino. She's fast, quick thinking and sure of herself. Time For A Chnage is straight ahead, swings and is, again, well done. The band consists of four more Philadelphians whose names aren't at all familiar to me but their work is admirable throughout. The program is well varied, including a vocal from Sudler on A Love Song. All six compositions are hers and the music is all acoustic, except of course for here electric guitar- which RICHIE COLE & ERIC KLOSS - BATTLE OF THE SAXES VOLUME 1 - MUSE 5082 RICHIE COLE WITH THE REUBEN BROWN TRIO - STARBURST - ADELPHI 5001 These two albums featuring alto saxophonist Richie Cole offer some good music in differing veins. The Battle album, on Muse, pairs Cole with altoist Eric 'Kloss for an energized I ive session at the Tin Palace in New York. Cole's playing is rooted in be-bop, while Kloss' hard, biting sound reflects a contemporary style of his own, which is documented on over a dozen fine records under his own name. Mickey Tucker, Rick Laird & Eddie Gladden comprise the rhythm section, which is well suited for the occasion. Of the 3 GREAT CONCERTS COMING TO BUFFALO IN OCTOBER! * * &ATD BARBIERI FREDDIE HUBBARD and * FRI.OCT. 7th 8:3oPm KLEinHAn/ mU/IC HALL *•'----------------------*----------~----------* FRI.OCT.28th PHOEBE SNOW ~~~~.:~UFFALO . and OPENING ACT TO BE ANNOUNCED * THE *-----------------* CRUSADERS FEATURING SAT. OCT. 29th 8:3oPm /HEA•J BUFFALO STIX HOOPER' ROBERT POPWELL' JOE SAMPLE' BILLY ROGERS and WILTON FELDER * All Concerts Above Brought to you by Festival East Concerts. * Tickets for All Concerts on Sale at Festival Ticket Office in the Statler Hilton & all their Outlets in Western N.Y. & Canada including U.S. Norton Hall, Buffalo State, all Man Two Stores & Pantastik Stores, D'Amico's in the Falls, Sam the Record Man Stores, The Tralfamadore & Audrey & Del's. �•· - - - - - - - - - - - - - - - - - - - - is straight with no effects. This is a Steeplechase recording issued here by Inner City. Most of the records from that Danish label offer music of extremely high quality. Time For A Change is no exception. B.W. a most interesting and spiritual album (another aspect of the Ayler legacy). If I have stressed the I inks of Murray to Ayler it is not to slight his own individual development or a very personal development of a tradition that has been much neglected by other players of the new mus1c. With such an excit~ ing release one awaits the further flowenng and maturing of David Murray with great anticipation. R.W. JOE MORELLO/GARY BURTON/BOBBY CHRISTIAN - PERCUSSIVE JAZZ- OVATION 1714 First of all, there are a few factual errors which should be pointed out with regard to this album. In looking at the coverclosely - tt is apparent that this is a new recording. It is not. It also appears that Gary Burton is heard throughout. He isn't. And who on earth is Bobby Christian? Half of these cuts come from the Morello disc Another Step Forward - a rather dull 1969 big band release on Ovat1on. Burton isn't on any of those cuts, though he is (presumably) on three pop cuts with another vibist (Bobby Christian?) in a quintet setting. The remaining tacks could be anybody - any ideas? It's great to be around during the age of re-issues but don't bother with this one. Side two cut two explains it well- "Give Me a Simple Tune". B.W. GARY PEACOCK - TALES OF ANOTHER - ECM 1101 Gary Peacock is one of the most superior bassist~ in all of jazz, though few people are even aware of h1r:" Since he has never really gained success on the commercial levelsuch as Ron Carter and others. An exceptionally strong bassist and improvisor, Peacock has recently been working as a member of the Paul Bley Trio. Tales of Another is a trio recording with Keith Jarrett and Jack DeJohnette. The six compos it ions are Gary's, ranging from the gorgeous, floating lyricism of Vignette & Trilogy 1, to the straight ahead Trilogy II, and on to the rock1ng major Major. Free improvisation comes across in .a mild formon Tone Field, and with more mtens1ty on Tnlogy IlL Unl1ke many bassist led albums, Gary doesn't grab the spotlight and hold on to it. He and Jarrett are equal partners 1n the front, with DeJohnette adding percussive color as an omnipresent yet totally unobtusive drummer. Note his bright cymbal work on Vignette- a song he plays magn1f1centlywithout ever touching a drum. Peacock's solo on the same cut is a gemi Jarret.t's is beautiful. It's particularly enjoyable to hear Keith playmg someone elses compositions, since I find his own to be falling into a rut of sameness. These three men are superb musicians, and this album is a case of the sum being equal to its parts. It's a fine record that'll please a good many people. Jarrett solo fans especially take note. B.W. PREVIEW SPYRO GYRA - SPYRO GYRA - CROSS-EYED BEAR Although the album has not been released yet, I had the opportunity recently to hear the master tapes of Spyro Gyra the first album by the group of the same name. Jeremy Wall/ keyboards, Jay Beckenstein/saxophones and Jim Kerzdorf~r/ bass comprise the nucleusofthegroupwh1chhas been an act1ve force on the jazz scene in Buffalo for several years. Also Included on the album are Tom Walsh, the original drummer who has since gone on to become percussionist with the group America, David Samuels participating on vibes on a couple of cuts and pianist Tom Schuman. The album notonly shows the.m to be most able musicians as their fans all over Buffalo will attest but they are clearly in control of all aspects of production as wei!. Standout tunes include ShakerSong,Leticia,and Pigmy Funk which includes an inspired solo by David Samuels. When the album is released a completereviewwillappear in the BJR but what I've heard so far indicates it should please their loyal listeners and earn them a great deal more. J.H. DAVID FRIEDMAN - FUTURES PASSED - INNER CITY 3004 Vibraphonist David Friedman has been heard on numerous albums for CTI as their "house vibist" and also worked with Tim Buckley, Horacee Arnold, Hubert Laws, Horace Silver, Jackie and Roy, Wayne Shorter andothejs. Recently, however, Jackie and Roy, Wayne Shorter and others. Recently, however, he's been on his own as a member of a group with no leader as such, Double Image. On FuturesPassedFriedmanhasthe room to display his instrumental and composit.ional skills and make a wise choice of personnel. Bass 1st Harv1e Swartz shows gr~at feeling for Friedman's style andshould because he (alongwdh David Samuels and Michael DiPasqua) make up the cooperat1vely led Double Image. Side one opens with Rachael' s Samba, a bright piecF! written by Swartz that includes the voice of Rimona Francis. It's followed by Rodney's Dream of Fantasy and SelfFulfillment a Friedman composition that opens with a delicate duet between Friedman and pianist Pat Rebillot, then the tempo picks up with predominant bass line by Swartz and drumming by Bruce Ditmas that f1ts well. The mus1cseems h1ghly orchestrated with distinct movements and prec1se parts for each instrument much, like the classic European interpretations of jazz. In this regard, the music s~ffers .somewhat from a lack of spontaneity but Futures Passed 1s mus1c that w1ll undoubtedly attract a large segment of the jazz audience. J H. DAVID MURRAY - LOWER CLASS CONSPIRACY- ADELPHI AD5002 This is I believe the young tenor player's second album and a potent package announcing a major new force in the new music. Murray reminds one of the late Albert Ayler in the wideness of his tone and the crying, bluesy feeling which characterizes his playing. With very sympathetic supportfrom bassist Fred Hopkins and drummer Phillip Wilson they produce tight, cohesive, free and swinging music. Extreminity the opening track is a solo performance which demonstrates his imagination and command. Dewey's Circle features some strong work by Hopkins and Wilson,eachofwhomare masters of their own instrument. Low Class Conspiracy is reminiscent of the dirges recorded by Ornette Coleman and Albert Aylerwhereas B./T. is a very driving treatment of a boppish theme. Fred Hopkins does a solo Dedication to Jimmy Garrison completing BONA VISTA 1504 HERTEL Sun. -MF Buzz Band Mon.- Spyro-Gyra Tues.- Billy Brite Thurs.- Bahama Mama PHONE 836-8985 CANOl'S KITCHEN OPEN 5 PM -CLOSING 10 COLLIN WALCOTT - GRAZING DREAMS- ECM 1096 Walcott the amazing sitarist from thegroupOregon,marks his second ECM release as a leader with Grazing Dreams. His previous album - Cloud Dance, featured guitar.ist John Abercrombie, who is the only holdover for th1s recording. The quintet format includes Don Cherry/trumpet, wood flute and "Doussin' Gouni", Palle Danielsson/bass and Dom Un'l ~omao/ berimbau, chica, tambourine and percussion. There's a d1ffere~t energy here than found on "Cloud Dance"- a .softer, more meditative sound, very much in tradit1onal lnd1an modes. ~alco.t\ Cherry and Abercrombie are up front, e1ther .engag1ng In qUie interplay of moving over a bed of pe.rcussion. Cherry's trumpet is melodic, I ight and serene - 1n fact, those words would probably best describe the entire album. This is not jazz/rock or "crossover" music, but rather~ finely blended mixture of lnd1an mus1c and Jazz. The sou~ quality, as you'd expect from ECM, 1s excellent. B. · �EDDIE HENDERSON Com in' Thrl'" onh GARY BARTZ Music Is My Sanctuary THEDOMENIC TROIANO BAND Bumin' At Stake 0 Capitole Now at Super-Sale Prices! CAYAGES NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL ,~·~ SENECA MALL EASTERN HILLS MALL MAIN PLACE MALL SOUTHGATE PLAZA BOULEVARD MALL SO. SHORE PLAZA THRUWAY MALL COMO MALL UNIVERSITY PLAZ4 LOCKPORT MALL �blues by ron weinstock The Belle Starr has continued to bring in top blues acts with Edie Shaw and the Wolf Gang in late August and John Lee Hooker in mid September. Hooker who also appeared at the Buffalo State Good Time Festival was enjoyable with a good band. The late Howl in' Wolf's back up band was a delight with the truly unique guitar of Hubert Sum I in playing some of the most outrageous yet appropriate guitar licks to be heard. Shakin' Smith and his band sounded fine supporting the Wolf Gang. One bad note was that Detroit Jr., a fine pianist and singer returned to Chicago from Buffalo and others were leaving after some New York dates so the Howl in' Wolf's band is no more. Muddy Waters, James Cotton and possibly Albert King come in October. Check their ad for dates. B.B. King and Bobby Bland appear after this is written so I'll review next month.· Don't miss J.B. Hutto·and Shakin' Smith attheBona Vista and keep your ears open for the opening of James Peterson's New Governor's Inn. Speaking of John Lee Hooker, his King album Moanin' and Stomp in' the Blues (KS-1085) featuring twelve great early sides has been put back in circulation by Gusto Records. Another King set worth checking is Memphis Slim's Messin' Around With the Blues (K-1082). This album is mostly jump blues, with a band having two saxophones but no guitar, and is strong direct blues of the period. Fine piano is also heard on Blues for Everybody (K-1084) Champion Jack Dupree combines tongue-in-cheek lyrics and vocals with barrelhouse piano. Some tracks also have nice harmonica and slide guitar. John Lee Hooker is the most famous blues artist to emerge out of Detroit. Bobo Jenkins founded Big Star Records to help promote himself and other Detroit artists and has just put out an anthology Detroit All Purpose Blues (B.S. 1550) with Bobo and lesser known Detroit bluesmen. Despite sound which is usual for Bobo's own studio (Don'd expect super hi-fi) this is a pretty entertaining if mixed set. Bobo has five pretty decent CHICAGO BLUES AT ITS BEST .a.a. • 88TTA & The House Rockers (Brewer Phillips, Ted Harvey) also: Shakin, Smith Oct.I2-16/Wed.-Sun. BONA VISTA 1504 HERTEL 836-8985 efforts and Buddy Folks does two very primitive sounding tune ala. Jimmy ~eed. The singer Blind C:hild has too harsh an~ l1m1ted a vo1ce t? f!!ake what c~uld be Interesting songs work Steel Wheels_ (W1II1e Y'Jarren) 1s the top one here as his tw~ songs show h1m asa fme modernbluesmenwho I'd like to hea more from. I wish the organist on most of the tracks wasn·~ used as the sound grates after a couple numbers. This is a mixed set which Bobo can supply at Big Star Records, 422S Joy Road, Detroit, Michigan 48204. Bobo has also founded the Detroit Blues Club and organized a blues festival featurin Detroit'_s artists <;~nd his efforts for the b!ues deserve the sup~ pori. H1s own album, Here I am a Fool 1n Love Again, he can also supply. J. B. Hutto's latest album, Blues for Fonessa (Amigo AMLP823) shows him to be still one of the most basic Chicago blues artist around. This was recorded with competent, if somewhat stiff, Swedish musicians during a tour in early 1976. J.B. is able to transcend the limits of his backup and produce a completely convincing set of blues. One side was a studio date and J.B. redoes his classic "Things Are So Slow". Muddy's "Blow Wind Blow" is freshly recast by J.B. and a hot slide boogie and the title track, a really fine slow blues with great vocal and slide are other strong performances. The other side was recorded I ive in concert and includes stronq and original reworkings of B.B. King's "Why I Sing the Blues", (done in a slow tempo) T-Bone Walker's "Stormy Monday" and Howlin' Wolf's "How Many More Years". J.B. sounds fresh and vital throughout this album. This is a fine record which Southern Record Sales can supply. Though its been out for some years now I only recently got Son House's Library of Congress Recordings (Folkluric 9003). Son House is one of the giants of the Mississippi Blues and a great influence on Robert Johnson and Muddy Waters. This album contains all the recordings made by Alan Lomax in 1941 and 1942 down in Mississippi and is most highly recommended. Folklyric is distributed by Arhoolieandanotherolderalbum I recommend is Earl Hooker's Two Bugs and a Roach (Arhoolie 1044). John Lee'scousin,thelateEariHookerwas an incredible guitarist highly regarded by his fellow Chicago bluesmen. The album opens with "Anna Lee" with stunning slide guitar followed by the jazz flavored instrumental "Off the Hook". Carey Bell's debut recording follows and "You Don't Want Me" introduces Earl's tasteful use of thewa-wapedal. This track and two other instrumentals show how he was one of the first to transcend it as a gimmick. Andrew Odom does a B.B. King type tune with Earl's guitar in support and the title track is a talking blues with Earl and Andrew. The topic is tuberculosis (which eventually took Earl's I if e) as Earl taunts the TB bug with a couple of spectacular guitar breaks. Do pick up on this one. Dr. Ross's His First Recordings (Arhool ie 1065) collects the earliestandmostlyunissuedsidesbyafine bluesman. These early sides feature some wildharmonicaandtouchesof Tommy Johnson and John Lee Hooker. Sun Records' Sam Phi II ips was the first to record Dr. Ross for both Chess and Sun and these sides come from those sessions. Great examples ofthe amplified country blues of the Memphis area are included here. Recorded over a decade ago, Johnny Young and His Chicago Blues Band (Arhoolie F1029) isafinealbumof straight Chicago blues. Accompanied by portions of what was then Muddy Waters band, Johnny is heard with James Cotton and Otis Spann. A number of tunes are duets with Johnny on mandolin and Otis Spann on piano. Cotton plays strong in support on sides with a full band which includes the ori gina Ivers ion of "Wild, Wild Woman", a song followersofShakin' Smith should be familiar with. The original is taken at a slow tempo. Arhool ie also has a fine album featuring Johnny with Big Walter Horton (F1037). and there is an exemplary album Johnny Young and His Friends on Testament (T -2226), that provide a fine recorded legacy to a solid traditional bluesman and. one of the few mandolinists in modern blues. Reminder that my program Old Time Shuffle moves to 10 PM Tuesday night on WBFO. Babe Barlow hosts Shades of Blues Saturday nights at 10 PM also on WBFO .. Radio 12 WEBR - 97.0 AM Jazz in the Night - every night 7-midnight w/AI Wallack. �BLUES We're a JAZZ Location We Specialize in Out of Print JAZZ Deluxe Jazz Cut-Outs- incl. Blue Note, Black Lion, Verve. Atlantic and more. Also- Small Labels. We Buy All Kinds of Records EE.RECORD ARCHIVE 762 Monroe Ave. ROCHESTER, N.Y. {716) 473-3820 WBLK- 94 FM The Sound of Jazz w/Carroll Hardy - Sat. nights 10 PM 1 AM. WADV- 106 FM Jazz Nitely w/Geo. Beck WBFO 88.7 FM Mon.-Fri. Noon-Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midniqht Mon.-Fri. Midniqht-3 am "Round Midn1qht" Saturday 3am-8am "Pulse" -Vincent Jones Sam-Noon "Freedom Flight"- Ed Smith Midnight-Gam "Opis in Modern Music: Jazz by Request- Pres Freeland Sunday: Noon-two "Jazz Contours" -Bill Wahl llpm-midnight Big Bands w/Bob Rossberg ANew Chuck Mangione Album · Once again Mangione combines jazz, ballad, rock 'n roll & disco - coming up with another brilliant performance Available NOW at fine record stores everywhere. PREVIOUS RELEASES: SHAKIN SMITH and his Blues Band-wed.&S~t. STEADY ROLLIN' 'BAND Fridays BONA VISTA 1504 HERTEL 836-8985 J.B. HUTTO-OCT. 12-16 Midnight-3am "Roots, RhythmandSound" -DaveJacobs 3am-8am "Progressively Yours" - Harry Schuster CANADA - SELECTED LISTINGS CKTB- 97.7 i=M J. is for Jazz w/Jack Cole- every Sunday night 8-11 PM. CKQS - 94.9 FM Music for Nightpeople w/Paul Fisher- Mon. -Sat. -Midnight - 3 AM. From Bebop to Now w/BJR's Hal Hill -Sat. nights 10 PM - Mid. .. CJRT - 91.1 FM Jazz Scene w/Ted O'Reilly Mon.-Fri. 10 PM- 1 AM. Sat. 6 AM - Noon, Jazz in Concert w/O'Rei lly Sat. 7-10 PM. CFKM - 99.9 FM All That Jazz w/Phil McKellar Sun. 10 PM - 6 AM. CING- 108 FM What's Happening w/Jack Cole Mon.- Thurs. 10:05 PM midnight; Sundays 11 PM- 1 AM. �Oct. Tralfevents Weekends . MUJAHID Sept.30,0ct.1 $1.so JON WEISS QUARTET· Oct. 7,8 TINNEY, MARINO &THEIN Oct.14,15 $1.5o a WBFO benefit $ 2.5o EDDIE 'CLEANHEAD' VINSON QUARTET Oct. 21-23 enc~~ified . -, This space is avai Iable to private individuals, organization mail-order houses, etc. The cost is 10¢ per word- minimu~ charge $3. Send copy and payment to BJR - 1335 Main Street Buffalo, N.Y. 14209. • SOUND SPECTRUM· 28,29 $1.50 SUN. EMIL PALAME BIG BAND EXCEPT 23rd MON. OPEN MIC TUES.BFLO.COMEDY WORKSHOP 8 to10PM $3 ACOUSTIC from 10=3o WED. JEREMY WALL TRIO THURS. SPYRO GVRA GOOD FOOD & DRINK NIGHTLY Tralfamadore Cafe 2610 main at fillmore 836-9678 '-------------------------+14 :,1 'I ,1 MUSIC LESSONS: Guitar. el.ectric bass, string baso; and compos1t10n. Theory and 1mprov1sat1on mcorporated into each lesson. Gerry Eastman- 883-1340. ·I RARE & Out of Print Jazz LP's, price l1sts and auctions Wm. Carrara, 25 Aberdeen St., Malverne, N.Y. 11565 'II BLUES, JAZZ all labels including imports - write for list. Southern Record Sales, 5001 Reynard, La Crescenta. California 91214. FOR SALE Sansui 2000X Receiver 40 watts RMS per channel _ $230 or best offer. Phone 875-3256. WANTED: LPs, VG plus: Phineas Newborn, Contemp. 7622· Paul Smith, Cap. T 757; King 01 iver, Decca 79246; Ada~ Makowicz, Muza SZ 1218; Blossom Dearie, Verve V-62109 V-62125. Names of tunes based on "I got rhythm". J.R.S' BJR-Box C, 1335 Main St., Buffalo, N.Y. 14209. ., IMPORTS from Japan and elsewhere. Sony, East Wind, Trio BYG, Timeless and many other labels. Albums by Colt~ane' Braxton, Miles, Woody Shaw, etc. Also College big bands' V1ntage big band and traditional. Send for free lists and spe~ c1fy tastes (Mainstream, B1g Band, etc.) - International Records, Box 717, Dept. B, Mentone, California 92359. USED LP'S WANTED: Albums by Lee Kanitz on Verve, many Columb1a issues (50's, 60's) and items from Jazzland Riverside, Contemporary, 50's Atlantic and other labels. Send your list and desired pnces to B.W., BJR, Box K, 1335 Main St., Buffalo, N.Y. 14209, or phone (716) 883-3909 Ext. 11 $5>see ad NATE RAWLS& l\1 wllilat'iaJ llilappenlna Gato Barbieri.- in concert at Kleinhans M~sic Hail Friday, October 7. See ad. Phoebe Snow - in concert at Shea's Buffalo Theatre, Friday, October 28. See ad. Crusaders - in concert at Shea's Buffalo- Saturday, October 29. See ad. AI Tinney, Lou Marino & Max Thein - a WBFO Benefit at Tralfamadore. Cafe Friday, October 14, Saturday, October 15. See ad. C.Q. Price Big Bnad and Spyro-Gyra - Concert & Dance at Terrace Room, Statler Hilton Monday, October 17. Lloyd's Lounge - William & Pratt - great jazz- See ad for n1ghts and times. Tralfamadore Cafe -jazz Wed. thru Sun. nights. Special EventEddie "Cieanhead" Vinson October 21-23. See ads. Statler Hilton - National jazz acts Tues. thru Sun. nights.Ciark Terry Oct. 4-16; Ahman Jamal Oct. 18-30. See ad. Bona Vista- Blues acts- J.B. Hutto Oct. 12-16; Shakin' Smith every Wed. & Sat.; Steady Rollin' Band Fri. nights. Jazz with Spyro-Gyra Mondays. See ads. Starvin' Marvin's- jazz Fn. & Sat. nights. See ad. . Zodiac Dance Company - dance piece choreographed to musiC of Emil Palame. October 3 - Main Place Mall 6:30; Como Mall October 7 - 6:30. Odysey - 1005 Tonawanda St. - Jazz Sat. nights. Anchor Bar - Main & North - Johnny Gibson Trio w/Georgt Holdt on trumpet. Every Fri. & Sat. night. Fieldstone Manor (Lockport)- Dixielandw/WiiiAigeronweek· ends Jack Daniel's - Forest near Elmwood - Spyro Gyra Tues. & Sun. nights; Horizon Wed. & Sat. TORONTO Bourbon St. 180 Queen St .. W. -Gap Mangione, Frank Rosolino, Eddie "Cieanhead" Vinson - See ad. Eddie "Cieanhead" Vinson - See ad. ,1 I i �CHICAGO BLUES Lloyd's Lounge National & Local Big Name Jazz THURS. thru SUN. NIGHTS 382 William St. at Pratt 855-9166 Cafe May - Roncesvalles Ave. at Howard Park - Lorne Lofsky Trio Sun. 7:30 - 11 PM. Compositions of Bill Smith- "Somewhat Surprised"- performed by Bill Smith, John Oswald, Stuart Broomer, Lloyd Garber, Larry Dubin & John Mars - October 22 at 9 PM. The Music Gallery- 30 St. Patrick St. D.J.'S Tavern - College & University - Buddy Tate October 3-8. Phone 929-5065 for details. C.C.M.C. - (Canadian Creative Music Collective) Tues. & Fri. nights 9 PM. The Music Gallery - 30 St. Patrick St. Phone J. B. HUTTO- SLIDEWINDER at better record stores everywhere 598-2400. Georges Spaghetti House - 290 Dundas St., E. -great local bands nightly. Albert's Hall - The Brunswick - 481 Bloor Street, West. Nightly from 9 pm- Dr. McJazz. Chelsea Bun~ Chelsea Inn- 33 Gerrard St., W. -pianist John Arpin Mon. thru Sat. 9-1. Blondie's- 1954 Yonge St. Jazz Mon. -Sat. 9-1. eddie THE MASTER JAZZ/BLUES ALTO SAXOPHONIST/VOCALIST/ COMPOSER -IN BUFFALO! I l OCTOBER21,22&23 Fri.&Sat. 10PM; Sun. 9PM .•.'' tralfamadore cafe 2610 main at fillmore 3 Sets per Night Cover $5/ No Minimum See J. B. Hutto at the Bona Vista ROCHESTER 'cleanhead' • VIDSOD quarte.t j delmark Send for free catalog: Delmark Records 4243 No. Lincoln Chicago, IL 60618 836-9678 Monticello - Oct. 3-22 Mike Vax. Quartet ; Oct. 24 - Nov. 5 Dave McKenna Trio. Port Side- Joe Romano Fri., Sat., Sun., Mon. Vinnie Ruggiero featured w/Joe Sun. & Mon. O'Brien's Butcher Shop- 3259 Winton Rd., S. at Jefferson Mon. & Tues.· Friends & Players Wed. & Thurs. Joe Locke Quintet. Glass Onion - Joe Romano - Tues . Stone Street Pub- 21-27 Stone St. -Bobby Blandino Trio feat. Steve Davis & Joe Locke- Wed., Thurs., F.ri. 5-8. J.J. Lounge - Faith Harris Quartet Oct. 7, 8, 9. Eastman School of Music- Eastman Jazz Ensemble Oct. 21 8 PM. Red Creek - Oct. 5-8 Eddie Shaw & The Wolfgang (formerly Howl in' Wolf's back-up band). 12-15 - Duke Jupiter. 18 & 19 Eddie "Cieanhead" Vinson. 20-22 Gypsy. Thad Jones-Mel Lewis Orchestra - in concert at Nazareth Arts · Center Oct. 15. See ad. Toronto Readers ! BJR's Hal Hill is now at Sam the Record Man Square. One shopping centre \ 100 City ce·ntre Drive .Missi.$5au'ga 275-2511 Same Great Service. 15---------------------------------- �Bourbon~ Street TORONTO'S UP TOWN JAZZ CLUB 11 TORONTO (416) 598-3020 The Finest in Italian Cuisine Restaurant & Supper Club 1954 Tonge Street Near Davisrille (Just around the eorner) GAP MANGIONE October 3- 15 OCTOBER 3-8 SAM NOTO QUARTET 10-15 ANDY KREHM QUARTET 17-22 DOUG RILEY QUAR:rET 24-29 KATHRYN MOSES QUARTET 31-Nov. 5 ED BICKERT FRANK ROSOLINO October 17 ~ 29 Eddie "'Cieanhead" Vinson Oct. 31- Nov. 5 Phone Ahead for Dinner Reservations Open Daily 12-1 Sundays 6- 10 No Cover JAZZ 9PM-1AM EXCELLENT ITALIAN & CONTINENTAL CUISINE GEORGE'S SPAGHETTI HOUSE 290 DUNDAS STREET. E. TORONTO, ONT. -923-9887 Open Daily Noon tUil a.m. For reservations eaU 482-0055 Featuring some of Canada's Top Jazz Artists nightly as well as our famous Italian Cuisine. Appearing at the U()W~T()W~ ":* CLARK TERRY october 4 -1s * AHMAD JAMAL October 18-30 *JONAH JONES November 1-13 buffalo jazz report 1335 main st. buffalo, n.y.14209 u.s.a. return postage guaranteed PERIOtlCALs·& BINDERY SJb LOCKWOOD MEMORIAL t..IBRARY 8-.U.N.Y.A.B. eUFFALO~ NY l42l4 A,' ) ,j � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4460 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 44 Date A point or period of time associated with an event in the lifecycle of the resource 10/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 44 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/17485729605aebcd64659d99c0395624.pdf 6ee5f3ed24c3991f8219517afcb163b5 PDF Text Text T- buffalo jaz~ W17 IJ,!' ,,1 /tepott , : ,_,Aa november'?? ' issue45 free i ~ I ! CHET · .· < • BAKER ' :' I BILL EVANS Stereo · Report �DANISH WAXINGS CHET lAKER Chet Baker gained major prominence at the age of 23, when he virtually became an overnight star as a result of h1s tr~m­ pet solo on Gerry Mulligan's hit recording My Funny_ Valent1_ne. Baker received a great amount of cnt1cal and publ1c acclaim, but he later began a hard, 13 year struggle with drugs, a habit he has kicked coming back on the scene to play some of the finest music of his career. In 1973 he made a comeback, playing New York clubs. He recorded an album for CTI and played on a Jim Hall album for the same label, turning out exceptional perf~rmances for ea.ch session. He has a brand new album, You Cant Go Home Agam, released on Horizon this.month, with such musicians as Michael Brecker, Hubert Laws, Ron Carter, Tony Williams and the last recorded music from Paul Desmond, who d1ed of lung cancer four months after the recording was made. Chet's romantic lyricism can be witnessed live this month at Bourbon St. in Toronto. Consult the ad on the back cover for details. . . , i ! · CLUB HAPPENINGS ON THE TORONTO SCENE by HAL HILL Tuesday nights are my usual club nights, I guess I hate Monday nights as opening nights always seem tome traumat1c, but I cannot hold back my curiosity any longer than Tuesday, so here are some. observations made in capsule form over the past few weeks. The musicians seen and heard seem to rotate well around the clubs mentioned, thus ltwouldseem poss1ble fpr you to visit Toronto in the very near future and catch some,of the same groups mentioned: ,' Yellowfingers: , I am always delighted and amazed when I go to seP Sa_m Nota, and I was not disappointed recently when Sam presented his Quintet featunng the alto and tenor playing. of Steve Lederer, such flights of Bebop fancy were made with "Green Dolphin Street", "Act One", "Round Midnight" and "Bebop" dunng the set I caught. Shades of Jay and Kai (J.J. Johnson and Kai Winding) brought the two trombones of Boss Brass leader, Rob McConnell and lan McDougall to Yellowfingers for a week with· a superb This month's cover photograph of trumpeter Chet Baker was taken by Toronto photographer Gerry Bahl. EDITOR & PUBLISHER - Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt. Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS - Christine Engla Eber and Sabrina Mayberry Smith. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Dave Hanlon Toronto - Hal Hi II Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this pub I ication may be reproduced without written consent from the publisher. The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge throughout Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are avai Iable at $7/year, paid in advance. 59 Kenmore Ave. . Steeplechase Records of Denmark, qu1ckly becommg one of the world's leading jazz labels, has recently added some new discs to their catalog. The records are "Don't Look Back" /Nat Adderley w/Ken Mcintyre & Onaje Allan Gumbs; "Bouncin' with Dex" /Dexter Gordon w/Tete Montoliu, Nhop & Billy Higgins; "Live in Japan"; Duke Jordan; "Windows" /Lee Konitz & Hal Galper; "Introducing the Vibrations" /Ken Mcintyre; "Double Bass" I Nhop & Sarn Jones; "Remember Me?" /Frank Strozier, "No Blues" /Horace Parlan and lastly "Remember Me" /Hal Gal per. Some of these are available here on the Inner City label and the others wi II be out on I. C. soon. 836-1781 (corner of Windemere) behind jewelry store 2 rhythm section of Tom Szecyn1ak on p1ano, How1e Silverman drums and Frank Falco on p1ano. Jazz standards like Bob Brockmeyer's "Minuet Circa '61", Horace Silver's "Horacescope", mixed with McConnell originals made for a very exciting blend. Apart from the excellence in music portrayed here, Rob's humor made for a very easy rapport between the band and the audience. Blondie's: Past the I ineup at the door and into a packed room and th<.'re ~n the bandstand the slim and demure flautist Kathryn Moses IS leading a very contemporary quartet in some of the fmest ~u­ sic this correspondent has heard for sc-me long t1me. R1ck Homme on bass, Gary Williamson piano and Bob McLean on drums form a vibrant and very tight cohPsive gr·oup suppor-tl~g and blending with Ms. Moses flutes and sometime'> v_oca,ls. "Shine on Me" an original by Kathy smacked of Jon1 M1tchel.! in feeling, and her scatting on Chari ie Parker's "Confwmat1on was a joy to behold. This is ont> young lady who should be seen and heard at every possible opportunit'{ Incredible. Away from the b 1g band concept for a week, and a I so a~pear · ing at Blondie's the wee~ after Kathryn Moses was clannet1st Phil Nimmons and h1s Ouarir:t. Gary WiiJ,amson was agam featured qn piano along with Stan Perry drums and Dav0 Field~ bass. MC)terial that stands the test of brne "My Funny Valentme and "In a Mellotone" were interspersed with complex 0'"1910als from members of the band. Nimmons has been a mainstay_of Canadian jazz for some time but remains fresh and ever exclting, probing into new areas that makeav1s1t to hear h•s small i! I' ! I ' �T 1 groups or the big band a constant pleasure. Another member of the contemporary school is trumpeter Bruce Cassidy, who followed Nimmons intoBlondie'swithBernie Senensky on Fender Rhodes and Mini Moog, Dave Young on acoustic bass and Terry Clarke on drums. A formidable group this, playing original music writter:1..,by Cassidy and Senensky. Two tunes that really stood out were Senensky's "Latin Too" and Cassidy's "Pastels". mARVIn JTAmm Photo by GERRY BAHL . With all this much jazz to satisfy the most hungry fan there was still t1me to catchMarvinStammtwiceduring his two week g1g at Bourbon St. with Carol Bntto on piano, Jerry Fuller on drums and Billy Crist on bass. Billy came up from Las Vegas to·. work with Stamm and was telling some pretty funny storie>s about his gigs with people like Sinatra c:nd Sammy Davis, Jr. Stamm played mostly standards, but was in tremendous form and evidently• was able to sustain a high standard of "cooking" throughout. Some of my favourites were "Green Dolphin Street" "Falling in Love with Love", (memories of Clifford Brown), "All the Things You Are", and the Chet Baker-like "The Lamp is Low". Marvin Stamm should pop out of the studios more often, he is alwaysamostwelcomeguestto Toronto's jazz scene. All in all we are mostfortunate here in· .Toronto to have such . a wide variety of jazz to I isten to, and I have not included all the happenings that occur with regularity;but enough to indicate to the serious jazz fan togetoutthere and listen while you can. You will be assaulted at times by a very small group of uninterested people who meander into any of the clubs mentioned not to Iisten to the artists creating, butto discuss the merits of Onion Soup, or mother's recent visit to the Hospital. These persons usually have an extreme case of verbal diarrhoea for which there seems tobeno cure, butthe music is what one goes to hear, and if you can forgive these minority groups for their bad manners, then you wi II enjoy the best there is to hear in good honest jazz. Don't pass it up .. GERRY MULLIGAN AT HAMIL TON PLACE On Saturday September 17th, at Hamilton Place, Gerry Mulligan, baritone saxophonist extrordinaire made his local playing debut. The concert also premiered a newwork composed by Harry Freedman to commemorate friend Mulligan's 50th birthday. The composition was appropriately titled "Celebration". · The concert opened with Mulligan and the CBC Hamilton Festival Orchestra, under the direction of Howard Cable, playing a Mulligan composition entitled "By Your Grace"; originally written for pipe organ, guitar and baritone sax. This first piece although performed adequately was hampered by tuning problems in the string section. Thesecondnumberwas a Freedman composition entitled "Tableau" (a musical exploration of the Canadian Arctic). Only the strings were used to perform this piece. · Next came the focal pointofthewholeevening; the performinq of the CBC (Canadian Broadcasting Corporation) commis- I , The living language .of Jazz. "\I.S.O.P.-The Quintet' a .unique jazz event. In one ·.month 150,000 people heard . Herbie Hancock. Wayne Shorter. Ron Carter. Freddie Hubbard and Tony Williams prove that jazz ·remains a vital American art form. The Quintet came together to play acoustic jazz. Despite their separate electronic joumeys with their . own bands. together they conclusively show that their collective music has gained new maturity and resonance. Besides. master musicians tend to remain masters no matter what style of music they make. What the audience applauds on this historic live album is five musicians conveying their message with amazing grace. power and precision to a new generation of enthusiasts. ''\I.S.O.P.-The Quintet:' On Columbia Records and Tapes. nvuu<;..u by David Rubinson & Friends. Inc. Ron Carter appears courtesy of Milestone Records. Available at Cavages-6.99LP, 7.99Tape ...... ..,,,-s·· I I t:l I �--, - for some time now. The ongtn_al owners of the company took , !H the name Fantasy from a magaztne called "Fantasy and Scien r Fiction"; Galaxy was yet another popular sciencefictionmagc= zine of the early Fifties. a sioned work "Celebration". Celebration opened with almost a swing feel and alternated between this and various slow tempos. The composition was obviously meant to swing but it never quite acHieved its goal. A combination of well interpreted brass and woodwind lines, a drum pari played so rigidly it became pondorous and the strings playing in between these two extremes made a true relaxed swing impossible. Mulligan switched between baritone and soprano effortlessly. Whether it was adifficulttwelve-tone passage in 3/4 or a heavy blues his sound sang out over the orchestra. The "Festival Orchestra" consisted basically of the Hami Iton Philharmonic with such prominant additions as the Canadian Brass plus Cathy Moses (flute) and Bernie Pilch (clarinet) two notable Toronto jazz artists. The second half of the evening was devoted to Mulligan's 'sextet which consisted of piano (Tom Fay), vibes (Dave Samuels), guitar (Mike Santiago), bass (George Duvivier), and drums (Bobby Rosengarden). The group sailed through several Mulligan compositions such as "Maytag" and "Taurus Moon". Gerry then explained that since it was his birthday party he was going to have a ball at which he sat down at the piano which Tom Fay had vacated. Mulligan, Rosengarden and Duvivier then laid down some very interesting ad I ib musical thoughts. Mulligan then recharged the audience with a bluesy romp through "OutBack of the Barn" followed by "Walk on the Water" featuring an extended solo by Tom Fay. A standing ovation brought Gerry back to the stage to perform his version of "Satin Doll" as an encore. The sextet worked very well together.Samuels and Fay never once got in each other's way. Santiago did seem to be a bit lost at times and his amp was over-worked trying to fill the large hall. Duvivier and Rosengarden performed in their usual manner: -excellently! The concert was taped by CBC and wi II be broadcast on Saturday, November 12 at 5:05 pm on CBC radio 740 (am). Ron Baker BILL EVANS speaks with Paul Fisher JONES-LEWIS IN ROCHESTER On Saturday, October 15, Jazz Scene Productions brought the Thad Jones-Mel Lewis OrchestratotheNazarethArts Center. Although Thad was unable to make it (he was conducting an orchestra in Denmark), his presence was very much in evidence, as the entire envening's program consisted ofhiscompositions and arrangements. Mel, whose intros were as low-key as his playing, chose a well-balanced program, featuring some of Thad's classic charts from the Solid State albums, as well as newer material. There have been lots of personnel changes in the past year. There aren't as many strong soloists, but the ensemble playing is impeccable as always. Eastman faculty member Btll Dobbins did an excellent job of subbing in the piano chair. J.L. NEW JAZZ LABEL FROM FANTASY The Galaxy label is being reactivated as a straight-ahead, mainstream jazz label, according to Fantasy president Ralph Kaffel. The first five Galaxy albums, by Hank Jones, Shelly Manne, Richard Davis, Stanley Cowell, and Roy Haynes, will be released this fall. Ed Michel produced all the albums in the initial Galaxy release. The sessions took place during the summer at Fantasy's · Berkeley studios, and, in the words of one well-known crossover jazz artist, "This is the way we used to make records, and it's a gas. Just get in there and play!" Producer Michel put it this way: "There is no better way to make records than to acquire great artists, and then let them make music the way they want to. If someone is ready to play, and he knows what it is he's doing, then all you have to do _is set up the mikes in the right places and keep everybody comtorlable." Fantasy president Ralph Kaffel feels that there's definitely a market for this kind of mainstream jazz product. "Our twofers have sold very well, and this newly-recorded jazz will reach those same people. The new Galaxy product will be just as viable 15 years from now as it is today. It's that kind of music." The Galaxy label was originally used many years ago for r&b product, mostly singles. It has been completely inactive 4 The following is from a brief interview conducted with pianist Bill Evans during Bill's week long stay at Toronto's Paul Fisher (PF): Bill, it seems to me that record companies are a I ittle more generous with recording contracts today than they were in the past. It's been some 20 odd years since you first recorded (for Riverside records) did you have any difficulties getting a recording contract? Bill Evans (BE): I didn't have tto much difficulty at the beginning, but I mean it was what was called a standard Union recording contract. I got double scale and I don't know what the royalty thing was, whatever the minimum was. But at that time of course all I was interested in was getting a record out there and I was happy about that. I didn't really get any money to speak of until I moved to Verve, although Riverside did give me my early opportunities and the money did increase a I ittle bit. That company got in trouble and so the whole royalty thing was, yo!J know, not even thought of. I don't know if it's really more generous now or not. I think the newer talent still ... well they want to get on recorr and start to build a reputation and they have to take whatever they can get just to start. But by now some of the established jazz artists are getting better record contracts. I know my new contract with Warner Brothers which began last June 31st. (77) is the best deal monetarily, production wise, budget wise, advertising and all that that I've ever had. PF: A number of people have recorded a very popular song of yours, one which you wrote for your neice, "A Waltzfor Debbie". The idea behind that song points towards family ttes. Is your recording and touring schedule set up in such a way now that you're able to spend a I ittle more time at home with your wife and family? BE: Well, it never seems as though it's enough time but I'm trying to work it out now whereby I don't go out for long periods of time. I might go out for 2 or 3 weeks and then come home for a week. For instance, before this tour start<>d, wh 1ch was a week and a half ago, wewere basically around New York for 2 months. We worked a couple of weeks in New York and a couple of days here and there but basically around for 2 month~ Now we're out for 2 weeks, we go home for· 4 days th•'n we go �oUt for 3 weeks. After that we' II be home for probably the better part of a month and then we might go to Europe. It works out a little better· now. I'm just trying to work it out so that l. .. well, it's tough, it puts a strain on everyone in a sense. I have a son who I miss very much, and I miss a lot of the things that are happening to him and all that, but we kinda get used to it and adjust to it. I guess in some ways separation can be constructive if you look at it that way, in that you get a kind of a perspective and you get away from a relationship and you get to look at it a little more objectively and come back and maybe improve the situation in many ways and work constructively at it and try to look at it that way. But basically when you're out in the hotels, travelling for weeks at a time it's a pretty lonely situation. Of course your work is fundamental and that's great but the whole hotel scene after 20-25 years of it can really get you down. The thrill is gone, the thrill of travelling. It's still a lot of kicks but I would prefer not to travel so much now. PF: It was around 1958 that you worked with Miles Davis, John Coltrane, Cannonball Adderley, and Paul Chambers. Did that have any great effect upon your outlook on music, working with Miles and Trane? BE: Well I think it gave me a sort of confidence. I felt just the very fact that I was there had to mean something and I think playing with those guys did tend to bring me back to myself and it made me realize that regardless of trends or pressures to be this or that, that the only thing you really can be and should be is yourself and where you're at. It kinda reinforced that and of course it was a great experience to be playing with those guys. In that way it helped me, and it helped me get my trai I off the ground. Miles came out for me and that tended to bring the jazz audience toturntheir ears towards me long enough to at least consider what I was doing, and make their decision. It helped a great deal in getting my trio going. PF: Elliot Zigmund is a fairly new drummerforyou. Eddie Gomez has been your regular bassist for a number of years. When did Ell.iot join you? BE: Elliot has been with me since Marty (Morrell) left, which has been about 2-1/2 years now. Of course Eddie'~ been with me over 11 years now so we're pretty well settled in with this trio we've had a lot of good moments. We've done a couple of albums for Fantasy, one. trio and one wJth the trio plus Lee Konitz and Warne Marsh which are unreleased. It turned out really nice so they'll be released on Fantasy. We're doing another trio album for Warner Brothers this month (August) and these records will be coming out in a year or so. Also, the latest release from Fantasy is an album I did with other personnel for a refreshing kind of change of groove. I used a quintet with Ray Brown on bass, Philly Jo Jones on drums, Kenny Burrell on guitar, and Harold Land on tenor and the album is doing quite well. PF: .Oh yes, a beautiful album ... Ouintessance was the name of that one. BE: Right, and we had a lotoffundoing the album and that's the latest release on Fantasy. They have three albums in the can, the two I've mentioned andthere'salsoa solo album which is coming out next I believe so there's going to be quite a bit of product coming out in the next I ittle whi.le. , PF: Bi II Evans fans are going to be eating that up! BE: Well yeah, if thereisn't too much! (laugh) PF: I never had the opportunity of meeting Scott LaFaro who was a bassist of yours, I think Paul Motian was your drummer at the time. What sort of fellow was Scotty, he made some great recordings with you. BE: Well, he was as you can tell from his playing a great bassist and the fact that he hadn't really started to play bass unti I he was eighteen was really something else. The fantastic accomplishments he made in those few years ... he had played a I ittle tenor and clarinet before that. He was a tremendously alive, vital, creative guy very pure andfull of energy. It's very hard to describe ... a very clean kind of guy. He was a beautiful person to contemplate and watch in action and just to see going through I if e. PF: He certainly put forth beautiful images in his playing. The first time I heard Scott was with you on a recording the trio made for Riverside. I think it was Autumn Leaves and suffice to say he knocked me off my feet. BE:OYeah! And that was really earl'y one. We started the trio and we worked a job for I think three or four weeks at a KENNY BURRELL Ellington Is Forever Vol. II 1800 MAIN at LAFAYETTE Quintessence OPEN 7 DAYS 10 AM- MIDNIGHT Come in and Browse at the largest Record Store in the World - with the LOWEST Prices in Town - and Open EVERY SUNDAY 10 A.M. - MIDNIGHT Rochester locations: Midtown Plaza Greecetowne Mall Henrietta Towne lines Gates Eastview Plaza Charge your favorite album or tape on MasterCharge, Visa, or American Express and Save Today! 2 RECORD SETS • Milestone. '! �place called the "ShowPlace" a little, little club in Greenwich Vi II age. Out of that job came the development that accounted for the first album. A lot of that was really off the top of our heads, I mean there weren't any arrangements and we hadn't performed a lot of those things exceptto just do it. We had such a feel for each other by then from having worked those few weeks that already there were nice things happening on that album and by the time of about a year and a half later when we finally did the Village Vanguard sessions I think what Wf> had been striving for was in a more refined and developed state. It was that kind of trio unified conception of playing together and I still am so happy that we managed to get those things on record because it was only a week and a half later that Scott was killed. (In a car accident). When he was listening to some of the playbacks that night he said "I'm finally happy with something I've recorded." and I just think back to that and feel very thankful that we got it down and those records have been very important so far as my particular output is cor>c"'rned. PF: Back up to 1977, who do you listen to now for pleasure? BE: Gee, well, there's quite a few. I really enjoy anyone who plays good. For example, the groupthat'sdownstairs from where we're playing here at Basin St. with Don Menza at Bourbon St. with Bernie Senensky, Michel Donato, and Terry Clark they're just wonderful musicians, I could just sit and listen to them play all day. I love listentng to Errol Garner there are just so many people. There are a lot of players that I enjoy listening to who may not be big names and there seem to be young players coming along all the time who are, you know, really super. It's really hard to pick out a few. I don't do a lot of. 'sitting down I istening' because when I'm on the road I really don't get the chance, and when I'm home the family thing takes over pretty much so it's more coincidental turning 0n the radio and hearing a thing here and there. PF: I've noticed a lot of piano players lately turning towards electronics but other than a rare use of the electric piano I don't think I've ever heard you use any electronic keyboards. BE: Yeah, well I've used the Fender (Rhodes) on some records just as an auxi I iary to the piano. I have an Om:1i synthesizer at home which I have just messed around with. I don't ALL BUFFALO IS STANDING UP FOR f;"d , gco•l ''"'of •'"''"" ;, ;1. II'• k;"d of •hm"l•t;, 9 b•-. cause it offers different potential than piano, two voices happening at once is a veryeasythingto do on that because the voices sustain and you can make I ike a string section and so forth and that's all a lot of fun but I get pretty tired of it pri!tty quick Basically I'm out of a certain period and I'm out of a certai~ king of conditioning and I've gone in-depth into my particular instrument which is acoustic piano. I still find more scope for myself there and more satisfaction. I often say that I don't think it matters if it's electronic or not I think it matters who's involved and how that particular talent has learned to utilize the medium to express himself. I'm sure that much good music is being made and will be made on all sorts of musical media both electronic and acoustic. I don't want totakepart in any controversy, but I myself don't think I'll ever be an electronic player I don't forsee it, I don't discount it entirely but as of now ... on~ thing I like is that if the blackout comes (laugh) I call still go play my instrument. PF: Well, I've dug your acoustic over the years and I'm looking forward to many more enjoyable I istening experiences from your music. Bill Evansthankyousomuch for your music ' and for offering us some insights into your work. BE: Well, I'd like to thank you for playing jazz, like I was telling you before I was in my hotel room late at night looking up and down the dial and I came across your show and it was really refreshing. Jazz really can't exist successfully without air support from the radio stations and you know I really do mean it. PF: Well, we're nothing without you guys. -----Paul Fisher is the host of Music for Night People, a jazz program heard from Midnight to 3 am Monday through Friday and Saturdays from Midnight to 5 am at CKQS FM 94.9 Oshawa, Ontario. EMIL AT MR. ANTHONY'S- BY GEORGE BECK That local sensation, Emil Palame, continues to tear it up where ever his screaming 16 piece ensemble appears. On Tuesday, September 13, Mr. Anthony's Supper Club on Transit Road departed from their usual format of dinner theater and opened the doors to Emi I and his "amazing music machine". The event was co/sponsored by WADV-FM and drew a fairly good sized house which received the band enthusiastically. Dick Griffo, back from a stint with the Herman Herd was an excellent replacement for Mike Migliori who was on the band for the previous 3 weeks while on hiatus from Maynard's group. Bob Leatherbarrow on drums and Howie Shear on lead trumpet continue to spark the band to a near fever pitch every time out. Definitely a group to catch the next time out as Emil's writing and arranging talents are sure to take him to new heights and away from his growing and faithful Western New York audience. Editor's Note - Geo. Beck can be heard on Jazz Nitely on WADV 106.5 FM every night from 11:30 to 12:30 except Sundays. Arthur recorda Eve VOTE LEVER 14A Paid Political Advertisement ~-------------------------' 6 RECORD REVIEWERS: Bill Wahl (B.W.), John Hunt (J H.). Tom Mazzone (T.M.). Ron Weinstock (R.W.). PauiSmith(P.S.), Jim Laniok (J.L.). RON CARTER QUARTET - PICCOLO - MILESTONE 55004 NIELS-HENNING ORSTED PEDERSEN & SAM JONES - DOUBLE BASS - INNER CITY 2055 These two newly-recorded albums have a lot in common. They both feature two bassists, they're both excellent, and each wi II give bass fanciers many hours of enjoyment. Piccolo is a two-record set, done live at Sweet Basil in New York. Ron Carter plays piccolo bass exclusively, a smalle~. higher pitched instrument than the standard bass - whic~ iS played in this quartet by Buster Wi !Iiams. The two non-bassrsts involved are pianist Kenny Barron (who'splayedwithjust abo~t everyone recently) and drummer Ben Riley - known for hiS work with Monk. The first cut, Saguaro, runs eighteen minutes. ··~ �You might think that a tune this long with the spotlight on the bass would become boring. Farfrom it.Fromthe startthoughts and rhythms keep changing and the basswork from Carter and Williams (both solo often) is magnificent. Kenny Barron's piano work (all acoustic) throughout the four sides is superb and Riley is a tasteful, versitile drummer whose perfect for this type of work. There are many fine, spirited performances here. Some highlights for me are Barron's colorful Sun Shower (also recorded by Sonny Fortune) and Oscar Pettiford's I ightly swinging Laverne Walk, as well as the opener Saguaro noted above. Carter's love for classical and Spanish music are also obvious on some of the cuts. Double Bass on Inner City offers the work of bassists Sam Jones & Niels-Henning Orsted Pedersen. They each share some of the same distinctions as each is known to be one of the strongest and steadiest bassists around, each is constantly called for session work and each has worked with Oscar Peterson (which is no job for just average musicians). This set is composed of jazz standards such as Coltrane's Giant Steps, Bird's Au Privave,Rodgers' Falling in Love With Love & Kern's Yesterdays. There's also two originals and a brightly chugging version of the villa-lobos classic Little Train. The program of lightly swinging up-tracks and ballads proves to be right for the bassists to showthei r ski II, and the work of Phi I ip Cather.ine on acoustic guitar and Billy Higgins on drums is as much responsible for the session's success as is that of the leaders. If you do enJOY the acoustic jazz bass you should check out these albums. Should you be in lovewiththe instrument, you've got to have both of them. · B. W. NIELS-HENNING ORSTED PEDERSEN- JAYWALK IN' -INNER CITY 2041 The f1rst release as a leader by Danish acoust1c bassist N1e1-,-Henning Orsted Pedersen demonstrates why he has been much utilized by people l1ke Dexter Gordon, Johnny Griffin and Oscar Peterson. He plays a most expressive bass and his mellow ~tyle is usually concentrated in the upper ranges of the instt·ument. On this date he appears with fellow Europeans Phil1p Catherine on guitar and Ole Kock Hanson on Rhodes Third season on WBFO. .. DOWri"COWii Jazz Thursday of each opening week 9:30pm A stereo exclusive of W BFO•Public Radio in Buffalo•BB. 7 FM piano. Drummer Billy Higgins provides some crisp precision which is highly complimenta_ry to Pedersen's own sharpness. The t1tle song IS a frol1ckmg example of the entire album. Though the cuts range from slow. blues to almost flemenco the basi9 musical interpretation is the same - that is a tight: mellow mstrumentatlon led by a most able and light fingered bassist. · T.M. ART FARMER - SOMETHING YOU GOT - CTI 7080 URBIE GREEN - SENOR BLUES - CTI 7079 URBIE GREEN - THE FOX - CTI 7070 The first two records here feature a pair of soloists with the David Matthews big band, engaging in some fine music. The third- well, we'll get to that. The name Art Farmer is almost synonymo1-1s with jazz flugelhorn - he's one of the best. His partner here is Yusef Lateef - a multi reedman/flautist who I imits his work for this date to his main axe -tenor. Matthews big band has recorded both disco (CTI) and hot, straight ahead music (Muse). When it comes to jazz You're in great company on "eeTl1:vk. I AVAILABLE AT THE LARGEST RECORD STORE IN THE WORLD 1800 MAIN at LAFAYETIE ROCHESTER LOCATIONS: MIDTOWN PLAzA • GREECETOWNE MALL • HENRIETTA TOWN LINES • GATES • EASTVIEW PLAZA 7 Days 10 AM- Midnight �and the title track here is a rather lame funk tune. Then things begin to pick up. The rest of the album is good, solid big band arrangements backing up two gifted soloists, delivering some rewarding music. Chick Corea's Spain and Clifford Brown's Sandu join two Matthews originals and Fritz Pauer's ballad Saudhade on a balanced program of music. Its always good to hear Farmer, and its been a while since Yusef has recorded music up to his level. The Urbie Green record falls pretty much along the same lines, but there's three pop-ish tracks and the intensity level is higher on some of the straight cuts than on Farmer's disc. Tenor/soprano saxophonist Grover Washington, Jr. joins the trombonist and the two offer some superb work. Green is cool and lyrical while Grover is hot and in command. Among the six cuts you'll hear Corea's Captain Marvel, Mingus' Ysabel's Table Dane and Horace Silver's Senor Blues (these last two are standouts). Billy Preston's You AreSoBeautiful is a short, sweet ballad; Peter Frampton's I'm lnYouandStevie Wonder's I Wish are average funk tracks and seem lost on this otherwise gratifying album. The second Urbie Green disc, The Fox is another story altogether. This one leans toward disco for the most part and the arrangements (by Matthews) offer I ittle for the soloists to work with. Dizzy's Manteca is done in disco fashion as are the other longer cuts, except for one - a slow, bluesy version of a soul hit. That leaves Goodbye and You Don't Know What Love Is -two shortfeatu,res for Green, without drums (a rei ief). The Farmer & Green discs with the big band are worth looking into if you dig big band arrangements and you can accept the funky cuts. The Fox would only interest those with commercial tastes. B. W. MASTER GRADY TATE - IMPULSE 9330 Its no secret that Grady Tate is a good jazz drummer, as evidenced by countless records and live dates. He also has a refined voice, which is the reason for this recording. Thats it for the compliments. Grady uses none of his resources well on this disc, at least as far as jazz is concerned- and Impulse is supposed to be a jazz label. He doesn't play drums on any of the tracks and he easily could have (it surewasn'tdonelive). Then there's the material- all pop tunesorpop-ishversion.s. The arrangements are dull and contrived and Tate is backed by an omnipresent vocal choir which could either be annoying or humorous depending on your state of mind. Grady does sing, but its not jazz, at least not on th1s record B.W. SONNY STITT - SUPER STITT - PHOENIX JAZZ LP15 Devotees on Sonny Stitt and/or be-bop should get off on th1s l1ve 1954 Stitt Quartet date. The music was originally heard as a rad1o broadcast, with Sonny leading a rhythm section consisting of pianist Dean Earl, bassist Bernie Griggs and drummer Marquis Foster. You'll hear blues, ballads and cookers amidst the seven cuts, and for more variety Stitt employed all three of his saxes - alto, tenor and _barito_ne. This is good Stitt and a lively sess10n, but I f1nd 1t a b1t odd that St1tt IS the only soloist on each cut, except for a brief spot from pianist Earl on Pennies From Heaven. The recording quality is good and the pressing decent. This album should be on special interest to collectors. B. W. JEAN-LUC PONTY - ENIGMATIC OCEAN - ATLANTIC SD19110 The latest from jazz-rock violinist Jean-Luc Ponty further demonstrates the high powered, yet flowing mucis which he has evolved over his last 3 albums. This date is perhaps the most congruous for Jean-Luc in that the entire album betrays a theme - the endless driving force of an Enigmatio Ocean. He is joined by guitarists Allan Holdgworth and Daryl Stuermer. Allan Zavod on keyboards provides a nice compliment to the work of Ponty. Ralphe Armstrong and Steve Smith on bass and percussion ensure cont1nuous movement. The album should be heard in entirety to appreciate the intensity of the performance. Probably the best jazz-rock Jean-Luc Ponty has shown to date. T .M. New music that stays newFROM WARNER BROS. AIRTO I'm fine. How Are You? The Airtoll'm Fine. How Are You? The reigning king of percussion in current jazz (down beat's Number One percussionist for the last seven consecutive years) solos here with a vital mixture of jazz, Afro-Latin rhythms and Brazilian carnival elements. On Warner Bros. Records and Tapes SENECA MALL MAIN PlACE MALL BOULEVARD MALL THRUWAY MALL NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL LOCKPORT MALL Joe Farrell/ La Catedral y El Toro. This new collection of tunes by one of America's most expressive jazz reedmen shows his supremely lyrical work on soprano and tenor saxes; he gets hard-nosed, compact backing from some of New York's finest session musicians. ij! On Warner Bros. Records and Tapes EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA l i �GATO BARBIERI- RUBY, RUBY- A & M SP4655 Gato Barbieri is one of the few jazz musicians who have moved from the hard core ranks to the commercial market and still retain feeling and individuality. Ruby, Ruby is indeed a rather slick production, complete with studio musicians, strings and horns - but there's no disco, background singers, super funk or any of the other excess baggage found on many of todays recordings. Jay Chattaway' s orchestrations do in fact enhance the music most of the time throughout the eight tracks. Gato's work here is romantic, often downright sexy and sometimes quite hot (hot blooded fits better). The Latin feeling is aided by added drummers and percussionists, such as Paulino da Costa & Portinho. The basic septet includes Lenny White, Gary King and David Spinozza. If you like jazz commercial vein, I think you'll find Ruby, B.W. Ruby to be an excellent example. FRANK STROZIER - DANCE, DANCE - TRIDENT TRS-502 There's nothing wrong with dancing. On the contrary, it is a great form of entertainment and lots of fun. Jazz shouldn't be relagated, however, to a position of background for dancing or anything else. Fdmk Strozier, a most competent alto saxophonist and flutist, l'ias assembled a group called the Rhythm Machine to produce~ an album called Dance, Dance wh1ch he says on the liner notes, " ... is what you'll dowhenyouhear th1s album." In it we get only a glimpse of Strozier's talent and the talent of pianist Harold Mabern and bassist Lisle Atkinson. Strozier's selection of material seems aimed at an M.O.R. (middle-of-the-road) aud1ence both in the way they're arranged and by the inclusion of pop tunes I ike I Won't Last a Day Without You, I'm Getting Sentimental Over You and Shine On Harvest Moon. You get the impression that the session on the whole is uninspired to say the least. There's very little real swinging here and the players seem far too mechanical to enjoy themselves. The standout tune and the one that seems most inspired is the latin-flavored Brazil, so if you can dance the samba you're all set. It may be aimed at an M.O.R. audience but at least it's not disco. J.H. RALPH TOWNER - SOLSTICE/SOUND & SHADOWS - ECM 1095 Guitarist Ralph Towner recorded five original compositions for this album - his fourth on ECM as a leader. The quartet is the same as is heard on his previous Solstice (ECM 1060) - Jan Garbarek/saxes & flute, Eberhard Weber/bass & cello and Jon Christensen/drums. The music however is much lighter and more open sounding for the most part, much I ike the classical oriented sound often associated with Towner's regular group Oregon. Thus, there are times on side 2 when the music is free without sounding at all "out". Distant Hills, a tune re.: corded by Oregon is a lovely, floating ballad highlighting Towner's guitar, while Balance Beam, the most energetic cut, moves the spot I ight to Garbarek' s tenor. This is very much the clean, crisp ECM sound and a good release for Towner & friends. B.W. JACKIE McLEAN: W/COSMIC BROTHERHOOD·- NEW YORK CALLING - INNER CITY 2023 W/MICHAEL CARVIN - ANTIQUITY - INNER CITY 2028 If it wasn't for Danish Record producer Ni Is Winther, there might not be any recent recordings from the great alto saxophonist Jackie Mclean. These two are among the seven now available on Inner City. New York Calling was done in '74 in Denmark by Jackie's regular working group The Cosmic Brotherhood. Two Buffalon,ans are in this band - trumpeter Billy Skinner and pianist Billy Gault, along with Jackie's son Rene/tenor, alto& soprano s..Jx, James "Fish" Benjamin/bass and Michael Carvin/drums. Th , is a fine band, very together in the ensembles and strong so"''sts. The music consists of five modal compositions, all wntten by the Buffalonians Gault & Skinner. Carvin is a very musical drummer and a creative percussionist. He really has a chance to show his stuff on the duo album Antiquity, also recorded in '74 in Denmark. Carvin can be heard on all sorts of percussion instruments, as can Mclean in addition to his alto sax, bamboo flute and piano. You'll hear a flute duet, alto/drums bashes, percussion duets and spiritual - l1ke ·De I Comahlee Ah sung by Carvin. It's all very well !!the most beautiful sound next to silence~' AECCJ:IDS jazz month The entire ECM catalogue- albums by Keith Jarrett. Chick Corea, Ralph Towner. Gary Burton. etc. - THIS MONTH AT SUPER SAVINGS! SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL LOCKPORT MALL CAY ES EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA �---, takes off for a swirling yet controlled solo. From th1s po 1nt you'll hear sol~ piano, more from the quartet, a bass solo from Haden and a pmo!_bass duet before the end of the side, which runs close to 28 mmutes. Side two - Conclusion begins with a free form blowing section, settling into a piano trio interlude with Haden on bowed bass. The music thatfollows alternates between trio and quartet in the rocking fashion this band is known for. Haden solos again and Jarrett switches back to soprano briefly before the full qua~tet ~tat~s t_he melody (head) and builds to a closing. Survrvors Surte IS thebestfromtheJarrettOuartet in some time. The mood changes often, fresh ideas are a_lway~ popping up and these four men need no resume of the1 r ab11ity - its common knowledge. The second release, Byablue, comes from Impulse records and app~ars to ~ave come from the same 1974 session that produced h1s prev1ous four Impulse albums. The composing was spread out here, rather than the usual all Jarrett fare. Motian's Byablue is a free affair, while Margot Jarrett's Rainbow is a I ightly swinging ballad, done trio (Redman out) with Motian using brushes. All of side 2 was compose~ by Motian offering a variety of colors from the full quartet, ~xcept for a second take of Byablue - this time solo pianoJThis could've been Paul's album- in fact the only Jarretttunetis the short Konya. He.re K~ith & Dewey are ?n saxes, with bq,wed bass and gong. I fmd th1s album a refreshmg rel1effrom the rather repetitious sound of Jarrett's last few Impulse dates. In closing this longer than usual review- these albums present the quartet in good form with a needed change of ideas, progressions and, in the second case, composers. Much of the Impulse release may demand more attention -and there's nothing wrong with that. If you need to choose, try the order in which they're reviewed. If you can - get 'em both. B.W. done, but I'd say that a strong pre-requisite would be that you have to love percussion. Both albums are recorded well, an area where the Danes excel. · B.W. SUN RA - SOLO PIANO VOLUME I - IMPROVISING ARTISTS 37.38.50 What would you expect to hear on an album of solo acoustic piano music from Sun Ra, recorded in May of this year? Chances are good that your answer is way off. This one really took me by surprise. The mysterious Sun Ra has been working intheavantgardeand far beyond for some time. He and his "Arkestra" have produced some of the strangest sounds known to man in recent years, but his solo piano album tells a different tale. By many peoples standards, 'i 'i ·! . TONY RIZZI & PACIFIC - SURFIN' - MORRYTHM 010 West Coast guitarist Tony Rizzi has assembled five additional guitarists, piano, bass, drums and Latin percussion for this date - playing a program of ten tunes. Think of what could be done with six guitarists! It's no wonder that Surfin' is on this band's minds -the music is so watered down that the only place it could keep from drowning would be on Muzak stations. The choice of songs is as bad as the performance and the few decent compositions don't survive Rizzi's arrangements. Rizzi does have a much better album out based on the music of Charlie Christian (Milagro 1000). If you hear that one don't buy Surfin' by mistake. In fact do your fellow jazzfans a favor and remove it from the jazz bins. B.W. this music is relatively tame and straight. In fact, his version of Yesterdays, the Jerome Kern standard adheres closely to the melody from start to finish. There's also a rendition of Sometimes I Feel Like a Motherless Child with a rocking flavor and some brief "outside" excursions. The other four tunes are Sun Ra originals offering a look into a man we know I ittle about. You'll probably find out more here than anywhere else. Its serious, refective music played with feeling, imagination and technique; and you can't help but feel Ra's mysticism- check out the haunting lyricism on Irregular Galaxy and To A Friend. I'll be the first to admit that there is a ridiculous quantity of solo piano albums on the market today. A few are great, many are average and many fall short of that. Sun Ra's contribution is one of the few that make it to the top and is deserving of your attention if you're willing to listen attentively. By the way, according to the Encyclopedia of Jazz we do know that Sun Ra's zodiac sign is Gemini; month of May; arrival zone U.S.A. birthdate and birthplace unknown. B.W. KEITH JARRETT: T.HE SURVIVORS' SUITE - ECM-1085 BYABLUE - IMPULSE AS-9331 These two albums offer the music of the Keith Jarrett Quartet - a long standing unit consisting of Dewey Redman, Chari ie Haden & Paul Mot ian. The Survivors' Suite is the quartets' first for ECM after a series of discs for Impulse. As the title suggests, its a suite, with the only break in the music being the separation of the two sides. Beginning (Part I) opens with Jarrett playing bass recorder mixed with various percussion textures from Redman and Motian. Haden joins in as the music continues with an Eastern (Indian) tone. The melody is stated repeatedly with Jarrett on soprano sax and Redman on tenor playing in unison. The music continues to build slowly - Keith switches to piano and Redman ':\ STANLEY TURRENTINE - NIGHTWING'S - FANTASY 9534 Stanley's fifth for Fantasy Records continues in the rhythm & blues style of its "predecessors. Most of Stan's discs offer quality R&B/jazz and Nightwings is a good example of both h1s recent recording work and live appearances. Its funky, slick and soulful. Strings and horns don't always come off well with this type of music, but Claus Ogerman did a decent job for this one. The best cut.s are probably Turrentine's Papa I, and Joe. Zawinuls Birdland - wh1ch was recently recorded by Weather Report. If you're into Stans' ballads try If You Don't Believe; and there's a Latin cut- Tommy Turrentme's Joao. His group includes Paul Griffin/keyboards, Erie Gale and Cornell Dupree/guitars arid others, but Stan plays straight through each cut, aside frorn some interludes from the orchestra. Nightwings could easily have been ruined with the inclusion of background voices and disco drums, but there are none It probably could'v<: been better with justthe horns and no strings but I guess violinists have to work too. lt'sbetterthanmost albums in this vein, and perhaps that's because Stan produced it htrr.self B.W. New Directions 10 DONALD KNAACK - DONALD KNAACK/PERCUSSIONIST FINNADAR (ATLANTIC) SR 9017 . Percussionist Donald Knaack may be a familiar name 1f you've been aware of the activities of the State University of New York at Buffalo's Creative Associates over the last several years. The Creative Associates have been performing, writing and promoting what for lack of a better term has been referred to as "new music" or avant garde classical. t; i ' �A NEW QUARTET OF ALBUmS / from HORIZON CHARLIE HADEN THE GOLDEN NUMBER Five selections arranged byThadJones. including two ofThad"s compositions, recorded I ive in Sept. 1976 at the Domicile in Munich- during the last week of a sixteen week European tour. Haden sounds out deep new directions. drawing from his unified perspective on politics, art& the human spirit. This album is dedicated to Hampton Hawes. ' CHETBAKER CAN'T GO HOME AGAIN Chet plays four compositions, including two by Don Sebesky. with Hubert Laws, Ron Carter, Michael Brecker, Tony Wi II iams and others. ;I ~SERIES j ON A&M REOJIIDS Moving with ease from flowing lyricism to pure musical fire within a versatile series of provocative improvisations, the album is far from being another blowing session. Available at fine record stores everywhere. .I ,j �Knaack's experience as a percussionist comes from being a graduate of the University of Louisville, earning a masters degree in music from the Manhattan School of Music and for a time freelancing around New York City before coming to the University of Buffalo where he became a member of the Creative Associates. Donald Knaack/Percussionist represents the first recordings of two pieces; one by Marcel Duchamp and one by John Cage. The pieces are The Bride Strepped Bare By Her Bachelor's, Even. Erratum Musical by Duchamp and 27'10. 554" by Cage. Both pieces take into play the DaDa theory Of art where technique is being suppressed or as Knaack describes it, " ... an in the raw approach to music." In addition to being first recordings of these pieces it is also the first album by Knaack and :t is a solo percussion album. Although these works are placed in the category of avant garde classical music, there has been an increasing closeness lately between avant garde classical and avant garde jazz. Within both pieces the freedom of jazz is tempered by the structure of the compositions. So much is left to Knaack in the realization of each piece that it's apparent that he is to a large extent on his own. In fact, both pieces called for Knaack to actually create the instruments he would perform on. The liner notes explain how each work was realized by Knaack which in both cases was quite an elaborate process. The Duchamp piece was performed on glass instruments exclusively. They included twelve types of wind chimes, a xylophone made of glass rods, wine glasses, and glass maracas and many other glass instruments for a total of 24 in all. Those of you who are amazed at the number of instruments utilized in today's jazz by people like Anthony Braxton, the A.A.C.M. and other avant garde artists, the Knaack album wi II prove stimulating and provacative. Knaack is no stranger to jazz and acknowledges the similarities between classical avant garde and jazz avant garde. As a youngster Knaack " ... got very interested in jazz and began playing the drum set around the age of twelve. By the time I got to college I was still playing a lot of jazz and became interested in symphonic playing." He went on to say, "My three years as a member of the Creative Associates has given me an STEREO INC. The next time you're looking at sound systems, come to the audio specialists in Western New York ... Alltronics. You'll find only the finest names in stereo equipment at very reasonable prices. And you can depend on each member of the sales staff to combine professional knowledge with a sense of aesthetics. "We're here to help you make a sound investment" 2010 Eggert Rd. Amherst, N.Y. Phone: 716/834-2266 .L..-------------------------112 imP''"' to. oh•ngo dicectioo '"' to go book '"'' ' moce ; . , onented s1tuat10n and carry cerlam th1ngs I got 1n the thre<> years in classical avant garde over into a more synthesi~ situat1on." Don is currently in Cal ifor·nia where he and his wife gave birth to a baby boy and where he will try to take his brand of avant garde classical/jazz/new music into night clubs and other locations that were previously unexposed to it Descnbing the music contained within Donald Knaacki Percussionist is difficult because there are few points of reference and/or comparison. The best that can be said of this ground-breaking album is to open your ears and b" your own crd1c. J.H. , ij\ j !t ·~ son of jazz bill besecker October had the potential for being an eventful month of international jazz in Buffalo. There were not one, but two major concerts featuring "foreign" jazz artists scheduled. It would have been Gato Barbieri's second Buffalo appearance, and his first in three years. But lo .. it was c~ncelled because of poor ticket sales. It was a concert I had beef} looking forward to with great anticipation. . Jean-Luc Ponty had been to Buffalo many Hmes before (with Zappa, The Mahavishnu ... , andhispresentbandatHerlel Ave.'s "in-spot"). His appearance in Clark Gym was less impressive than I had anticipated. Most of the blame should be directed at the sound in the gym (i1's abominable what Clark can do to a good band), but another situation I feel I must comment upon is his choice of personnel in his current band. Only two of his sidemen seemed to contribute to the sound Ponty was reaching for: guitarist Darryl Stuermer anddrummerSteveSmith. Their playing was together and always tasteful. The second guitarist, a Long Islander whose name I cannot remember, and the bass player, Ralph Armstrong, I found to be quite distracting whenever they over-gimmicked their solos. The Australian keyboard player just didn't seem like he wanted to "get involved." Ponty himse!f was splendid. His solo piece, "Milky Way" had the potential to become mundane via its electronics but never did. It was executed without excess cliches and therefore successful. Ponty provided what I I ike to hear from a "foreign" jazz ensemble: something "foreign"! In this case, Ponty's violin, though not a new instrument to Jazz, is definitely not its usual fare. For foreign musicians to combine something foreign with jazz shows that their music is more than just mirrored imitation of American jazz. It's what I look for from all "foreign" groups. Turning to the new releases of late, I can't find anything "foreign" about the MASABUMI KIKUCHI SEXTET and their album, MATRIX (Catalyst CAT 7916). Without any knowledge of the nationality of the musicians, a critic would have to be well versed in the minute idiosyncrasies of foreign players to guess from which land this mainstreamish music would h::!Ve originated. No one musician's playing predominates thrJalmost 40 minutes of music on this album. Probably the least featured soloist is the pianist/leader of the session, Masabumi Kikuchi. Two of his own compositions are featured, and he has undoubtedly masterminded the arrangements of the rest which appear like Corea's "Matrix", and the often performed "On Green Dolphin Street". The album sounds very American and resembles the Herbie Hancock quintet of the late '60's. The only tune which has something unique sounding is Sadao Wantanabe's "If I Said the Sky Was Falling" featuring Masabumi on harpsichord. The album almost sounds too American for its own good. As I said, what I like from foreign musicians is that added voicing or extra folkish harmonic which combines jazz with the entire historical spectrum of music. Another album, although possessing much foreign atmosphere, succeeds only at points. It is Argentine CHIVO BORRARO'S release, BUENOS AIRES BLUES (Catalyst Cat-7917). With futuristic overtones prevalent in such compositions as "Blues for an Astronaut" and "Cradle Song for a Baby of_ the Year, 2,000", the album almost appears to be one conce1ved with tongue-in-cheek. The identifiable key that the musiC comes from South America is the suggestive rhythms of the graviola of Stenio Mendes. The twelve-str·ing acoust1c sound ' ___j �of the graviola serves only as a contrasting sound from which the band springboards into the more contemporary sounds obtainable by multi- instrumentalist Borraro and his five sidemen. Side one has the two futuristic pieces mentioned, but side two is the side to I isten to. The band appears more serious about playing good music here. Much of what these musicians do has been done often enough, and probably by more skilled musicians, but there is sign of promise. Mendes does at times (and I emphasize "at times") sound like a Latin Ralph Towner, especially during the introduction to his composition, "Monk's Invasion", which is probably the best cut. Barraro is not the musician fellow Argentine Gato Barbieri is, but nonetheless his band can cook when they feel I ike it. I'd probably want to wait to hear a second album before I'd make a final judgement. blues by ron weinstock .Quite a lot of blues in the Buffalo area. Despite the cancellation of Eddie "Cieanhead" Vinson at the Tralfamadore. The Belle Starr had return visits from Muddy Waters and James Cotton with Albert King scheduled after this is written. B.B. King and Bobby Bland gave a satisfying night of blues at Me,lody Fair and J.B. Hutto and the House Rockers gave an exhilirating five nights of blues at the Bona Vista. J.B. played straight Chicago blues with tight backing from Brewer Phillips on guitar, Mark Hatris on bass and Ted Harvey on drums. Brewer turned in some nice vocals and exciting guitar work on his own while Mark and Ted kept a good groove going. J.B. and the House Rockers made a lot of friends in Buffalo and since many people asked J.B. about his records you might write either Southern Record Sales (see their classified ad) or Delmark Records at 4243 N. Lincoln, Chicago, Ill. 60618. Brewe Phillips and Ted Harvey can be heard on all three albums by the late Hound Dog Taylor on Alligator Records which should be in the local stores. Next issue I'll have reviews of Albert King and Sunnyland Slim (who will open for Captain Beefheart at Buffalo State College after this is written). A lot of good new records to review this month. Blind Willie Johnson is one of the great names in the history of black American folk music. A singer of mostly sacred material, Johnson was a stunning guitarist and exerted great influence on many blues artists. Praise God I'm Satisfied (Yazoo L-1058) collects 14 performances by him and displays his bluesy accompaniments as well as his intense vocals and those of his wife. Especially when he played bottleneck guitar he was a most remarkable musician and anyone interested in folk blues guitar styles should pick up this album, as one will find no better examples of bottleneck guitar anywhere. I've been reviewing the repressings of the King Bluesmasters series over the past few months. Gusto Records which owns the King catalog has just issued 12 albums of rhythm'n' blues classics which look even better containing great music, informative notes and a generous amount of music. Freddy King (King-501 X) has 17 great performances by the blues guitar innovator. Even those possessing the available King albums by Freddy wi II want to pick this up as it includes many hard to find sides with some stirring vocals and crisp instrumentals. This is essential Freddy King. Ray Charles (King-5011X) was in his earliest recordings heavily influenced by Charles Brown and Nat King Cole. The 14 sides on this King issue, while in a derivative style give some good examples of the 'West Coast' blues style with some very nice performances. Ray would in a few years after these sides were made establish himself as a major innovator in popular American music, though these sidespossessmorethan historical interest. Other King albums will be dealt with next month. Speaking of West Coast Blues, Southern Record Sales sent me a review copy of Central Ave. Blues (Ace of Spades 1001). This album collects 16 rare blues recordings from L.A. in the late forties and early fifties including Amos Milburn, Pee Wee Crayton, T -Bone Walker and Roy Hawkins. Highlights include "Highway 59" by Roy Hawkins with lovely T -Bone style guitar from Ulysses James. Some fine T -Bone and Pee Wee and two sides for Amos Milburn a fine pianistandsinger whose classic LEROY JENKINS His latest recording on India Navigation Records /olo Concert IN1028 Available at all better Record Shops also· Hear Leroy with the REVOLUTIONARY ENSEMBLE -"MANHATTAN CYCLES"1N1o2a APPEARING AT THE TRALFAMADORE CAFE with ANDREW CYRILLE &MUHAL RICHARD ABRAMS DECEMBER 2,3&4 �Aladdin recordings are almost otherwise unavailable. Hopefully more West Coast reissues wi II follow on this one as unti I recently this has been a style out of favor with collectors. Clifton Chenier has so many good albums out that one is tempted not to review a new one on a Louisiana label that you will have trouble finding. Boogie 'n' Zydeco (Maison de Soul LP-1003) is however a typically fine album of rocking blues and cajun waltzes that I recommend it strongly. Clifton's band including tenor saxophonist John Hart turn in some great music as always, including a great "Ch'oo Ch'oo Ch'boogie" and a "Hot Temale Baby" which has overtones of the late Magic Sam's recording of "You Don't Love Me". Southern can also supply or write Maison de Soul care of Flat Town Music Co., Drawer 10 Dept. C.C 3, Ville Platte, La. 70586. Finally I want to mention a fine new series of albums that Magpie Records of England is putting out. Called The Piano Blues this will be a sixteen album reissue of blues piano from original 78s in the collection of Francis Smith who has the collection of such material. Vol. 1 Paramount 1929-1930 (PY 4401) contains sides from Little Brother Monther (his classic "Special Rider Blues" and "Vicksburg Blues,") Louise Johnson, a fine pianist who has Son House and Willie Brown adding comments on one of her sides, Charlie Spand (including a duet with Blind Blake) and others. Handsomely packaged with excellent annotation this is a most important debut for the series and is my record of the month. Southern Record Sales can also supply. stereo report The following is the beginning of a monthly column which will include such information as stereo equipment reports, recording history, a look at the pressing of records and more. We hope you'll find this an interesting addition to BJR. HISTORY OF SOUND RECORDING Creating a Recording: Then and Now Picture a typical recording session some 90 years ago: A BONA VISTA 1504 HERTEL Music for all tastes Sun.-MF Buzz Band Mon.-Spyro-Gyra Tues. -Billy Brite SHAKIN SMITH and his Blues Band-wed.&Sat. Thurs.- Bahama Mama FRI.- Pepperwood Greene WED.- SUN./ NO COVER Candi's Kitchen Open 'till 4 AM - 7 Nights a Week 836·8985 ..________________________,.14 singer stands facing the large end of a recording horn. Bunched behind her are the musicians. On cue, a studio attendant starts up the cylinder recorder, announces the tit I e of the recording and the. singer and orchestra \10 into their performance. At it~ concluston, another cylmder ts placed on the recording machine, the title announced, the performance repeated. Every cylinder record made in those days required a separate performance because there was no way then of mass-duplicating cylinders. In time, it was found that up to three cylinder recorders could be run simultaneously to record a singer, up to ten for a brass band. But performers sti II had to repeat the selection over and over again to produce the required number of cylindres. Each performance was called a "round," and, to encourage the top artists to do as many performances as were needed they were paid the then handsome fee of $5 per round. ' The use and positioning of instruments was critical. Tubas and trombones, for example, had to beplacedwell away from a recording horn so as not to drown out the singer and the other instruments. Low-pitched string instrument'S -- cello, viola bass, viol --could not be used because the cylinders could not pick up low-frequency string sounds. An acoustically-amplified viol in, called the Stroh-viol in, was about the only usable string instrument. In most cases, brass and woodwinds were substituted for strings. Singers had to move back and forth during a performance to create an illusion of dynamic shading. Orchestral tone colors were almost non-existent because of the I imited dynamic range of acoustical recording. The human voice, which covers a narrower segment of the audio spectrum than most musical instruments do, was therefore reproduced with greater fidelity than the orchestral background. A few years later, the development of the disc record made it possible for the first time to mass-duplicate recordings from a wax master. These records suffered from the same dynamic range I imitations as the cylinders but produced higher levels of sound. It was not until 1925, when electrical recording came into use, that the audio spectrum was extended upward from 2,000 to 5,000 cycles, permitting the reproduction of orchestral sounds with a reasonable degree of fidelity. Moreover, musicians no longer had to sit bunched together in front of a recording horn. Greater fidelity was achieved through the judicious placement of microphones and the improved design of physical acoustics in the studio. What did not change until the late 1940's, despite the improvement of recording techniques and the enhanced reproduction qualities of the 78-rpm shellac disc records, was therequirement that the 3- or 4- minute performance that went on one side of therecordhadtobedone perfectly in one take. Even a small mistake meant scrapping the entir~ take and doing it all over again. \ The advent of tape as a recording mediuln after World War II changed all this. There is no longer any I imitation on, the length of a "take." If a note is played wrong or is slurred, if someone is off key, only that bar of music has to be redone and the corrected version spliced into the tape. Music can be "sweetened" by overdubbing additional instrumentation. A single performer doing the melody of a song, and then laying down separate harmony tracks, can, when the tracks are combined, be made to sound I ike a vocal group. All sorts of effects can be created by the mixing of the individual tr.acks on the master tape. A typical recording studio today can record from 16 to 24 separate channels of sound on a tape. The editing and mixing that takes place after the recording session is an important contribution to the finished recording offered to the public. The producer of a recording funct10ns somewhat I ike the director and producer of a motion picture. He chooses the material to be recorded, commissions the orchestral arrangements, arranges for studio dates, supervises the recording session and is in charge of the post-recording editing, mixing and mastering. He determines the kind of sounds he wants to achieve, the effect he wants to highlight or subdue, the amount of reverberation that should be added m the production of the f,nished recording. The producer and the engineer can be as tmportant in creating the final recording as the recording arttst. Little wonder that an engineer recently remarked: "Years ago we used to try with every bit of sciE·nce and technology available to us, to produce a recording that was most faithful �~· 1 to the live performance. Today, you go to a concert by a·pop artist or group and the vast array of electronic equipment they carry with them has only one purpose -- to try to recapture in a Iive performance the same sound that was originally produced on records." cla&;"ified This space is availabletoprivate individuals, organizations, mail-order houses, etc. The cost is 10¢ per word- minimum charge $3. Send copy and payment to BJR - 1335 Main Street, Buffalo, N.Y. 14209. DRUMS FOR SALE: Gretsch - 1 year old. 20" bass, 14" chrome snare, 16" floor tom, 12" hanging tom, 18" zildjian ride cymbal, 16" sizzle, stands plus hi -h~t stand and accesso~ . ries $350.00 or best offer. 885-9226. MUS.I~ LESSONS: Guitar, electric bass, string bass and compos1t1on. Theory and improvisation incorporated into each lesson. Gerry Eastman - 884-4136. SACKVILLE - The Jazz Record Company: Dollar Brand, Anthony Braxton, David Holland, Oliver Lake, George Lewis, Jay McShann, Roscoe Mitchell, Don.Pullen, Buddy Tate, Teddy Wilso'n andmanyothers. Writeforfreecatalogueto SACKVILLE REC<?RDINGS, Dept. K, 893 Yonge Street, Toronto, Ontario M4W 2H2 Canada. CADENCE - Monthly review of jazz & blues. Interviews oral-histories, news and the most complete coverage of th~ entire scene. Sample $1. Cadence, Rt. 1, Box 345X, Redwood, N.Y. 13679. . USED LP'S WANTED: Albums by Lee Kon1tz on Verve, many Columbia issues (50's, 60's) and items from Jazzland, Riverside, Contemporary, SO's Atlantic and other labels. Send your list and desired prices to B.W., BJR, Box K, 133::i Main St., Buffalo, N.Y. 14209, or phone (716) 883-3909 Ext. 11. RARE. & Out of Print Jazz LP's, price lists and auctions. Wm. Carraro, 25 Aberdeen St., Malverne-, N.Y. 11565 NOV. lralfevents Weekends EXISTING REALITY 11,12,13 JON WEISS QUARTET· . 18,19 $1.50 20th·· closed ALAN GAUMER QUARTET ·25,26,27 s1.5o - - - - - - - - iC - - - - - - - - - Leroy Jel1kins, Andrew Cyrille & Muhal Richard Abrams oEc~ 2,3,4 Fri.&Sat.10PM; Sun.9PM IMPORTS from Japan and elsewhere. Sony, East Wind, Trio, BYG, Timel:ess and many other labels. Albums by Coltrane, Braxton, Miles, Woody Sh~w, etc. Also College big bands, Vmtage b1g band and tradd10nal. Send for free lists and specify tastes (Mainstream, Big Band, etc.) - International Records, Box 717, Dept. B, Mentone, California 92359. Cover $5/ No Minimum FOR SALE Sansui ~OoOX Receiver 40 watts RMS per channel $230 or best offer. Phone 875-3256. ----------------· BLUES, JAZZ ad;' labels including imports - write for list. Southern Record Sales, 5001 Reynard, La Crescenta, California 91214. JA.ZZ LPS FOR SALE. Many out-of-print. Craig Recording, 700 W. Main, PO Box 943, El Dorado, AR 71730. MON. OPEN MIC TUES. BFLO. COMEDY WORKSHOP 8to10PM $3 ACOUSTIC from 1o:3o WED. JEREMY WALLTRIO .THURS. SPYRO GYRA whotg, BUFFALO happ~ning 3 Sets per Night Statler Hilton - Downtown Room - Jonah Jones Nov. 1-13; Jackie & Roy Nov. 15-27. See ad. Tralfamadore Cafe - 2610 Main St. - Local Jazz Wed. - Sun. Nights. Leroy Jenkins, Andrew Cyrille & Muhal Richard Abrams Dec. 2. See, ad. Bona Vista - 1504 Hertel - Blues & Jazz - See ad. GOOD· FOOD & DRINK NIGHTLY Central Park Grill - Main near Greenfield - Jam Sessions Mon. Nights. Chec~erboard - Main & Utica - Jazz Nightly. Odysey - 1005 Tonawanda St. - Jazz Sat. nights. · Anchor Bar - Main & North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night. Field~tone Manor (Lockport) - Dixielandw/Will Alger on weekends. Jack n1ghts; c.>aniel's -.Forest Elmwood - Spyro Gyra Tues. & 15 .__ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _.. Sun. Hortzon Wed.near & Sat. Tralfamadore Cafe 2610 main at fillmore 836-9678 �TORONTO Bourbon Bourbon St. - 180 Queen St., W. - Chet Baker Nov. 7-19; Blue Mitchell Nov. 21-Dec. 3; Slide Hampton starts Dec. 5. See ad. George's Spaghetti House - 290 Dundas St., E. Gary Binstead Nov. 7-12; Moe Koffman Nov. 14-19; Bernie Piltch Nov. 21- . 26. See Bourbon St. ad. Basin St. - 180 Queen St., W. - above Bourbon St. The Boss Brass Nov. 21-Dec. 3. C.C.M.C. - (Canadian Creative Music Collective) Tues. & Fri. nights 9 PM. The Music Gallery - 30 St. Patrick St. Phone 598-2400. Cafe May - RoncesvaHes Ave. at Howard Park - Lorne Lofsky Trio Sun. 7:30- 11 PM. Albert's Hall - The Brun·swick - 481 Bloor Street, West. Nightly from 9 pm - Dr. McJazz. Chelsea Bun - Chelsea Inn - 33 Gerrard St., W. - piani~t John Arpin Mon. thru Sat. 9-1. Blondie's- 1954 Yonge St. Jazz Mon. -Sat. 9-1. Street TORONTO (416} 598-3020 The Finest in Italian Cuisine BLUE MITCHELL Nov. 21- Dec. 3 SLIDE HAMPTON Opens December 5 Live Jazz Mon.- Sat. Phone Ahead for Dinner Reservations Open Daily 12-1 Sundays 6- 10 No Cover ROCHESTER Bill Evans- Eddie Gomez Duo- Nov. 11 -8:30PM- Nazareth Arts Center. (Tickets avai I able at all Rochester Record Theatre locations.) Jan Hammer- Dec. 10- R.I.T. -call 464-2307 for ticket info·. Glass Onion - Joe Romano Quartet - every Tuesday; various jazz groups every Sunday 3-6 P.M. Larry Coryell Nov. 9; John Hammond- Nov. 16-17. Port Side Grill - Joe Romano Quartet - Fri., Sat., Sun. and Mon. Stone St. Pub- Joe Locke Jazz Quartet- Thurs., Fri. and Sat. Garage Door - Joe Locke Jazz Quartet - Sunday 9:45-1 :30. J-J ·Lounge- Roland Armour Trio- Fri., Sat., Sun. Red Creek - The Silver Tones - Nov. 23-26. Eastman School of Music - (all Concerts 8 P.M. - Free). New Jazz Ensemble Nov. 7; Jazz Lab Band Nov. 14 and Eastman Jazz Ensemble/New Jazz Ensemble Dec. 9. GEORGE'S SPAGHETTI HOUSE 290 DUNDAS STREET, E. TORONTO. ONT. -923-9887 Featuring some of Canada's Top Jazz Artists nightly as well as our famous Italian Cuisine. Appearing at the. UUW~TUW~ *JONAH JONES November 1-13 *JACKIE +ROY Nov.15-27 *STANLEY TURRENTINE NOV.29-D: . ffalo jazz report •..,""',.., main st . •••!:~lin' n.y. 14209 return postage guaranteed SJ6 PERIODICALS & BINDERY LOCKWOOD MEMORIAL LIBRARY -!S.U.N.Y.A.B. $UF.FALO, NY 14214 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4480 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 45 Date A point or period of time associated with an event in the lifecycle of the resource 11/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 45 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/3a7fa3c25c8d7a13bf63a8974f16e98f.pdf 34f344ab7cb669879802a1be90266a86 PDF Text Text Ml I B~. buftQ-0 ,~ . J"axz 17 q ~ ~ ~epott december '77 issue46 free Buddy Tate TralfJazzFeltival: mole Allilon,Eddie i Hender1on,Leroy Jenkin1 &more ••• �tralfJazz Fe.ttival see pages 12,13,15,21&23 advertisment Cover photo courtesy CODA Magazine EDITOR &c PUBLISHER- Bill Wahl CONTRIBUTORS - louis Bradshaw, Bill Besecker, Paul Gresham, John Hunt, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATORS - Christine Engla Eber and Sabrina Mayberry Smith. CORRESPONDENTS Rochester - Jim Laniok Syracuse - Dave Hanlon Toronto - Hal Hi II Address correspondence to: Buffalo Jazz Report 1335 Main Street. Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A. © 1977 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the publisher. THE SHORE COFFEEHOUSE features live entertainment every other Saturday (Dec. 3, 17 & 31) and provides an opportun dy for musicians to perform in an open mike format and for arl1sts and craftsmen to display orselltheirworks. Located in the Shorel1ne Apat tment Complex near City Hall, "The Shore" is always filled with many different styles of music, poetry, humor, and art. The atmosphere is friendly and everyone is welcome to relax and enjoy coffee, tea. and pastry. Everything is fr "" TORONTO RADIO NEWS Editor of Coda Magazine Bill Smith will be guest host on Hal Hill's "From Bebop to Now" show commencing in December. "From Bebop to Now" is heard weekly on Saturdays from 10 pm to midnight .... Bill Smith will endeavour to bring us up to date with his knowledge of New Music, and will present it in a manner that is both educational as well as entertaining .... .'. the show will last approx one hour and the first of the monthly visits wi II be on December 10th. The first show in the series will be under the title of "Music in Transition" - "The Orchestra" .. and wi II feature music by Duke E II ington, Charles Mingus, Thelonius Monk, Brotherhood of Breath, John Coltrane and Anthony Braxton. GHETTO GROUP WARS TO OVERCOME BLIGHT AND POVERTY. The name of the. group is the Yoruba Foundation and they are putting on a pageant, "African Holiday", at Kleinhans Music Hall. Featured in the program will be music, fashion and dance. A complete African Village is in the process of being built. ·. · The Yoruba Foundation has secured the aid of Mongo Santamaria, Afro-Cuban percussionist. Funds from the program will go toward their building, a Museum. . Buffalo has one of the largest ghettos in the nation and it is through "African Holiday" that we plan to unify the indigenous people. The concert will be held December 18, 1977- 7:30p.m. at the Symphony Hall. The Yoruba Foundation is under the direction of Mr. Malcolm Erni, and the Fashion Coordinator is Mrs. Victoria Preston. · The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of .charge throughout Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $7/year, paid in advance. Sonny Criss dies ... Alto saxophonist Sonny Criss died of a gunshot wound on Saturday, November 19. He was to leave for a concert tour of Japan and a new album was scheduled to be recorded. He was 49. IPlb haircutter 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store ......_---------------- 2 EDDIE HENDERSON-Tralf.Dec.15-17 �THE lantempara masters .· Series. Proving once again that jazz is everybody's music. JC 34804 2·RECORD SET THE LESTER YOUNG STORY . VOL.2 A MUSICAL ROMANCE JC 34857 JE 34869 On Columbia and Epic Records and Tapes. This Month at Super-Sale Prices! including: He's Funny That Way/ Honeysuckle Rose The Very Thought Of You/1 Can't Get Started When You're Smiling JG 34837 i CHARLIE PARKER and the ALL-STARS SUMMIT MEETING AT BIRDLAND CAVAGES SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA including: Groovin' High/'Round Midnight/Moose The Mooche Lullaby Of Birdland/Night In Tunisia JC 34831 On Columbia Records and Tapes. NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL ®"COLUMBIA," MARCA REG. I I ' ! �interview with HAL HILL Transcribed by Bill Wahl . . . . The following is a condensed vers1on of an mterv1ew w1th tenor saxophonist Buddy Tate. Hill: I'd like to go back a littlebit- you were born in Sherman, Texas; I won't hit the date, we' II forget about that Tate: Some time ago. (laugh) Hill: From about 1939 you spent approximately 10 years with Basie. Tate: Yes - I had worked with Basie in his first band, which was around 1933 I believe, and I replaced Lester (Young). Hill: But you also worked with Lester. Tate: Yes when I came back - I worked alongside Lester. Hill: You had a long tenure - was Basie just a good boss or ... ? Tate: One of the best. And, Basie is like one of the sidemen in his band, but he gets a lot of respect as a leader because he won't tolerate a lot of things I've known other bandleaders to tolerate. He'll hang out with you at night, but he expects you to play when you hit the· bandstand - you've got to produce - its business! After that he's JUSt l1ke one of the guys 1n the band. I love him, he's r·eally a nice guy! Hill: You had one heck of a saxophone section too at that time. Tate: Yes, we had a good reed section all the time, and good saxophone players- good tenorplayers.l'vehadthe pleasure of working with all the good ones that have come m and out of the band. Hi II: People I ike Preston love on alto Tate: Yeah! Preston's out in Omaha now. He's got a radio show. Hill: You formed a small band of your own -I think that was at the Celebrity Club in Harlem. Tate: Yeah- those were the days, thatwas a really swing in' band you know. . . . . . Hill: This is where your arrangmg ability came 1nto be1ng. Tate: Right, we knew what we were doing and people used to say the band sounds I ike ten, twelve pieces. It was only seven, or when we'd have a singer it'd be eight. We stayed at the Celebrity Club 21 years and after it had become all rock n' roll we just left because people really weren't enjoying what we were doin' you know. photo: Bill Smith 4 Hill: The days of Bo Diddley! Tate: Yeah, and we couldn't gothat! Bynowwe'vo lost three guys from that band who've passed. We've sti II got the book and I plan to take the band to Europe sometime. Hill: What did you do afterBasie. Tate: I went to work with LuckyMillinder'sbigband immediately after Basie, and I did a lot of recording in New York. I worked with Lips - Hot Lips Page and Emmett Berry ..... Hill: You had a lot of recordings under your own leadership with sidemen such as Chico Hamilton, Jo Jones .. Tate: The first one. My first recording datewaswith Chico Hamilton - I was still with Basie's band. We made a 78 in California with Emmett Berry and Bill Doggett. That was the first one- Chico and I were just talking about that in Chicago. Hill: He's in Buffalo. right now, at the Statler Hilton. Tate: Is he? That's where I'm going in December- I open December 13th through New Years- Jimmy (McPartland) and I will be co-leaders. Hi II: You also had people such as Earl Warren, Rudy Rutherford, Clark Terry, Tommy Flanagan, Joe Benjamin all through this period spaning the years from '47 through I guess '62. Tate: Yes, I'll tell you, in New York when I had my band I played out of the Celebrity Club often. I played a lot of dances, and with only seven pieces sometimes I'd have to augment the band and I'd bring itupto12, 14 pieces. Just about every musician in New York had played in my band over the span of the 21 years. There was some good music in that band. Hill: You have that Texas sound- it's a warm, full bodied emotional sound. I can think of numerous tenor players Booker Ervin for exampleTate: Yeah, did you know Booker? Now his Daddy used to play with our family band - Booker Ervin, Sr. He was older than I and I was a lot older than Booker. He was from a town about six miles from my home. Hill: That Fat tone! Tate: Yeah Booker was quite a, it's too bad about him, he was quite a player. He once told me "I remember that family band y' all had and I used to come up and say someday I want to play tenor." He was quite a guy. Hill: You've done some albums, one with Dollar brand Tate: Yeah, recently - tenor, piano and rhythm - I think there was a guitar. Hill: How did you like playing with Dollar? Tate: AI right! I enjoyed it, had fun doing it.l didn't know how it would go, but it worked out real well. A lot of his tunes I didn't quite understand at first because they had a different way. Sometimes it didn't look I ike there'd be an ending to them, they'd just keep goin' and goin' and goin'. but I got with it. Hill: You don't stand still. Tate: No, I got with it and it really worked out finP. He was tickled to death man- and I was too. Hill: We'll look forward to that one, Warner Bros. I believe isn't it. Tate: I think so. I'm do1ng an album for Chiaroscuro with Arnett Cobb and Budd Johnson as soon as I get back from Switzerland. Hill: And you've recently done a quintet session with Jay McShann and Paul Ouinichette. Tate: Yes, in June - that's on Atlantic. We were playing Michael's Pub at the time. That's a good album. I'm sure it's going to be good - I heard the playbacks; we recorded three days. We had Joe Neuman, Milt Hinton. Hill: The one we're all raving about here is Crazy Legs & Friday Strut on the Sackville label with just Jay McShann and yourself. · Tate: I I ike that' It really worked out fine. Jay says "Man, I th1nk we should have a bass or a drum, don't you think so?" I said- not necessarily (laugh), we'll make it alright and he said "OK". And I think its real nice. Hill: Its a beautiful album, the Ellington medley inpartiCLIIar is my favoriteTate: Oh I like that! We would do it and the reactions from the people, like in Michael's Pub, they would go completely well they just absolutely dug it, you know? So I figured it should go on the record. I'm very pleased with that album. Hill: And it's really selling well. Can we talk a bit about Benny Goodman? You do some work with Benny Tate: Yeah, I'm doing some work with Benny now. I've been with him two years this tmw, whenhoworks and I'm available, and I like it very much. I adrnirch1m and he's a great musician �Toronto Readers ! BJR's Hal Hill is now at Sam the Record Man Square One shopping centre 100 City Centre Drive Mississauga 275 -2511 Best Wishes for the Hoi iday Season. DROP BY FOR YOUR HOLIDAY SHOPPING! CHOICE JOINS INNER CITY The MMO Music Group, Inc. consistingofMusicMinus One, Classic Jazz, Guitar World and Inner City Records, the fastest growing jazz label in the U.S.A., has announced its affiliation with the Choice Records label of Seacliff, NY. This excellent small label, founded by Gerry MacDonald, has made many contributions to the jazz lp scene in the past four years. Its artists include Zoot Sims, Roland Hanna, Toots SUPPORT OUR ADVERTISERS! Tell them BJR sent you! Thielmans, Buddy De Franco, Joanne Brackeen, and lreneKral, to name a few. Brand new releases for Lee Konitz, Bob Mover, Brackeen, DeFranco & Hanna are to be released soon. photo: Gerry Bahl and a great man. I cut my European tour short because he asked me if I could, and I can and nobody gets hurt- I just like postpone my stay in Europe, to come back and work with him because he's got about ten dates he wanted me to be on. Hill: ..... Have you noticed that people will hear tunes on records or the radio and associate a certain orchestra or artist playing that particular song; and, if they don't hear it note for note they don't recognize it. Tate: That's right. It's like guysplayingBodyandSoul. Now there are beautiful versions, and beautiful tenor players that've played so many things, but the first thing you think about is Coleman Hawkins! It's Coleman Hawkins' Body and Soul. I remember even with me with Yesterday. The firstthing I think of is Chari ie Ventura - I loved his version of Yesterday with Gene Krupa. That was one of the prettiest things I've ever heard, and nobody's ever really killed me like that. And I remember one time we were playing theaters, this was when the kids were really listening to jazz- they'd hum those solos with you. And I had made Rock A Bye Basie and I had played five or six choruses and there was only one on the record. And when the kids met me back stage and asked for an autograph they'd say "I thought you made Rock A Bye Basie." I says "Yeah, I did". They'dsaywell you didn't play that solo you made on the record, we kept waitin' for that solo"! (laughter) They knew you know, and they wanted to hear that! Hill: Who are some of your favorite tenor players? Tate: Oh, there are so many - now I don't know anybody I really don't like because really I've got an open mind- I listen to all styles, and just about understand what they're all doin'. Not that I canplaylikethatbutl know what's goin on. There are so many great players and it's really interesting. The worst thing, I think, for a musician to do is close up and don't listen. As a little boy they used to tell me "Don't get a big head, now don't get too chesty because there's a I ittle boy around the corner nobody knows about that can make you feel bad sometime" (laughter) - and that's true! There's. no room for a big head! Editor's Note: As Buddy mentioned during the course of the interview, he'll be playing at the Statler Hilton's Downtown Room from Dec. 13 thru New Years Eve. Drop down and see him. ~UllllY TATE on ISRCKVIU£1 5 at better record stores everywhere �totally unfamiliar with their music, one listenwill make it clear that the effort and time expanded ~as well worth it .for the group ~nd for t.he l1stene.r .. spyro Gyra 1s an a.lbum that 1s as satisfymg musically as 1t 1s capable of pleasmg nearly every kind .of musical taste. As pianist Jeremy Wall once said, "It's closer to jazz than anything else," and in terms of musicianship and improvisatory freedom it can be placed in that category (more so than a great deal of the music today that passes itself off as "jazz rock'' or "fusion"). The core of the group is Wall on all keyboards, Jay Beckenstein on saxophones and Jim Kurzdorfer on bass. Their original drummer, Tom Walsh who appears here, has gone on to become the percussionist with the rock group America and has been replaced by several drummers ove.r the months,. most recently by Te.d Rhinehart. There are so many standout tunes that it's difficult to single any out for special mention but Shaker Song, Leticia, Cascade and Mallet Ballet have catchy melody I ines with good soloing and sophisticated arrangements. The fact that it was produced, arranged and 'is being marketed by their own Cross-Eyed Bear records is..a credit to their desire, and the desire of many jazz musicians today, to have control. of their own destiny. It would seem highly probable, however, that once Spyro Gyra is heard by people outside the Buffalo area (it's already selling well,in Buffalo) it will earn them the national recognition they deserve. An excellent album for Spyro Gyra. J.}-1. RECORD REVIEWERS: Bill Wahl (B.W.), John Hunt (J.H.). Tom Mazzone (T.M.), Ron Weinstock (R.W.), Paul Smith (P.S.). Jim Laniok (J.L.). JAY McSHANN, BUDDY TATE - CRAZY LEGS & FRIDAY STRUT- SACKVILLE 3011 '' This wonderful record is a series of duets between pianist McShann and tenor saxophonist Buddy Tate. Musically it explores the terrains of the swing idiom, an idiom both are at home in. McShann led the band that played the blues and hacJ the legendary Chari ie Parker as a member at one time. Buddy Tate was a valuable member of Count Basie's reed section'·iri the forties. As might be expected their playing has a bluesy feel and swings in its own understated way. This album was recorded in Toronto last year, and features the duo on such treats as Rock A Bye Basie, My Melancholy Baby, Tate's Shakey George, McShann's title track and an Ellington Medley. Great albums like this come out too infrequently. Buddy Tate will appear this month at the Statler Hilton's Downtown Room R.W. with Jimmy McPartland. SPYRO GYRA - SPYRO GYRA- CROSSEYED BEAR- CEB 2001 The release of this album has been anxiously awaited by those who've followed Spyro Gyra's evolution. Even for those STEREO INC. The next time you're looking at sound systems, come to the audio specialists in Western New York ... Alltronics. You'll find only the finest names in stereo equipment at very reasonable prices. And you can depend on each member of the SClles staff to combine professional knowledge with a sense of aesthetics. "We're here to help you make a sound investmenf' 2010 Eggert Rd. Amherst, N.Y. Phone: 716/834-2266 6 THE COLUMBIA CONTEMPORARY MASTERS SERIES PART I Word has been going around for some time now about a massi,ve Columbia jazz release featuring rare performances from jazz greats. This first release is only a beginning. THE MILES DAVIS/TACO DAMERON QUINTET - The Paris Festival International (Col. 34804) is a May 1949 recording issued in Mono. Along with Miles & Dameron are James Moody, Kenny Clarke and Barney Spieler. The recording qua·lity is far below par compared to today's standards, but the music is topnotch making this album a must for avid Davis fans and collectors. Some of the cuts heard are Ornithology, all the Things You Are, Rifftide & Good Bait. Two more volumes are now available in THE LESTER YOUNG STORY series. Volume 2 (JG 34837) was done in 1937 and 1938, with five orchestras doing a total 'of 24 tracks. In addition to the fine pres here there is some excellent work from Billie Holiday, who is actually the featuredartiston all but one cut. Volume 3 {JG 34840) covers the years '38 & '39. There's four bands and 25 tracks here with Pres playing both tenor sax and clarinet. The vocalists on this volume are Billie Holiday, Jimmy Rushing & Helen Humes. Both of these Lester Young Volumes are two-record sets containing great, historically important music and t':le sound quality is very good. Everyone who's into GERRY MULLIGAN should be aware of The Arranger {JC 34803). Side one consists of recordings by the Gene Krupa (1946, 47) and Elliot Lawrence (1949) orchestras with Mulligan as the arranger. He plays only on one track with Lawrence. The last cut on side one and all of side two features Mulligan's orchestra (1957) with which heplaysbasssax, pi'ano and does the arrangements. These cuts are my favorites, with people such as Lee Kanitz, Zoot Sims, Bob Brockmeyer and Chari ie Rouse adding to the proceedings. A fine, well recorded set. Some excellent CHARLIE PARKER sides are available on Summit Meeting at Birdland (34831). The nine tracks were re- �corded live at Birdiand in New York in 1951 & 1953 and were radio broadcasts captured on tape by Boris Rose. The band on side one consists of Bird, Diz, Bud Powell, Tommy Potter and Roy Haynes and they're hot. Check out Anthropology and the 7 minute version of Bl'\le n' Boogie. Side two contains one track with Bird and the iVIiit Buckner Trio and four by the Charlie Parker Quartet - w/John Lewis, Curley 'Russell and Kenny Clarke. Candido (congas) is added for Broadway. 'Much of the music on these albums has been previously released, with the exception of the Miles/Dameron. More in this series is due out soon. B.W. PAT MARTINO- EXIT - MUSE MR 5075 ''There are two basic guitar styles in jazz today, those that haile not been influenced by rock (or should I say corrupted b'y). The first is the .classic Charlie. Christian as emulated by Benny Kessel, Tal Farlow, Herb Elli~ and Joe Pass. The other is the soul brought to Christian by Wes Montgomery and pe'rhaps best emulated by Pat Martino., Exit is Martino's fifth issue on Muse and once again he attemptto capture the intense creativity of Wes. Side A is a heavy be-bop on which pianist Gil Goldstein along with the verycapablebassistRichard Davis and drummer Jabali Billy Hart provide Martino with all the background he needs to give you thefeelinghe's not limited by, but actually strives upon bop for his ingenuity. Side B is en· c~anting with Martino going out on Blue Bossa. Perhaps Martino will be recognized as one of the truly fine guitarists whose technique and imagination are imbedded in jazz tradition. He deserves it. A fine release. T .M. PIANO TRIOS, SOLOS ! Tommy Flanagan, Duke Jordan, Horace Parlan, Earl Hines, Teddy Wilson- Inner City and Chiaroscuro Records. Tommy Flanagan has classic albumtohiscredit on Prestige, done back in 1957 titled Trio Overseas. That particular trio included bassist Wilbur Little and a 29 year old drummer named Elvin Jones. Now, twenty years later, Flanagan sort of re-creates. that session. ECL YPSO - Inner City 3009 is another tr.io recording, with bassist Geo. Mraz & Elvin, who turned 50 last month. Jones plays with brushes on most of the disc and his work is masterful. Though Elvjn is known as a powerhouse drummer, he handles brushes with incredible sensitivity and technique. Propelled by Jones & Mraz, Tommy solos well up to the level of musicianship and creative ability ofter associ .1ted with him. This adds up to a strong, interesting, f1r~t class trio album. Two cuts from the '57 disc are done again here -the Latin style title track, done in an extended 12-minute version and Bi rd's Relaxin' at Camarillo- a burner. The only drawback is• the recording quality- its dull and the drums suffer the most. : · Duke Jordan is a pianist known mostly as an accompanist. He's worked with a long list of giants, such as Bird, Miles, Max Roach, Dexter Gordon, Art Farmer and Coleman Hawkins. TWO LOVES - Inner City 2024 is a trio date with Danis: 1 bassist Mads Vinding and drummer Ed Thigpen. There's a good deal of melody and beauty here, but I personally need some excitement ahd surprise to really enjoyapianotrioand I don't find it here. I keep wanting to hear a horn and there's nohe to be found. I'll be interested to see how the trio does on his forthcoming l.ive disc. Horace Parlan's new release does more for me than Jordan's. NO BLUES - Inner City 2056 offers music that's more powerful, slightly more modern, and includes some fine basswork from Niels-Henning Orsted· Pedersen. Tony lnzalaco is the drummer here and he k'eeps it together quite well: Stnadouts are Miles' No Blues, Have You Met Miss Jones & Randy Weston's Hi-Fly. Although its far from the "definitive trio record", its a decent release from Pari an. Friends of Teddy 'Wilson should check out his latest release. REVAMPS RODGERS & HART - Chiaroscuro 168 is a solo piano outing on wh1ch he does thirteen R&H standards in form true to his repuration. Wilson has had ~any fine solo discs recently, including a great Tokyo recording available on Sackville. Another p1imo giant known for his solo w·ork is Earl Hines: This one's titled LIVE AT THE NEW SCHOOL -Chiaroscuro 157. Recorded in 1973 this is the fourth solo Hines LP for Chiaroscuro, and will please those who enjoy his music. Note the Fats• Waller Medley and Boogie Woogie on the St. Louis Blues. In fact - note them all. Good Hines. B.W. EMIL PALAME Quintet a DEC.9,10,16,17 FRI.and SAT. Cover$2 10 PM no minimum New Years Eve Cover $5 ·ontario House 920 Ontario Ave. Niagara Falls, N.Y. 282-9877 Thruway (190} to Packard Rd. Exit, Cross Packard to Porter Rd., Left on Porter Rd. to Hyde Park Blvd., Right on Hyde Park to Ontario. FOR CANADIANS -One Minute From The Whirlpool Bridge Right to Ontario. ------------------------~ 7 .. �INNER CITY Alto saxophonist LEE KONITZ is joined by pianist HAL GAL PER for the long awaited Steeplechase recording WINDOWS (IC 2057). Konitz, a master improvisor and one of the innovators of the "cool" sound some three decades ago has been recording a good number of albums recently, all in different formats from solo to his Nonet disc. Windows is an informal session with Galper - a most able modern pianist known for his work with Cannonball and others. They cover a variety of tunes- Chick Corea's title track, Miles' Solar, Stella by Starlight, Sweet & Lovely and more. Each also has a solo track Galper's Villainesque & Konitz' Soliloquy. The key for enjoyment of this album is simple - listen attentively. Its a first class performance which grows better with each I istening. Some gutsy tenor sax can be heard from EDDIE "LOCKJAW" DAVIS on his latest release SWINGIN' TILL THE GIRLS COMES HOME (IC 2058). This is another Steeplechase date done in March 1976. The Danish rhythm section of Thomas Clausen, Bo Stief & Alex Rei I is strong and steady, allowing Davis to wai I, shout. honk, whisper or chug along with a most important element- swing. Much of Lockjaw'sbestplaying has been in tandem with his sparing partner Johnny Griffin. This disc is one of hisfinestastheonly hornman. Its full of soul and good feelings. THE NEW YORK JAZZ QUARTET offers some melodic, good listening music on SURGE (IC 3011). This is a German ENJA recording that surpasses their previous LP on a CTI subsidiary label, with some good strong soloing - especially from Roland Hanna on piano and Frank Wess on flutes, tenor and soprano haircutting reasonably priced / tiA~R CUTS ETC. 1098 Elmwood Avenue, Buffalo, New York 14222 (716) 886-8650 Hrs. 9·9 saxes. The program is well balanced - from the powerful title track, to the straight ahead Tee Piece; the I ightly swinging 87th Street to the funky Big Bad Henry. Two very sweet ballads complete the set. The bassist here is George Mraz, the drummer Richard Pratt. Ken Mcintyre Multi-reedman KEN MciNTYRE has been well documented on Inner City's Steeplechase line. OPEN- HORIZON finds Mcintyre joined by Kenny Drew, Buster Williams & Andrei Stroberl for eight cuts, each of which is a Mcintyre original. Ken not only plays a lot of instruments (alto sax, flute, bassoon, oboe & bass clarinet) but he covers a lot of ground - bop, Latin, Afro-Caribbean and avant garde. He's a master of each instrument and everyone interested in many different styles of jazz should own at least one of his records and take it from there. This album or Hindsight (also on Inner City) are good places to start. Also - Ken's got plenty of fire. Guitarist ATILA ZOLLER is a Hungarian-born monster(on his instrument that is), known for his work in the avant garde and well respected throughout the world. He's also very capable of playing with romantic lyricism and he does both with clas on DREAM BELLS (IC 3008). Its a live trio date, recorded for ENJA at Munich's Domicile Jazz Club with bassist Frank Luther and drummer Sonny Brown. Side one is inside, side two outside and both sides are excellent and should be of special interest to guitar fanciers. If you're not familiar with Zoller (and many aren't), you really should check him out. This is his B.W. only currently available American release. BETHLEHEM RE-ISSUES Bethlehem records, a label affi I iated with the R & 8 company King during the 1950's, is back in the form of re-issues. At the time Bethlehem originally released these sides, they were somewhat difficult to obtain due to less than adequate promotion. Twenty-two years ago, August 12, 1955, bassist/ cellist Oscar Pettiford led an octet in a session for Bethlehem, The Fin est of Oscar Pettiford (BCP -6007) that included a 22year-old trumpeter, Donald Byrd, Bobby Brookmeyer on trombone and Jerome Richardson on tenor sax and clarinet. The music is a good example of modern jazz: well-executed wrth great spirit and with the steady bass of Pettiford leading the way. Selections here include Pettiford's Bohemia After Dark, Oscalypso and Don't Squawk. RahsaanRolandKirk'sfirstalbum as a leader was forBethlehem(King)andwas recorded November 1956 under the title Introducing Roland Kirk and now retitled Early Roots (BCP-6016). His main horn is and was the tenor sax but even at this early date (20 years old) he was already employing the manzello and stritch, and at times playing two or three of these reed instruments simultaneously. 8 R•h,.,n•, •lw•y• boon into tho bl"" •nd Eocly ~ �give you a good idea of where he's coming from. Vocalist Mel Torme also recorded for Bethlehem in November 1956 in a session with the Marty Paich Dek-Tette that includes Herb Geller on alto and Pete Condoli on trumpet. They're all show tunes by Berlin, Gershwin, Johnny Mercer and Jerome Kern made famous by the movies and stage appearances of Fred Astaire. The album is aptly titled Mel Torme Loves Fred Astaire (BCP-6022) and contains some nice instrumental blowing besides Mel's vocals. Give it a listen. Baritone saxophonist Pepper Adams and trumpeter Donald Byrd got together for a recording session during this same period. The other personnel are Kenny Burrell, Tommy Flanagan, drummer "Hey" Lewis and Paul Chambers/bass. The album called Stardust (BCP-6029), is in a relaxed groove with Adams and Byrd in firie form. Some of the ensemble passages on The Finest of the Art Blakey Big Band (BCP-6015) sound more like the Billy Eckstine band of the middle forties than a modern jazz big band of December 1957. You'll be snapped back to reality by the solos of Coltrane on tenor. That's a treat in itself- Coltrane blowing with the dynamic drumming and big band of Blakey - but don't forget AI Cohn, Walter Bishop and the others that gave the Blakey big band its punch and drive. The Bethlehem re-issues, which include other albums, represent a long needed collection of material which regrettably has been unavailable too long and didn't reach enough ears when it was originally released. J.H. Herbie Nichols, The Bethlehem Years (Bethlehem BCP6028) is especially important in that it makes available along (with a double album reissue on Blue Note) nearly all the recordings this great but unknown pianist made. Accompanied by George Duvi vier on bass and Danny Richmond on drums this is wonderful music that suggests to my ear the angularity of Monk and the joyfulness of stride piano with touches of Art Tatum. This music speaks of great joy, yet possesses a rich structure and reveals the fertility of Nichols skill and imagination. This is one of the most important albums available from Bethlehem and you would be advised to pick up on it. Herbie Nichols' recorded legacy is little enough and what is available belongs to all seriously interested in jazz. R.W. I. j. colucci tobacco & tea1 N.Y. Sunday Times & "High" Times available 507 Elmwood Square Mon.-Sat. 10-5:30 886-9025 Sun.10-1 LARRY KARUSH/GLEN MOORE - MAY 24, 1976- ECM-1-1901 Stillness. Miles Davis effectively used deliberate musical spaces to both hold attention and to create a meaningful statement from silence. In his debut album for ECM pianist Larry Karush employs silence in composition and his playing for a highly original recording titled May 24, 1976. Bassist/violinist Glen Moore is the only other musician and his style and tastefulness com pi iment well. No doubt you wi II detect influences from contemporaries I ike Keith Jarrett and from European classically oriented musicians who prefer not to categorize their music. Unitiled and Duet open side one and provide a lovely beginning. Less effective is the piece Country which is so influenced by the style of one of Karush's peers that no mention of the person is necessary. ViolinSuitefeatures Moore and reveals a well-trained technique that has not been heard enough previously. The piano accompanimentbyKarush is right for the occasion. If these musicians seem at home with each other its probably due to the fact that they've been playing pAblo jAZZ 1800 MAIN at LAFAYETTE OPEN 7 DAYS 10 AM- MIDNIGHT Syracuse: On The Hill Gift Certificates in Any Amount I ".1 ... Come in and Browse at the largest Record Store in the World - with the LOWEST Prices in Town - and Open EVERY SUNDAY Charge your favorite album or tape on MasterCharge, Vi sa. or American Express and Save Today! Rochester Locations: Midtown Plaza Greecetowne Mall Henrietta Towne Lines Gates Eastview Plaza 2525 W. Henrietta Rd. �.'~. ~ SEASONS GREETINGS I from the bjr staff 'together frequently over the last several years. Karush wrote most of the music on the album with two contributed by Moore and one by Benny Wallace. Besides the influence of Jarrett you might also discern a trace of Bill Evans but it all boils down to evolution of a new style with excellent recording quality as well. J.H. STEVE KAHN- TIGHTROPE- COLUMBIA JC 34857 this is the first solo release by jazz-rock guitarist Steve Kahn. He has performed on past issues by Larry Coryell and Steve Marcus. The band featured here issimilarto that Marcus used, with his exclusion. Notables appear I ike Don Grolnick and Bob James on keyboards, Steve Gadd and Ralph MacDonald on percussion, Dave Sanborn and the Becker Bros. on horns. The outcome is a fine example of textured jazz. Decent to listen to in a bar or party but relatively bland for straight listening. T.M. U.U.A.B. MUSIC COMM. A Division of Sub-Board I, Inc. Proudly Presents sbNNY '· R 'I Katherine eomen Theatre-S.U.N.Y. at Buffalo, Amherst Campus 'l! TU SUN.,DEC. 4 Two Shows 8&10P.M. $3 Students $5 All Others & Day of Perf. l ........ --~·--~ ----~------·--- Formerly With Miles Davis McCoy Tyner Mongo Santamaria Elvin Jones NE Tickets Available at U.B •. Ticket Outlet. JACK DeJOHNETTE'S DIRECTIONS - NEW RAGS- ECM-11103 Jack remains true to himself with New Rags. You'll find no funk here. DeJohnette's drumming is crisp ar>d accurate. No matter what tack they're taking he's always right there to bring out the most of the quartet. If you've forgotten that Jack can play the piano as well, listen to the beautiful rendition of Lydia on side one. As Alex Foster enters lyrically on soprano and Mike Richmond slides in gracefully on bass you' II hear how well Directions works together. Except for Lydia the unmistakable presence of John Abercrombie on guit<'lr is felt throughout arid by paying attention to John you' II discover where Pat Metheny got many of his ideas. Thetitlepiece New Rags starts out as a loose swing and quickly develops into a free exchange of ideas with much of thefeaturesoloinggoing to Alex Foster's tenor. It's full of surprises like the unexpected breaks and then into almost Zappa ish extensions ofthei r ideas. But none of these detours last for long as they quickly get back to out and out swinging at a brisk tempo, this timewithAbercrombie's guitar leading the way. The key ingredient here is taste. Free music should be predicated on a mastery of each instrument that enables the players to go out and be able to come back again as they see fit. There are even moments of I ight hearted Latin stylings here. This is May 1977 musicbyfour highly energized jazz musicians and as such Stepp in' Thru, aj azz/rock oriented number written by Foster, seems appropriate although somewhat less inspiring than the other compositions and it reveals a less tasteful side to Abercrombie's playing. J.H. JIMMY RANEY - SOLO - XANADU 140 Jimmy Raney has been weaving straight-ahead jazz on his guitar for the last 20odd years. His contribution to the tapestry of jazz today probably will never be realized (who's is?) This effort, his second on Xanadu, is solo in the sense that it is just him, but he overdubs on almost every tune. The best explanation of the cuts are in the liner notes (penned by Raney himself) so suffice it to say, if you appreciate ageless innovation coupled with a natural sense of swing, pick this album up, sit back and T.M. enjoy. Virtuoso Saxophonist i DEXTER GORDON - SOPHISTICATED GIANT - COLUMBIA JC 34989 Dexter follows his previous I ive quintet recording, "Homecoming", with a smooth studio date, featuring an eleven piece band. Gordon regulars will find this album to be quite a depar-· ture from the many albums he has done, as well as a must for their collection. Two cuts are standard Gordori fare- the lovely ballad Laura and Gordon's "personal favorite original" Fried Bananas. Woody Shaw's The Moontrane is given a new arrangement (all arebySI ide Hampton) and it comes of very well. While Bananas and Moontrane are the albums cookers, Red Top is taken at a relaxed, light swing. The rest are ballads- You're Blase and the Bossa Nova How Insensitive, with Dex on soprano. The soloists heard along with Gordon on various tracks are Woody Shaw, Bobby Hutcherson, Slide Hampton, Benny Bailey, Rufus Reid and Geo. Cables. You won't find the definitive Gordon solos here, but rather colorful arrangements, full, flowing ensembles and tasteful solos from everyone. A fine "little big band sound" that is in fact quite sophisticated. Dexter Gordon's current popularity is well deserved, and I'm glad to be able to be around for the benefits - an enormous amount of Gordon records and concerts. B.W. 110 V.S.O.P. THE QUINTET -COLUMBIA C2 34976 One of the most memorable jazz events of 1977 for this area was the appearance of "The Quintet" in early July Herbie Hancock, Wayne Shorter~ Freddie Hubbard, Ron Carter and Tony Williams assembled together on stage. This tworecord set was recorded live in California about a week after the Buffalo concert and contains more ofthatgreat all acoustic mainstream jazz. In the fashion offered by these musicians and Miles during the late 60's, early 70's. Among the eight cuts are Hubbard's One of a Kind & Byrdlike, Herbie's Darts and Jessica & Shorter's Dolores. Everyone gets his chance to play and there's a lot to be heard on these discs. The only drawback here was also the biggest problem with the concert- it's too short. The two discs combined run just a shade over 70 minutes. The music, however, is superb and the album is high rec- �MONTREUX 'n SERIES - PABLO LIVE If there is anyone whose name is synonymous with ja,m session it is Pablo owner/producer Norman Granz. He's organized an incredible amount of jams through the years - such as the famous J.A.T.P. Series, much of which he record~d during his years with Verve. , MILT JACKSON (2308 205) is a rather laid-back set, with Monty Alexander, Ray Brown, and Jimmie Smith providing the rhythm .. Clark Terry and Eddie "Lockjaw" Davis join Bags on the front I ine. Nothing very exciting happens here, and as far as Mi It goes- he can be heard to better advantage on other jams in this series and his previous 2-record, live set from Japan (also Pablo Live). "Lockjaw" actually comes off the best on this session. Milt sounds better on PABLO ALL STARS JAM (2308 210). This concert featured Clark Terry, Ronnie Scott, Joe Pass and Bags with a fine rhythm section - Oscar Peterson, Niels Henning Orsted Pedersen and Bobby Durham. The music is more inspired and often hotter than.on Milt's disc. Of course, we must remember that a band bi lied as' all stars had better I ive up to that title. High points are the quick paced Samba De ·orfey, and God Bless The Child- a feature for Clark Terry. One of my favorite of the series is COUNT BASIE (2308 209). This is an eight-piece band that shines both on up-tempo tracks and ballads, with plenty of spirit - all true to Basie form. Some marvelous work comes from Benny Carter, Zoot Sims, Roy Eldridge, trombonists AI Grey and Vic Dickenson and of course the Count. Bookie Blues is the long jam tune with a round from each soloist. The remaining six tracks each feature one or two soloists. Basie, Ray Brown & Jimmie Smith ·get their turn on Trio Blues. If you're into Count Basie, this one should join your collec\ion. . DIZZY GILLESPIE·(2308 211) employs a secondtrumpeter, Jon Faddis, for his jam- with Bags, Brown, Alexander & Smith. The best tracks here are the up-cuts - Get Happy and The Champ. Faddis is very much a protoge of Diz, and in fact he often sounds too much like him. Neither trmpet player does anything amazing here- in fact, lfindthe real stars of thisset ommended. If you have the earlier V.S.O.P. release- combine it with this and you'll probably have most of the tunes the band did on the tour. One final note - the recording quality is excellent. B.W. JIM GALLOWAY -THE METROSTOMPERS- SACKVILLE 4002 Looking at this album one might suspect it to be an album of Dixieland jazz. It is a fine traditional jazz album with no corn but a lot ofswing. ThisTorontobased group plays the jazz of the twenties with a number of swing touches. Galloway is an exceptionally tasty soloist and goes through a program that includes Duke Ellington, Fats Waller and W.C. Handy with considerable feel and joy. The Dixieland collective improvisations are pre~ent and the weaving in and out of Galloway's sax with Ken Dean's cornet and Peter Sagermann' s trombone is outstanding. Warm and very tasty music that you shouldn't overlook. R.W. MORE MUSE In addition to the Pat Martino & Hank Jones albums reviewed elsewhere in this issue, Muse has also recently issued three other titles. DON PATTERSON offers a quartet date with Movin' Up! (Muse 5121). The decline of. organist-led jazz groups is not necessarily due to the public's dislike of organs. Much, or most of the fault can be placed on the organists themselves who have started playing around with synthesizers, employing electric pianos, and using mediocre sidemen - thereby neglecting their main in~trument. Larry Young, Chas. Earland and Jack McDuff quickly come to mind as examples of this trend. The problem is, these musicians are not only making the jazz organ obsolete, but they lose their identity in the process-drowning in their own funk. This new release from Patterson is an example of organ jazz at its finest. There's taste, beauty, drive and impressive soloing .. Alto saxophonist Richie Cole is an exciting young player rooted in be-bop tradition, and guitarist Vic Juris is clean, bright and quick - a perfect complement for any organist. Drummer Billy James lays down solid percussion and is never obtrusive. The result is a dynamite, refreshing record of organ jazz. Richie Cole is marvelous and impresses me more each time I hear him. A somewhat less rewarding set comes from HAROLD OUSLEY titled The Peoples Groove (Muse 5107). Ousley is heard on tenor and alto saxes with various groups of musicians including such people as Neal Creque, Victor Sproles and organist Bobby Forrester. The basic feeling here is a loose funk, almost I ike a jam session. But it never really gels, everyone often sounds too relaxed- tired. The third release is a re-issue of an album by the HANK MOBLEY /CEDAR WALTON Quintet originally issued on the now defunct Cobblestone label. Breakthrough (Muse 5132) includes baritone and soprano saxophonist Charles Davis, Sam Jones & Billy Higgins. This is simply good, solid mainstream plus excellent rhythm from the Walton trio - one of the most able in the business. There's nothing groundbreaking here just good listening jazz. JACK WILKINS QUARTET- CHIAROSCURO 156 This one came as somewhat of a surprise. I had only h~ard of Wilkins with the Buddy Rich Big Band and on one track in a duet with Sonny Fortune on Sonny's recent Atlantic album. Guitar fans take note -this guy can play. After just a few minutes of Fum, the opening track, Wilkins is revealed as an exceptionally fleet, tasteful guitarist with powerful drive, a great sense of swing and superb technique. He is at home on bothelectricandacoustic models. The rest of the quartet was well chosen - Randy Brecker/flugelhorn, Jack DeJohnette/piano and drums and Eddie Gomez/acoustic bass. Wilkins and Gomez often play gigs as a duo and their version of Chick Corea's 500 Miles High is done as a duet - it's gorgeous. Its also good to hear Brecker playing something other than disco and he sounds great throughout. This is a program· of hot cookers and sweet ballads that should satisfy the appetite of many a jazz fancier. Highly recommended. B.W. The Album! AVAILABLE AT ALL LOCAL RECORD OUTLETS SPYRO GYRA LIVE: Quincy's- Sunday Afternoon & Tuesday Nite Tralfamadore '-Thursday Nite Odysey - Saturday Nite McVan's- Sunday Nite 11 �Tralf Jazz Feltival Leroy Jenkins, Andrew Cyrille · . DEC. 2,3,4 ~ Fri.&Sat.10PM; Sun. 9PM EDDIE HENDERSON' trumpet DAVID LIEBMAN! 1axe1, flute1 ,_: ~ · Henders:n & Priester Formerly with the ~erbie Hancock Sextet; Hubert Eaves-P1ano o Howard K1ng-Drums il :.1; il~ T_hurs., Fri. & /at.lO- 2 ,, WILLEM BREUKER l I. SUN.,DEC.180NLY 9-1 $3 THURSDAYS,EXCEPT DEC.15th/PYRO ~ ~ ')i ! LOUIE MARINO QUARTET- DEC. 23 MON. OPEN MIC; TUES. ACOUSTIC; t. l 1 Call Us About Special nckot Packages! Tralf~madore Cafe ~ !' ' i �Schedule of Eventt & Muhal Richard Abrams l i\ . !! .1. Cover $5/ No Minimum -----------------------3 sets per Night ~~· .ALLISON DEC.13&14 Tues.& Wed. il JULIAn PRIESTER & trombone1 /EPTET- DEC.15,16,17 Liebman Formerly with Elvin Jones & Miles Davis Mtume-Percussion o Surprise Bassist $5 for the night KOLLEKTIEF ! An Extremely Rare Appearance by the 10 ~Piece Dutch Improvisational Enseri,ble • GYRA DEC.29,221Fri.l I I JAZZ-9,10&NEWYEARS EVE WED. JEREMY WALL TRIO • 2610 Main at Fillmore-836·9678 ~ I! Closed December 24 & 25 I ' I'! IIi i �,.,;,"' yoo'll w•nt to look ;nto thm, mo.tly INC. Santa Shops Here for Stocking Stuffers! - BASF, Memorex, Maxell Blank Tapes -Watts Disc Preeners & Dust Bugs- Many More Record & Tape Care Products - Inner & Outer Record Sleeves -Belt Buckles, Posters. Glossies - Have Your Stylus Checked before your New Year's Party. A worn Stylus damages Records!!! *Of course. we have records with Low Sale Prices & Specials* Tapes. Too!! 2815 Delaware Ave. (corner Euclid) 873-9534 Kenmore, New York BOB JAMES - HEADS - COLUMBIA JC 34896 MAYNARD FERGUSON -NEW VINTAGE- COLUMBIA JC 34971 Pianist Bob James has become well known through his albums for CTI, and his work as an arranger, producer and session man for the same label. His recent switch to Columbia has produced Heads - by far his best release since his first CTI disc One, which included his "hit" version of Feel Like Makin: Lov_e. Heads deals withc<?mmerciallyaccessible, funky, easy l1stenmg, often soulful mus1c, where many of his previous albums dealt out disco of I ittle or no musical merit. Its a large production - strings, horns and an impressive list of studio musicia~s. Some of the_soloistsonhandareGrover Washington, Jr., Dav1d Sanborn, Enc Gale & James, who plays a variety of keyboards including a good amount of acoustic piano. James' fans who feared him lost might find him again on Heads. Maynard Ferguson lost a portion of his following a while back when he turned to disco. New Vintage won't renew all his old friendships, but its certainly a step back in that direction. He limits his disco output to two tracks here- Star Wars and Scheherazade; and Maria comes close - a lot of funk. El Vuelo offers some screaming Maynard with a Spanish flavor - nice. The. best cut. is ~ po_werfl!l, str~ight ahead version _of Sonny Rollms class1c A1regm, w1th a fme alto solo from M1ke Mig1iore. Although drummer Peter Urskin' s talents are wasted on half of this record (guess which half), this is Maynard's best since Chameleon- which was three releases ago. B.W. Open 10-9 Daily Sundays 12-5 to be Monty & Mi It! Diz cooks on OSCAR PETERSON (2308 208). AI i and Frazier is hot, opening with a statement from Clark Terry (in great form), followed by some hard blowing from Lockjaw. Diz, Oscar & N.H.O.P. follow suit before the fanfare closing. The rest of the program - If I Were a Bell, Just In Time and Things Ain't What They Used To Be are done in varied tempos offering a balanced album of fine jams. I find this to be one of the better discs in the set. If you want some of each of the above jams, or you're intending to get them all and want more - get THE JAM SESSIONS This is a 2-record set with tunes from each session, but they are new tracks not heard on any of the individual records. Overall, this is good jam style music typical of the many J.A. T.P. sessions Granz has produced through the years. I found last year's Pablo Montreux set to have some more dynamic moments, possibly due to the inclusion of Joe Pass and Toots Thielmans on many of the discs. But, if you're into jam RAY CHARLES- TRUE TO LIFE -ATLANTIC (CROSSOVER) 19142 Ray Charles has had quite a profilic recording career and his latest album shows the genius to be as top drawer an artist as ever. Ranging from a version of "I Can See Clearly Now" to a talking blues "Game Number Nine", this album presents a fine sample of the genius' present work and is well worth a I isten. The album features good big band charts and a varied setting include some disco rhythms on some tunes. However Ray Charles is never lost in the production and the touches of gospel and country music which led to him being perhaps the greatest individual contributor to modern popular music are always present. R.W. so First New Directions with the Best 1247 Hertel Ave. 873-6606 w ::1: 1- tho'~'""--, Bas1e and Peterson. ' By the way - with this series Pablo should win an award for ugliest album covers of the year. : More Pablo I ive at Montreux has just arrived- small grou recordings by Benny Carter, Lockjaw, Peterson, Roy Eldridg~ and others. Same covers! These'll be in next month's issue. B.W. 2114 Seneca St. 822-7733 Hours 11 -5 AM Daily 14 THE GREAT CONCERT OF CECIL TAYLOR- PRESTIGE 34003 In 1969, the French Shandar label recorded a complete hour-and-a-half Cecil Taylor performance PLUS a twentyminute encore, and eventually released the whole thing in three separate volumes. The mixing was sloppy in parts, and someone may have tripped over the plug on at least one occasion, but at long last, here was UNABRIDGED Taylor. With the release of this concert as a boxed set, Prestige has filled an important gap in the U.S. Taylor discography. The length of a Taylor piece is an integral part of the music. Cecil's intent is to break down our objective, detached. Western way of I istening to music by simply giving us more than we can handle. Ideas explode from the keyboard with lightning speed. You can't possibly process them all. The conversation among the players is gaining momentum - no time to explain the references to the audience. Phrases imply paragraphs when you've known someone for years. Gradually the assault proves too much, and the rational mind starts to spring leaks. The music first trickles, then flows, and finally rushes in to take over every level of feeling and perception. This is the only recording of the Unit with Sam Rivers. Long-time associates Jimmy Lyons and Andrew Cyrille round ·j i i f [ i I I II 'I �out the quartet. Rivers plays mostly tenor, but at the beginning of Side 4, there is a lull in the storm, and he contributes a mournful, oboe-like soprano solo. J.L. WILLEM BREUKER AT THE TRALFAMADORE Anyone who is a regular BJR reader should be well aware that new directions in improvised music are being explored all over the world, not just in the U.S. This month, area listeners wi II have a rare opportunity to see and hear one of the most unique aggregations to be found anywhere, the Willem Breuker Kollektief from Holland. They will be at the Tralfamadore December 18. Breuker has recorded with Anthony Braxton, Don·Cherry, Gunter Hampel, anc! a host of lesser-known European innovators. He is. a highly original composer-arranger whose music includes elements of ragtime, swing, free group improvisation. Kurt Weill, Eric Dolphy, modern and ancient classical music, electronics, and European folk songs - sometimes all in the same piece! He is also a virtuoso saxophonist and clarinetist, and has developed a very personal style, particularly on tenor. His band, the Kollektief, consists of"ten or eleven top-notch Dutch players, all accomplished soloists. Their music is always very witty, and sometimes quite powerful, as well. Breuker's most recent recordings a·re on his own label, BVHAAST. Many thanks to Art Grimwood of the Record Grove for supplying the above information, some of which I plagiarized outright. J.L. blues by ron weinstock Both Albert King and Sunnyland Slim put on excellent performances during their recent Buffalo area appearances. Albert King appeared at the Belle Starr. After a typically nice set from Shakin' Smith and his Blues Band, Albert and his band (led by Albert's son) put on a totally satisfying two sets EDDIE HENDERSON !. Comin' Through of modern blues as his gritty singing and distinctive guitar playing were well to the fore. Albert was simply among the best acts I've seen and you should check out his live 2 album set on Utopia for a momento if you were there, or a sample of what you missed if you weren't. Sunnyland Slim opened for Captain Beefheart at Buffalo State on Halloween evening. Not exactly the most obvious booking b~:~t Slim was well received by the rock-oriented audience. I was surprised because Slim was accompanied only by a drummer and one doesn't expect the subtleties of blues piano to score with a young partying-mood crowd. Yet they responded. Slim was truly marvelous as a pianist and vocalist and any blues buff who missed him missed quite a show. Incidentally Slim has produced a record by his wife Big Time Sara. A 45 on Airway Records, Big Time Operator/Long Tall Daddy has a decent vocal and some really excellent guitar from Magic Slim and piano from Sunnyland Slim. Various mail order places can probably supply and its well worth it. Since Christmas is coming you may want to check out Charles Brown Sings Christmas Songs (King 901) and Merry Christmas Baby (Hollywood H-900). The first albu":l f~atures twelve holiday season blues from the legendary pranrst and blues pianist. The other record is a nice anthology including tracks from Brown, Lowell Fulson and Lloyd Glenn. Arlean Brown is a fine woman blues singer who has recorded a number of 45s in Chicago . These have been collected on The Blues in the Loop. She is an exceptional good singer accompanied by a Chicago band which has Little Mack Simmons on harp and Lonnie Brooks (aka as Lee Baker & Guita~ Jr.) on guitar. Unfortunately the band on some tracks soun~s unrnsprr~d though this might be partly due to Little Mack playrng unamplrfied unaccompanied harp. Arlean is a really good singer and performances such as "I'm a Streaker Baby", "EagleStirs H~r Nest" and "Pushin' Our Love Aside" are quite good. Arlean rs so fine that you shouldn't miss this. With stronger backing it could've turn out the blues album of the seventies. Living Blues can supply at 2615 N. Wilton Ave., Chicago, Ill. 60614 .. (Everyone's Bookstore on Main Street is carrying current rssues of Living Blues). The latest from Eddie Henderson. Now at SUPER SAVINGS! CAVAGES 0 Capitol® / 1 :'i' .' SENECA MALL EASTERN HILLS MALL MAIN PLACE MALL SOUTHGATE PLAZA BOULEVARD MALL SO. SHORE PLAZA THRUWAY MALL COMO MALL UNIVERSITY PLAZA LOCKPORT MALL NOW AT ELMWOOD/FOREST & SUMMIT PARK MALL Hear EDDIE HENDERSON w/Julian Priester &David Liebman Dec. IS -17 at the Tralfamadore Cafe! .·l �A number of fine imports have come my way. Charly Records has been issuing sides from Sam Phillips' Sun Records. Memphis Blues Sounds (CR 30126) and Union Avenue Breakdown (CR 30127) are Volumes 11 & 12 in Sun the Roots of Rock. Vol. 12 is the stronger collection with great Memphis country boogies from Wi II ie Nix, Walter Horton and Albert (Joiner) Williams. Pinetop Perkins turns in a great "Pinetop's Boogie Woogie" and Boyd Gi I more sounds I ike the Howl in' Wolf. Other down-home stomps can be heard here. Vol. 11 includes a really nice "Hucklebuck" by Earl Hooker, however it includes some mediocre jump blues from Eddie Snow and less from Raymond Hill (his sides are more interesting but there are better jump blues avai I able including an unusual early James Cotton tune). Both Shy Guy Douglas and Guitar Red have a pair of good solid blues. The album includes four non-blues which are nice in their own way but not as good as other sides. A more mixed collection. Both of these albums have good annotation and contai·n many unissued sides, and are collectors dreams. Another notable import is the debut album of San Franciscan guitarist Sonny Rhodes. His Swedish Amigo release, I Don't Wan't My Blues Colored Bright (AMLP-821) features solid singing fashioned after Junior Parket and assured, fleet guitar playing. J.J. Malone takes two vocals, plays nice piano in support and even plays strong guitar behind Sonny on "Country Boy". Only ont fair track and over 40 minutes of music by a man who should get better known. This is my album of the month. Earl King's new album New Orleans Rock 'n' Roll, English Sonet (SNTF 719) provides a welcome sample of New Orleans music which ranges from 60s R 'n' Band rock and roll to a fine blues "Baby Sittin'" Earl re-does his hits including "Mama and Papa", "Trick Bag" and "Come Let the Good Times Roll" (Jimi Hendrix did this tune). Earl is a warm singer and a generally understated guitarist but more effective because of it as on the bluesy "Time For the Sun to Rise". Quite a nice set. Also from Sonet is Coin' the Zydeco (SNTF 718) by Rockin' Dopsie & the Twisters. Dopsie like Clifton Chenier plays the piano accord ian and sings both in French and Eng I ish. An enjoy- able album which is a little rougher than Clifton and perhaps doesn't rock quite as hard but sti II quite enjoyable. All of these imports can be supplied by Southern Record Sales. (check their classified ad). stereo report HISTORY OF SOUND RECORDING The previous segments of this feature have covered the origina I recording sessions and the advancement of sound recording, as well as the earliest sound reproducing devices. The evolution of these devices and the actual cylinders and discs and tapes to the present day is a long but interesting story. Thomas Edison's original phonograph (a Greek worc),meaning sound writer) was first demonstrated at the offic~s of the Scientific American magazine in New York. The 30 year old Edison was lionized by an adoring public. Soon after, eager crowds flocked to theatres and concert halls to witness the sensational new invention in action. Ironically, Edison was never able to fully enjoy his "talking machine" as he was chronically hard of hearing. After the public's enthusiasm began to die down, Edison realized that the phonograph needed a good deal of further development. But by the end of 1878 he had become so engrossed in his work on the electric light that he could not devote the time or resources to his machine. Alexander Graham Bell, who had followed the progress of the phonograph hired men to improve upon Edison's invention. His machine, called the "Graphophone" had a smoother and more P.leasing sound, but needed ear tubes for further amp I ification: Great Martino I Hearing of the rival machine, Edison came back into the picture and the two prepared to engaged in a commercial battle. Edison however did have one advantage - electrical power via wetcelled batteries. Phonographs were later used in "phonograph parlors" where people could be privately entertained for two minutes by depositing a nickel and listening through tubes. This was quite the fad. The years to come saw the cylinders replaced by the disc, the founding of the Columbia and Victor companies, the advent of the tone arm and the introduction of the victrola - the first record player to incorporate the reproducing horn into the body of the player. The two-sided record was originated by a European firm and was immediately adopted by Columbia, though Victor resisted it until 1923. The first electrical recordings came about in 1925, making acoustical recordings obsolete. The fully electric radio-record players came in 1926 marketed by Brunswick. Victor followed with their unit- the Electrola. PAT MARTINO "EXIT" MR5075 QA11•l¥<aXt 1800MAINatLAFAYETIE 7 Days .~-_________1_0_A_M_·_M_id_n_i....;g_h_t______~16 First Attempt at Long-Play Records RCA's move was ill-timed. The stock market crash in 1929 dashed all hopes for continued industry prosperity and therecording industry embarked upon the darkest chapter in its history. Hard times, coupled with radio's commanding lead in home entertainment -- free entertainment at that -- sudd,mly decimated what had been a thriving industry. Skeptics were quick to predict the demise of records as an entertainment medium. Statistics seemed to bear out thPir content1on. The retai I value of records sold in the United States dropped from $75 million in 1929 to $46 million iri 1930, and to $18 million l ;II '• ·I ~1. �1 ·- I N.Y. JAZZ ... where jazz is happening! Jean-Luc PONTY IC3011 Surge SUN RA IC1032 My Songs LISTEN IC 1005 Jeff LORBER IC 1020 Cosmos . Hal CiALPER IC 1025 Dexter CORDON Ernie KRIVDA IC 2012 Now Is The Time 0 Inner City Records IC 2060 Bouncin' with Dex IC 1031 BUFFALO 1790 Main St. SYRACUSE On The Hill Satanic ROCHESTER Midtown Plaza 2213 Ridge Road (Greece Town Mall) East View Mall 2150 Buffalo Rd. (Gates) 2525 W. Henrietta (Brighton) ' �1 lrlHIE SrPlErRl\HlEIRl §IHI[(J)[pl Speakers Our Specialty Kits, Crossovers, Finished Systems PLUS- Quality Electronic Components 10% Off With This Ad! 1015 Kensington Avenue. Buffalo. New York 14215 Telephone: {716) 837-1557 in 1931. In an attempt to stem an accelerating decline in record sales, RCA Victor introduced a longer playing record in late 1931. It was a 12-inch disc with a playing time of about eight minutes on each side. The record played at a speed of 33-1/3 revolutions per minute rather than the standard speed of 78rpm. But the attempt proved abortive for two basic reasons: there were too few turntables in circulation that operated at 33-1/3-rpm, and the records were pressed on a soft plastic compound called Vitrolac that wore out after only a few plays under the extremely heavy tone arms of the day. The new records were withdrawn from the market in 1932. The abrupt demise of the longer playing records reinforced the opinion held by the top echelons at RCA, who were for the most part very much radio oriented, that the "live" entertainment provided by radio would never be challenged by the "canned" fare offered on records. The mood of the public seemed to bear out this contention. Bythistime record players had VIrtually d1 sappeared from front parlors and in most households records were stored away in the dustry recesses of cellars and attics. Millions of Americans flocked to motion pict~re theaters to escape the grim realities of the deep depresSIOn; those that stayed at home immersed themselvE>s in the dramas, serials and variety shows emanating from their radio sets. The industry hit rock bottom in 1933. That year retail record sales totaled a mere $5.5 million. Many foresaw the end of records as a home entertainment medium. But slowly, almost imperceptively, conditions in the beleaguered industry began to improve. The repeal of P roh ib it ion in 1933 stimulated the opening of thousands of bars and cockta_il l?unges across the country, most of which were equipped w_1th JUke boxes. For the record companies, juke boxes were simultaneously consumers and promoters of records. The Long Road Back As the 1930's progressed, the juke box played an increasi~gly important role_ in the renaissance of the industry. Twentyfive thousand machmes were in operation in the United States in 1934. Five years later there were ten times that many accounting for sales of about 19,000,000 records and stimulating the sales of mi II ions more. There were other important milestones on the industry's long cl1mb to recovery. E. R. Lewis, the head of the Decca Record _Company in England, fai I ing in an attempt to purchase Columbia Records, bought a portion of the Brunswick Records catalogue and used it as the foundation for an American Decca operation. Lewis chose Jack Kapp, creative director of Brunswick Records, to head the fledgling company. Besides opening wholly new channels of record distribution, among them chain and department stores; Kapp lured some of the top stars of the day to Decca. Bing Crosby, Guy Lombardo, the Dorsey Brothers, Lou1s Armstrong, Arthur Tracy and the Mills Brothers appeared on Decca Records selling for 35 cents rather than the 50-cent and 75-cent price tags normally affixed to popular records. . RCA_ Victor, in an effort to place more record players in Circulation, promoted the Duo Jr., a small turntable designed to be jacked into radio sets. The player was a virtual give- 18 away at $9.50. But it created thousands of new record fan Record sales contmued to show healthy gains, spurting fro~ $13 mill1on 1n 1937 to $26 mill1on in 1938, a fact wh1ch helped persuad_e the Columbia Broadcasting System to purchase the Columbia Phonograph Company. Following the Japanese attack on Pearl Harbor in 1941 the manufacture of record players, radios and other consu'mer products requiring electronic components was halted as the Un1ted States went on a full-scale war footing. Shellac, of which records were then made, had been imported primarily from S1ngapore wh1ch had been overrun by the Japan<?se. Faced with the di I emma of serious shortages, record manufacturers sought means to stretch their limited supply of shellac to keep pace with an increasing demand for records as sales rose from $50 million 1n 1941 to $66 million in 1944andthento$109 million in 1945, the year World War II ended. Manufacturers resorted to grinding up and re-using old records and other material as "filler" just to stretch their supply of shellac Curiously, it was _in the midst of this turmoil that Glen~ E. Wall1chs, at the t1me the owner of a record store in Los Angeles, and songwriters Buddy DeSi Iva and Johnny Mercer founded a new company, Capitol Records, in 1942. ' The Musicians' Strike . That same year the American Federation of Musicians deCided to try to curb the rapidly increasing use of records by rad;o stat;ons and 1n JUke boxes wh1ch, the un1on said, was jeopardiZing the employment of I ive musicians. James Petrillo the union's president, demanded that the record companie~ restnct the use of record1ngs by commercial establishments a demand with which the record companies were in no positio~ to comply. The resultant strike paralyzed the industry for more than two years. Finally Decca, which had severed its ties with British Decca because of the war, agreed to pay royalties into a union fund that would be used to sponsor the employment of mus;c;ans at l1ve concerts. Months later Columbia and RCA Victor agreed to the compromise. The HI-FI Era: 1946-1958 Qne of the most significant industry developments of the post~war year~ was t_he emergen~e of tape as a recording med1um. Amen can eng meers followtng the Allied advance into Ge_rmany were amaz~d at the high level of efficiency German sc1ence had ach1 eved tn tape recording. But it was the American recording companies that showed the world how to take full advantage of tape's capabilities. Up to that time, recordings were made on wax blanks that were on_ly able to accommodatethreeorfourminutesof playing time. M1stake_s coul? not be corrected; one wrong note, the cracking of a vo1ce, m1ssing a beat meant having to repeat the entire passage. The tape recorder made it possible to record entire moveme~ts of _symphonies and, indeed, many complete musical works Without mterruption. Mistakes during performances could be corrected right down to a sixteenth note and re-inserted into the tape, thus eliminating the necessity to re-record entire three- or four-minute segments. The other development of enormous consequence for the future was the introduction by Columbia Records in 1948 ofa 12-inch long-play record withaplayingtimeofup to 23 minutes on each side. Actually, research work on the revolutionary new disc had b~gun before World War II, soon after CBS had acquired Columbia Reco~ds. The project had been recommended by Ted Wallerstem, the president of Columbia Records, who had witnessed the unfulfilled promise of the RCA Victor experiment in 1931 while serving as that company's general manager. The c_oncept of the 33-1/3-rpm speed had been given a bo_o~t dunng th~ Second World War when 16-inch platters contammg transcn pt10ns of rad1o broadcasts were shipped throughout the world to be playedontheair for members of the Armed Forces. Such recordings, however, were intended for only a few play~. If. a_ long-playing record were to be developed for home use tnvolvmg repeated plays, a number of technical hurdles ha_d to be overcome. These included the development of a ~1crogroove cutting technique that would increase the playing t1me on a record, the creation of a I ight-weight tone arm that would_ not destroy the grooves in a relatively soft vinyl disc, and ftndmg a way to overcome distortion as the stylus got closer to the center ofthe record. It was to these problems that a group of CBS engineers, headed by Peter Goldmark and II' ]; i.i :i i,,l :j !: 'I !r. / i; 'j �William Bachman, addressed themselves at the end ofthe war. In June, 1948, Columbia wasabletoannouncethe LP, a nonbreakable record that played at 33-1/3 revolutions per minute, was made of vinyl, could play up to 23 minutes per side, had much greater reproduction fidelity than was ever possible before, and would sell for much less than the same recorded repertoire then on the market. Columbia foresaw the creation of a new one-speed market -- instead of everything being 78, everything would be 33-1/3. Aside from marketing its first LP releases, Columbia also offered inexpensive turntables on which to play its new discs since phonographs at that time operated only at 78-rpm. The company also set about to induce other manufacturers to follow suit. The Battle of the Speeds But early in 1949 RCA Victor caused consternation at Columbia and confusion within the industry by introducing a 7-inch vinyl record operating at 45-rpm. RCA, too, was after a onespeed industry, but at 45-rpm, and had likewise marketed an inexpensive record changer with just that one speed. What next ensued came to be known as the "Battle of the Speeds," a battle that was to rage well into the 50's. The established disc was still the 78, but now companies were choosing up sides, some releasing new recordings on 78 and 33-1/3, some on 78 and 45, and some -- hedging all their bets -- putting out new releases in .all three configurations. Distributors and dealers were saddled with duplicate and trip Iicate inventories. Consumers, bombarded with claims of superiority of their new discs by both Columbia and RCA Victor, reacted with characteristic indecision -- for a while they bought nothing, preferring to wait unti I the dust had settled and a clear trend established for either of the two new speeds. One of the early proponents ofthe45-rpm disc was the jukebox industry, which found the largeholeofthe 7-inch disc ideal for automatic record changers. But what finally helped to tip · the balance in favor of the LP was Columbia's release of the "South Pacific" original cast album and some classical music selections. A Tchaikovsky symphony on 78's atthattime sold for $7.28; the same symphony on one LP retailed for $4.85. In addition, it would have taken about four seven- inch 45-rpm records to provide the same amount of music as was conta'ined on two sides of an LP. Slowly but inexorably the trend became apparent -- the 45-rpm record would become established as the medium for pop single records, the LP for just about everything else. In tandem, the long-play record and the tape recorder wrought significant changes in the industry. The portability of the tape recorder, which made it possible to record almost anywhere, and the ease and flexibility it afforded when recording or editing, reduced studio costs considerably. Coupled with that was the longer playing time, low price and improved quality of the new recordings. A flock of new, small companies, specializing in classical, jazz, folk, country, blues and other more esoteric forms of music, as well as the spoken word, were formed and began producing records. Among them were such now familiar labels as Westminister, Vanguard, Vox, Cetra-Soria, Urania and the Haydn Society in the classical area, and Atlantic, Imperial, Chess, Checker, Mercury, Blue Note and Folkways in jazz, blues and folk music. These .companies exerted a great influence on American musical taste and, by exporting and popularizing indigenous American music with audiences abroad, greatly enriched the culture of the world. This was the hi-fi era. The public became very sound conscious.·. The quality of the new long-playing records far exceeded the capabi Iity of most pi ayback equipment to reproduce the range and sound levels they contained. Manufacturers of changers, amplifiers and speakers redesigned and improved their equipment. The record industry thrived, grew and prospered. Hundreds of new companies were formed, recorded repertoire was expanded, sales rose from $189 million in 1948 to $511 in 1958. Competition From Television: 1947-1955 The development of the LP and the 45 probably saved the record industry from the onslaught of a new home entertainment medium -- television. Sales of records, which had zoomed from $66 million in 1944 to $224 million in 1947, dropped to $173 million in 1949 and did not surpass 1947's volume until 1955. Again there were those who predicted that records were finish~d. that the pub Iic, now being offered free audio-visual ARTS FOUNDATION PRESENTS MUSICAL ARTISTS World Renown KLEINHANS· • OF 1977-78 SEASON MUSIC HALL MINI SERIES 4 or 5 CONCERTS JEAN-PIERRE -flute RAMPAL JAN. 9 I .. I FEB. 7 ANDRES -guitar SEGOVIA FEB.17 PRICE MAR.1 ALICIA -piano de LARROCHA Subscribe NOW APR. 6 19 5 CONCERTS (with Segovia) $40.35,30. 25 4 CONCERTS (without Segovia)· $31.50, 27.50, 23.50, 19.50 MAIL ORDERS: Send self-addressed, stamped envelope and check payable to QRS Arts Foundation, Inc., 1026 Niagara St., Buffalo, N.Y. 14213. Master Chg., nk Amer. & Visa accepted. PHONE {716) 885-4600 �HOUSE OF GUITARS Upstate's Music Building •3 Floors of Musical Instruments for the Rising Young Stars from Earth" - Fan letter Quote *Lots of Used Gibson Jazz Guitars *Save up to 701J, on Professional music equip. 2 for 1 Deals Most Jazz, Blues, on Blank Rock albums Tapes - 3.85 ea. *Specials on Moogs, A.R.P., Oberheim, Roland, Polymoog Synthesizers *Save on Fender Rhodes pianos, R.M.I., Hohner, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards. *Sunn & Moog lab amplifiers for keyboards. *Up to 70% off on Pro Drum Sets - new and used selection (all brands) *D'Angelico New Yorker on displa)' *Gibson's Howards Roberts, L5's, Johnny Smiths, Byrdlands (Guild Artist Awards) *1/2 off on· drum heads - 1/2 off' on microphones *Large selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets. *Drum sticks (nylon or wood tip) $1 pair *Good· selection left handed guitars *Sale on all brands of guitars, basses and amplifiers - Gibson, Fender, Guild, B.C. Rich, Martin Alembic guitars and basses; Sunn, Ampeg, Music Man, Marshall, Kustum, Mesa Boogie & Polytone Jazz Amps. *New and used horns - trumpets, saxes, trombones, fiutes, woodwinds, fiugelhorns. *301 off music books, instruction books, headphones *Imported LP's, rock star T-shirts, strobe lights, bit 45 singles. *Switchblade combs $7.98 *No admission - No cover charge. Free limited addition H.O.G. Bumper Stickers, Buttons. 645 TITUS AVE. Ph. 716-544-3500 ROCHESTER, N.Y. (The House of Guitars Luvs You Baby) Open Mon.-Sat. 10 AM-9 PM/Sun. 1-5 PM. Take N.Y.S. Thruway to Exit 45 on to Expressway 490, to Express 47 North to Titus Ave. programming in the home, would no longer be interested in paying for only audio entertainment. The effects of television were even more pronounced on radio. In the competition between the two media, radio came off a bad second as more and more people bought TV sets and were captivated by the faces as well as the voices on the screen. Radio listenership declined as did its advertising. Radio networks found they could no longer afford the high costs of live talent. Station owners searched desperately for a new, inexpensive form of programming and found it -- records. The improved fidelity of the LP's and 45's provided a symbiotic bond between radio and records. More and more stations embraced a disk jockey format, which not only helped them· survive TV's onslaught but saw them grow and prosper because they had at their disposal the entire range of recorded musical repertoire, an area of programming largely forsaken by television. For the recording indust~y it meant a new area for exposing their product to the publ1c. Today, better than 75% of radio programming consists of recordings. The Multi-Channel Sound Era: 1958-Present At the height of the hi-fi boom, the industry was suddenly confronted with another revolution in sound reproduction-stereo. It offered the listener, through two distinct sound sources or channels, a depth, directionality, spaciousness and real ism of sound truer to what one would experience hearing music performed I ive. The first successful experiments with stereo had been conducted in 1931 by A. D. Blumlein, a scientist employed at the English Columbia laboratories. He developed a system capable of producing a stereophonic effect by relaying the sounds picked up by two equidistant microphones through two identical speakers pi aced ten feet apart and at right angles to each other. The I istener, situated between the two speakers, heard true stereo. Blumlein subsequently began experimenting with stereo discs. He inscribed two separate sets of grooves side by side into the surface of the record, each groove containing the sounds picked up by one microphone. The playback system required a set of matching amp I ifiers and speaker and two styluses and pick-up cartridges, an expensive doubling· of costs. Moreover, the two sets of grooves on a record cut its playing time by half. This led Blumlein to investigate the possibility of inscribing signals of each of the two sound channels into a single groove. Unfortunately, his research was cut short by his death during World War II butotherscientiststookup his work. By 1957, a single-groove stereo recording technique had been perfected arid was being demonstrated to record companies. The first stereo records were debuted in 1958 by Audio Fide! ity, a small company, and before long other companies in the industry felt compelled for competitive reason to release their own stereo recordings. What happened next was reminiscent of the "Battle of the Speeds" a decade earlier. Stereo records were being released but consumers had no playing equipment for them. Although the system was called "compatible" it meantthat monaural records could be played on a stereo machine but not vice versa. Dealers who were again confronted with the necessity of carrying dup_llcate monaural and stereo inventories compounded the confus1on in the public's mind by playing recordings that featured a wide separation of sounds -- so-called "ping pong" records. Listeners either became convinced that "ping ponging" was true stereo and recordings without such wide separation were not, or were aliE;!nated by the artificial separationthat had been engineered into the early recordings --a separation which they felt distorted the sound. It took close to ten years before stereo became so universally embraced that the industry felt secure enough gradually to phase out mono records. The Growth of Tape During the early and mid-1950's, attempts had also b_een made to market pre-recorded tapes. During the mono penod, tapes had two tracks; you played the entire length of a reel, turned it over and played the reel in the other direction. In 1958, Ampex introduced a 4-track stereo recorder and some pre-recorded reel-to-reel tapes. The market for such tapes, however, was primarily one for audiophiles who believed that the quality of reproduction and I imitless wear made tapes far superior to records. Most of those who bought recordings seemed to be scared off by the intricacy of threading the tapes past the recording head and onto a take-up reel, as well as by the ~------------------------------~20 �higher prices charged for pre-recorded tapes. The breakthrough came in the middle 1960's with the introduction of the 4-track continuous loop-tape stereo cartridge, the principal market for which was initially automobile installations. Two years later, came the8-track cartridge, which offered twice as much playing time, and shortly thereafter came the cassette tape, which featured the ability to record as well as to use the tape for playback. The 8-track cartridge and the cassette today account for close to 30% of total sales of sound recordings and are widely used in the home. Yet another new concept in recorded sound --quadraphonic sound -- was infroduced in the early 70's. It operates on the principle of "surround sound," with sound emanating through four speakers located in each corner of a room in an attempt to duplicate· even more closely the spatial effect, the reverberation, the sound delay that one experiences during a.l ive performance. Quad Sound and Video Recordings Waiting in the wings today are video discs, slated to be introduced to the public sometime in 1978, which will provide visual as well as audio entertainment. Video tapes are already on the market. Laboratory experiments with laser beams indicate that at some future date it will be possible to record more than twenty hours of music on one side of a 12-inch disc. This, then, is the recording industry in its one hundreth year -- an industry that has evolved from Edison's original tin foil cylinder to the one-sided disc, the two-sided disc, the long-playing record, stereo, quad, tape cartridges and cassettes, video tapes andthenow imminent videodisc; an industry with a catalog of recordings that runs the gamut from pop to symphonies, opera to folk and jazz, children's records to documentaries, dramas, poetry and instructional records; an industry providing entertainment, education and culture to the peoples of the world through a fusing of talent and technology that has developed into a business of selling art running close to $2.5 bi II ion in the United States alone. BIBLIOGRAPHY (Some books on sound recording you may want to read) Gaisberg, Fred, The Music Goes Round. New York: MacMillan Company, 1942 Gelatt, Roland, The Fabulous Phonograph. New York: Lippincott, 1955 Josephson, Matthew, Edison, A Biography. New York: McGrawHili, 1959 Moore, Jerrold_Northrop, A Voice in Time - The Gramophone of Fred Ga1sberg 1873-1951. London: Hamish Hamilton 1976 ' Read, Oliver & Welch, Walter L., From Tin Foil To StereoEvolution Of The Phonograph. Indianapolis, Ind.: HowardW. Sams & Co., Inc., 1959. Schicke, C. A., Revolution in Sound - A Biography Of The Recording Industry. Boston: Little, Brown and Company 1974. ' EDDIE HENDERSON, JULIAN PRIESTER & DAVID LIEBMAN TO PLAY TRALF. Among the fine events scheduled for the Tralfamadore's Tralfjazz Festival this month is a three night appearance by the Eddie Henderson Septet with Jui'ian Priester & David Liebman. Henderson/trumpet & fl ugel horn and Priester/trombones were members of the Herbie Hancock Sextet- a fine unit Herbie led from '69-'73, which also included Billy Hart, Buster Williams and Bennie Maupin. That band recorded three albums - Mwandishi & Crossings (Warner Bros.) and Sextant (Columbia). Henderson, who is also a doctor (general practice and psychiatry) has five albums under his own name and has worked and/or recorded with many other leaders. - Art Blakey, Joe Henderson and others. Priester first surfaced with SunRa in 1953. He has worked with many jazz greats such as Max Roach, Duke Ellington & Blakey. He has long been in demand for record dates and has had several ofhis own discs on Jazzland, Riverside and more recently ECM, for which he has done two - Love, Love & Polarization. David Liebman first came to prominence in the jazz world as a member of the excellent Elvin Jones Quartet ('73-'74). KENNY BURRELL Ellington Is Forever Vol. II 1800 MAIN at LAFAYETTE Quintessence OPEN 7 DAYS 10 AM- MIDNIGHT Come in and Browse at the Largest Record Store in the World - with the LOWEST Prices in Town - and Open EVERY SUNDAY 10 A.M. - MIDNIGHT Rochester locations: Midtown Plaza Greecetowne Mall Henrietta Towne lines Gates Eastview Plaza 2525 W. Henrietta Rd. Syracuse: On The Hill Charge your favorite album or tape on MasterCharge, Visa, or American Express and Save Today! 2 RECORD SETS • Milestone �WBLK- 94 FM The Sound of Jazz w/Carroll Hardy - Sat. nights 10 PM 1 AM. ; Jo•·, Stqle SnLOp/ WADV- 106 FM Jazz Nitely w/Geo. Beck Josep~ J. G~rippo WBFO 88.7 FM ·. • Mon.-Fri. Noon- Two "Spirits Known and Unknown" Mon.-Fri. 11pm-Midniqht Hatr Styltst Men.·Fri. Midniqht-3 am "Round Midn1qht" Saturday · 3am-8am "Pulse" -Vincent Jones Sam-Noon "Freedom F I ight" c Ed Smith Midnight-Gam "Opis,iri Moaern Music: Jazz by Request - Pres Freeland Sunday: Noon-two "Jazz Contours" -Bill Wahl 11pm-midnight B1g Bands w/Bob Rossberg Personal Attention • Reasonable Prices RK Hair Care Products 2590 Elmwood Ave. Mon. -Sat. 9 - 6 • 874-6555 Closed Wednesday Midnight-Jam "Roots, RhythmandSound"- Dave Jacobs 3am-8am "Progressively Yours" - Harry Schuster along with Steve Grossman & Gene Perla. He then went with Miles Davis (it was with Miles that he last played Buffalo) and has since led his own groups. Liebman has 2 discs on ECM, three on Horizon, two on PM and is featured on many sides with Elvin & Miles. He's an exciting player, proficient on tenor and soprano saxes and flutes. All three of these musicians are first rate- thus, this should be an event not to be missed. See the Tralf ad in this issue for dates and information. CANADA - SELECTED LISTINGS CKTB - 97.7 FM J. is for Jazz w/Jack Cole- every Sunday night 8-11 PM. CKQS - 94.9 FM . Music for Nightpeople w/Paul Fisher- Mon. -Sat. -Midnight - 3 AM. From Bebop to Now w/BJR's Hal Hill -Sat. nights 10 PM - Mid. CJRT - 91.1 FM Jazz Scene w/Ted O'Reilly Mon.-Fri. 10 PM- 1 AM. Sat. 6 AM - Noon, Jaz:z; in Concert w/O'Reilly Sat. 7-10 PM. CFKM - 99.9 FM All. That Jazz w/Phil McKellar Sun. 10 PM - 6 AM. CING - .108 FM . What's Happening w/Jack Cole Mon.-Thurs. 10:05 PM midnight; Sundays 11 PM- 1 AM. Radio WEBR - 97.0 AM • Jazz in the Night - every night 7-midnight w/AI Wallack. WCMF - 96.5 FM (Rochester) Jazz Scene w/Tom Hampson Sun. nights 11 PM - midnight. cla""ifiied ·BONA VISTA This space is avai lableto private individuals, organizations, mail-order houses, etc. The cost is 10¢ per word- minimum charge $3. Send copy and payment to BJR - 1335 Main Street, Buffalo, N.Y. 14209. 1504 HERTEL Music for all tastes DOUBLE BASSES: Hawkes Pandrmo, Honore Derazey, T. Lamy, others- especially suitable for jazz playing. Fine bows, bags, trunks. Appraisals. Dr. George Woodall 416-494-4846 Toronto, Canada. Sun. -MF Buzz Band Mon.- Dillon-Brady Band Tues.- Billy Brite FOR SALE- Gibson- Super400guitar, sunburst finish with case. Excellent condition. $950.00. Call 826-8692. MUSIC LESSONS: Guitar, electric bass, string bass and composition. Theor.y and improvisation incorporated into each I esson. Gerry Eastman - 884-4136. SHAKIN SMITH and his JAZZ LPS FOR SALE. Many out-of-print. Craig Recording, 700 W. Main, PO Box 943, ElDorado, AR 71730. Blues Band-wed.&Sat. Thurs.- Bahama Mama IMPORTS from Jap·an and elsewhere. Sony, East Wind, Trio, BYG, Timeless and many other labels. Albums by Coltrane, Braxton, Miles, Woody Shaw, etc. Also College big bands, Vintage big band and traditional. Send for free lists and specify tastes (Mainstream, Big Band, etc.) - International Records, Box 717, Dept. B, Mentone, California 92359. live music 7 nights CADENCE - Monthly review of jazz & blues. Interviews, oral-histories, news and the most complete coverage of the entire scene. Sample $1. Cadence, Rt. 1, Box 345X, Redwood, N.Y. 13679. SUN.,TUES.,WED./NO COVER Cancli•s Kitchen Open 'till 4 AM- 1 Nights a Week I 836·8985 122 SACKVILLE - The Jazz Record Company: Doliar Brand, Anthony Braxton, David Holland, Oliver Lak·e·, George Lewis, Jay McShann, Roscoe Mitchell, Don Pullen, Buddy Tate, Teddy Wilson andmanyothers. Writeforfreecatalogueto SACKVILLE RECORDINGS, Dept. K, 893 Yonge Street, Toronto; Ontario M4W 2H2 Canada. · �USED LP'S WANTED: Albums by Lee Konitz on Verve, many Coiumb1a issues (50's, 60's) and items from Jazzland, Riverside, Contemporar·y, 50's Atlantic and othP.r labels. Send your list and desired pnces to B.W., BJR, Box K, 1335 Ma1n St., Buffalo, N.Y. 14209, or phone (716) 883-3909 Ext. 11. BLUES JAZZ all labels including imports - write for list. Souther~ Record Sales, 5001 Reynard, La Crescenta, California 91214. CARLA BLEYBand A 10-Piece Band, Including Elton Dean, Hugh Hopper, Roswell Rudd, Gary Window. Michael Mantler, Andrew Cyrille & John Clark SUNDAY, JANUARY 15th Shows at 7 & 10 PM RARE & Out of Print Jazz LP's, price ·lists and auctions. Wm. Carraro, 25 Aberdeen St., Malverne, N.Y. 11565 what'ic; happenii~g BUFFALO Sonny Fortune - Concert at Katherine Cornell Theatre, S.U. N. Y.A.B. Amherst Campus. Dec. 4, 2 shows (See ad). Ontario House (Niagara Falls) Emil Palame Quintet Dec. 9 & 10; 16 & 17. See ad. Tara Manor - 5100 Main St. Jack Bacon Morgan Street Stampers with Eli Konikoff Fri. & Sat. nights. Tralfamadore Cafe - 2610 Main - month long jazz festival. Leroy Jenkins, Andrew Cyrille & Muhal Richard Abrams Dec. 2, 3 & 4; Mose Allison Trio Dec. 13 & 14; Eddie Henderson Septet with Julian Priester & David Liebman Dec. 15, 16, 17; Willem Breuker Kollektief Dec. 18, Spyro Gyra Dec. 29, 30 & New Years Eve. See Adforadditional bookings and information. C.P.G. - Central Park Grill - 2519 Main St. -Jazz Jam Mon. nights, Tender Buttons every other Tues. Also, folk and bluegrass. See ad. Statler Hilton- Downtown Room- StanleyTurrentinethru Dec. 11; Buddy Tate & Jimmy McPartland Dec. 13 thru New Years ;Eve. Ontario House - 920 Ontario Ave., Niagara Falls, N.Y. - 2829877. Emil Palame Quintet Dec. 9, 10, 16, 17 & New Years Eve. See ad for detai Is. Bona Vista - 1504 Hertel - Blues & Jazz - See ad. Central Park Grill·- Main near Greenfield - Jam Sessions Mon. Nights. ·: Checkerboard - Main & Utica - Jazz Nightly. Odys~y - 1005 Tonawanda St. - Jazz Sat. ~ights. . · Anchor Bar - Main & North - Johnny Gtbson Trto w/George Holdt on trumpet. Every Fri. & Sat. night. Fieldstone Manor (Lockport)- Dixielandw/WiiiAigeronweekends. TORONTO Bourbon St. - 180 Queen St., W. - Slide Hampton thru Dec. 17. See ad on pg. 24 for additional bookings. George's Spaghetti House - 290 Dundas St., E. Moe Koffman Dec. 5-10; Jerry Toth Dec. 12-17; Herb Koffman Dec. 17Jan. 1. Phone 923-9887. D.J.'s - 700 University Ave. Arnett Cobb Quartet Dec. 5-10; Joe Neuman Quartet Dec. 12-17; Trump Davidson Octet Dec. 19-23; Maxine Sullivan Dec. 26-31. Dollar Brand - in concert at St. Lawrence Centre Town Hall, 27 Front St., E., Tuesday, Dec. 6, 8:30PM. Phone 366-7723. ·c.C.M.C. - (Canadian Creative Music Collectiv!') Tues. & Fri. ~~~~ti o~. PM. The Music Gallery - 30 St. Patrick St. Phone 4 Cafe May - Roncesvalles Ave. at Howard Park - Lorne Lofsky Trio Sun. 7:30 - 11 PM. Albert's Hall _ The Brunswick - 481 Bloor Street, West.Nightly from 9 pm - Dr. McJazz. ·. . Chelsea Bun - Chelsea Inn - 33 Gerrard St., W. - p•an•st John 9 1 Arpin Mon. thru Sat. - · ROCHESTER JJ Lounge - Roland Armour Trio every Fri., Sat. & Sun. Port Side_ Joe Romano every Fri., Sat., Sun. & Mon. Stone St. Pub - Joe Locke Quintet every Thurs., Fri. & Sat. Glass Onion - Joe Romano feat: Barry Keiner pianist with Buddy Rich for last couple of years- just. quit recently and 23 SEATS $7.70 RESERVED THE NEW YORKER THEATRE 651 Yonge St.• Toronto - 416- 925- 6400 Tickets: Round Records, Records On Wheels, The New Yorker & Jazz & Blues Centre; Mail Orders $8 from Jazz & Blues Centre, 893 Yonge St., Toronto. moved back to Rochester, every Tuesday plus Monday, Dec. 12. Parliament Lounge - Joe Locke Quintet - Mon., Dec. 6-Jazz every Monday thereafter. Chez Jean Pierre - Paul McGinley Trio every Friday; Bill Dobbins every Saturday. Red Creek- Mike Manieri QuintetfeaturingWarrenBernhardt, Steve Gadd, Tony Levin and David Spinozza Dec. 6, 7, 8; Duke Jupiter Dec. 30, 31. Eastman Theatre - Preservation Hall Jazz Band - Dec. 31 - 8 PM. Tickets $7.00, 6.50, 6.00, 5.50 and 4.50. Call 325-1070 for information. R.I.T. (Rochester Institute of Technology) - Jan Hammer Group - Dec. 10, College Union Cafeteria - two shows - 7:30 & 10:00. Call 464-2307. Sheraton Motor Inn - 4831 W. Henrietta Rd. Upstate Association presents Joe Romano, Sam Noto, Barry Kiener & Joe Locke Sun., Dec. 18. Tickets $5. JAZZ UP THE SEASON "Come All Ye Faithful" And Those of You with Little Faith To The CPG~ JAZZ JAM every Mon.: feat. JAMES CLARK CARL CEDAR DUFFY FORNES DILLON-BRADY BAND everyThurs. ROTA'TING TUES.: IH TENDER BUTTONS (JAZZ) POI'NTLESS BROS (BLUEGRASS) OPEN MIKE: every Sun. *CENTRAL nARK GRILL r-M 2519 Main St. 836-9466 1.~--------------------_.. �Bourbon Street TORONTO (416) a,98-3020 The Finest in ltaliart Cuisine 'Pn st ~--...;·:.:_T(•(•t suDE HAMPTON Thru December 17 \ 'r- PAT LaBARBARA December 19 · 24 JACK SHELDON Dec, 26 - Jan. 7 Art Pepper Returns in Apri I! 4:ooPM Sunday December 11 Phone Ahead for Dinner Reservations Open Daily 12-1 Sundays 6- 10 No Cover Shea's Theatre Buffalo GEORGE'S SPAGHETTI HOUSE 290 DUNDAS STREET. E. TORONTO. ONT. -923-9887 Advance Price $3.00 At the door $3.50 Featuring some of Canada's Top Jazz Artists nightly as well as our famous Italian Cuisine. Appearing at the UUW~TUW~ *STANLEY TURRENTINE thru oec.11 JIMMY McPARTLAND & BUDDY TATE DEC.13-31 * buffalo jazz report 1335 main st. bUffalO, n.y. 14209 u.s.a. return postage guaranteed PERIODICALS & BINDERY :LOCKWOOD liElWIHAL LIBRARY :S.U.N.Y.A.B. BUFFALO, NY 14214 SJ6 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4492 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 46 Date A point or period of time associated with an event in the lifecycle of the resource 12/1/1977 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz musicians. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no.46 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/6f0b83b329f7ee7c1ac332b682283264.pdf 4293c0dc82e29bb94e419842a9c3593b PDF Text Text �(now Cadet) records and began to stir some controversy among listeners and critics . He started to gain wide acceptance and won the international cr itics poll in '62 . Kirk also mastered the technique of circular breathing, enabling him to play indefi nitely without stopping for th e usual inhalation break. Rahsaan and his group, the vibration society, were well received at clubs, concerts and festivals throughout all parts of the world, and he had recorded many albums - mostly for Atlanti c. But just before Thanksgiving of 1975, he suffered a stroke which paralized his entire right side. He layed in a hospital bed for over two weeks whil e doctors kept telling him he would most probably never play again . But he soon began to make his way about his home and shortly thereafter began to try to play - at first to no avail . He modifi ed his instruments so that he could play with one hand, and he had the mouthpiece of the flute bent so it could be held down comfortably . His music now was more reserved. but the great Rahsaan was back and sounding superb . He recorded Kirkatron for Warner Bros . records and toured with his band . It all ended on Monday morning December 5. Kirk and his band had played a concert in Bloomington . Indiana the night before. Enroute by car to the airport to make a gig that night in Chicago, the great Rahsaanstoppedbreathing. Hewas rushed to the hospital but it was too late . He was dead on arrival. The spirit, music and legacy of Rahsaan Roland Kirk I ive on. It is unfortunate that his last concert in Buffalo was cut short by a juvenile bomb scare . Rahsaan EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Paul Gresham, Bill Harris, John Hunt, Tom Mazzone, John Osborn , Paul Smith, Paula Wahl, Ron Weinstock . ILLUSTRATOR - Sabrina Mayberry Smith. CORRESPONDENTSRochester - Jim Laniok Syracuse - Bob Shepherdson Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext . 11 © 1977 - Buffalo Jazz Report No portion of this publication may be reproduced without writ · ten consent from the publisher . Photo by Jack Bradl ey courtesy CODA Magaz ine. The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N. Y. BJR is distributed free of charge throughout Buffalo, Rochester, Syracuse . T oronto, St . Catharines , Hamilton, Niagara Falls, Lockport and Jamestown . We are subsidized solely through advertising and ask that you support our advertisers . Subscriptions are ava i lable at $7/ year, paid in advance. Cover Photo of Rahsaan Roland Kirk by Gerrard Futrick courtesy CODA Magazine. One of the great losses of 1977 was that of Rah saan Roland Kirk, who died last month at the age of forty - one. Born Ronald T . Kirk, Rahsaan (as he has been known in re cent years) has been blind since infancy - abl e to see nothing but I igh1. At the age of six he tri ed to get music out of a water hose . His parents were counselors at a summer camp near Columbus, Ohio - his home town , and young Kirk wanted to be the camp ' s bugle boy . He started trumpet at 9, but due to a doctor's advise that the pressure would strain his eyes he took up saxophone and clarinet . By '51 he played with well known bands around Ohio and led his own group for dance dates . He soon began to experiment with the idea of playing two instru ments at once . At 16 he had a dream that he played three instruments at once and the next Eiay he went to a music store and tried out all the reed instruments . This is where he found the manzello and the stritch - instruments of obscure origin which he's been playing ever since - along with tenor sax, flute , clarinet, trumpet, clavi etta , sl idesophone and more. He worked out a technique for holding th e tenor sax, stritch and manzello and playing three part harmony through the use of trick fingering. In 1960 Kirk recorded Introducing Roland Kirk for Argo PRINTED IN U .S.A . AT GREENFIELD STREET A new improvisational ensemble with PeterPi ccerelli l bass and electronics, Stu Cutler / guitar and E II iott Sharp/ reeds , guitars and percussion plus special guests will perform at th e Greenfield Street Restaurant, 25 Greenfield St .. on Friday, January 13 at 9:30P .M . For more information phone 837-8189 or 836-9035 . 2 JAZZ AND ALL THAT IN TORONTO The Guido Basso Latin Jazz Band wi!l open th e Stop 33 jazz series " JAZZ AND ALL THATI" 1n Sutt on Place on Saturday, January 7th at 3 p .m . This will be the first in a series of Saturday afternoon concerts in Stop 33 featuring lead ing jazz musi c ians . The concerts will be introduced and Memceed" by jazz affi c ionado and well - known broadcaster �Phil MacKellar of CKFM Radio . The second concert on January 14th wi II present Gene DiNovi's Jazz Quintet; on January 21 we'll hear the Kathryn Moses Quartet featuring special guest Hagood Hardy; Sam Noto Quintet is the band on the stand on January 28th; and Peter Appleyard will present his inimitable jazz on February 4th. The concerts in Stop 33 will run from3 p.m. to 6 p.m. each Saturday, and there will be a nominal cov er charge of $3.00 per person . Luncheon will be served from noon until 2:30p .m . The first concert also marks the introduction of the Guido Basso Latin Jazz Band, a group of highly respected musicians Eugene Amaro, Terry Clark, Marty Morell, David Pilch, Bob Pilch and Frank Falko . They form the nucleus of a larger group with the same name that will be recording their first album in January. ' The Gene DiNovi Jazz Quintet will be appearing regularly on the second Saturday of each month in the "Jazz and All That!" series, and their concerts will be recorded . AN INTERESTING NOTE: The July issue of Jazz Journal International listed the best selling jazz albums for both the U.S. & United Kingdom. Here ' s the top five for each country . u.s. 1. Heavy Weather/Weather Report (Columbia) 2. Conquistador/ Maynard Ferguson (Columbia) 3. In Flight/Geo. Benson (Warner Bros.) 4. Four/Bob James (C .T . I.) 5. V.S.O.P./Herbie Hancock (Columbia) U.K. 1. Blues Express/Shorty Rogers (RCA France) 2. 40th Anniversary Carnegie Hall Concert/ Woody Herman (RCA) 3. Heavy Weather/ Weather Report (CBS) . .~-t.•·~~!... LIGHT FOUNTAI ~ BOOKS Largest Collection of Books on Music in Western New York: Jazz. Blues, Folk, Country & Classical Also - Poetry • Fiction • Science Fiction • Autobiography • Building • Shelter • Energy • Photography Art • Drafts • Health • Veg. Cooking • Spoken Arts LP's • Books For Inner Development 532 ELMWOOD AVE. BUFFALO 884- 5094 4. In Flight/Geo. Benson (Warner Bros.) 5. London Concert/Warne Marsh & Lee Kanitz (Wave) MICHAEL KLENIEC - CLASSICAL/JAZZ GUITARIST CONCERT Belgian born, New York trained guitarist MICHAEL KLE NIEC will give a solo guitar concert at Neiii-Wycik Col (96 Gerrard St., E .), Friday, January 27 at 8:00PM. His program will consist of original arrangements of folk and jazz themes with guitar improvisations. Included on the program are: Tear it Down (Wes Montgomery); Take Five (Paul Desmond); God Bless the Child (Billie Holiday) and My Heart Sings (Bill Evans). Also included will be Kleniec' own transcriptions of East Indian Ragas and renditions ethnic material including a Cambodian and an Armenian folk The more fanatical you become about jazz, the more fanatical you should become about hearing NOTHING from your high fidelity system ... no boosted bass, no coloration that wasn't there at the creation . .. nothing but clear, clean, beautiful music . With this idea in mind, Audio Centers now offer an unbeatable, unrepeatable special price on JBL model L 100 speakers. These are the most successful speakers JBL ever made ... even though the design was not original. L 100's, you might say, are derivative ... cop.ied, stolen from the leading maker of professional recording mo~1tors (wh1ch JUst happens to beJBL, too). They come to you in oiled walnut cabinets, with dimensional foam grilles in colors like Ultra Blue, Burnt Orange or Chocolate Brown . So please come to us while the supply lasts and hear how good nothing can sound. Bring your favorite record. r-1THIS AD GOOD I FOR 10% OFF I tany record or tape f care ite~choose J I from Discwasher, 1 Soundgard or l_W~s~n~ STORES IN Amnerst, Orchard Park, Olean, Cheektowa_98, Niagara Falls, · Batavia & Buffa I o. see the YellowPgs. 1 1 �would go into fifty minutes of vocals including "Fool's Paradise", "Seventh Son", "Wild Man on the Loose" , "Lost Mind" and "Your Mind is On Vacation" (not all in the same show) . Mose is a singer with a real feel for the blues extending the west coast tradition of such as Charles Brown and Amos Milburn. Mose sings in a wry, dry sense and writes (and sings) wonderfully sophisticated, urbane blues . His piano playing though doesn't strike me as down home as his singing and as a blues pianist he gets perhap·s too boppish, but it perhaps is unfair to compare him to a LloydGienn who blew away when he was with Joe Turner . What can be said about Mose is that he is a blues singer and not merely a white who sings the blues. R.W . II~ haircutter 59 Kenmore Ave. 836-1781 webr& (corner of Windemere) behind jewelry store wallack straight ahead song. MICHAEL KLENIEC has previously appeared in Toronto at Mother Necessity Jazz Workshop, Cafe Soho, Seneca College and the University of Toronto as well as in the hit musical production Piaf at Schubet's Cabaret . His record SENDING on the GAMELON label is available locally. bybillwahl. MOSE ALLISON AT THE TRALFAMADORE Pianist and singer Mose Allison led a trio for two nights, December 13 .and 14 to kick off a heavy week of music at the Main Street club. Mose noted for his jazz and blues stylings has a competent bassist and drummer (the drummer has been with Mose only on his current tour) and kicked off each of his shows with about twenty five minutes of instrumental music as everyone got solo time. Then telling the crowd that he would appreciate the smokers to desist ~or the rest of the set he Music for all tastes. Sun./ MF Buzz Band Mon./ Dillon-Brady Band Tues./ Billy Brite Wed.,Sat./Shakin Smith and his Blues Band Thurs./Bahama Mama Fri./Dolly & the Midnighters live music 7 nights Sun. thru Wed./ No Cover Candi's Kitchen Open 'till 4 AM - 7 Nights a Week Jan.11-14/SonSeals-ChicagoBiues BONA VISTA 1504 HERTEL 836-8985 4 One of the more fami I iar voices of the area jazz scene is that of AI Wallack . AI is the host of Jazz In The Night Time, aired on WEBR-970 AM seven nights a week from 8 PM until midnight . Sitting inonSaturdayandSundaynights is Phil Teibel. AI was born in Minneapolis, Minnesota in 1947 and moved to Buffalo at the age of two . He recalls that his first interest in jazz came about when he was in seventh grade . "I lived just around the corner from the Royal Arms and I'd hear the music every time I'd go to the laundromat next door to the club . I remember watching through the window - seeing people like Jimmy Smith, Nina Simone, Jimmy McGriff & Oscar Peterson ." He had the opportunity to meet many performers since his father was in the record promotion business . "I met all kinds of stars - from Jackie Paris & Ann Marie Moss to the Three Stooges." Al's interest in radio dates back to 1963, when he'd "lay in bed after 'lights out' andhideunderthecovers listening to Joey Reynolds with headphones." Four years later he started his radio career at the Buffalo State College station, WSCB- doing rock in the morning. Afterthree years he landed a job at WKBW as assistant news director. Many people may remember AI from WPHD, Buffalo's progressive rock station during the very early seventies. He's also been heard on WBUF, WYSL-FM, WWOL and WPGC in Washington, D.C. Wallack started with WEBR in 1972 . "It was Sept . 2- I remember having to start work on my birthday . I was the all night man - a spot I worked for six months before switching to days when Bill Kimbel went to WHAM as news director ." AI became the station's production director in 1974, and was named to his current position of music program director just a little over a year ago. Soon after that appointment he instituted the night time jazz format. "There was no jazz on the radio in Buffalo during the evening hours - between six and eleven , and none at all on the AM dial ." He was heard on both WEBR and their FM stati~n WNED prior to the latter's switch to classical music programming. Both stations had been sold with the intent by the new owners to go classical on FM. AI felt the loss of the FM when the transition came - the cleaner sound and the strong signal which reached to Erie, Pa. But, as word spread, his FM listeners tuned in to his show on the AM dial. As it is the signal covers a lot of ground - he has a strong listenership in the Toronto area . The station underwent extensive renovations last year - a new control room was built with brand new turntabl es, micro phones, control board, tape machines, etc. Their jazz record library has also grown considerably. WEBR is a public radio station- as is the other major jazz �CARLA BLEYsand A 10-Piece Band, Including Elton Dean, Hugh Hopper, Roswell Rudd, Gary Window, Michael Mantler, Andrew Cyrille & John Clark SUNDAY, JANUARY 15th Shows at 7 & 10 PM SEATS $7.70 RESERVED THE NEW YORKER THEATRE 651 Yonge St .• Toronto - 416- 925- 6400 Tickets: Round Records, Records On Wheels, The New Yorker & Jazz & Blues Centre; Mail Orders $8 from Jazz & Blues Centre, 893 Yonge St. , Toronto . I isteners. Jazz is a music that covers a lot of styles . AI pointed out that "our format is basically straight-ahead. We shy away from avant-garde, and to a lesser extent fusion music . WBFO offers some avant-garde shows and WBUF does fusion. We feel that AI Wallack station in the area WBFO . Both WEBR and WNED-FM are owned by Buffalo's public t elevi s ionstationWNED-17. This means that there are no commercials to interrupt th e music. Instead, they conduct occasional fund raising drives which have been very successful and a testament to the int erest in jazz among the there is a need for a straight-ahead jazz station . Our audience ranges from 25 to 70 plus - and I've got to try to keep them all happy . " A weekly feature on WEBR is the l ive broadcasts from the Statler and other area locations Fridays at 9:30. When there is no broadcast, they run national pub I ic radio's Jazz AI ive series during the same time slot . During the day - when there's no jazz on WEBR - it is the city's only all news station . Al's plans for the future include extended hours for jazz (past midnight). more live broadcasts and continued increase in �-- -- - - ----::-- - -- - -- - - the jazz audience. And - for the immediate future - AI and his wife Peggy are expecting a new baby this month (their first) . Congratulations Pops! recordtDJ RECORD REVIEWERS: Bill Wahl (B.W.), John Hunt (J .H.), Tom Mazzone (T .M .). Ron Weinstock (R .W. ), PauiSmith(P .S.), Jim Laniok (J.L . ). BEST OF '77 We've had many requests for a I i st of the best records of 1977. There have been a lot of excellent records this year, and the following is a list of twenty personal favorites from Bill Wahl - BJR Editor , and John Hunt - WBFO Jazz Program Director and BJR writer . The records listed are in no parti cular order. Also listed are two extra listings for albums by a "new artist . " Bill Wahl Lee Konitz - Horo John Coltrane - The other Village Vanguard Tapes- Impulse Dexter Gordon - Homecoming - Columbia Art Pepper - The Trip - Contemporary The Phil Woods Six- Live From the Showboat- RCA Dexter Gordon - The Apartment - Inner City John Coltrane - Afro Blue Impression - Pablo Carmen McRae - Live at the Great American Music Hall Blue Note Paul Bley - Japan Suite - Improvising Artists Archie Shepp - Steam - Inner City Chas. Mingus - 3 or 4 Shades of th e Blues - Atlantic Gary Peacock - Tales of Another - ECM Ron Carter- Piccolo - Milestone Keith Jarrett - The Survivors Suite - ECM Pat Martino - Exit - Muse V.S.O.P . - The Quintet - Columbia Jack Wilkins Qt. - Chiaroscuro Karl Berger & David Holland - All K inds of Time- Sackville Chari ie Haden - Closeness - Horizon Miles Davis- Water Babi es - Columbia Jean-Pierre Rampal - a ORS Production at Kleinhans Music Hall January 9. * Ev£R'IfMAN'S BooKSTORE, IN~. 3\02. MAIN ST. t\UFFAlO. N.Y. 8'37- 955'f * New Artist: Ray Pizzi -Conception - Pablo Geo . Lewis - Solo Trombone Record - Sackville bao Ks a:nd. pe.1'i.od.Lc!U.s fro"M LlL,.9e f SW\a.ll pre.sses, fe.e.tu.'f"\. Yl9 -t.h.ct. fiWI.GSt: fi e.tloV\._.. 'M.od.eY"n pbetry, "r't\L\.Si.t., V\.a.tLA..,.a.L t wh.ole. foods cooKlng, e"Y\.e'r9'j <a.lte.r'tl.ll.ti.ve. re.sol.lrc~s. John Hunt Rahsaan Roland Kirk - Early Roots - Bethlehem V .S.O.P . -The Quintet - Columbia Rahsaan Roland Kirk - K irkatron - Warner Bros. Jones/ Brown/ Smith - Concord Jazz Randy Weston- Little Niles - Blue Note Jackie Mclean & Dexter Gordon - The Source - Inner City Carmen McRae - Live at th e Great American Music Hall Blue Note polltLt.S, ~e.lt"Ylc..e. f.:ction ~W\cre.. d(&c.ou:vd:. 10•/• off -1c ~e:W~.bt.rsh.~ps: o~ booKs. spee.la.l ord.e.rs *** $S f'Jr. 1\ Dexter Gordon - Homecoming - Columbia Phil Woods Six Live at the Showboat - RCA Woody Shaw - Berliner Jazztage - Muse Don Pullen- Tomorrows Promises - Atlanti c Milt Jackson- Live at the Kosei Nenkin - Pablo Live Gary Bartz - Ju Ju Man - Catalyst Miles Davis - Wat erbabi es - Columbia Count Basie - Prime Time - Pablo Various - Wildflowers - Douglas Tete Montoliu- Musi c for Perla - Inner City Chick Corea- A.R.C . - ECM Sun Ra - Solo Piano - Improvising Artists Pat Martino - Exit - Mu se MOt-4-FRI, \Oa.:~.- l,p.wt. SAT, II e.:M. -S p. 'W\. * b-rowseY'5 walc.ome. * 6 New Artist/Group Spyro Gyra - Spyro Gyra - Amerst (Cross-Eyes Bear ; Geo . Lewis -Solo Trombone Record - Sackville �HORIZON JAZZ THAD JONES & MEL LEWIS: LIVE IN MUNICH (A&M SP-724) BILLY HART: ENCHANCE (A&M SP-725) CHET BAKER: YOU CAN'T GO HOME AGAIN (A&M SP-726) CHARLIE HADEN: THE GOLDEN NUMBER (A&M SP-727) A&M/Horizon has come out with another batch of releases . As usual, the packages are superb, from solo transcriptions and sterep mix diagrams to interesting I iner notes. Chet Baker's You Can't Go Home Again is actually I ike two records. Side one is funky and electric by comparison with the flip side. Side two includes Paul Desmond's last recorded per formance, on the title piece. Don Sebesky who produced, arranged and conducted the album, kept his 4se of strings at a tasteful level. The music is pretty and understated. On El Morro, there are some personnel changes. Michael Brecker gets the first solo, on tenor, backed by John Scofield on acoustic guitar. The second solo is Baker's. With the formidable Ron Carter on bass and Tony Williams' beautiful cymbal work, Baker works from an introspective beginning to a fast, boppish passage, in a very well-arranged solo . The electric side features some rock drumming from Williams and electric bass playing by Alphonso Johnson . There are touches of jazz rock and a few swirling swings, but also some very good solos. Best is Scofield's electric guitar solo in Love For Sale, leading into a duet between Carter and Johnson; and a moody Baker solo toward the end of Bud Powell's Un Poco Loco. The Thad Jones-Mel Lewis release, Live In Munich, is predictably excellent. Their big band is contemporary, but demonstrates a love for swing and punchy ensemble charts . Great solos on Thad's Central Park North come from trumpeter Earl Gardner and Jerry Dodgion, on soprano . Mel Lewis takes an infrequent drum solo. A band with many voices and one heart; they tackle all the material with energy . Another favorite is Hank Jones' medium-tempo blues, A' That's Freedom, with a very good piano solo from Harold Danko . Charlie Haden's The Golden Number offers four thoughtful duets, with Ornette Coleman (trumpet), Archie Shepp , Hampton Hawes and Don Cherry. For the most part, these are free mid tempo explorations, challenging upon careful listening . Hawes' blues piano on Turnaround, with Haden's varying bass work, is a standout . My favorite is Out Of Focus, with Don Cherry on trumpet, sounding warm and human. Haden comes alive with double time figures and beautiful work in the high notes of his own solo. The surprise among these rei eases, and my overall favorite is Billy Hart's Enchance . Featuring an all - star cast of today's avant-garde musicians, the album covers a great rangeof material with ease and success. Free ensemble tunes, like Don Pullen's Pharoah andOiiver Lake' s Hymn For the Old Year, are characterized by tremendous shouts and bursts of passion from the reed players, and lively, tasteful rhythm work from drummer Billy Hart and bassist Dave Holland. Hart's only written contribution , Layla-Joy, recalls early Herbie Hancock sessions . Eddie Henderson's trumpet soloties the piece together, with Michael Carvin (perc .) and Buster Williams joining the rhythm section. Holland's Shadow Dance, with a tenor solo from Dewey Redman and one from 01 iver Lake on alto, is rooted in Miles Davis' mid - sixties sound . Overall, a warm provocative and energetic celebration by talented musicians . Highly recommended. Bob Shepherdson (f) ~ z w ~ z 0 a.. - u 0 0 0 ::::> SM-1515 <{ INTEGRATED STEREO AMPUFIE • Di rect coupling of all ma in amplil 1er stages provide he fty powe r at ultra low d istortion levels • Improved phono reproduction • Dual output mete rs provide constant and accu rate mon 1tonng of p ower output o f both channe ls • Two-way tape dubb1ng ST-1515 FM STEREO/FM-AM TUNER • Dual gate MOS FET and 4-gang variable capac itor improve sensitivit y • Air chec k c alibrator tor tape recording FM broadcasts. also checks speaker phasing and balance • FM muting blocks out unwanted station -to -station noise • Dual tu ning meters for signal strength and center of station --now- only.... $359.! RT-1515 STEREO CASSETIE DECK • APSS- Auto Prog ram Searc h System locate s desired selections and plays them automat ically • Dol by® No1se Reduct1on System im proves S/ N ratio • Adjustable bias & eq ualization • Mic-l ine m1xing perfect :match & it's only.... $210.! DEXTER GORDON - BOUNCIN' WITH DEX- INNER CITY 2060 The two Steeplechase recordings by Anthony Braxton - "In the Tradition" Vol.'s 1 & 2 (both on Inner City) were to be Gordon sides, but Braxton did the session due to Dexter being itt at the time. ST £REO That date included the excel tent Spanish pianist Tete Mpntol iu - someone many have been hoping to hear on record with Dexter . This 1975 sessionand pairs two, along Niels Henning Orsted Pedersen Bit tvtheHiqqins - twowith more of Dexter's ~ 0 1 ••••••••••••••••••••••••••II �favorite musicians. The result is a strong set of music which includes three jazz standards - Bird's Billie's Bounce, Easy Living and Miles f)avis' Four, mixed with two Gordon originals. Benji'sBounce, 1amed for his young son, isaquickpaced bop-ish tune based on 1.1onk' s Rhythm-a-ning. A Spanish flavor prevai Is on Catalonian '4ights, written for pianist Tete. It's a medium tempo, rocking Jiece heavy on lyricism and oneofthemost memorable cuts on the disc. Four moves along quite well with some fine work from Gordon and Tete . This is another standout. Pedersen & Higgins, ~'Who've been heard with Gordon many times, play up to their usual high level. While not Gordon's best work for Inner City (Steeplechase), Bouncin' With Dex is well done and worth your attention. I believe that there is still another Dexter-Gordon release forth coming on the label. B .W. ing Muffin Man follows with Hamp' s fingers dancing over the keys, the left hand punctuating the right just enough to keep things moving. His style is clean - devoid of frills and unnecessary embellishments . Here, as on all of sides one and two Bailey and Vinnegar give Hamp plenty of room but there's no aimless wandering . The string section (on sides three and four) is applied with a fair- measure of taste by the arranger and conductor Billy Byers but in general Hamp really cuts loose when the strings are subdued or drop out altogether . Despi.te the apparent commercial motivation for the inclusion of strings, the solid performances by Hawes come through on the entire well-packaged double album. J.H. BETHLEHEM RE-ISSUES As mentioned in the December issue, Beth I ehem has recently reopened their vaults of quality recordings . Most come from sessions recorded in the mid fifties to early sixties . With THE BOOK COOKS (BCP-6025) we have the late tenor saxophonist BOOKER ERVIN with Zoot Sims, Tommy Flanagan, Tommy Turrentine, Danny Richmond, and George Tucker in a session that showcases Ervin's gutsy, blues - rooted sax playing in the tradition of Buddy Tate, Eddie "Cieanhead" Vinson, and other Texas tenor men. It was Ervin's first date as a leader and was recorded in 1960, ten years before his death (August 1970) at the age of 37 . Included in this series is the fourth and final album for Bethlehem by the late trumpeter BOOKER LITTLE, titled VICTORY AND SOHROW (BCP-6034). Victory and Sorrow was r-ecorded in August of 1961 and featured tremedous personnel Julian Priester-/ trombone, Don Friedman/ piano, George Coleman/ tenor, Pete LaRoca/ dr-ums and Reggie Workman on bass. In his tragically brief career Little established a distinctive style on trumpet and he was also a prolific composer. Every piece here is by Little and has minor - tinged chordal structures that are extremely sophisticated but quite dark in mood for one who was only 23 in 1961 - the year of this recording and the year of his death . Trombonist JIMMY KNEPPER, who has recently been heard with th e Thad Jones/ Mel Lewis orchestra and Robin Kenyatta and who spent about four years with Charles Mingus, is heard on another Bethlehem re-issue IDOL OF THE FLIES (BCP6031). It's got some great swinging as well as tender ballads with assistance from Gene Quill on alto sax, Bill Evans on piano, Teddy Kotick / bass and another Mingus alumnus Danny Richmond on drums. A good example of quality modern jazz of th e fifties. THE TEST OF TIME (BCP-6033) takes us back to July 1955 for some Dixi elandish playing from Chicago t enor man Bud Freeman with help from Ruby Braff on trumpet . Those two set the sty I istic parameters but the material covers a wide range, from the Freeman original Newport-News to Perdido and Exactly Like You. The interplay between Braff and Freeman is pleasant and reminiscent of much earlier groups like tho se led by Louis Ar-mstrong. Big band fans will be pleased with the re-issue of SOMETHING ELSE AGAIN (BCP-6032) featuring leader arranger JOHNNY RICHARDS. Ri chards distinguished himself as arranger- and composer with the Stan Kenton big band and shows himself a capable leader of his own big band as well. Great personnel - Charlie Mariano on alto, Richard Kamuca/ tenor, Bill Holman (another fine arranger himself) on bass, Maynard Ferguson with some high register-trumpet mastery , trombonist Frank Rosol ino and many more - combine for some tasteful big band music . Richards canmakethebandwail when he wants but seems most skillful at shifting moods and changing the pace with ballads, Latin numbers and taking advantage of his out standing soloists. J .H. HAMPTON HAWES- THE TWO SIDES OF HAMPTON HAWES JAS 4004/2 It's actually four sides; a double album. One album, a trio consisting of Hampton Hawes on piano, Donald Bailey on drums and Leroy Vinnegar; the other album with a string section added. Try the trio sides first. Anyone who knows his music knows Hamp left us much too soon . In that respect these sides provide both sadness and happiness because they reaffirm that he had talent not only as a skillful interpr-eter but as a gifted composer . Sides one and two are all Hawes originals except for a moving rendition of Bacharach's The Look of Love (in some hands this song has been a saccharine, cliche/ridden mess, in his hands an attention grabbing jewel). You'll find a mysterious and not altogether tasteful fade out on Hamp' s Spanish Girl just when it sounded like it was going to be a nice jam. It leaves you yearning for more. Evening Trane leaves ·little doubt that it is intended to be a modal tribute to John C. 'but it's not an imitation of Tyner by any means. A I ightly swing - 'A Swinging Place' Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week We Serve Food ti I 3:00 AM No B.S. Compore Our prices EEF EER B Ill lARDS & JUKEBOX OPEN EVERY MORNING TIL 4 AM AVE. - 836- 890 5 3178 BAILEY (acrossfromCapriArtTheatre) 8 MORE FROM MUSE Alto saxophonist RICHIE COLE has been mak1ng qu1te a mark for himself recently as a guest on other peoplr>s albums as well as those he has l ed and co - led. NEW YORK AFTERNOON (Muse 5119) is hi s first Muse rel ease a a l eader , offer- �ing a varied pr ogram of tunes from his sextet . Co l e r eminds me very much of Ph i l Woods in style, tone and brightness and I could easily r ecomm end this and Ri chie 's Adelphi album t o Phil ' s fans. Guitari st Vi c Juris does some ni ce work through out as does vo ca l ist Eddi e J effer so n (heard on two tracks) . Standouts are Stormy Weather (Trenton style) and th e hot Alto Madness. Very ni ce. WALTER BISHOP, JR ., known as Bird' s piani st, has come up with a new dis c in a different direction. SOUL VILLAGE (Muse 5142) is not th e basic, swinging piano tri o style record Bishop has been doing lat ely . Rath er, its a funky outing more al ong th e I ines of the Crusaders' ear ly 70's musi c. The soloists work over repetitive rhythm lines and th ey· do a good job . This is much better than most funk oriented discs and I hope it does well for B ishop . Th e most noteworthy solos come from Randy Brecker / trumpet, and Ger ry Ni ewood and Geo . Young/ saxes, flut es . Bi shop plays electric piano exclusively throughout. Som e different touches co m e with the Roll ins - 1ike Sweet Rosa, and the ballad Coral Keys. This is very pleasant sounding fu sion music that'll turn a lot of ears in different directions . Ch eck it out if you want some good funk . ROBIN KENYATTA is known for his work on alto sax (and, more re cently , soprano) in the field of avant garde (and, more r ecently, funk). BEGGARS ANDSTEALERS(Muse5095) is more straight-ahead than any of th e Kenyatt a albums I' ve heard, and if it l eans toward ei th eroftheabovecatagori es it would have t o be the former (definitely not funk) . Thi s is Rob in's Quartet recorded I ive in concert at Co lumbia University in 1969 . Asi de from the change of style, another notable difference is that Robin pl ays the t enor sax throughout this album . Hi s sound is t ough and- gruffy on th e three concert tra cks and more r efin ed on th e duo version of Ruby My Dear, done with Muhal Ri chard Abrams . H is rhythm section consist s of Larry Willis, Walt er Booker and Al phonse Mouzon, and the four work well tog eth er producin g a strong program of musi c. It didn't take long for th is MUSICIANS WANTED: Bass Guitarist, Saxophone, Trumpet and Trombone Players .. The Canisius College Jazz Ensemble playing the charts of Herman, Basie, Kenton, and Thad Jones. Open to the Public- No costs involved For more information call: Bob Dombrowski - 877- 7768 to become my favorit e K en yatta album- wish he had done more like it. Willis and Muhal are also superb. Vocal ist JONATHAN SCHWARTZ sings t en of his father Arthur Schwartz's compositions on ALONE TOGETHER (Muse 5143). Th e best part of this album is th e musi c of the accom panists - people such as Bust er Will iams, Harold Mabern and Jack Wil kins . Schwartz's voice is rath er non - descript - he can sing but just doesn't have the jazz f eeling or dynami cs of a Frank Si natra or Mark Murphy . As a result, the whol e album t ends to l ean t oo much towards M.O .R . I'd be int erest ed to hear Murphy with th e same musicians. B .W. SILVER BLUE - XANADU 137 In October of 1976, noted record producer Don Schl itten set up a jam session, invited Dexter Gordon, recorded the proceedings and released two albums . Silver Blue is the second of those (the first was True Blue, 1800 MAIN 81 LAFAYETTE OPEN 7 DAYS 10 AM- MIDNIGHT Syracuse: On The Hill Gift Certificates in Any Amount Come in and Browse at the largest Record Store in the World - with the LOWEST Prices in Town - and Open EVERY SUNDAY Charge your ravorlte a1oum or tape on MasterCharge, Visa, or American Express and Save Today! Rochester locattons: Midtown Plaza Greecetowne Mall Henrietta Towne lines Gates Eastview Plaza 2525 W. Henrietta Rd. �released last year). The lineup is as follows -Gordon & AI Cohn/tenor saxes, Blue Mitchell & Sam Nato/trumpets, Barry Harris/piano, Sam Jones/bass and Louis Hayes/drums . The results are marvelous . On the Trail is a duet, with only the two saxophonists participating. Allen's Alley is a hard blowing jam, tenor battle style, with Dex & AI delivering long solos and returning for trade offs until a Hayes solo brings back the head . The trumpeters sit this one out, but are heard on Silver Blue- filling all of side B . Its a slow blues featuring the full cast all of whom can and do handle the blues with ease . Top flight jamming Don should invite these guys back for another round. B. W. Laws, Getz, James, Johnson & Cobham. Oddly enough, composer Golson only plays in the ensemble . The only funk track included is Alphonso Johnson's Bahama Mama. Its also the shortest of the six (8 minutes) . The soloists on this bouncy number are Bobbi Humphrey/ flute and Johnson on bass. This track doesn't really go anywhere, but its the only weak track in the package . Next is a magnificent version of Dexter Gordon's Fried Bananas. This is a strong, full sounding, hard driving quintet consisting of Dex, Slide HarT)pton, Woody Shaw, Geo. Duke (on acoustic piano) and drummer Billy Brooks . Everyone except Duke solos . Slide did the arranging, ashe did for Gordon's new "Sophisticated Giant" album which also contains a version of Bananas. The finale for the six hour CBS marathon was Andromeda, composed by Jay Chattaway for the occasion. It runs over twenty-one minutes, filling all of side four . Its a blowout to say the least . Opening with a funky jazz/ rock beat and fuzz guitar solo from Steve Kahn, it soon moves to a I ight swing for Dexter's statement (a lengthy one), continually building in intensity . This is another large band track and the full ensemble joins in to close each solo, adding excitement and dynamics . Getz follows Dexter, and the next segment is a hot duel between Woody Shaw and Maynard Ferguson which trumpetfreaks shouldn't miss. Ralph McDonald and Billy Cobham each take a spot on congas and drums respectively as the proceedings switch back to the funk style head for an Eric Gale solo and closing. The only complaints I have is that Johnson's bass work on many of the up-tempo cuts is rather unimaginative, and Cobham's solo on Andromeda is too long for a mere display of flashy technique. When considering all the dynamite music contained in this set, those gripes are far outweighed. Pick this one up and play it loud. Let's hope the volumes to come are as good . B .W. CBS ALL STARS- MONTREUX SUMMIT VOL. 1- COLUMBIA 35005 While Pablo issued a series of albums covering their concerts at the Montreux Festival, Columbia chose to issue this 2 disc set featuring young and older musicians together. People the likes of Dexter Gordon, Woody Shaw, Stan Getz, Billy Cobham, Alphonso Johnson, Bob James, Maynard Ferguson and many others are heard on the various tracks. The opening jam is Montreux Summit - a straight-ahead, swinging affair with solos from Getz, Shaw, guitarist Jan Schaffer and Cobham . Schaffer injects some rock influence with his solo which is retained unti I the end . A sweet version of Wayne Shorters Infant Eyes follows, with Getz demonstrating his ballad artistry throughout most of the 10 minute piece. James is next with an acoustic piano very much in contrast with his usual electric-funk recordings . Benny Golson's Blues March runs twenty-six minutes, filling all of side 2. This is one of four large ensemble pieces in the set- in this case 16pieces. A medium swing prevails, changing to a faster tempo midway, with solos from Shaw, Bobbi Humphrey, Dexter, Maynard, Eric G;:~le, Geo. Duke, Hubert liHIE SPEAIHtErRl SIHilDlP Speakers Our Specialty Quality Raw Speakers, Crossovers, Custom Enclosures (plus Critically Acclaimed Cylinder Types), Speaker Kits, Transmission lines. Also: We offer products by Peerless, Philips, KEF. Gollehon. Creedence, Marlboro, Decca Special Products, TSS, Burhoe, Hitachi, Hafler, Mitsurbishi, Radford, Rotel, Armstrong, Goldring, Audio Technica, SME, Artison, Technics. 1015 Kensington Avenue • Buffalo. New York 14215 Telephone: (716) 837-1557 10 CONCORD JAZZ After several months without a single release, Carl Jefferson's Concord Jazz has come up with six noteworthy issues. I'll start with my personal favorite. MAPENZI (CJ 44) is a superb effort from the HAROLD LAND/BLUE MITCHELL QUINTET. This is a strong, often powerful set of all - acoustic mainstream jazz. Both Land and Mitchell are topnot ch soloists and perform at that level on each of the eight cuts - all originals by members of th e quintet. Their ensemble work is tight and smooth , often yielding rich melodies. Mitchell compares the i r sound to that of Horace Silver's groups and I'd say the same . The drummer, Albert "Tootie" Heath, employs the colorful, often drivingandrocking rhythm which is a Silver trademark; both Mitchell and Heath have worked with Horace. The bright young pianist Kirk Lightsey and bassist Reggie Johnson round out the group. A great record! KENNY BURRELL has recorded his first disc for Concord, a label which first got a name for itself with guitar albums a few years back . TIN TIN DEO (CJ 45) is a trio session with Reggie Johnson/ bass and Carl Burnett/ drums . This is a very laid back set of ballads and blues with the Latin La Petite Mambo added for good measure . My favorit e is the tit I" track Tin Tin Oeo, a tune Burrell has played thousands of times . A sweet album - good l1stening for a mellow mood . There's a second guitar album in the r<'lease, coming from the GEORGE BARNES QUARTET. A collect1on of twelve tunes is contained on BLUES GOING UP (CJ 43). George IS assisted by rhythm guitarist Duncan James, bassist Dean Reilly and drummer Benny Barth for a I ive session of foot tappin' music full of guitar artistry . Th1s set should especially pl ease those who enjoyed the Ruby Braff/ Geo . Barnes Quartet, a group often heard in these parts three years back . To my knowl edge, this is Barnes' last recording . He d1 ed of a heart attack shortly after it was made. Those whose interests I ie in Jazz vocals should be interested �HOUSE OF GUITARS in two albums featuring ROSEMARY CLOONEY. Both are straight jazz recordings with a fine quintet consisting of Nat Pierce, Monty Budwig, Jake Hanna, Scott Hamilton and Bill Berry . EVERYTHING'S COMING UP ROSIE (CJ 47) contains ten tunes the likes of A Foggty Day, I Can't Get Started, All Of Me, & I Cried For You. The second album (a separate issue) is titled A TRIBUTE TO DUKE (CJ 50). Rosemary is heard on two cuts, Bing Crosby & Woody Herman are on one each , Tony Bennett is on two and the remaining three are instrumentals . All the selections are Ellington compositions and the proceeds from sales go to the Duke E II ington Cancer Center . Saxophonist Scott Hamilton is beautiful on both discs, reminiscent of the late Ben Webster. A fine tribute to the Duke . · The last album from Concord this month is a trio set from pianist ROSS TOMPKINS. Ray Brown & Jake Hanna join Tom pkins for some int eresting piano music . Two of the eight cuts are solo piano - Liza is a standout . Of the trio cuts I'd single out the title track . Tompkins has it together - technique , har monics, thoughts - and seldom does the music fall into the "cocktail" groove heard on many trio sides . The program jazz standards . Fans of Oscar Peterson, Ray Bryant , Monty Alexander, etc . should find Tompkins to their liking . B .W. Upstate's Music Building •3 Floors of Musical Instruments for the Rising Young Stars from Earth• - Fan letter Quote *Lots of Used Gibson Jazz Guitars *Save up to 7~ on Professional music equip. Most Jazz, Blues, 2 for 1 Deals on Blantt Rock albums Tapes - 3.85 ea. Son Seals at the Bona Vista Bluesman Frank 'Son' Seals willbemakingareturn appear ance to the Buffalo area January 11 to the 14 at the Bona Vista . Son made his first Buffalo area appearance at the Belle Starr last Summer and anyone who caught him will know what to expect. Some tough modern blues with more than a dash of down home flavor . Son was born in Arkansas and his father ran a blues club around Little Rock where the blues greats of the area would play including Albert King, Robert Nighthawk and Sonny Boy Williamson . Son who playsbothdrumsandguitarwas influenced on guitar by Albert King . Later he would go on the road as a drummer with Albert and is the drummer on the legendary album Albert recorded at the Fillmore Auditorium in San Francisco, Live Wire Blues Power . Son has been getting his own act together leading small groups in Arkansas and Chicago . In 1973 Bruce lglauer of Alligator Records heard Son at a small Chicago club thanks to a fellow blues enthusiast ' s tip . An album was recorded The Son Seals Blues Band (AI 4703) which heralded the emergence of an important new voice in the blues world featuring an intense vocal approach that was full of the flavor of th e country blues and a driving guitar style . Son also revealed h imself as an important songwriter . His second album, Midnight Son (AI 4708) featured more original tunes as well as some interpretations of Ray Charles and Junior Parker showing the man to be no copyist . It was one of the best blues albums of 1977. Son manifests a definite aggressiveness in his music and re calls the recordings of Muddy Waters and Howl in' Wolf when they were at their prime in this respect. Since his second album Son won "Talent Deserving Wider Recognition" in the Blues/ R&B category of DownBeat's Critic Poll . A tour of Europe took place in October where Son was very well received . Son was booked with B.B . King on several shows . When I saw him at the Belle Starr he put on as fine a blues show as you'll see . Do check him out. R.W. •Specials on Moogs, A.R.P., Oberheim, Roland, Polymoog Synthesizers *Save on Fender Rhodes pianos, R.M.I., Hohner, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards. *Sunn 6 Moog lab amplifiers for keyboards. *Up to 70% off on Pro Drum Sets - new and· used selection (all brands) *Dl Angelico New Yorker on display *Gibson's Howards Roberts, L5's, Johnny Smiths, Byrdlands (Gwld Artist Awards) *1/2 off on·drum heads - 1/2 off on microphones *Large selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets. *Drum sticks (nylon or wood tip) $1 pair *Good selection left handed guitars *Sale on all brands of guitars, basses and amplifiers - Gibson, Fender, Guild, B.C. Rich, Martin Alembic guitars and basses; Sunn, Ampeg, Music Man, Marshall, Kustum, Mesa Boogie 6 Polytone Jazz Amps . *New and used horns - trumpets, saxes, trombones, nutes, woodwinds, fiugelhorns. *3~ off music books, instruction books, headphones *Imported LP's, rock star T-shirts, strobe lights, bit 45 singles. *Switchblade combs $7.98 *No admission - No cover charge. Free limited addition H.O.G. Bumper Stickers, Buttons. 646 TITUS AVE. Ph. 716-544-3500 son of jazz (The House of Guitars Luvs You Baby) bill besecker FOCUS ON THE WILLEM BREUKER KOLLEKTIEF Well my brothers, it has finally com e topas.s . Our town has received some real exposure to jazz : European style . Don't ROCHESTER, N.Y. Open Mon.-Sat. 10 AM-9 PM/Sun. 1-5 PM . II Take N.Y.S. Thruway to Exit 45 on to Expressway 410, to Express 47 North to Titus Ave. �misunderstand, this was not merely the appearance of some foreign born Americanized jazz art ist with an international array of sidemen, but rather a truly uncommercialized convocation of serious players who have been developing their musical direction devoid of the influence of the American commercial market . The group, "The Koll ekti ef", headed by reedman Willem Breuker, broke som e ent i rely new ground locally both at the Tralf and on th e airwaves of WBFO. Despite the fact that West Germany is generally credited with being the focal point of European jazz, the "Kollekti ef" from Holland made us well aware that th ey are creating musi c the likes of which are heard no where else on earth . A critic from Jazz Forum magazine credits Breuker with being the most European of European players because of his devotion to uti I iz ing and exploiting the roots of European music in his Jazz compositions . There is no other European ensemble, from Dauner to Hampel to Schoof, which even faintly f eigns Breuker's "Kollektief". No other group combines all the musical styles, the theatrical interludes, the numerous musio-political comments, and the intricate horn arrangements with such powerful individual improvisational feats as does Breuker's. The performance on the 18th began with a not too compl icated (at least compared to what came later) composition which allowed the ten musicians to both warm up and get a feel for the sound of the room . The tune, or I should say progression of tunes, evolved with more and more complex time and dynamics changes which must demand a kind of sixth sense attentiveness for anticipating the abrupt time changes . By the time the airwaves were ready to carry this unique broadcast, the crowd had swelled to capacity. The "Kollektief", more confident because of the increased audi ence and now aware of the sound possibilities of the room, began with at high energy levels, and never let up. The songs were all similar in sound to both their "Live in Berlin" albums (reviewed in BJR May 'n), and "The European Scene" (reviewed later in this column). I recognized "Jalouise Song", "Jai I Music", "Overture La Plagiata" and "Logical". There were the anticipated theatrics for which the band is so well noted such as Breuker examining his soprano for its refusal to blow, a tableau of climatic expressions, wandering musicians and sounds searching for one another, and a never - endi ng Dixi eland turnabout. Each of the ten was a featured soloist, all in perfect command of their respective instrument(s). I won't say any were more dynamic than the rest because there simply didn't seem to be any sizable gap of perceivable talent between any of them. The secret of their success as stated by Breuker and Van Manen is that in Holland there is no competition between elements of non - commercial music . The goal of all jazz musicians is to create a public atmosphere conducive to the creation of ever evolving musical forms . The closest working example we could see of that philosophy was the non - competitive relationships of the soloists in their own band . U.U.A.B. MUSIC COMM. A Division of Sub-Board I,lnc. Proudly Presents Hal Galper Quintet THE FORMIDABLE PIANIST - Featuring RANDY & miCHAEL BRECKER I THURSDAY, JANUARY 26- 8 PM FILLMORE ROOM, SQUIRE HALL S.U.N.Y. at Buffalo- Main St. Campus $3 Students - $5 Others & Day of Performance Available at U.B. Ticket Outlet First with the Best w t- :z: 1247 Hertel Ave. 873-6606 2114 Seneca St. 822-ml Hours 11 -5 AM Daily 12 In a series I did on Ita I ian jazz on "The Prodigal Son " in September, I neglected to incorporate thE' musi c of ENRICO RAVA because I felt he was getting enough exposure as it was . By the time the end of September came around, after some stimulating conversations with Buffalo Jazz listeners, I decided I'd have to schedule a show in th e near futur e to make up for his misconception . The latest album from the Italian trumpeter , entitled THE PLOT (ECM 1078) f eatures r egular ECM studio personnel -Abercrombie, Danielsson and Christensen . They as tJsual create rhythms in that twi I ight zone between mainstream comprehensability and avant-garde wistfuln ess . I almost feel that any voice soloing over such masterful musicians is bound to sound in command . Obvi ously, Rava does . " Amici" is the prize blowing tune on th e LP . Listen for the Rava show, coming up. Canadian trumpeter, Kenny Wheel er, is enjoying modest success of late with regular appearances on a number of al bums under his own leadership as well as others . Th e thr ee talents of a current album, JOHN TAYLOR/NORMA WINSTONE/ KENNY WHEELER- AZIMUTH (ECM-1-1099), seemtoappear with equal prominence. Compositions are solely the work of John Taylor . Lyrics, when they appear, are the creati ons of �Albert's power over women using the pinch on the hip . Good guitar and tasteful horn arrangements, dance rhythms and use of vocal choruses on some tracks . To say Albert's music was adapted for commercial music isn't to suggest that the music is compromised in Albert's gritty singing and guitar playing . Tomato Records has reissued a double album set by Lightn in' Hopkins that originally appeared on the Poppy label. Lightnin' (Tomato TOM-2-7004) was originally recorded by Chri s Strachwitz of Arhool ie Records and is a typically fine L ightnin' Hopkins set . Material is mostly familiar including "Trouble in Mind" " Mojo Hand" and "Little and Low" . Lightnin ' performs either solo or with Francis Clay. Also snatches of studio talk are included and the album gives a good picture of one of the true legends. A great introduction into the Texas blues giant . Otis Blackwell is an important figure in the history of rock'n' roll. Blackwell has written a number of the most famous songs of pop music including "Fever" for Littl e Willie John and Peggy Lee, "Great Balls of Fire" for Jerry Lee Lewis, "All Shook Up", "Don't Be Cruel" and "Return to Sender" for Elvis Presley and "Handy Man" for Jimmy Jones (and recently James Taylor). That should be ample evidence of his talents and now Inner City has put out a new album by him These Are My Songs with the cover design emphasizing the ties to Elvis. Its not a totally successful album as on a few numbers Oti s sounds a trifle flat . On others he recalls the enthusiasm of a Screamin' Jay Hawkins or Little Richard . Some tunes th e similarity in vocal style to Elvis and even if the notes suggest that Presley modelled his performances on Otis on such tunes Norma W1nst one. Complementing the session, prov1ding necessary embellishment and melodi c interaction , is trumpeter Kenny Wh eeler . A number of composition s utilizing electronic synth esizer are of the raga - li e, singl e chord variety . I like to call this type of format "space Jazz" because of th e great amount of fr eedom (space) th e musicians have to explore . To distinguish the f reedom of "space jazz" from the freedom of other avantgarde forms i s ' nthemanner in whi ch this freedom is approach ed . Some mus1 cians or ensembl estryto"fill"the space . In thi s typ e, th e space i s approached seductively and without any hint of frustration. Th e r es ult is soothing and relaxing. Oth er f eatures of th e album are an overdubbed trumpet solo ent1tl ed "Greek Triangl e". and the whimsical playing of John Tayl or throughout . A new "jazz" release, STOMU YAMASHTA'S, GO TOO (Arista AB 4138) demands comment. It's true that there are a great many typ es of music available today , among them many which defy cat egorization. Bearing this in mind, I have always t r ied to maintain an attitude of non-judgement for the tangents foll owed by r eputable artists in search of new modes of ex pression . But l et it be r ecognized also that commerc ial ven tures are often undertaken by reputabl e musicians who find that art i sti c expression does not always bring food to the tabl e and who will , th erefor e, fromtimeto time, opt to bring in a cou pl e of extra bucks (deservedly , of course) by following this course . But l et the jazz fan al so be forewarn ed from following tang ent s whi ch have no worth at all , yet are marketed as r epu tabl e albums . Th e above is being market ed as a jazz album . Don't be fool edl blues by ron weinstock 1977 saw the release of many good blues albums . Now's the time for my choice of best blues records of 1977. The BEST of 1977 is pianist Big Chief Ellis (Trix 3316) . Chi ef lays down a steady left hand and has thoughtful decorations with his right . His low key singing puts out a set of relaxed performances played with great feeling if lacking some theatrics. Guitarists John Cephas, Tarheel Slim, and Brownie McGhee provide some support on various tracks . An album that captures a true blues feeling better than any record I've heard in a long time. Other not eworthy new albums include Tarheel Slim No Time At All (Trix 3310), Otis Rush, Right Place, Wrong Time (Bullfrog 301), and Son Seals Midnight Son (Alligator (4408) . The Best reissue of the year was Roy Brown. Laughin' but Cry in' (Route 66 K ix 2) whi ch collects 16 classic recordings by the first major gospel - blues singer . Otheroutstandingreissues include *The Piano Blues Volume 1: Paramount 1929-30 (Magpie PY 4401), Unfinished Boogie (Muskadine 104), The Roots of Rock (Savoy SJL 2221) andlk e Turnerandthe *Kings of Rhythm I'm Tore Up (Red Lightnin ' 0016) . The starred records are imports which Southern Record sales can supply . There were of course many other excellent releases . Particular mention must be made of Pete Lowry's Trix label which has put out a number of fine country blues records out this past year, as perhaps blues label of 1977. Because you know, we know where our priorities lie: the . consummate acoustic experience Relax, we're not about to pressure you. The very fact .that you are reading this magazine, indicates that you know what type of system you want. We're here to let you find it. Visit our expanded showroom facilities, call for advice, ar· range for a private consultation or just look us over. Chances are , we have something you want: Audio Research, Mark Levinson, Dayton Wright , Great American Sound Co., Bang and Olufsen, Acoustat X., Dahlquist , Magnepan / Magneplanar, M&K Woofer/Crossover, Yamaha, SAE, RtR , Polk Audio , Quad, Technics, Linn·Sondek/KMAL, Onkyo, IMF, Quatre, Fried and many more. * * * * * Among new records is Blues Hit Big Town (Delmark DL640) . This is Junior Wells' first recordings and the reissue of these 1950s recordings (including some previously unissued sides and alternate takes) is most welcome . Sidemen include Muddy Waters , Elmore James, Otis Spann, Willie Dixon and the Aces. Junior sings and plays with enthusiasm and the band rocks in support . Particular mention must be made of drummers Freddy Below and Odi e Payne who swing propelling the music along . This is vintage Chicago blues recorded by masters at the peak of the game . An absolutely essential reissue which is also up among the best blues records of the year. Albert King The Pinch (Stax STX-4101) marks the return of the famous Stax label, now owned by Fantasy . Recorded shortly before Stax went bankrupt a few years back, this is a typically fine Albert King album with the double part title track about the We offer liberal trade·in allowances, liberal home trial policies, and guaranteed satisfaction with all our components. stereo errporim 3407 Delaware Avenue, Buffalo New York 14217 Telephone (716) 874·3372 13 �as " All Shook Up" and "Don' t Be Cruel" Otts su ffers in comparison . A lso his band is somewhat lethargtc. Olts would have been better to fmd some good rockabtlly mus1ctans who wouldn' t throw tn some cliched psychedeliC ltcks. I can' t recommend this though you may want to sampll" it yoursel f. I've heard a number of reports about a group Roomfu I of Bl ue~ . They played behind Jo0 Turner and Lloyd Gl enn when th e two were in Bos ton and Joe and L loyd really enJo yed them . Th t:~y have an impresstve debut album Roomful of Blues on Island (ILPS 9474) wht ch features thetr cn~p music The group plays essenltally what mtght be called West Coast styled blues with much t aste and mastery of the 1d1om tf perhaps a lack of anginal tly. Take the fme verst on of "Stormy M onday " where Duke Robil lard plays some tough T - Bone Walker guitar. Tab Smtih's " Red Hot & Blue" ts one of two fea tures for the saxo phonists. Tenor player Scott Hamilton plays some wonderful tenor on T - Bone's "Still tn Love With You" . Duke's playing sounds ltke Pee Wee Crayton and a nice ro cktng version of Joe Turner's "Honey Hush" closes the album The three saxophones prov1de a ntce backdrop and generally a fme album you wtll enJoy. Next t1me let's have a l1ltle tndtvrdualtty. Radio WBFO - 88.7 FM MON. THRU FRI. - Noon - 2 - Spi rits Known and Unknown with vanous hosts; 11 PM - M td. Jazz w/ vanous hosts; M 1d. - 3 AM Round M idnight - various hosts. SATURDAY - 3-8 AM - Embryonic Journey w/Steve McKee; 8 AM - Noon - Freedom Flight w/ Ed Smith; M id.- 6 AM- Opus in Modern Music/Jazz by Request w/ Pres Freel and SUNDAY - Noon-2 - Jazz Con tours w/ Bill Wahl ; 11 PM - M id. Big Bands w/ Bob Rossberg; M td -3 AM - Roots, Rhythm & Sound w/ Dave Jacobs; 3- 8 AM Progressively Yours w/ Harry Schust er. Meet your Main Squeeze on Main Street ... Jazz'n ,Jive'n and Juice'n WEBR - 97.0 AM Jazz in the Night - every night 7- midnlght w/ AI Walla ck WBLK - 94 FM The Sound of Jazz w/ Carroll Hardy - Sat. ntghts 10 PM 1 AM . CKQS - 94.9 FM Music for Nightpeople w/ Paul Ft sher - M on. -Sat - M1d ntght - 3 AM. From Bebop to Now w/ BJR's Hal Htll - Sat ntghts 10 PM - Mtd. CJRT - 91 . 1 FM Jazz Scene w/ Ted O'Reilly Mon .- Frt . 10 PM - 1 AM . Sat 6 AM - Noon, Jazz in Concert w/O 'Reilly Sat . 7 - 10PM CFKM - 99.9 FM All That Jazz w/ Phtl M cKell ar Sun 10 PM - 6 AM CING - 108 FM What's Happening w/ Jack. Cole Mon .- Thur s. 10 ·05 PM · midni g,t; Sundays 11 PM - 1 AM. JAMES CLARK CARL CEDAR DUFFY FORNES DILLON-BRADY BAND ROTATING TUES.: claf~Dified TENDER BUTTONS lJAZZI POINTLESS BROS IBLUEGRASSI • *CENTRAL PARK GRILL 836-9466 836-8985 CANADA- SELECTED LISTINGS every Thurs. 2519 Main St. 1504 Hertel WCMF - 96.5 FM (Rochest er) Jazz Scene w/Tom Hampson Sun. nt ghts 11 PM - mtdntght JAZZ JAM OPEN MIKE: every sun. BONA VISTA WADV - 106 FM Jazz N itely w / Geo. Beck aL CPG~ every Mon.: feat. first show 10:30/ $2adm. '-----------------------~14 This space is availabl e to private individuals, organizations, mail -order houses, et c. The cost is 10¢ per word - minimum charge $3. Send ~opy and payment t o BJR - 1335 Ma in Street, Buffalo, N. Y. 14209. JAZZ PIANO LESSONS: All levels tncludingtheory, improvisation, reading skill s, and technique. L essons in Buffalo and Niagara Falls. Call Ri chard Shulman 285- 8816 . . -, �SECOND WINO finds the used wind instrument of your choice and at your pri ce. Call between 6 and 9 P.M . Monday to Thursday. (416) 78 1- 0048. WANTED: Tape copies of Downtown Room broadcasts with Braff- B arnes Quartet ( 12/74); Sims; Hackett; P izzarel II . Have 100s private tapes for trade. Boughton , 283 Jefferson , Meadville, Pa. 16335. SACKV ILLE - The Jazz Recor d Company: Dollar Brand. Anthony Braxton, Dav id Hol land. Ol •ver Lake, George L ewi s, Jay McShann , Roscoe M it chel l, Don Pul len, Buddy Tate, Teddy Wil son and many other s. Wn t c for f ree catalogue to SACKVILLE RECORDINGS, Dept. K , 893 Yonge Street , Toronto, Ontario M4W 2H2 Canada. CADENCE - M onthly n ' v 1cw of Jazz & blues Interviews, oral - h1 st ori es, news and the most compl t't e cover age of th e enti r e scene. Sample $1 . Cadence, Rt. 1, Box 345X, Redwood, N .Y. 13679. IMPORTS f r om Japan and el sewher e. Sony, East Wind, Tno, BYG, T1meless and many other label s. Album s by Co ltrane, Braxton, M i les, Woody Shaw, etc . Al so Coll ege b•g bands , V•nt age big band and t radd•onal. Send f or fre<> l •st s and specify tast es (Ma•nst ream , Big Band, etc ) - International Records, Box 717, Dept B, Mentone, Californ ia 92359 MUSIC LESSONS: Guitar, el<lct r ic bass. str ing bass and compos• llon. Th eory and i mprovis at1on mcorporat ed into each lc·sson. Gerry Eastman - 884- 4136. DOUBLE B ASSES: Hawkes Pandrmo, Honore Oerazey, T . Lamy, others - especially suitable for jazz playing. Fine bows, bags, trunks. Appraisals. Dr. George Woodall 416-494 - 4846 Toronto, Canada. JAZZ u >s FOR SALE . M any out - of -pnnt Cr a•g Recording, 700 W Ma1n, PO Box 943, El DorddO, AR 71 730. RARE & Out of Print Jazz L P's, price l ist s and aucti ons . Wm . Carraro, 25 Aberdeen St., Malverne, N .Y. 11565 BLUES, JAZZ al l label s mcluding i mport s - writ e fo r l ist . Southern Record Sales. 5001 Reynard, La Crescenta, Cal i forn i a 91214. USED LP'S WANTED: Al bums by L ee Konltz on Verve, many Col umb•a issues (50' s, 60' s) and items f r om Jazzl and, River side, Cont<lmpor ar·y, SO's Atlant• c and other labels Send your l•st and desired pnces to B. W .. BJR , Box K, 1335 Main St. , Buffalo, N. Y. 14209, or phone (716) 883 - ~909 Ext. 11 . what~ BUF F AL O happening Downtown Room - Statler Hi I ton -Spider M arlin, Gap M angione -See ad. Tralfamadore Cafe - local jazz Wed. thru Sun . See ad . Hal Gal~r Quintet - Jan. 26. F i llmore Room - U.B . See ad. Quincy's - Forest near Elmwood - Spyr o Gyra Sun. & Tues. ni~ts . Tara Manor - 5100 Main St. Jack Bacon M or gan Street Stompers with E li Konikoff Fri . & Sat. nights. C.P.G. - Central Park Grill - 2519 Main St. - Jazz Jam Mon . ni~ts, Tender Buttons every other Tues. Also, folk and blue grass. See ad. Bona Vist a - 1504 Hertel - B lues & Jazz - See ad. Central Park Gr i ll - Main near Greenfield - Jam Sessions Mon. Nights . ~ Chtc:kerboard - M ain & Ut1ca - Jazz Nightlv. Odysey - 100b Tonawanda ~t . - Jazz Sat. nights. ~or Bar - Main & Norlh - Johnny Gibson T r io w/ Georp Hohlt on trumpet. Every F r i. & Sat. night. Fitldatone Manor (lockport) - Oixiel andw/Wiii A igeron weelt- tnds TORONTO Bourbon Street - 180 Queen St., W. - Jack Shel don thru Jan. JanuaryTralfevents JAZZ·Wed.thruSat. Highlights: EMILPALAME Quintet/ 5,6, 7 ELVIN SHEPARDQuartet-13 miKE miGLIORE T. L. 14,15 SPYROGYRA 19,20,21,26 JOn WEISS Quartet/28,29 with Schuman, Marino, P. Piccerelli JOHN MoonEY sLuEs BAND WBFO Benefit· 27 Mon./Open Mic Tues./Dillon·Brady GOOD FOOD & DRI NK NIGHTLY tralfamadore cafe 2610 main at fillmore 836- 9678 15 ..______________________. �7; Ruby Braff Jan 9-21; Zoot Sims Jan. 30-Feb. 11 . See ad. George's Spaghetti House - 290 Dundas St ., E . - Moe Koffman Jan. 2- 7; Sam Noto Jan. 9-14; Ed Bickert Jan. 16- 21; Eugene Amaro Jan. 23- 28; Moe Koffman Jan. 30-Feb. 4 . ~top 33 - The Sutton Place, 955 Bay St., - Saturday afternoon Jazz - 3 to 7 PM . Guido Basso Jan. 7; Gene DiNoui Jan. 14; Kathryn Moses w/ Hagood Hardy Jan. 21; Sam Noto Jan. 28. See ad. Carla Bley Band - rn concert Jan 15 at New Yorker Theatre, 651 Yonge St . See ad. C.C. M.C. - (Canad1an Creat1ve Mus1 c Col lect ive ) Tues . & Fn . nights 9 PM. The Mus1c Gall e ry - 30 St . Patr1 ck St. Phone 598- 2400. Cafe May - Ron cesvall es Ave. at Howard Park - Lorne Lofsky Tno Sun 7 :30 - 11 PM. Albert s Hall - The Brunswtck - 481 Bloor Street , West. N1Qhtly from 9 pm - Dr. McJazz Chel sea Bun - Chelsea Inn - 33 Gerrard St., W. - ptanist John Arp 1n Mon. thru Sat. 9 - 1. Bourbon Street TORONTO (416) 698-3020 The Finest in Italian Cuisine JACK SHELDON/ Trumpet Thru January 7 RUBY BRAFF/ Comet January 9 - 21 ROCHESTER ZOOT SIMS/ Sax R. I.T. (Rochester lnstttute of Technology) Jan. 28 - Ramsey Lewi s - College Union Cafeteria. Two shows 8 PM & 11 PM; Feb. 4 - Maynard Ferguson - College Union Cafeteria. Two s hows 7:30 PM & 10:30 PM. Ticket infor mation for both events: 475-2509 or 475-6565. Red Creek - Duke Jupiter Jan. 18- 21; Hal Galper Quintet fea tunng the Brecker Bros. Jan. 25- 26. Glass Onion - Joe Romano featuring Barry Keiner every Tuesday. Stone St. Pub -21- 27StoneSt.,232- 9839. Schedule not available at press time. Ca ll c lub for details . Port Side - Joe Romano every Fri ., Sat .• Sun. & Mon . JJ Lounge - Roland Armour Trio every Fri ., Sat. & Sun. Chez Jean Pierre - Paul McGtnley Trio every Friday; B ill Dobbtns every Saturday. Monticello Restaurant -Jimmy McPartl and Jan. 10- 21; Aedis Jan. 24- 28. Jan. 30 - Feb. 11 Phone Ahead for Dinner Reservations Open Daily 12- 1 Sundays 6 - 10 No Cover GEORGE' S SPAGHETTI HOUSE 290 DUNDAS STREET. E. TORONTO. ONT. - 923 -9887 Featuring some of Canada's Top Jazz Artists nightly as well as our famous Italian Cuisine. Appearing at the ()()W~T()W~ * ·* SPIDER MARTIN January a-1s GAP MANGIONE January 17- 29 ffalo jazz report 1335 main st. buffalo, n.y.14209 u.s.a. FE ~ I CD I CALS & B I ~DE~ Y LCCKt~OD ~C~~~IAL L~BJAR Y S. U. N. Y. A. D. BUFFALO , NY 14214 postage guaranteed SJ& � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3540 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 47 Date A point or period of time associated with an event in the lifecycle of the resource 1/1/1978 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz. Jazz musicians. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 47 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/199716ecf1d82349f52e26979dc4a596.pdf 9e9688bbba3e4a109c9111c8c79e8d33 PDF Text Text buffalo jazz report february' 78 issue49 free �and K. Paramjyoti and Pandit Pran Nath will give instruction ;,~ in classical Indian music . The Studio will off~r an impressive variety of classes and c;olloquia ·in both Western and non-Western musical traditions . Master workshops in improvisation, composition, and group and orchestra playing as well as basic pract ice in timing, tuning, theory and natural sound will be offered . Visiting and resident artists will lead discussions on world mus i c philosophy, history and music in relation to society and to meditation. Students wi II participate in concerts, conducted by the guid ing art ists, and will have ample opportunity to perform and record the ir own compositions . For further information call or write the Creative Musi c Studio, P .0 . Box 671, Woodstock , New York , (914) 338-7640. e:AI Tinney . I ' No doubt you've seen pianist AI Tinney playing around town. If so, you know how good he is, but what you might not . know is that he's not only been around through the years, but ' he's worked with some of the best, and some of the best have worked with him. AI led a band at a famous New York Club known as Minton's ~ back in the early forties . A young saxophonist who'd just come out of Kansas City with Jay McShann's big band loved Tinney's , pi.no playing and would keep draping by to sit in . The young : man's name was Charlie Parker, and he soon joined Al's band . as a sideman . . In the years to come AI worked with other well known jazz • people including Hot Lips Page and Billie Holiday . ~ Tinney's fiance lived in Buffalo, so he dec idedto leave New York to join her. In Buffalo, he got a job at the world famous piano roll company Q.R.S. He made rolls for them for about 1 , . five years. ' AI & his wife returned to Brooklyn for a time, and moved ·. 1: back to Buffalo about nine years ago. He's been free-lancing , ' here ever since, playing dance and club gigs with his own . groups and those of Elvin Shepard, C.O. Price and others . He 11 had an excellent trio with Max Thein & Maurice Sinclair at ; David's Table in 1971 . More recently, Mr. Tinney has also been seen and heard with the Buffalo Jazz Ensemble, for which he is both pianist and musical director. Then there's Tinney, Marino & Thein - a trio with bass ist Max Thein and drummer ~ Lou Marino that's been heard at the Tralf. from time to time over the past several months, gaining a lot of loyal fans . WBFO will be presenting Tinney, Marino & Thein at the . Tralfamadore on February 24 & 25 . Drop down, support the 1 station, and meet. AI Tinney. EDITOR & PUBLISHER - Bill Wahl CONTRIBUTORS - Lou i s Bradshaw, Bill Besecker , Paul Gresham, Bill Harris, John Hunt, Tom Mazzone , John Osborn, Paul Smith, Paula Wahl, Ron Weinstock . ILLUSTRATOR -Sabrina Mayberry Smith. ADVERTISING - Bob Riley CORRESPONDENTSRochester - Jim Laniok Syracuse - Bob Shepherdson Toronto - Hal Hill Address correspondence to : Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 C 1978 - Buffalo Jazz Report No portion of this publication may be reproduced without writ ten consent from the publisher. , I' . The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge th_roughout _Buffalo, Rochester, Syracuse, Toronto, st. Cathannes, Ham.•l~on, Niagara Falls , Lockport and Jamestown. We are substdtzed solely through advertising and ask that you support our advertisers . · Subscriptions are available at $7/year , pa i d in advance. ' CREATIVE MUSIC STUDIO- SPRING SESSION 1978 Trumpeter Don Cherry, poet Allen Ginsberg and saxophonist Steve Lacy are just three of the many outstanding com- . · • poser/performers who will be guiding a 12-week session this 1 spring at the Creative Music Studio, located just outside Woodstock, N.Y . Now in its seventh year, the Creative Music Studio offers a unique program of study and performance of contemporary music, both improvised and notated. Among the other musician/composers who will be partici pating in the March 6-May 28 program as either faculty or visiting artists are Karl and Ingrid Berger, Ed Blackwell, Carla Bley, Anthony Braxton, Jimmy Giuffre, David lzenzon, Michael Gregory Jackson, Oliver Lake, Garrett List, Michael Mantler, Bob Moses, Ursula Oppens, Frederic Rzewski, Leo Smith, Michael Lytle and Colin Wolcott . Raymond Johnson and .Sara Cook will lead workshops on Dance and Body Awareness 59 Kenmore Ave. PRINTED IN U.S.A . CLEVELAND FUSION BAND TO PLAY TRALF. A quintet known as Course of the Electric Messenger wi ll come from Cleveland, Ohio to play the Tralfamadore Cafe for Feb . 3, 4 & 5. Composed of Greg Moore/guitar, Dale Reed/ saxes, Ed •pogo" Pogacnik/ bass, Joe Bomback/ keyboards and Mark Frazier/ drums, Course is a high energy '!fusion " band which is enjoying an extremely good amount of popularity in the Ohio area . They have played concerts with Weather Report , George Duke, Billy Cobham, The Crusaders , Donald Byrd , Larry Coryell & Gi l Scott-Heron plus many others . Course has been playing for over six years and has an album 836-1781 (corner ol Windemere) behind jewelry store 2 �\ just about · ready f.or release. In sampling a few cuts I would compare them best to Return to Forever - the version with AI DiMeola ; except , I find th em more i,nterest: ng due to th e extra color achi eved by the saxophone. Th is is the first loca l appearan ceforCourseof the Electric Messenger. Drop by the Trait and give them a warm Buffalo wel come . B.W . SCHLITZ SAVES THE NEWPORT JAZZ FESTIVAL FOR NE·I YORK CITY At a special press conference at City Hall, Mayor Abrahar Beame announced that the Newport Jazz Festival is going t remain in New York City . " Keeping the Newport Jazz Festiv1 is very important to New York City, Mayor Beame said. " I is an international cultural event that not only brings pleasur to the people of this area but also attracts vis itors from al. over the world . The involvement of the Jos. Schlitz. Brewin Co . and the c ity has made it possible for the festival to sta in New York . I would like to join the people of New York i expressing our thanks to Schlitz ." Commenting on the announcement festival producer Georg Wein said, "It was 25 summers ago that we started the New port Jazz Festival in Rhode Island . At a time when it looke like the festival might be finished forever , NewYor~ City wei corned it , and the festival has flourished here and becomes evel more important to the world of jazz . Last summer when i looked I ike the festival might be finished in New York, the' Jos Schlitz Brewing Co . st epped in . Schlitz has been with Newpor since its Rhode Island days . And for the last few months w' have been working together to keep the festival in New York We succeeded . The 25th annual Newport Jazz Festival will b1 June 23 through July 2, 1978, in New York City ." With reference to last ' July' s announcement of a move t' Saratoga, Wein said that Saratoga still figures in plans fo1 extension of the fe stival and more information will be relea$el as soon as pi ans are firm. Schlitz representative Ben Barkin paid tribute to~he rela· tionship between George Wein, the Newport Jazz Festivai - Nev York, and the Jos . Schl itz Brewin"g Co . and quoted D . F . (Jack McKeithan, Chairman of the Board of the Jos . Schlitz Brewint Co. as saying , "The success of last year's festival in New Yor~ showed all of us that the festival must remain in the city, anc that th e city is still the center of jazz for the entire world. W,E H WBFO CONTEMPORARY COMPOSERS ORCHESTRA For the last nine months a 13-piece band has been rehearsing regularly under the direction of former Birthright bassist Gerry Eastman. They will be starting a series of club performances beginning February 10 and 11 at the Tralfamadore Cafe. Known as The Gerry Eastman Contemporary Composers Orchestra, the band consists of some of the finest area musicians - black and white , young cats and veterans . The roster is as follows : Eastman - leader and electric bass , Beverly Simms - vocals, AI Tinney - piano, Harry Pinder- drums , Sabu Adeyola - acoustic bass, Abdul Rahman - percussion, Biliah Abdullah - tenor and soprano saxes , Richard Tabnikalto sax and flute , Art Anderson - alto clarinet and alto and piccolo flutes , Don Knecht - baritone sax and bass clarinet, Leroy Johnson - ·trumpet, Willie Dorsey- trombone and Robert Jordan - tenor and soprano saxes . Gerry & Biliah , do most of the composing . and some of Beverly's tunes will be included soon. Eastman, Tabn ik, Knecht and Dorsey do the arrangements . You can expect a wide variety of music from this band which has banished th e name "Big Band" for what they feel is a more accurate title for what they're doing - hence " Contemporary Composers Orchestra ." They .Plan to be playing around town quite a bit, and w i ll be doing a performance at Artpark in the spring . WBFO is taping them for NPR ' s jazz live series - aired nationally . . Look into this gr.o up- I think you ' ll find it very worthwhile . By the way - guitar ·& bass students looking for a teacher can contact Eastman . Lookfor his classifiedadinthis issue . B .W. AGAIN PRESENTS AL LOU T I. N N E y M A MAX T H R I N 0 E ,. I N piano drums bass 10pm- 2am SATURDAY FRIDAY feb. 24 feb. 25 $2 at door tralfamadore cafe 3 2610 ma•n .at fillmore ' �ake pride in continuin9\Schlitz'. association with the Newport J~z~ Festival and New York and pledge our resour-ce's and manlOwer to make the 25th Newport Jazz Festival greater than tvet.• · r ·Ri·ff1 in Print ~ . lOOK REVIEWS BY BRAD HUNT ~f The reissue (Harcourt Brace Jovanovich, $4.95) of Frederic <tamsev.'s and Charles Smith's Jazzmen (first published in ~$3~) once again makes available the first importantAmerican ~k on) azz . Jazzmen embodied the standards of its time: the tnmacy of the trumpet, the fascination with the New Orleans p Chicago rpute, the belief that young white imitators of black ,WW Orleans veterans later known as the Austin High Gang 11ere the only Chicago natives to play jazz, the overrating of lix Beiderbe¢ke (the Great White Hope for so many years), ~tte' -belief that boogie-woogie was the only true jazz piano \ty.le. Yet within these limitations (iii some cases, because of :hem), 'thebook remains worth reading. Jazzmen has a heroic, !(we're-aU-in-this-together quality ("the story . .' .has often been ~ld") . Rams4;ty. Smith and the other authors they assembled were, within the confines of their critical position, scrupulous ~•searchers who interviewed over 75 musicians to create a ~! of information. They wrot~ with~ surprisingly high degree ~f. accuracy (the only error I detected had Jel_ly Rol_l Morton f~om Kaa~as City instead of New Orleans), and their informsbon, pari1cularly about New Orleans, is comprehensive . Only 1 chapter ebo,ut the blues fails to work . Jaz.zmen also contains a series of extracts from letters written by Bunk Johnson, a legendary New Orleans trumpet player whose heyday fel_l between that of Buddy Bolden (often reckoned the .first jazz musician) and King Oliver (the first Get the best buy- The/ound Approach harmanfkardon 330c AM/FM stereo receiver Our most popular Harman Kardon rece iver offers the cleanest sound attainable in its price range 7 Ultraw1deband response-All the power you need to drive most of the speakers avai lable today-And a price you can afford. atthebest place to buy stereo ' ~ ~ • " I __, ~­ - - .,.,..;... important jazz mus1c1an to record) . Bunk's musical "resurrection" by the real jazz cul.t in the' 40s is one of the sorrier episodes in the hi~tory of the jazz-jazz critic relationship, but h1s letters (wntten from a mental institution) have a dis tinctive and charming style, lending the book a note of authen ticity. ·. . Despite its attention to New Orleans , Jazzmen misunderstands, as have so many of its successors, the relationsh ip between the omnipresent brass bands of New Orleans and the city's jazz style. But now, Brass Bands and New Orleans Jazz (Louisiana State University Press, $6.9S), researched at the Wil_l iam Ransom Hogan Jazz Archive at Tulane University, sets the recdrd straight. Author William J . Schaefer has written an extended essay (only 93 pages of text), and it's not exactly ~alue-for-money : but no one interested in the development of Jazz can afford not to read it. Schaefer points out that brass bands gave New Orleans jazz· "its instrumentation, its instrumental techniques, its basic reperto ire," and yet maintained a d i sti~clive style . The brass band repertoire included rags, Bapt rst and Methodist hymns; marches, overtures, pop tunes, novelty_ pieces and dance music . Interestingly, the early black pract1t1oners of 1brass band music in NewOrleanswere skilled readers and proud of it (the first generation of jazz playerl' w~re largely "head" musicians) . Schaefer notes that between 1900 and 1920 " . .. cross - connections between brass bands and jazz bands became so much stron,ger that distinctions were eventual_ly erased," as the brass bands began playing heads themselves . The first generation of Ne'w Orleans jazz players to_ reco~d - B~by Dodds, Johnny Dodds, Louis Armstrong , Kmg Oliver, K1d Ory - a'll cut their musical teeth in brass bands . Schaefer has some useful insights as to how the brass b~nd tradition has sustained itself through the 2oth century , km to but never the same as .thejazz around it. Archive director A ichard Allen contributes a sketch of a typical brass band funeral .march, accompanied by a transcription in the form of oral verse of the great drummer Baby Dodds's recoll.ection of playing in a funeral march. Brass Bands includes mJch documentation, and like any good piece of scholarship, permanently alters the wa_ y we think about .i ts subject . . .... . ,.-. .. ·~ ... ~ .I I think it would be a fair assumption that all who r ead this publication hold more than a passing interest in what sooth s the savage breast. We all hold some stock in the music industry , that i s by attending l ive performances as often as possible . But mo st of us must settle for recorded performances , so we accumulate large record I ibraries to indulge ourselves whenever the des ire arises . The increase of listener awareness has ·prompted a growth in the hi-fi industry. Armed with a fair idea of what to look for it is possible to gather a system that will re_-enact a live performace with exceptional fidelity . That idea is what we seem to be lacking in our approach. We somet imes compound our problem by consulting friends who are more than wi II ing to volunteer their often times limited expertise in selecting a system in the hi -fi jungle . So here we stand, faced with the awesome task of sifting _ through a vast market of knobs, dials, lights that flash and boxes that make noise. We immerse ourselves in literature and specihcations that are as foreign to us as the Greek alphabet . Finally in a state of mass confusion we throw ourselves on the mercy of whatwehopetobe a knowle~geable hi-fi sales man. I say No! ThElre is abetterW'!Y and th is is what we intend · · to provide . Let us first take a look at that somewhat rare breed - the �hi-fi. salesinan . His appro~ch, is . imp~rtant.ltmayhold an early warning signal if his only concern is how much you would I ike to spend . Watch Out! His first concern shouldbe what you need based on your listening habits . You must remember, selecting i a. system is largelly a matter of your j nterpretation of what a liv~ performance is like . No one , mr 'matter what his qualifications, can tell you what you should like. We intend to supply you with enough ' knowledge to make the salesman - buyer relationship profitable for · you . Only after you and the salesman have established your needs can you proceed to explore what he has to offer in the way of equipment . -We should also keep in mind the importan ce of shopping th e market. Go to as many hi-fi stores as possible . Learn from every visit; don't waste time with a salesman who tries to sell you by degrading the competition . He shduld sell his goods on their own merits . Keep in mind the salesman reflects the store's policies . If he goes out of his way to help and educate, he wi II probably do so after the sale, should some problems anse. Service is important; nothing is forever . Buying from a dealer that provides service is more important than an initial dollar savings. A Servi ce Department is an investment by the store owner on behalf of the customer. Many are operated on a non-prof.Jt ~ - break even basis . A service department is a large investment ; qualified technicians, proper test equipment and back up parts all add up to big dollars - and you benefit. This investment is in direct relationship to the number of name brands a dealer can carry . Beware of the store that carries a large array of brand names . They might have spread themselves too thin and are unable to provide all they need to service their equipment properly . My · e_xperience has shown me that the dealers that provide the best services are those that carry no more than four brand names in depth in any category. Now let's discuss brand names . What a dealer carries can' ., ' ~ell a .meal')ingful story. Some of the top r ame manuf~ctur:el" m the 1ndustry are concerned about the representation a deale makes and a few insi!lt that the <!ealer provide qualifi~d servic before they consider him as an outlet. Beware of the dealer wh carries only low priced equipment. He probably operates in th, same low end way . It is a factthat the hi-fi equipment industr: is one of the most rei iable markets to shop in . A dealer's reputation is very important . A good reputati j only comes from real concern before and after the sale: ·.s ask friends and audio buffs their opinions on the local deale li I would like to. issue a caution. It's only natural that in ou1 ignorance we turn to a friend for advice . Please beware! Al1 though his intentions are good, thi s industry is too young ,f, have given birth to a mass of non-professional expert~ The best approach is to educate yourself. Read, explorl and then ~ead more . Make every trip to a hi - fi sto-re a learfll mg expenence . Tap their brains - that's what they are therl for. Publications like Audio, Stereo Review, High Fidelity ani this column will prove very helpful. · ~ We, in future issues, wi II endeavor to. explain most ratin i syste~s and bring into proper perspective the rating syste.m! used m today' s market. We wi II, in detai I, go over meaningfJ specifications in turntables, amp I ifiers, tuners ,' speaker~ equalizers, tape recorders and countless accessories . We ~il1 dedicate this column to giving you a sound approach. We hop• you will f1nd 1t Interesting and constructive . Future column! wi II be slightly more technical. Join us next issue for an in · sight into the speaker field and it's many mystiques. Jim Kay ·SUPPORT OUR ADVERTISERS! Tell them BJR sent yOU! ' 4 �Pablo label over the past few years, in solo and trio formats. Interludes on the re-activated Discovery tabel opens with six solo guitar tracks, each of wpich is nice, mellow I istening and well playe.d but no more , The remaining seven cuts are done quintet style with a vocal choir and cello . These are directed towards an M .O.R. audience .(1 hope) and offer nothing for the jazz lisfener. Six of these track_s were written by one Irwin Rosman . · Steer away from this one. B .W. \ I'ECORD REVIEWERS: Bill Wahl (B .W.). John Hunt (J .H. ), 'rom l\1azzone (T: .M .), Ron Weinstock (R .W. ), PauiSmith(P S ), ~im l~niok (J .l .). ~ADLEY I Every CALIMA'N - CELEBRATION - CATALYST 7624 now and then a pleasant surprise wi II come along \o brighten up an otherwise routine day . Celebration is just :hat kind of pleasantry . · · ; ' This is the second Catalyst album for the West Coast tenor '>layer - who spends a good deal of time in los Angeles rebording studios . His rhythm section is topnotch - pianist ~otep Cecil Barnard, bassist David Williams and drummer Flvin Jones. Hadley lists Coltrane & Dexter Gordon as influences, all apparent here, and I can also hear some of another ~al ifornia based saxophonist 'i n his sound - Joe Henderson . ! lie straight ahead i firery opener Presenting Mr. Jones, :;.paration Blues and Two For I are all 'Trane flavored cuts . t:lvin gets plenty of room on Jones and I, the second of wh.ich is a duet with Caliman . My Marie and Schyleen are bright rehicles for the leader's flute work . The eight minute version of Lush Life offers Trane flavored balladry from Caliman r .i th E.lvin's notorio~s brushwork . My favorite tra.ck, is Gala, fJ. pass10nate modal p1ece - slow yet dnvmg, nch w1th melody . Elvin is beautiful here - check out his accenting all over his ~et, As though he' s constantly adding punctuation to the sa,xophonist~ musical poetry . Its one of those tunes that'll keep oing through your head. Barnard & Williams, on acoustic instruments, perform with both technical and tasteful proficiency during the entire froceedings. A fine alqum - recommended . · B .W. NAT ADDERLEY - DON'T LOOK BACK - INNER CITY 2059 Since the death of Cannonball Adderley in 1975, brother Nat has been leading his own quintet; consisting of John. Stubblefield/ reeds, Onaje Allan Gumbs/ keyboards, Fernando Gumbs/ bass , Buddy Williams/ drums and Victor See Yuen/ congas . This album was their first recording (although a rather uneven album was released some time a·go titled l;lummin' ), done in 1976 for the Danish Steeplechase label. It sho't's his young band to be v_ery c,apable musicians, but the real meat doesn't come from any of them - nor Nat for that matter. Multi-reedman Ken Mcintyre is a guest artist and it is he that makes the album a success. A few examples wou!d be his haunting obo'e work on his ·own composition Home, his dolphy-ish bass clarinet on Harold Vick's title track ·and Nat's Funny Funny, and hi.s burning alto solo on Onaje's I Th tnk I Got lt. Except for Williams ' rather fu~ky K. High, which is marred by a claVinet, this is .pretty much a straight-ahead, acoustic album and a good group effort. Adding Mcintyre was a wise B.W . idea - he's superb . HANK JONES - BOP REDUX - MUSE MR 5123 There's a family out of Pontiac , Mich i gan that boasts three of the most consist ently skillful rt;~usi c ians in jazz today . The Jones Brothers - Thad, El vin & Hank - a,re respected by mus icians and critics alike but Hank is generally not as wei I known by the general public ashistwoyoungerbrothers, but he should be . His pianistic skills have l ent support and cohesiveness to big bands (he was the original pianist for the Thad Jones/ Mel Lewis Orchestra), to the jazz at the Philharmonic , as accompanist for Sarah Vaughn, Ella Fitzgeraldandworkingwith many others in a vari ety of settings . Bop Redux is Han ~ performing eight bop. classics. five by CharliePark.erandthree by Theol onius Monk . You can put the needle down on any of th e eight and get an earful of beautifully exuberant executi on that would make Bird or Monk more than pleased . The trio settmg, with George Duviv·i er on bass and drummer Ben Riley gives Hank support and flex ibility but th~y .both take fine solos when called upon to do so . Tti~fastpacednumbers like Yardbird Suite, Confirmation and Relaxin ' With Lee give us a good l i sten to the dexterity, nimbhmess and clarity of Hank's soloing.. He flows beaut ifully from the statement of the melody to the many variat ions on the theme he weaves in andoutof . Bloomdido(named by Park er for a former DJ and now re,cord ~ompany cxecutiv~ from Buffalo Maury Bloom) is another classic example of f iness and pre cision. The ballads, Ruby My Dear, 'Roun'd Midnightand Monk's Mood reveal the thoughtful and tender ' side of Hank Jones . It's . \. easy to see why Ed Beach of WRVR m New York referred to Hank as "the impecc;:able one" because there are indeed few pianists on the scene today who can match his taste and sense for what is precisely right to play for the moment no matter what the setting . J.H . I (JOHN COLTRANE- FIRST MEDITATIONS-IMPULSE AS-9332 · , First Meditations precedes Coltrane's Meditations by about three months; 'this album features his working quartet at the time (McCoy Tyner, Jimmy Ga.rrison and Elvin Jones). where la,ter work also included Pharoah Sanqers and Rashied Ali . There are moments during this music when Coltrane seems about to break th r ough his own pre-es,abl ished boundaries into the music he heard in his mind. His music is both ecstati·c rand reflective, his tone calm and, yet, beseeching . It is hard .to believe, at 'first, that Coltrane felt it necessary to augment ,his quartet with extra members in his search for mor.e sound ~and · intensity. This search led Jones to leave the group, ,thought to be hurt by the suggestion that his own rhythm~ were ,not' enough. Tyner also left shortly after these recordings . j With mindsight, it is easy to look back at First Medidations l and realize that Coltrane operated on a higher musical plane than his band. The music is similar to Meditations, but without the extra personnel, Coltrane comes across very strongly as a leader. His spiritual passion dominates the record . The rhythm section, in one of its last recordings for:: Coltrane (9/ 2/ !65), is sublimated by the leader' s urgenc,y . Jones is powerful ,throughout, and eloquent in cymbal passa~s on love and ;Consequences. Tyner serves as a tonal reference poi11t and •.gets necessary solo :space -- for the mix often buries him in the rhythm section when the quartet plays . His work on Con··sequences is fiery and heavily chorded; on Joy (a song r ·e placed on the Meditations album by The Father, The Son & The · Holy Ghost~. Tyners solo echoes Coltrane's, remaining calm and serene . ·For Coltrane fans, a must. Others would find First Meditations a good introduction to his later period . Shepherdson the \ 1 JOE PASS- INTERLUDES- DISCOVERY 776 Joe Pass· has had a good many excellent albums on the 6 \ BILLY COBHAM - MAGIC - COLUMBIA 34939 It's unfortunate . that a performer with unique technical abilities loses sight "of creativity and offers release after release with little musical merit. BillyCobhamhasnow recorded numerous s~lo albums and all fall short of his talent . Magic is another disc that leaves one wo~dering if th'is superb drummer will ever find direction . Not much ofvaluehere unless you l i ke funk with staccato percussion .' Even European pianist Joachim Kuhn can't add salvation . T .M. �Waveform Fidelity An outstanding achievement in speaker design SB-5000A Technics' "Linear Phase" SB-5000A speakers produce sound waveforms that resemble very closely those of live musical instruments. That's called "waveform fidelity" -and it required a very sophisticated design to achieve it. Stop in and hear them. You might think you 're listening to a live musical performance. Technics by Panasonic Suggested List Price 159.95 Each Sound so close to the original, you may think it's live! SB-6000A Technics took great pains to make their "Linear Phase" SB-6000A speakers sound as close to live as possible. They combine wide, flat frequency response and low distortion with a third element missing from most other speakers -linear phase response. Stop in and hear the result. It's so close to live, you might not be able to tell the difference. Technics by Panasonic: Suggested List Price 299.95,Each One step closer to ultimate musical realism! SB-7000A The SB-7000A speaker systems by Technics take you a step closer to ultimate musical realism. They combine wide, flat frequency response and low distortion with a third element missing from most other speaker designs -linear phase response. As a result, they produce sound waveforms that come very close to those of live musical instruments. Come in and hear them, and experience a sound so close to live that you might not be able to tell the difference. Technics by Panasonic: Suggested List Price Tran1cendental Audio .Lid. 773 NIAGARA FALLS BLVD. SOUTH OF SHERIDAN, AMHERST- ERIE- JAMESTOWN 399.95 Each �RADIO CANADA INTERNATIONAL SERIES A series of Jazz albums featuring prominent Canadian artists are avai I able on the Radio Canada International label pressed and released through the Canadian Broadcasting Com' pany: CBC Learning Systems ' P .O. Box 500, Station "A" Toronto, Ontario M5W 1E6 The quality and music on these albums is extremely good, in some cases superb, and deserves wider recognition. The • following is a mini review of some that have been made available to this correspondent: LM 301 - Roger Simard ... . a nine piece band under the leadership of drummer Simard performs a suite written by Jean LeBrun (saxophone player in the band) plus three other compositions all done with superb professional ism . . LM 302 - Pacific Salt. .. . Trombonist lan McDougall and h1s West Coast compatriots create some fine original material that appeals to all areas of jazz . LM 300 - An All Star Jazz Concert . ... under the leadership of Guido Basso this package presents some very exciting work by just about all the big names in Jazz in the Toronto areL . ie: Moe Koffman, Rob McConnell, Peter Appleyard, Phil Nimmons, Ed Bickert, and many others ..... recorded live at the Canadian National Exhibition in the summer of 1973 it still is very fresh . . . . LM 307 - Pierre Nadeau . .... Self taught p1an1st Nadeau w1th a trio play standards and originals with touches of Bud Powell and Wynton Kelly influences . LM 309 - Brian Barley Trio ..... the late tenor/ soprano star is featured playing four of his own compositions . This was the last record done by the new music exponent . LM 374 - Ron Proby Quartet ..... original music played in the vein of early Weather Report, Hancock et al, by Proby on soprano sax, Richard Sasnow electric piano, Graham Chambers on drums and David Gelfand on electric bass . LM 376- Herbie Spanier . .. ..trumpeterSpanier leads a quintet with people like Bernie Senensky on piano, Alvin Pall on tenor and flute in some memorable moments of great modern jazz . LM 377 - Fred Stone .. ... flugelhorn player with a very individual style here combines his talent with Kathryn Moses, Pete Magadini, Bernie Senensky, Lenny Boyd and Michael Craden with five original compositions by Stone . Stone has appeared with Henry Mancini, Woody Herman and Manny Albam as a soloist . LM 378 - Sadik Hakim (otherwise known as Argonne Thornton) .. .was an expatriate American when these sides were cut in Montreal in 1973 with musicians of his own choice . The high I ight of the album is taken up with one side devoted to Hakim's "London Suite". LM 399- Sonny Greewich . . ... the I iving legend caputed on disc is a rare treat for any jazz fan and especially for any aspiring guitarist. . .. some of the people he has worked with include John Handy , Charles Lloyd and Miles Davis . Recorded in Toronto with Don Thompson, Rick Homme, Terry Clarke and Clayton Johnston this is an exceptional addition to your collection . LM 400 - Ted Moses .... .keyboard/ saxophonist artist performs with a quintet that claimed some fame in Toronto circles for some long time . Energetic , dynami c music is the essence of this fine modernist. RCI 420 - AI Michalek ..... teacher and performing artist Mi chalek combines his playing and writing talents with a quartet comprising of Tim Tickner- vibes, Don Vickery- drums, and Lenny Boyd - bass . Michalek plays tenor and flute. Other Canadian Discs: ~ Swinging Place' Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week - $1.00 Wednesday & Sunday Hot Dog W/Kraut- 40C We Serve Food til 3:00AM No B.S. Compare Our prices B EEF EER ILLIARDS &JUKEBOX OPEN EVERY MORNING TIL 4 AM 3178 BAILEY AVE. - 836-8905 (across from Capri Art Theatre) 8 lan McDougall - trombone with Ron Johnston - piano and Oliver Gannon on guitar perform original material on I an's own label "Energy" . McDougall is known for his lead work with the Boss Brass and as a co-leader of Pacific Salt as well as being probably the most in-demand free-lance trombonist in Toronto . An exciting and well balanced album this one . .. . and obtainable in most SamtheRecordManstoresorbymail to: Energy Records, 64 Chilton Road, Toronto, Ontario M4J 3C8 . . Bobby Hales Big Band . .... not unlike Emile Palame in sheer excitement and originality this 20 piece outfit plays some very fine charts and displays some exceptional solo talent. Hales by the way ... . . ifyouwill pardonthepun . ... .hailsfrom Vancouver and is responsible for the original music for the CBC TV show "The Beachcombers". Contact Bobby for the album at : 7762 Kerrywood Crescent, Burnaby, British Columbia V5A 2G1 . Moe Koffman "Museum Pi eces" on GRT 9230-1072featur es the current Moe Koffman group plus some f1fl e additi-ons from the best of the string sections in Toronto ..... with compo s iti ons by Moe , Rick Wilkins , Marty Morell , Don Thomp son and Doug Riley ..... the band play material from th eir club r epert 10 re this is still probably the most consistently e xci~ ing Jazz group in the city, and it is a pleasure to hear an alhum like this . And last, but by no means least ..... the Big Band led by Rob CConnell, •The Boss Brass" have a two record set out on Direct to Disc (Umbrella UMB DD4) which has to be just about the best I've heard from the Boss Brass in some time . The record captures that loose , club I ike atmosphere in whi ch the band performs best. High I ights are Bob Brookmeyers composition "Dirty Man", Rob McConnel I' s "Runaway Hormones" and Rob's arrangement of Gershwin's "Porgy and Bess " Suite. Th e cream of Toronto musi c ians are present, Ed Bickert, Moe Koffman, Guido Basso, Sam Noto to name just a few . Hal Hill SAVOY Arista's latest batch of Savoy re-issues come with a new look - attractive pac~aging . MIRAGE (1112) is a set from ARTBLAKEYandtheJazz Messengers. This, a quintet date, was done back in March of 1957 and offers some spirited music from one of many great versions of the Messengers. Jackie Mclean can be heard to great extent and in good form . Trumpeter Bill Hardman, pianist Sam Dockery and bassist Spanky DeBrest round out the band. By the way, Blakey was recently on "To Tell the Truth" and his band played a couple of tunes , featuring his Russian trumpeter who was the guest on the show Another good, swinging set comes from another notable drummer - KENNY CLARKE. Titled MEETS THE DETROIT JAZZMEN (1111), this disc places MJQ's first percussionist in the company of Kenny Burrell, Paul Chambers, Tommy Flanagan, and Pepper Adams . Of special note here is the bari- �tone work. of Adams - a player who deserves more recogmt1on even today . He and Burrell do a magnificent job on Afternoon In Paris - especially on the head . Though done in '56, the recording quality is excellent. Two different sessions can be heard on JAZZ WORKSHOP (1113) by CHARLES MINGUS. The first, from '54, features John LaPorta/clarinet and alto sax, Teo Macero & Geo. Barrow/tenor and baritone saxes, Mal Waldron/ piano and Rudy Nichols/ drums. Mingus is the central figure here and the music is exceptionally modern for the time, typical of the bassist's bands. The second set is a quartet with Macero, pianist Wally Cirillo & Kenny Clarke . These tunes are similar in style to the music of another band oft~n heard just before this period- that of Lennie Tristano . This is evident primarily in Cirillo' s playing . The year was 1955. Some great improvising can be found on this. record. All Mingus fans should own a copy . Four marathon jams come from DEXTER GORDON and WARDELL GRAY on THE HUNT (2222). Recorded at a single 1946 session, the band includes Sonny Criss, Howard McGee, Trummy Young, Hampton Hawes & Barney Kessel. The tunes average 20 minutes each and contain some fine moments from this most illustrious tenor team. Overall, Gordon & Gray do the bulk. of the soloing, but most everyone gets his chance. Sonny Criss & Kessel can be heard to good advantage. The recording quality is poor by todays standards but those into history shouldn't care; and that's what this 2-record set is all about . A timely release considering Dexter's current wave of popularity . The two remaining records - Big Joe Turner and Changing Face of .Harlem Vol. 2 will be reviewed by Ron Weinstock. next month. B.W . ....~~··~~~ LIGHT FOUNTAIN ~ BOOKS Largest Collection of Books on Music in Western New York: Jazz, Blues, Folk, Country & Classical Also - Poetry • Fiction • Science Fiction • Autobiography • Building • Shelter • Energy • Photography Art • Crafts • Health • Veg. Cooking • Spoken Arts LP's • Books For Inner Development 532 ELMWOOD AVE. BUFFALO 884- 5094 style and approach to their instrument but Hart takes advantage of this so that they compliment each other well . This album covers a lot of territory - it is explosive, exploratory and yet at times is lyrical also. - and to do this the rhythm section must be flexible and have a wide rangeof experience. Bassists David Holland and Buster Williams and pianist Don Pullen possess such talent and they seem constantly inspired and prodded on throughout by Hart's drumming. Into this mix add alto saxophonist and flutist Oliver Lake and tenor saxophonist Dewey Redman, two of the prominently featured soloists on this date. It is generally acknowledged that both are among the most consistently innovative musicians on the scene today but you may be surprised at the lyricism displayed in Lake's flute work. on Layla-Joy . Alsonotethebeautyandsensitivity of Eddie Henderson's solo on that same composition (the solo is written out on the inside cover of the album). It is a well-balanced DOUBLE IMAGE - INNER CITY 3013 This is the first album from the group Double Image. The band is fronted by David Friedman & David Samuels- both playing vibes and marimbas . Bassist Harvie Swartz and drummer Mike DiPasqua complete the quartet. Although I've always admired both Friedman & Samuels, hearing them together with this band doesn't excite me . The music often sounds too contrived and lacks spontaneity and soul. Parallels can be drawn to the sound of Gary Burton's band, but the music is more complex while much less spirited . Vibes freaks and students of the instrument wi II no doubt find this disc enjoyable, but others may find that the music grows old too fast. B.W. "Sometimes Even Now When I'm Feeling Lonely and Beat I Drift Back In Time And I Find My Feet Down on Mainstreet." B. SEGER CHARLIE PARKER - THE VERVE YEARS (1952-1954) VERVE VE-2-2523 This is the third and final double set of the recordings Parker did for Norman Granz. One can get on three double sets what was initially on ten single albums at half the cost, and an album of alternates is yet to come . Eight sessions are represented here including Bird with strings, vocal chorus, doing Cole Porter tunes and Latin numbers . The quality of arrangements, ensembles and Bird's playing varies . He does sound strained on some numbers though there are a number of flights of genius. Several sides include Bird in a big band setting and are interesting for that. Compared to the recent Boris Rose aircheck.s that Columbia issued these are not as hot though you certainly get good value . I'd have to recommend other Parker before these sides. Incidentally good annotation R. W. is provided by Bob Blumenthal. BILLY HART- ENHANCE - A&M/HORIZON SP-725 The diversitv of experiences that are part of the character of drummer/ leader Billy Hart are revealed in Enhance. His choice of personnel tells you this right off the bat . First, he employs two trumpeters Hannibal Marvin Peterson (he also plays Koto on one cut) and Eddie Henderson (who also plays flugelhorn). Henderson and Peterson have quite a different JAZZ JAM every Mon.: feat. JAMES CLARK DUFFY FORNES DILLON-BRADY BAND every Thurs. ROTATING TUES.: TENDER BUTTONS lJAZZI POINTLESS BROS (BLUEGRASS) OPEN MIKE: Sun. W/Kathy Moriarty *CENTRAL PARK·GRILL 2519 Main St. 9 836-9466 �I ~· follow~ ' GE BENSoN - WEEKEND IN L.A. - WARtiER BROS. 3139 It's pretty much common knowledge these days that George Benson has made it big since his signing with Warner Bros . Hecords. His first two aiJ:>ums for the label have turned gold and he's selling out concerts everywhere he appears . Weekend in L.A., a 2-record set, is a live recording done last year with his seven piece band. It continues in the funky style of the two preceding discs, but with a warmer, more human quality •-:_ without the slick, overproduction that affected his ·studio-recorded albums. George chose not to record any of the tunes done on his hit albums, producing 11 new cuts for his fans - split 5 ~ocals and 6 instrumerftals . Though I sti II don't · find his singing to compare with his gu,i tar work, his choice of material makes up for any shortcomings . The Greatest Love of All is beautiful. Ode to a Kudu, a very mellow instrumental cut, was on one of Benson's early CTI recordings. It and Windsong are two of the best showcases for his guitar work . The addition of. studio-dubbed strings is an unnecessary expense for Warner Bros., but they're mixed down low and don't seem to get in the way . Regardless, this is clearly George's best effort for the label. B .W. MAL WALDRON/GARY PEACOCK - FIRST ENCOUNTER CATALYST CAT 7906 Mal Waldron had always played wJth great musi cians, from Billie H9ll1day during th e last month s of her life, to Charl es Mingus' Jazz Workshop, to his 1·ecordmgwith Eberhard Weber . To date, 1t seems, he has not yet given up that glorious traditign ... Peacock, best known perhaps for his many collaborations with Paul Bley, is conceivably the most sensitive ,bassist Waldron has yet had occasion to play with in trio format. The album offers several minor mastr.,rpi <:'ces . "She Walks in Beauty" IS simple in structure and delicate m del1very. Though m 4; 4, emphasis is placed so that the measures appear I 1 sit~atio~ to be a by a 5. The domposit10n parallels a of an approach (a nice strut), foll owed by a short meeting qr interlude (on bass), and finally finishes with a different but no less beautiful retreat . "Heart of the Matter" i s a serious , down to business "pproach to modal exploration featuringadrumsoloby Hiroshe Murakame . "What ' s That" is the swinging jam of the lot, and "Walkin' Way" features some very difficult and wondrous motifs by Pea.cock in harmonizing with his own opening lines to the tune . All of the. compositions are by Waldro10 save the Jam tune by Peacock, and this is wherethepowerof Waldron li.es. There are many albums featuring Waldron in solo, duet or trio situations availabl e currently, and they are all worth some very acute listening . He's one of the great pianists. B .B. CHARLIE PARKER BIRD WITH STRINGS - COLUMBIA 34832 ONE NIGHT AT BIRDLAND- COLUMBIA 34808 These two albums come from the Columbia Contemporary Masters Series, completing the initial release on three Bird albums. The first, Bird With Strings, is a single record containing fifteen tracks . The music was recorded live at the Apollo Theatre, Carnegie Hall or Birdland from 1950-53. On each tune the quartet(s) is augmented by a string section and oboe. These were I ive radio broadcasts done with Symphony Sid, who does the introduction and converses with Bird . There's some great Parker here, including a jumping version of Repitition with Candido on congas . Roy Haynes is on drums for each set . One- Night at Birdland is a two-record set all of which was recorded during a single evening at the N.Y. Club - on June 30, 1950. Bird's quintet at the time consist ed of Fats Navarro, Bud Powell , Curley Russell & Art Blakey, with Walter Bishop sitting in for two cuts with an "unknown" bassist and drummer. This Month at Super Savings! George Benson Weekend in L.A. George Benson/Weekend in L.A. A number of top musicians appear. in support here with Benson supplying the guitar leads and vocals on this live two-record set. Tunes include " The Greatest Love of All ;' his most recent hit single from th'e movie The Greatest. . On Werner Bros. Records and Tapes CAVAGES SENECA MALL EASTERN HILLS MALL MAIN PLACE MALL SOUTHGATE P.LAZA SO. SHORE PLAZA BOULEVARD MALL COMO MALL THRUWAY MALL UNIVE.RSITY PLAZA LOCKPORT MALL NOW AT ELMWOOD/ FOREST & SUMMIT PARK MALL · �Give a disabled veteran a chance EMPLOYERS PHONE 854-VETS Erie CCMJntv American legion • Veterans Eml)loyment S.rvic. • City of Bufhlo S.P.A . selection of material from the pensive Rahsaan Is Beautiful and Layla-Joy to catecheti cal pieces I ike Pharoah, Diff Customs and Hymn for the Old Year. For each turn in mood and style, Hart is right there to put all ofthedivergent elements t ogether . Th e result is a unique and skillfully executed album worthy of your attention . J .H. IMPROVISING ARTISTS: LEE KONITZ, ORNETTE COLEMAN, MIKE NOCK Paul Bley's Improvising Artists label continues to release first rate albums, from the music to the quality pressings, recordings and packaging. The first of the latest three issues is yet another 1977 release for alto saxophone master LEE KONITZ. PYRAMID (IAI 37.38.45.) Places Lee in the company of guitarist Bill Connors and Paul Bley, who employs both acoustic and electric pianos . Five of the six cuts are played by the trio, with Tavia the only change in instrumentation -this lovely ballad is a duet from Konitz & Conners on acoustic guitar . One might get the idea from the song titles that the music here is outside . Most of the record might be termed free improvisation, but the overall sound is that of relaxing, mind tantalizing Speakers Our Specialty Quality Raw Speakers, Crossovers, Custom Enclosures (plus Critically Acclaimed Cylinder Types), Speaker Kits, Transmission Lines, Subwoofers. Also: We offer products by Peerless. Philips, KEF, Gollehon, Creedence, Marlboro, Decca Special Products, TSS, Burhoe, Hitachi, Hafler, Mitsubishi, Radford, Rotel, Armstrong, Goldring, Audio Technica, SME, Ariston, Technics, Sound Guard, Direct Disc Recordings . 1015 Kensington Avenue • Buffalo. New York 14215 Telephone: (716) 837·1557 beauty . Talk To Me, a short cut, is the most "out" piecemore so in fact than Out There on which the trio mesmerizes the attentive listener . A great record of head music recommended to everyone who enjoys free, totally improvised music. Braxton fans take note, as Konitz was one of his major influences which is in evidence on this album . Paul Bley can also be heard on COLEMAN CLASSICS (IAI 37.38.52 .) This is the beginnings of the now famous ORNETTE COLEMAN band, which was at the time of this 1958 recording under Bley's leadership. I presume that this music is from the session at the Hilcrest Club in L .A . That produced the album on America records titled "The Fabulous Paul Bley Quintet", now available on Inner City . Ornette, Bley, Don Cherry, Charlie Haden & Billy Higgins deliver some excellent music which is also of some historical importance, indeed making this album an instant classic . Don't pay attention to the song titles as listed- they're all screwed up. Enjoy the music and let the discographical details ride. This is Volume One so there's more to look forward to. A powerful set comes from pianist MIKE NOCK titled ALMANAC (IAI 37.38.51) . Recorded live at Columbia University in 1967, the album features an all acoustic quartet with bassist Cecil McBee, drummer Eddie Marshall & tenor man Bennie Maupin . This is actually Nock's trio, which had played quite a bit around N .Y.C . when Maupin played with them for a short time, just before joining Herbie Hancock's band . Bennie is on five of the seven cuts, and plays flute on one. Although over ten years old its very up-to-date sounding maistream jazz . This well recorded album is reminiscent of many of the great Blue Note sides of the sixties by Wayne Shorter and others which also sound fresh today . Very nice. B.W. GEORGE RUSSELL - GUITAR - DOBRE 1002 Who is this man? It certainly isn't the George Russell know. The liner notes don't give a hint-there are none- just a huge white space . Apparently this is a different George not the great composer and pianist known to many . At first glance one might think he's been playing guitar and never told anyone . With one listening its obviously not true. This GeorgE!. plays a rather dull Spanish guitar with an even duller orchestra . Place the needle on any of the ten cuts and the only difference is the speed of that particular Bossa Nova. George wrote them all . If I bought this expecting to hear the real George Russell, I'd be mad, real mad . B .W. JOHN STOWELL - GOLDEN DELICIOUS - INNER CITY 1030 ERNIE KRIVDA- SATANIC - INNER CITY 1030 Its always a nice experience to hear good albums by unknown artists. It shows promise for the future . John Stowell offers some music with a well-knit septet including Dom Urn Romao, David Friesen&BillyHart. Stowell, a fluid, inventive guitarist, echoes the music of such masters as Wes Montgomery & Pat Martino . There's no need for electronic effects - he's got what many so-called guitarists don't have - chops. The work of trumpeter Claudio Rodito and pianist Mike Richmond on this .well rounded set of tunes is also deserving of special mention. A good, no-bull guitar album. Saxophonist Ernie Krivda's set is, as Stowell's, a well balanced one . Odd meters and creative percussion are employed throughout the disc, with the services of pianist Gil Goldstein, bassist Jeff Berlin, percussionist Ray Mantilla & Bob Moses, who plays drums, vibes, tympani and log drums. Krivda is a powerful, hot blooded player who left Quincy Jones a couple of years ago to hit the hard road of "making it on your own". There's a lot going on here which, combined with changes within tunes, doesn't pose any problems with regard to holding the I istener' s attention . Inner City is becoming quite a label for jazz; both for new and established artists . Here's hoping for a prosperous '78. 10 B.W. �f~i~ ~y ~e;'"so~al thre~ _. relea~~s . ' • !,:_ ·i' • :. '1•.: .·' I g . ,"·~ , .i•' :. ,; t ·.->'~•-,• ·.":.>-{..""' ,>:·,'f.;? Sweet Lucy 1(ST· '11648) we ~ear more funk wnich•. is again better '' than 1 average. The b'est work comes· f ; om Raul and. pianist Patri ce Rushen. Four tunes in c ll.tde a vocal choir wl)ich is tot<illy unnecessary. De Souza is a lyr:ical, flowingplayer often heard with Airto and Flora Purim . The former adds his Latin percussion to th e session. Freddi e Hubbard is also heard on thr ee tun es . We stay in a similar line , with CALDERA . Sky Islands (ST 11658) is a j az z/ rock / Latin album which offers some ni ce melodic sol o work mixed with vocals, strings and synthesizers . The Latin influence is , the strongest here with the musi c ians being of M editerranean origin. Th e basi c septet is joined by a numbe~ of guest s, in c luding two percussi onists - bringing the t otal to four. Of special note are guitarist Jorge Stnm'z and saxophonist Steve Tav ag lion e. The v9cals are by Dian e Reeves. Burnin' at the Stake by th e DOMj:NIC TROIANO BAND (ST 11665) wa s releas ed as a Jazz album but it is not. This is rock and roll all the way . The only straight.-ahead, acoustic jazz album of th e rel ease is ELLINGTON '55 (SM 11674). This is sweet Ellington, with . an edition of th e orchestra that included Ray Nance, Clark. Terry, Paul Gonslaves, Cat Ander son and Harry Carney. The program includes Rockin' in Rhythm, Black & Tan Fantasy, Stompin' at the Savoy, One O'clock Jump, Honeysuckle Rose, Happy Go Lucky Local & Flying Home . Thes e are high - spirited performances av eraging about fi ve minutes per track. . A must for Ellington f ans, thr s is a re-issue (abridg ed versio n) of a previous Capitol LP of the same title . Capit o l has a lot of great jazz that cou ld be re - issued - hope th ey do it. B.W. . ;· is , favorite of the B i rd in the . ' senes . There s a · lot of fme mustc to be heard and all of th e tracks are long enough for the banq to stretch out - running · from five ·ten minutes . This album should be in every Bird' collection, and is a great start for those who don't have any of his discs. . Both of these items are, of course, histori ca lly important issues. The fidelity is poor (the Birdland disc is a bit bett er :than the Strings) but I wouldn't imagine that anyone would >demonstrate a stereo with a Bird album . If you're into the 1 music - its here. B :W. tp CAPITOL JAZZ REtEASE Capitol Records is again issuing newly - recorded jazz with the signing of Eddie Henderson, Gary Bartz, Raul De Souza ' ' anti others . .,EDDIE HENDERSON'S first for the label is titled Comin' Through (ST 11671) . Henderson is perhaps best known as th e trumpeter .with the Herbie Hancock. Sextet of the early 70's and his albums have carried on in that band's tradition of ., textured, spacey funk . Com in' Through was obviously produced with more commercial sales potential in mind and leans more ' toward funk without the energy and adventure of some of his earlier records . Though people who enjoy Eddie's eadier works may find that this album won't do anything for them, it should open the door for Eddie to reach a lot of jazz neophytes . It's not nearly the best example of Eddie's work but it's a good funk disc . Many of these tunes were heard during Eddi e' s recent Buffalo appearance. RAUL DE SOUZA has moved from Fantasy to Capitol. On STEVE LACY - CLANGS - ICTUS 0001 STEVE LACY /ANpREA CENTAZZO/KENT CARTER TRIO LIVE - ICTUS 0005 Al on g with moon l-andings , and heart transplants, Steve La cy ' s soprano saxophone playing is one of th e marvels of the modern age. F or over 20 years, Lacy has been exploring the instrument' s po ssib iliti es and. amazingly enough, he co ntinues t o improve all th e trm e . But La cy is not merely a master teci;,nicran . He is a highly indi viduali st ic composer and improv iser who wrrtes eccentric littl e tunes. th at sound as if th ey wer e in spired by a childs· conn ect- th e · dot s bo ok. Th es e pi eces see m to point in all di rectron s ; con '>e quent l y . La cy records th em again and ag;:tin Because you know, we know where·oui priorittes lte: the ·c onsummate acoustic experience directrons ; con sequentl y, L acy r eco rds them again and again, always finding new asp ects to th em . "Clangs" is a duet album with percussionr st Andr ea Centazzo, who is also th e founder of Ictus Records . "Trio Live" adds Lacy' s long - time assocrate, bas s ist Kent Carter . Th e albums , both r ecorded in conce rt during,. 1976, represent th e fruit s of Lacy's labor-s during thP late 60's and ear ly 70's . Th en' was an un sdt l ed qualrty to th e musi c th en, as if Lacy wen! tr·yrng to make se nse ou t of a JUmbl e of new musi ca l ideas. It is appa r ent from th E>s e albums that he was suc cess ful . Thi s i <; musi c that rs witty, evo cati ve, and chall enging , .but mo st important , it i s musr c that has come into its own. A s f or hr s par·tner·<; !th ey are not sid emen!), C'?ntazzo i s so mu ch mor e than a drumm er . h•Y is a paint r•r in percussiOn . Cart r> r i s to La cy as Holla nd i s to Br axton. Ch e c~. II ~<• c la<; s rf Jnds for· infonn ali on about th ese and oth er ICTUS Reconl s . J .L · Relax. we're l10t ab out to presstlle you. The ve<y fact that you are re ading th >' maga1ine, indicates tltat you know wlwt typ e of system you wa11t. We're il P1P. to let yo u find it. Visi t our ex pan ded showroom tacdi ties, r.a ll fur ad v<ce. '" range for a p1ivate consu ltation '" ju st look os ove• Clt;urces <liP. , wr~ ltave something you want : Aud1 0 Resear ch. Mark LevlllSUII , Dayt <Jn W<igltt . G<edt Ameri ca n Sound Co ., Bantt and Otul sen. Aco ustat X .. O alt lq u ~> t . Mattnepan . Magneplanar, M&K Woofe< 'Cro ssoveJ, Yamaha, SAE, RtR . Polk Aud io. Ouiili . -Technics, Llllll ·Sondek l KMAL . Onk yo , IMF , Ouiitl e, Fr ied <~ <HI nlitny rno <e·: We otter liberal trade-in all owances. liberalt10me tnal polrcies. and 'l"'"allteerl satisfaction withal! our components. stereo enporim ! 3407 Delaware Avenu e. Buffalo New York 14217 Telephon e 1716) 874 3372 12 QIZZY GILLESPIE / ROY ELDRIDGE - DIZ AND ROY- VERVE VE -2 - 2524 \ Diz and Roy i s a well -packag ed collectr on 0f mid fifties recordings by two master s of th e trump et Dizzy Gillespie and Roy Eldridge . By the t i rne th ese r-ecord in gs wer e made Gi II espie had pass ed through th e per rod of irn itating Eldridge, th e reigning king . Gill espi e and Eldridge were now admi~.e d rn their own right and although Roy was sti II st e(•fJed in swrng and Gill espi e �th e champi on of bop, in these sides you can hear that both were infl uence d by each other . You can also hear the competit1on between th em t hat heightens the exc 1lemont. Steeplechase, T our de Force , Limehouse Blue s and eight others are examples of how th ese two dominant figures in jazz each w1lh d1stinctly di fferent approaches to the same instrument - could be con t inually pro dded on to even greater mus1 t al feats wh en th e conditi ons wer e rig ht. Roy and Diz also thr-ow in some l1ght hearted vo ca l s that add to th e ehtertainment Th ey both have continued th ei r vocal1zing to th1s day and th Pir brlll1an ce on the trump et but these recordmgs (pre v 1ously ISSued) are valu able documents of a S1gnif1 c ant penod 'm th e car eers of Gi ll esp ie an d E ldridge and in Jazz itself. J .H . TACOS BURRITOS ENCHILADAS STAN GETZ - THE PEACOC KS - COLUMB IA JC34873 ' Thi s is a · showcase album . The subtitl e is "Stan Get z Presents Jimmy Row les" and i.t does present Rowl es' pianist1c skills as well as his somewhat gruff vocal1zing . Rowles gets pl enty of so ' o p1 ano space but hi s g1ft seems to be more as the compl et ely t ast eful accompan1~t for Getz' melodi ous t enor sax . The Peacocks is also a show~ase for drummer par excell ence Elvin Jones and bassist Buster Will i ams . A s Getz states in th e l iner notes, "Eiv1n and Buster, who cannot be surpasse d by anyone, musically or t echn1 c ally, di splaying yet another side of t hemse l ves with touch, tast t' and t enderness ." The se lecti on of t unes are predommantly standards - B ody an d( Soul (a Rowl es piano solo), I 'l l Never- Be The Same (Rowl es on pi ano an d voca l iz 1ng w1th a compl1m entary tenor so lo by Getz ), Skylark, My Buddy - whi ch should be an enticement for fan s of Getz f rom t he 50's who f1n d themsel ve s lost 1n his latest el ectr onic excursions. Th er e 1s ev en some vo cal ese here on Wayn e Shorte r 's Th e Ch ess Pl ayers but th e vo c al by Jon , Michelle and Judy Hendr ick s and Beverly Get z was ov erdubbed. It' s no velty ef fect t akes away from the gr eat m strumental1zing . (inc luding an open 1ng drum break by El v in) . All 1n all, though, J .H its a pl.easant album t hat should pl eas e al o t of peopl e. blues TOAST.~DAS First with the Best in Buffalo 1247 Hertel Ave. between Colvin & Delaware 873-6606 2114 Seneca St. 2 block s north of Cazenovia 822 - 7733 w :I: t- Wa tch For New Location At 3355 Bail ey at Minnesota Hours 11 -5 AM Daily THIS MOnTH by ron weinstock Fent on Robinson's second album on All1gator Records, I Hear Some B lues Downstai r s (AL 4710 ) shows h1s conllnuing maturation as a sin ger and guitan st, Fenton shows h1mself to be a fl uid, invent 1ve guitarist who take s som e stunning gui tar br eak s . Employing burst s of qui ck c le an not es along with som e f ascinatmg chord work, F enton goes way beyond be ing a mem ber of the B . B . King school of blue s guitar . T o u c h e ~ ofT - B one Walker are pr esent espec1ally on th e open ing of " T el l M e Wh at's th e Reason" however Fenton evokes T-B'one's sp irit an d h1s playing easily tran scend s the range of imitat ion as h 1s solo starts w1th som e T - B one flavored l1n es but deve lops int o a more urgent sl y l1ng . On th e tdl e track Fenton evokes the spirit of earl1 er Ch1 cago guitarists l1ke Edd ie Tay lor ,an d L ouis Myers . Hi s wid e- ranging playmg on th 1s r ec ord is a revelat1on. The comb1na t 10n of fee l1ng with de l1 be rat e use of h1s tech ni cal mastery of t he guitar is als o present 1n Fenton's singing whether on his m e l low remaking of "A s th e Years Go Passing By" (a son g he was f1rst to record ba ck 1n th e 50s) or h1 s gosp el tm ged voc al on "Going West'' H1 s r emake of "KIII1ng Floor" rates with How l 1ng Wolf's origmal and an oth er highl1ght is his of a lesser known T - Bon e Walker tune "W est - Side With genera l ly fme band support (I'm espec 1all y 1mpress ed Steve Dit ze l l's effectiv e rhythm !Wd ar), good sound and an cl ive cover this is on e fin e album What more could one than a f 1rst - ra t e r ecordingofaf1r st r at o blu esman caugh t the top of h1s form. Do get lh1s onP Despite the prese n c~ of two of th e blu es f1n est modern 'tar ists, The Leading B rand (Rod Lightn1n' 0018) will pro be of more interes t Ao blues enth11S1asts than casual Not that. the musi c is poor Th l• r e IS plenty of fine 1\.CO / onLY ONE DOLLAR OFF ON ALL MANUFACTURERS CLOSEOUTS IN THE JAZZ SECTION! Albums by L ou Donal dson , Donald Byrd , Rahsaan Roland Kirk, Herbie Mann , Jimmy McGriff , Yusef Lateef, Eddi e Har r is, Deodato , Duke El li ngton, M i lt Jackson, Cannonba l l Adderl ey & many more! 1800 MAIN •t LAFAYETTE 13 OPEN 7 DAYS 10 AM- MIDNIGHT �\' r---~LEINHANS MUSIC HALL Buffalo, N.Y. ME"NUHIN VtO!in & Piano Feb. 7 N.Y.Times: "He is one of the grand masters of violin history. " $9.50,8.50, 7 . 50.6.50 COMING Andres • SEGOVIA Guitar · Feb. 17 S.F .Chronicle : "There is only one Andres Segovia." $10.50, 9.50. 8.50; 7.50 e I Leo ntyne PRICE Met. Opera Soprano . Mar. 1 \\'ash. Post : -~lt.'lropoli tan Opera S t ar 's "Spectac ularly glorious ... t•n c h a ntt>d si n~ing ." . Alicia deLARROCHAApr. 6. Pianist Nt•wswt't'k : "l\ltntionin~ h~ na.rne in thl· sam~ bnoath with Kubinst<.'in and Hon m. iV. rc:ti9:!5 nu ·~·t.·hrows." • PKG. DISCOUNT $35.50, 32, 28, 24.50 Charge Cards Accepted Mail orders, Menuhin and/or Segovia alone or entire pkg . : Send selfaddressed, stamped env. & check payable to QRS Arts Foundation 1026 Niagara St., Bflo., •N.Y.14213 QRS Box Ofc. open(Mon .-Fri..9-5) Add'l. Hrs. Feb. 4,5,11,12 110-•J) Also Amherst Tickets(Eastern Hills Mall).Purchase at & benefit Community Music School, 415 Elmwood Ave., also UB. L . . , - - R eservations-885-4600 - - - \ r ' -,The FORMERLY WITH CHICK COREA ~; ~ '. .. , - • . ·. ;_ ~· ;J·,.~. -~·:r. ~- r ' >/ Radio WBFO- 88.7 FM MON. THRU FRI. - Noon - 2 .. Spirits Known and Unknown with various hosts; 11 PM - Mid. Jazz w/ various hosts; Mid . - 3 AM Round Midnight - various hosts . SATURDAY - 3-8 AM - Embryonic Journey w/ Steve McKee; 8 AM-Noon - Freedom Flight w/ Ed Smith ; Mid.-6 AM- Opus in Modern Music/Jazz by Request w/ Pres Freeland SUNDAY - Noon-2 - Jazz Contours w/Bill Wahl; 11 PM-Mld. Big Bands w/ Bob Rossberg ; Mid . - 3 AM - Roots. Rhythm lr Sound w/ Dave Jacobs; 3- 8 AM Progressively Yours w/ Harry Schuster. WEBR - 97.0 AM Jazz in the Night _. every night 7-midnight w/AI Wallack , :>Lenny White Group , . '" of nice slide-:-Vocals are present by Lilli~n Offitt ; Ricky Al (en · and A. C. Reed (who usedto6eBuddy GuY's tenor player t ,Jody · Wi II iams is represented by three yocals an~ .three instrumentals . As might be expected there is plenty of scorching guitar. I found Jody Williams' wdrk especially interesting showing an ·attack similar to Otis Rush's recordings of the late 50s . Some . of the material is occasionally popish and .the arrangements , do sound dated but those into modern blues guitar will definitelywant it. If you can't find this locally write te Southern Recorq Sales . Incidentally Record People distributes the RedLightnin' line which includes a nice Johnny ' Guitar' Watson set . Local record stores can get these releases so readers might point that out to store personnel . · · Despite the plethora of records by Brownie McGhee and Sonny Terry, the new Muse release You Hear Me Talkin' (MR 5131) is of special• interest in that it is one of their first albums together ·r ecorded for Choice Records ~ not the present jazz label) in 1959-1961 . Materia.! ranges from blues l.ike • "Goin' Down Slow", "Worried Life Blues" and the title track to folk songs like "Cindy , Cindy" and "John Henry ." Brownie takes all the vocals, plays immaculate guitar, including some ' stunning guitar, and has some very fine solos . Sonny Terry is · of course a legend on the harmonica. -THURS., FEB.18 Two Shows: 8 &11 , TICKETS $4 ADV.; $5 DOOR (Rer Show) THE GLASS ON tON I 81 MARSHALL ST. (Corner Monroe) Rochester - 454 - 4538 , ' See Spyro-Gyra February 22-24 WBLK- 94 FM The Sound of Jazz w/ Carroll Hardy - Sat. nighls 10 PM1 AM . WADV - 106 FM ' Jazz Nitely w! Geo . Beck WCMF - 96.5 FM (Rochester) Jazz Scene w/ Tom Hampson Sun . nights 11 PM- midnight . , CANADA SELECTED LISTINGS CKQS - 94.9 FM From Bebop to Now w/ BJR's Hal Hill -Sat. nights 10 PM2 AM . CING- 108 FM What''s Happening w/ Jack Col e- Sun . thru Thurs 10-Midnight , Sat. afternoon 3- 6. CJRT - 91.1 FM · Jazz Scene w/ Ted O'R ~i lly Mon .-Fri . 10 PM - 1 AM ~nd Sat. 6 AM-Noon . Jazz In Concert w/ O'R ei lly Sat. 7-10 PM . CKFM - 99 .9 FM . All That Jazz w/ Phil M cKell ar Sun . 10 PI'JI -6 AM . clat~"ified This space· is avai I able to private individuals, organizations, mail-order houses, etc : The cost is 10¢ per word- minimum charge $3. Send ~opy and payment to BJR - 1335 Main Street, Buffalo, N .Y. 14209. . JAZZ PIANO LESSONS: All leve) s including theory, improlrisation, reading skills, and technique . Lessons in Buffalo _and l'll_iagar:a F<!IIS. Call ijit:hard Shulman 285 ~ 8816. - ~ ... Ji •· •.• 1' / .. ' �J ICTUS RECORDS .FROM ITALY: 0001 'clangs' Steve Lacy, Andrea Centazzo. 0002 'Solo' Kent CarterwithCiaudeBernard . 0003 'Drops' Derek Bailey, Andrea Centazzo. 0004 'Dialogues' Andrea Centazzo, Pierre Faure . 0005 Steve Lacy Trio 'Live' with Kent Carter, Andrea Centazzo . 010 'Ratsorock' Andrea Centazzo Trio with Paulo Bordini, Franco Feruglio . $6.50each (7.00 outside U.S.) includes shipping and insurance . Art Grimwood, P.O. Box 8404, Rochester, N. Y. 14618 BOOKS WANTED: Jazz Masters in Transition (Williams); Jazz Masters of the Thirties (Stewart); Baby Dodds Story; Early Jazz (Schuller); Jazz: New Orleans (Charters); Modern Jazz : The Essential Records (Harrison) . J .R. Smith, 124 Depew Ave., Buffalo, N. Y. 14214 RARE lr Out of Print Jazz LP's, price lists and auctions . Wm . Carrara, 25 Aberdeen St ., Malverne, N.Y. 11565 BLUES, JAZZ all labels including imports - write for list. Southern Record Sales, 5001 Reynard, La Crescenta , California 91214 . USED LP'S WANTED: Albums by Lee Kanitz on Verve, many Columbia issues (SO' s, 60's) and items from Jazzland, Riverside, Contemporar·y, SO's Atlantic and other labels . Send your list and desired pnces to B .W. , BJR, Box K , 1335 Main St., Buffalo, N.Y . 14209, or phone (716) 883-~909 Ext. 11 IMPORTS from Japan and elsewhere . Sony , East Wind, Trio , BYG, Timeless and many other labels . Albums by Coltrane , Braxton , Miles, Woody Shaw, etc . Also College big bands , Vintage big band and traditional . Send for free lists and specify tastes (Mainstream, Big Band, etc ) - Inter-national Records, Box 717, Dept. B, Mentone, Caltfornia 92359 . MUSIC LESSONS: Guitar, electric bass, string bass and compositiOn . Theory and improvisation incorporated into each lesson . Gerry Eastman - 884-4136 . SACKVILLE - The Jazz Record Company: Dollar Brand . Anthony Braxton, David Holland, Oltver Lake , George Lewis, Jay McShann, Roscoe Mitchell, Don Pullen, Buddy Tate, Teddy Wilson and many others . Write for free catalogue to SACK VILLE RECORDINGS, Dept . K , 893 Yonge Street, Toronto , Ontario M4W 2H2 Canada. SECOND WIND finds the used wind instrument of your choice and at your price. Call between 6 and 9 P .M . Monday to Thursday. (416) 781-0048 . BLUES, JAZZ all labels including imports - write for list. Southern Record Sales, 5001 Reynard , La Crescenta. Caltfornia 91214. RARE lr Out of Print Jazz LP's, price ltsts and auctions . Wm. Carrara , 25 Aberdeen St., Malverne, N.Y . 11565 what~ happening BUFFALO Tralfamadore Cafe - 2610 Main St . - Jazz Wed . thru Sun . niltlts. WBFO benefit with Tinney , Marino & Thein Feb . 24 & 25. See ads. Kaleidoscope - 1375 Main at Utica - Jazz Fri . Nights . Grttnfield St. Restaurant - Greenfield near Main- N.T .V.C. Feb. 3; Mujahid Feb . 10; Random Access Feb . 17. All at 9:30 PM . Phone 836-9035 or 837-8189 for more information . · Tara Manor - 5100 Main St . Jack Bacon Morgan Street Stampers with Eli Konikoff Fri . & Sat . nights . C.P.G. - Central Park Grill - 2519 Main St . -Jazz Jam Mon . niltlts, Tender Buttons every other Tues. Also, folk and bluegrass. See ad. · "lona Vista - 1504 Hertel - Blues & Jazz itlclstone Manor (Lockport)- Dixielandw/WiiiAigeronweeks. trboard - Main lr Utica - Jazz Nightly. sty - 1005 Tonawanda St . - Jazz Sat. nights. Feb. Tralfevents JAZZ·Wed.thruSat. Course of the Electric Messengers 3,4 TriO Max Thein, Doug Bates, Tombstone Willis 5,12, 26 Gerry Eastman Contemporary Composers Orchestra 10,11 Spyro Gyra 1s, 11 & . March 2,3,4 E. R. 18,19 John Mooney Blues Band 23 Tinney, Marino & Thein WBFOBenefit 24,25 Fresh Tralf. introduces Bflo.'s newest Fusion Band- every Wed. Mon./Open Mic Tues./Dillon·Brady + Buffalo Comedy Workshop 28 GOOD FOOD & DRINK NIGHTLY tralfamadore cafe 2610 main at fillmore 836-9678 �TheWorld Saxophone Quartet! Bourbon Street TORONTO (416) 598-3020 The Finest in Italian Cuisine Julius Hemphill Oliver Lake Hamiet Bluiett David Murray ZOOT SIMS Quartet Thru February 11 MILT JACKSON Quartet February 13- 25 Phone Ahead for Dinner Reservations Open Daily 12-1 Sundays 6- 10 No Cover Tues., Feb. 28/8:30 pm Burton Auditorium York University Downsview (Toronto), Ontario GEORGE'S SPAGHETTI HOUSE Reservations & Further Information - 416-667-2370 Presented by the Performing Arts Series Faculty of Fine Arts, York Un i versity Anchor Bu - Main & North - Johnny Gibson Trio w/George Holdt on trumpet . Every Fri . & Sat . night. 290 DUNDAS STREET. E. TORONTO. ONT. -923-9887 Featuring some of Canada's Top Jazz Artists nightly as well as our famous Italian Cuisine. C.C.M.C . - (Canad1an Creative Music Coll ective) Tues . & Fn . nights 9 PM. Th e Musi c Gall ery - 30 St. Patri ck St. Phone 598 - 2400. TORONTO Barbary Coast Lounge - Harbour Castl e Hilton, Yonge & Queen's Quay- Borgy's Banjo Reunionw/ vocalist LiisaStevens thru March 3. Dixieland, pop & show tunes . Bourbon St. - 180 Que en St ., West - Zoot Sims Feb. 1-11; Milt Jackson Feb. 13-25. See ad . George's Spaghetti House - 290 Dundas St., East Vern Dorge 4 - Feb . 6-11; Doug Riley 5 - Feb . 13-18; ian McDougall 4Feb. 20-25. Stop 33 - Sutton Place Hote l - Peter Appleyard 4 - Feb. 4; Gene DiNovi's 5 - Feb . 11 ; Eugene Amaro 4 - Feb. 18; Guido Basso Latin Jazz Band - Feb . 25. All 3- 6 PM. See ad . Chelsea Bun- Chelsea Inn - 33 Gerrard St ., W. -pianist John Arpin Mon . thru Sat . 9 - 1. Cafe May - Ronc esva ll es Av e. at Howard Park - Lorne Lofsky Trio Sun . 7:30 · 11 PM . Albert s Hall - The Brunswick - 481 Bloor Street , West. Niqhtly from 9 pm- Dr . McJazz . ROCHESTER Red Creek- Feb . 16, 17, 18- Gypsy. Glass Onion - Jeff Tkazyik Quintet - Tuesday s Club West Indies- 485 E . Main St .- Spheres Quartet & Guests. Stone - T. Pub - Bobby Blandino Quintet, Thurs ., Fri ., Sat . J. J. Lounge - Roland Armour Trio - Fri ., Sat., Sun . Eastman School of Music - Feb . 17 - New Jazz Ensemble (Kilbourn Hall); Feb. 24- Eastman Studio Orchestra (Eastman Theatre). Both FREE and both at 8 P .M . buffalo jazz report 1335 main st. buffalo, n.y. 14209 u.s.a. I - ..,. ... •• .I :.: . u... . Y. return postage guaranteed .. .-- .. ·':~ 'I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3541 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 48 Date A point or period of time associated with an event in the lifecycle of the resource 2/1/1978 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals. Jazz. Jazz musicians. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 48 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/bb35909a202d22dcd0bc79a7cf2a15f9.pdf ca2c2e7f85ee819b3821992e1b60e7db PDF Text Text , DOLLAR BRAND I MA 15 1~ �Dollar Brand Dollar Brand (Abdullah Ibrahim), South African pianist/ composer, will present two benefit performances for the African-American Cultural Center on March 12 . The event wi II be held at the Tralfamadore Cafe, 2610 Main at Fillmore, with shows at 6 & 9 P.M. Dollar, one of the foremost solo piano performers in jazz today, has been playing the instrument since age seven back in his birthplace of Capetown, South Africa. He played many professional jobs with well known bands while sti II in high school. In '64, Brand moved to the U.S., and appeared at the Newport Jazz Festival. Soon one of his admirers , Duke Ellington, arranged for him to record, and later gave his own position in his band to Dollar for an East Coast tour . After severanl years here, Brand moved back to Capetown and formed the Marimba Music Centre in Swaziland in 1970. He's been spending most of his time touring the U.S ., Europe and Great Britain and is often heard at major jazz festivals throughout the world . Among his many recordings are a hit single and a hit album, both called "Cape Town Fringe" - on Chiaroscuro records. His concerts in Buffalo will be solo piano, in a club where the atmosphere is conducive to the music . See the ad in this issue for details; a_ nd for more information phone 884-2013. Louise Lambert • ,:.,s. _ If you live in Toronto, or plan to be visiting the area, drop by to hea r smger / songwriter / pianist Louise Lambert . Since this is a jazz magazine I will tell you outright that Lou1se IS not strictly a jazz singer. Her material covers just about everyth1ng - R & B, folk, jazz, pop, Latin, country rock and m1xtures of each, and most of the tunes are originals . She's played with all sized bands and as a single- accompanyng herself on piano. She sings everything with emotion, individuality and total involvement. She's got power and guts as well as a fine control and tender sensitivity. Louise has often been heard at jazz concerts with the Norm Amadio Trio at the Inn on the Park and Humber College, and appears with Amadio frequently at Toronto's Sheraton Centre . But no matter what the context, Louise sings all her songs with a jazz feeling . I first heard Louise when we worked in a band together seven years ago. Thin?s have changed a bit. Since starting this magaZine 1n 1974, it s taken up all of my time. My drums spend a good deal of time packed up in the basement. Louise was good then and has improved with age. She's making a living singing and teachmg. And she's sounding great - something it didn't take me long to find out when I found her performing here at St. George's Table in December . Louise, who is from East Aurora, N.Y., may be back in Buffalo in the near future for a weekend at the Tralfamadore Cafe - doing jazz of course. But, if you enjoy good music of all categories, you can hear her in Toronto- Mon. - Fri . evenings at the Park Plaza Hotel from 5:30 - 8:30 PM . Also, at the Aquarius at Bay & Bloor in the ManulifeCentre at 9 PM Mon.Sat . Nights (thru March 11). You can also watch for her at Bobbins, 547 Parliament on future weekends (after the 11th). She's working as a single (vocals/piano) at all of these clubs. B.W. Discography: Selected listing of available albums This is Dollar Brand- Black Lion 30139 African Piano - Japo 60002 African Sketchbook - Enja 2026 Ancient Africa - Japo 60005 Confluence - w . Gato Barbieri - Arista / Freedom AL 1003 Sangoma - Sackville 3006 African Portraits - Sack vi lie 3009 African Space Program - Enja 2032 Good News from Africa - Enja 2048 The Children of Africa - Inner City 3003 Cape Town Fringe - Chiaroscuro 2004 For some words on the music of Dollar Brand - see Ron Weinstock's review of a recent Brand concert in this issue. EDITOR & PUBLISHER - Bill Wahl CONTRIBUTORS- Louis Bradshaw, Bill Besecker, Bill Harris, Brad Hunt, John Hunt, Jim Kay, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock . ILLUSTRATOR -Sabrina Mayberry Smith. ADVERTISING Manager - National & Local - Bob Riley (716) 883-3909 Niagara Falls/Lockport- Ed Supple (716) 297-7878 Toronto/Hamilton - Hal Hill (416) 742-4081 (after 6 PM) CORRESPONDENTSRochester - Jim Laniok Syracuse - Bob Shepherdson Toronto - Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3~09, Ext. 11 PRINTED IN U.SA 1978 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the publisher. . The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge throughout Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport .and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $7/year, paid in advance. 2 FENTON ROBINSON Known to blues fans as one of the finest singer-guitarists in modern blues, Fenton Robinson comes to the Bona Vista Wedne sday , March 15 through Saturday, March 18. Born in Mississippi in 1935, Fenton began playing around the Memphis - Littl e Rock area in the 50s. In th e mid-fifties he made some classic recordings for Meteor and Duke including th e original recording of "As Years Go Passing By". Fenton came north to Chi c ago in 1962 and quickly entrenched himself ~mong the finest bluesmen in the blues capital. Fenton made a number of excellent singles during the 60s for some small labels including his own "Somebody Loan Me a Dime", Detroit Jr.'s "You Say You ' re Leaving" and "The Getaway" . Fenton also was a member of different bands includ ing those of Junior Wells and Charlie Musselwhite. An excellent songwriter as well as performer, Fenton has influenced many other bluesmen . "Somebody Loan Me a Dime" is a blues classic and has beenperformedby Mighty Joe Young and Boz Scaggs (who despite his own claim of composing the tune, didn't write it). His two Alligator albums, Somebody Loan Me a Dime (AI 4705) and I Hear Some Blues Downstairs (AI �. I committed to a concert in Bermuda .and faithful to the tradition long established by Duke, the band made it - and on time. ·~. The current orchestra continues to play tuhes from its famous library, and includes such familiar Ell i ngton names as Cootie Williams, Harold Ashby, Money Johnson & Chuck CoNJors. The event will begin at 8 PM. Tickets are $5 advance, $6 at the door - avai I able at Record Theatre, Roxy's Music (Batavia). Depew Music Center, John & Mary's (Lancaster) and at the door . ~ 4710) show' him to be a continuing maturing artist whose .fluent inventive guitar combines with gospel-tinged vocals. Fenton has' been called by Blues Unlimited "The most interes1ing modern bluesman recording today." Starting March 15th you' II have a chan,ce to discover why at the Bona Vista. R.W. DOLLAR BRAND AT AXIS IN SOHO Pianist Dollar Brand gave a stunning solo concert February 19, 1978 at Axis in SoHo in New York City. Combining elements of jazz, blues and gospel with the ~olk music of his native South Africa, Dollar Brand played a music that often was melodic, sometimes estatic yet never devoid of interest or logic. Despite his association with the new jazz there can be no doubt of the accessibi I ity of his complex melodic developments with the interesting rhythmical and harmonic elements he adds to the" music. His building upon simple folk themes makes use of devices from the history of jazz piano and at different times one wi II hear elements ofF ats, Duke, Monk and mor·e recent stylists . Each set was based it seemed on one of his compositions but I recognized elements of other of his works during each non-interrupted set. I recognized "ASR" and "Yukio-Khal if a" from his album The Children of Africa and the Inner City recording of the tunes will give some sense of his invention. I understand Dollar Brand is going to be in Buffalo so most BJR readers will have the opportunity to see one of the masters of modern jazz piano. R.W . ELLINGTON -ORCHESTRA TO PERFORM The Duke Ellington Orchestra, under the direction of Duke's son Mercer, will play a concert Tuesday, April 11 at Alden Central High School Auditorium. It is a presentation of the school's Spanish Club . Mercer assumed direction of the world famous orchestra the day after his father's funeral, in May 1974. They had been 1 AN APPEAL TO ROCHESTERIANS , As ~Rochester correspondent for the BJR, I am quite aware that a number of people really look forward to this magazine each month . (Some record store clerks even re,:>art threats of • violence from customers when the BJR is late!) I know you're out there, so I'd like to hear from you. My phone number is 244-0473. Call me with your suggestions, criticisms, marriage proposals, info. about performances, or just to talk about jaz(l:. · Jim Laniok PAUL BLEY AT AXIS IN SOHO 1 Axis in Soho is an art gallery that has become an important jazz club in New York City and an important outlet for new jazz. Recently they have inaugurated a Sunday afternoon concert series which attempts to break down barriers between audiences of new 'Classical' and new 'Jazz' music. The con cert of February 5, 1978 combined a program of a group led by Glen Moore and Paul McCandless of Oregon with a solo set by ' pianist Paul Bley. 1 Bassist Moore and woodwind player McCandless prese~;~ted a program of about eight composed pieces. With Moore on bass (piano on one tune) and McCandless part of an eight piece reed and horn section, the group played some striking music with interesting harmonies . The texture of the pieces recalled for me David Holland' s Conference of the Birds album except the �Deppe, the vocalist/leader of Hines's fi,!st serious professional band, is a salutary reminder that among the many infl'uences on the syncopated improvised dance music we now call jazz was the western classical tradition.) After a brief period leading a big band in Pittsburgh, Hines moved to Chicago (partly in response to the prompting of Eubie Blake, who recognized a young piano talent when he saw one) where he played in several big bands, made some legendary (and still fresh-sounding) recordings with Louis Armstrong, and then, . in 1929, bege~n a career as a big-band leader that would last until the mid-:4os. He spent many of those years at Chicago's Grand Terrace, a night club run by the Capone element of the Chicago rr10b . (Gangsters feature prominently in the story of many jazz I'T)I,ISicians in the '30s . Prohibition had brought them into the p\ght club business, and they stayed in after Prohibition wentout.) He concludes his story with warm memories of his later years, including several White House appearances and an audience with the Pope. The remainder of the book co!'sists of the highspirited reminiscences of many of the band members . The Hines band, like so many of the big bands of the '.30s, was a show band. They not only played concert and dance music, they had singers, dancers, chorus I ines (and how Earl and his musicians loved those chorus girls), novelty acts-a c()mpletely scored show. Despite his being one of the great piano soloists, Hines always considered himself a show-band le¥~?~r; he even hired a second pianist so he could get up front and direct. He liked spotlighting vocalists - his greatest was his early -'40s singer, Billy Eckstine. (That band also inclt,~ded Charlie Parker and Dizzy Gillespie, and has always been considered a prime incubator of bebop .) Dance taped a hilarious conversation about road experiences between Eckstein and Hines which, among other things, demonstrates that "motherfucker" means one thing when it comes from a racist woman in a restaurant at which the band stops while on tour ("What dq you motherfuckers want?") and another when it comes from an adoring .woman at the Apollo in New York (''I'll take you, you sweet motherfucker!") The first still made them bristle 30 years later, the second still cracks them up . It's staggering to think of the first-class music the Hines band made despit~ the second-class circumstances in which they (and so many others) often found themselves while on the road, particularly m the south . Dance does an excellent job, particularly with Hines, of welding what must have been many conversations . into a coherent whole. The World of Earl Hines includes an excel.lent selection of photographs and a Hines chronology and discography . It is a first-rate work in every way . ~ lllJE ~\U SPEU~~~R lb/ Sl~l!JrflJ . Speak"'s Qu, Spedalty Quality Raw Speakers, Crossovers, Custom Enclosures (plus Critically Acclaimed Cylinder Types). Speaker Kits, Transmission lines, Subwoofers. 1015 Kensington Avenue· Buffalo· New York 14215 Telephone: (716) 837-1557 larger ensemble made for somewhat more arranged textures. Various members did get off fine solos including some excellent oboe work from McCandless and a nice bass solo by Moore on the last piece. The drummerless group was able to maintain a rhythmicai pulse partly on Moore's foundation. The music was also possessing of a serene an opposed to abrasive flavor . After a brief intermission Paul Bley was introduced and he proceeded to play some mellow melodic improvisations. His forty minutes spend on five numbers included use of dissonant harmonies and using the inside of th e piano (stopping tones or plucking strings) . He subtly worked around themes without losing his anchorage and among the highlights was a fine blues and a fascinating reworking of "All the Things You Are". His encore was a brief number making use of the unconventional modes of playing piano and like his entire set included a judicious amount of humor. R. W. Riff1 in Print BOOK REVIEWS BY BRAD HUNT No better way exists to overcome the New Orleans-toChicago school of jazz literature than to read The World of Earl Hines by Stanley Dance (Scribner's, $7 .95), though that is but one of the many merits of this fine book. It is an oral history, a form with which Dance has had striking success (The World of Duke Ellington, The World of Swing) and which he handles well here . The first part of the book presents the autobiography of "Fatha" Hines, the splendid and timeless piano player. Hines grew up in Pittsburgh, where he studied classical piano while being increasingly attracted by the jazzedup show and pop tunes being played around him in black PiUsburgh. (Hines's classical training, as well as that of Louis 59 Kenmore Ave. The/ound Approach 836-1781 (corner of Windemere) behind jewelry store 4 by JIM KAY PART I - SHOPPING FOR SPEAKERS Or Who's On First, What's On Second . If confussion ever had a right to reign supr eme, it sure has it here . Todays speaker buyer is faced with making hi s choi c e fr-om a mere 200 or 300 speakers made availabl e to h1m, in siz es and shapes that stagger the imaginat ion Take some consolation in the fact, that, by setting a budget to your quest, you can bring this number down to 20 or 30 . Speaking of budget, let me say that nowhere in your over all system will money be better spent, for this 1s the most important link in the stereo chain . This is where $25 to $50 can make an audiabl e difference. In shopping today s speaker market, it's important to realize there are no meaningful specifi cations to use in judging speakers. The only thing you can do is educate your ears and put your trust in them to decide · the good or bad . �To best accomplish this, the buyer should provide himself with some sort of reference by which to judge the speakers ability to faithfully reproduce music. I can think of no better way than to attend a live performance of music which falls in I ine with your greatest interest. "If jazz, classical or rock is your·thing go forth and listen . But listen in a different way! When listening try not to get too involved with the music material, but more in the way it sounds . Try and break the over all performance up into sections by either frequen c ies or instruments. Lis ten for the low tones produced by instruments I ike the organ or bass drums, the mid frequencies produced by pianos and horns . The violin, bells and flutes provide information in the upper scale. Become aware of what live music sounds I ike and your have a big advantage in shopping the market. Once you have this reference background we can go on to the next step . Don't be impatient. Don't runto the nearest hi-fi store and grab a salesman by the neck and insist he play his wares . Talk to friends and go shopping for a few technically well recorded records . This investment will bring many rewards . Make this selection not only by what you like, but also by what best suits your needs. Classical music, while it may not be your heart throb, provides a great deal of balanced information . Listening for the many symphonic instruments wi II show the speakers abi I ity to handle complex musical information . Recordings of female vocalists are useful in showing the pre sence a speaker has at mid range and upper mid range levels . But here beware! An over abundance of this information might sound very pleasing at first, but it doesn't take long for this over bright sound to become nerve-wreckingandfatiguing . Well made piano recordings are very useful in judging speakers. While you may not think it , the piano is one of the most difficult instruments to reproduce . · Now with your own personal record I ibrary in hand , off to the races. By having your own demo record your assured that the differences in the speakers you hear are in the speakers and not in the records the salesman plays for you . Now prepare yourself for a long pleasant shopping experience. Believe me, it's impossible to judge a speaker after 5 ·mins. of listening . Approach your local hi - fi dealer and give the salesman an idea of what youarewilling to spend on a good pair of speakers . Keep in your own mind the willingn ess to go $50 over or under . Ask the salesman his opinion on speaker selection . Listen to everything he has to offer . Remember music and listening is a matter of interpretation . No two peo ple hear exactly alike . That's why there are 200 manufacturers in the business . No one can tell you what is the best speaker for you . I think that, all of us, because of either budget or by size limitation , must compromise . But, by wise shopping, we can get the best for our dollars . Since there are no useful specifications help in selecting speakers, it's only natural that there are a number of myths and legends this speaker business suffers from. So what say, you, we slay the. dragon . One of these long standing myths is in the number of drivers or speakers that are required in the box to make the sound . It has long been the idea that more is better . Its the Ameri can way, well bull feath ers . This misconception should have died years ago . Maybe when my grandfather was in knickers chasing the ice wagon on a summer day this was true, but no lon~er . One sure way to prove this to yourself is to go to a furniture store that sells musi c boxes in th e form of elaborate consoles with six speakers on each side . Th en I is ten to a quality 2 way system . It shouldn't take long to de duce that those six speakers are about as useful as tits on a bull. Ther e are no absolutes in this market. More is not better and neither is bigger better . Whi ch leads us to another muth, "The bigger the bass driver the better the bass" . Bigger is not better in cars, women or warts and certainly not in FESTIVAL EAST CONCERTS PRESENTS 4 GREAT CONCERTS COMING TO BU.FFALO! SUN., MARCH 19-8:30pm KLEINHANS MUSIC HALL - TICKETS: $8, $7 & $6 B.B.King & Bobby Blue Bland FRI., MARCH 24 8:30pm KLEINHANS MUSIC HALL - TICKETS: $7.50 & $6.50 Grover Washington Jr. WED., APRIL 12-8pm KLEINHANS MUSIC HALL- $7.50, $6.50 & $5.50 Chuck Mangione also in SYRACUSE on APRIL 18th & Pittsburgh- April 11th , Cleveland - April 21st and Cincinnati on April 23rd. FRI., APRIL 21- 8:30pm fu Jean-Luc Ponty KLEINHANS MUSIC HALL - TICKETS: $7 & $6 All Seats Reserved For All Above Shows So GET YOUR TICKETS NOW! 5 Tickets Available at Festival Tickets in the Statler Hilton Hotel or with Nominal Service Ch a;gc at All Man Two & Pantasti k Stores. U. B.'s Squire Hall, Audrey & Del s Records, Buffalo State College, Amherst Tickets, D'Amico's in Niagara Falls & Sam the Record Man Stores in Canada. �speakers . Let's first look at how this child of misconception was fos tered. All sound is produced by the movement of air . The amount moved determines its frequency . Therefore bigger speakers move more air so th ey are better. Again there are no absolutes. A number of. small speakers moving together can produce the same ai r movement as one large one . Anoth er way around the speaker size myth is to have on e sm<;~ll e r speaker traverse a greater di stance , there too increasing the large speaker can seemingly do th e job7 The answer t o this is , anytime you increase th e size of any f.l exible surfa ce, you in crease the tendency of that surace to flex in th e r eproduction of sound in the low registers . It is important that the entire speaker surface moves in unison . If th e speaker gets l arger , this flex tendency inc reases and uniform movement becomes harder, along with the logi c al probl em of cabinet size . Now along comes modern t echno logy t o solve our probl em . The traverse of a speaker cone is the result of an electro magnetic field and its effect on a moving coi I attached to th e driver cone . As the coi I moves in and out of its magneti c · field, so moves the cone and thus th e air movement produce s the sound . One of the many probl ems to com e up in th e development of a smaller driver moving a greater distance was to keep this co i I centered in its travel. Th e di stance that th e small driver traveled made this hard to accomplish. At first low fricti on guides were used, but this detracted from eff ic iency . Now a number of manufacturers are using a fluid whi ch provides zero friction and extr emely accurate centering . It al so helps in another big problem faced by speaker manufacturers: heat dissipation. In todays market of bigger than I ife sound, th e heat build-up in speakers is, or can be, excessive . The qui c k transfer of heat energy away from the fragil e coi I has made speakers able to .Produce loud level s without as much danger of thermal b~rn out. This is not a statement against large drivers but an indication that they are not a must in attaining good bass response . In our next issue we w i II cover some of the questions that arise about high frequency drivers and we wi II try to sh ed some light on th e myth involv ing how much power is needed for any speaker system. Hope t o see you th e. One more thing - - ·usTEW. We invite your comm ents , sugg esti ons and views . Address your l etters to : Sound Approach c/ o B uffalo Jazz Report TORONTO UP.DATE - HAL HILL Rob McConnel l leader / trombonist of th e Boss Brass is a very busy artist these days ... .. .. . A new album by th e Boss Bras s on th e Canadian Tal ent Library label due out very soon .. .. Rob is arranging an album for th e Singers Unlimited with th e Boss Brass .... al so an album by th e Boss Brass for the MPS label. .. .. A new Direct-to-Disc album coming out soon .. ... the first one has sold 35,000 thus far in the United States and Canada .... Creative World records (Stan Kenton label) .. shows great interest in distr ibuting the "Jazz Album" by McConnell and Boss Brass which i s only availabl e in Canada so far on the Attic I abel. Rob is also working on an ass ignment fora Hi Lo ' s reunion album with Gene Puerling .. and .. ... preparations are under way to take the Boss Brass into Basin Street for a one week gig on June 5th .. . Rob hopes to have all new material for the band to play at that time , ... Th e Boss Brass consists of th e top musi ci ans in Toronto, and are always eagerly followed byth e manyfans in all of th eir engagements ... just try to get a tabl e at any of the Basin Street bookings and you'll know what I mean ....... Rob McConnell ... a very b-u-s-y person .... \ ' I New Muse WILBERT 'BIG CHIEF' ELLIS DIES Blues pian i st Wilbert Ellis who was known as Big Chief di ed Dec . 20, 1977 in his native Birmingham , Alabama . Born in 1915 big chi ef learned piano with his great aunt who allowed him to practice, whil e his religious parents had forbidden musi c in their house . Chief was both a musician and a gambler . He travelled and had the opportunity to learn from many other musi c ians . Settling in New York in 1942 where he would make some r ecordings through th e mid fifti es. He was rediscovered in 1974 where he was encouraged to start playing again which led to public appearances and new r ecording opportunities. Big Chi ef r ecorded an album for Tri x Records (3316) which demonstrated his fluent left hand and hi s thoughtful embellishments with his right hand . As a s inger he used an effecti ve slightly nasal vocal app r oach . Hi s mus ic was low key and not flashy . His album lacked any uptempo boogi es yet showed his solid musi c ianship. It was the Buffalo Jazz Report's best blues album of 1977. Big Chi ef Ellis will be yet another blues tal ent that wil l go unrepl aced . (Information fr om l i ner notes t o Tri x 3316 by Richard Spottsword and Cadence Magazine). R.W. PLUS Houston Person/ Wild Flower- MR 5161 Carlos Garnet/The New love- MR 5133 Red Rodney/Red, White & Blues- MR 5111 Brownie McGee & Sonny Terry/You Hear Me Talkin' MR 5131 I bHW BUFFALO ROCHESTER, SYRACUSE, ERIE ~--------------------------------~ 6 SONNY GREENWICH QUARTET IN CONCERT Sonny Greenwich, a l ivin g legend and Canada's most di stinctive and innovativ e guitari st, will appear in co nce rt on Sunday , March 19 at the Colon ia l Ta ve rn , Yonge St ., Tor onto . Si nce he has a large fo ll owing in th e area, and he' s not appeared her e for sever al year s , th er e will be two conce rt sa matinee at 2 :30 and an evening performan ce at 7:30 . Th e Col onial will be use d asaconcerth all with no al coholi c beverages served. Th e snac k bar will be open . Ti ckets are $6 .50 each, avail ab le at all BASS Ti c ket Out lets (416-923-1600) or by m ai I fr om Si lv erbi rc h Conce rt s , 3 Cassel s Ave. , Toront o M4E 1X9, Canada. �~-------------------------------------------------------------------------1 \ 'C ome into the largest selection of Jazz anywhere ... at the Lowest Prices Coryell-Khan I \1 o t l l I{ ·r II F I{ 0 .\ D PHA.AOAH SANDUS LO/l 1/VlLL fNJ A WAY Available on ARISTA Records JEAN-WC PONTY Over Thousands of Artist And Titles to Choose From ..... . C{)me In And Check Out Jazz Night Every Thurs. 8- 9 PM For Extra Savings ..... dexter wansel voyager ENIGMATIC OCEAN including: Voyager/AJI Night long /1Just Want To love You Time Is The Teacher/l'm In Love Rochester Locations: Midtown Plaza Greecetowne Mall Gates Eastview Plaza 2525 W. Henrietta Rd. 1800 MAIN at LAFAYETTE Syracuse: On The Hi II Largest Selection of Direct to Disc LP's ..... �Record1 RECORD REVIEWERS: Bill Wahl (B.W.), John Hunt (J.H.), Tom Mazzone (T.M.), Ron Weinstock (R.W.), Paul Smith (P.S.), Jim Lani'ok (J .L.) and Bill Besecker (B.B.). HAL GALPER: NOW HEAR THIS - INNER CITY 3012 REACH OUT! - INNER CITY 2067 After having worked for well over a decade with such people as Chet Baker, Sam Rivers, Cannonball Adderley & Lee Konitz, pianist Hal Galper is gaining some recognition as a soloist and leader in his own right . These two different and equally enjoyable albums offer his talents to jazz homes throughout the world. From Inner City's ENJA (Germany) series comes Now Hear This, a quartet recording with trumpeter Terumasa Hino, Cecil McBee & Tony Williams. This is powerful, energized music with both Galper's sound and that of the unit being very much like that of McCoy Tyner. Even Hal's compositions recall the modal style of Tyners. Each member of the band is perfect for this contect. Hino, Japan's best known trumpeter, plays well although I've heard more noteworthy work from him on several previous occasions. The high energy level drops for only two of six tracks, a Galper ballad and Monk's Beshma Swing. A good release that should attract many - especially McCoy's people. The second Galper disc, Reach Out!, comes from Inner City's Steeplechase (Denmark) line. The Tyner influence is still apparent, especially on Hal's title track, but to a lesser degree overall. This band is super, both individually and as an ensemble. Randy & Michael Brecker are in high gear and will surprise anyone who's only heard their own "Brecker Bros." TACOS BURRITOS ENCHILADAS TOAST.f\DAS First with the Best in Buffalo 1247 Hertel Ave. between Colvin & Delaware 873-6606 2114 Seneca St. w ... ::t 2 blocks north of Cazenovia / 822-7733 Watch For New Location At 3355 Bailey at Minnesota Hours 11 -5 AM Daily Discs (when they were in low gear). Bassist Wayne Dockery, from Sonny Fortune's Quintet anddrummerBillyHartcomplete the band. Though still powerful, the energy level here is slightly l.ower than the ENJA disc. The addition of the tenor and in fact the work of both the B f"eckers would make thi~ albutn better rece1ved by a w1der audience. This is actually the band Galper's been touring with, with the exception of Hart. B.W. STEPHANE GRAPELLI - PARISIAN THOROUGHFARE · ARISTAIFREEDOM AF 1033 In violinist Stephane Grapelli we have jazz executed with joy and sincerity. His style and approach exudes a happiness that 1s 1nfect1ous. It takes more than just a positive attitude, however, to be regarded as highly as Grapelli is on an instrument that is not commonplace in jazz. Grape IIi is a professional; a technically proficient musician who earns the respect" of musicians and critics in all genres of music year after year. For th1s recording, Parisian Thoroughfare, Grape IIi is in the company of what was at the time the rhythm section for the Jones/Lewis Big Band: Pianist Roland Hanna, bassist Jiri Mraz and Buffalo-born Mel Lewis on drums. For the pseudosophisticates this album probably contains too many standardssongs that because of frequent playing are in danger of becoming cliches. Wave by Jobim comes close to falling into that category but in the hands of this quartet it is given more life than usual. Hanna uti I izes electric piano on two selections - the title piece and on Gershwin's Fascinating Rhythm -and acoustic piano for the rest of the album. Hanna's Perugia is given several different and pleasing twists from the previously released solo recording made a year later by Hanna at Montreux (AF 1010). As Grapelli reaches his late sixties this release illustrates what another violinist Jean-Luc Ponty meant when he said of Grapelli " ... he has so much fire and honesty and (is) so faithful to his own personality. He is a true artist." J.H. CORYELL & KAHN- TWO FOR THE ROAD- ARISTA AB 4156 During 1975 & 1976, guitarists Larry Coryell & Steve Kahn toured throughout the U.S. and Europe doing concerts as a duo . I'd heard that the acoustic portion of the performance was excellent. Also, that the electric portion (with a rhythm machine) suffered terribly by comparison. Arista had the good taste to release the acoustic music (only) from two of the concerts . Coryell & Kahn, known mostly for electronic jazz/rock & funk, display a mastery of the acoustic guitar that few would expect. There's a couple of originals, two Wayne Shorter cuts - Footprints and Ju Ju, Corea's Spain and more. In a nutshell - a top flight guitar album . B.W. JAMES MOODY - BEYOND THIS WORLD - VANGUARD SO 79404 . This well respected man on tenor sax and flutes has changed d1rect1on. Having dropped the straight-ahead format he's been doing for years Moody is now using a jazz/rock/funk band coming up with incredibly poor results. His musicians either can't play or don't care. Moody & one of his former sidemen, Tom Mcintosh, wrote all the tunes (which couldn't have been hard), and James adds his vocals to several cuts, unfortunately they don't fit with this. style of music. This marks the return of Moody's flute on record after a few with only saxes. Sorry to say- the ol' flute is in bad company here. B.W. THE RECORD BoUTI QUE Chick Corea Mad Hatter- $4.99 2815 Delaware Ave. (corner Eucl1d) 873-9534 Kenmore, New York Open 10-9 Daily Sundays 12·5 �STAN GETZ GOLD- INNER CITY 1040 When Stan Getz turned fifty last year, he was working at the world famous Montmartre Jazzhus in Copenhagen. It was there, in late January, that thIS two record set was produced. -Getz has had only three newly recorded albums over the last several years. Each has been good in their varying styles. Gold is the first straight-ahead blowing showcase for Getz in a good long time and is well worth picking up. Pianist Joanne Brackeen, bassist Niels Henning Orsted Pedersen and drummer Billy Hart make up a driving, sensiti've rhythm section with a good sense of swing. The music is well recorded and Stan, through his airy, melodic tenor projects a constant flow of new ideas. Some of the best tracks are Wayne Shorter' s lnfa.nt Eyes and Lester Left Town, Strayhorn's Lush Life and a medium tempo swinger Morning Star. Brackeen is best on acoustic piano, but plays mostly electric here. However, her style on the rhodes is betterthan most I' ve heard - more interesti'ng and original. Nhop & Hart live up to their ever growing reputations. You wi II hear some low points here and there - bad notes and typical live recording flaws that can be doctored or redone at studio - recorded sessions. But overall -this is not only goqd Getz but good solid jazz recorded under prime conditions live and at one of the topfewjazz clubs in the world . B.W . THE EUROPEAN SCENE (the Willem Breuker Kollect ief at the Oonaueschingen Music Festival) Delta/MPS 50 0640 60014 Recorded l ess than a month before "Live in Berlin", this album offers much of the current repertoire of the Kollektief. Both the albums are recorded two years into the development of the group and present a bandquiteevolvedfrom the earlier recorded Baal Brecht Breuker (BVHAAST003) and Twenty Minutes in the life of Bill Moons (BVHAAST006). The band has ·become more a "collective" in the contributive sense of word. The band began as strictly ensemble oriented with emphasis on compositions and little room for the individualistic flares of its members. MThe European Scene" offers evidence of the growing amount of influence each soloist has in the total sound of the group. What were once faint echoes of potentiality in the skintight arrangements are now stand-out, flesh ripping voices of power and imagination . All are outstanding: Cuypers, VanManen, Raay, Makers. Wolff, Driessen, Van Norden, Hunnkink, Gorter, Verdurmen and Snijders. Memorable compositions are scattered throughout. You can't quite forget the music once you hear it. Future hearings are immediately recogn1zable as the one and only Kollektief. There are haunting tunes - "Logical", and "Trauermusik aus 'Keetje Tippel' "; the humoresque "Overture 'La Plagiata' ";the free jazz outings of "Szenenwechselmusik aus 'La Plagiata' " and "Steaming". Brothers, th is one may not be available (other than if you were at the concert) but bug the outlets to order one for you. Maybe they can start stocking these things. B.B. MEMPHIS NIGHTHAWKS - JAZZ LIPS - DELMARK DS-216 Led by Ron Dewar thi s Urbana, Illinois based group takes their name from a group who r ec orded in 1932 and th ey also wer en't from Memph1s. This is a traditional pzz group play ing what might be call ed "Dixi eland" f eaturing collective improvisation, which has clo ser l1nks to much of the new jazz than many would suspect. Sp1rited music with "Tishomingo Blues" being a particularly f1n e number givingtrumpeterSteve Jensen a chance to show off his slurred ton e. Dave Feinman's bass sax and Mike Miller's banJO take the place of the bass and drums . "Papa De Da Da" 1s a buoyant romp with joyour and drums. "Papa De Da Da" 1s d buoyant romp with joyous call and response between the horns Feinman's use of the bass saxophone isn't the only unusual instrumentation of this band as leader DeWar uses a C-Melody sax along with his soprano and clarinet . Spirited music indeed that should appeal FENTON ROBIN/ON! Direct from Chicago March 15 thru 18 first show 10:30/$2 adm. BONA VISTA 1504 Hertel 836-8985 SEABREEZE/INTERPLAY These two independent labels come out of Los Angeles and are owned by a gentleman named Toshiya Taenaka. Toshiya, who produces the albums, believes that the musicians should be in control of the music - a pol icy evident on his releases to date. Four of these are solo piano records. AL HAIG/Piano Interpretation (Seabreeze 1001), CLAUDE WILLIAMSON/Holography (Interplay 7708) and JOEY ALBANY /The Albany Touch (Seabreeze 1004) all feature the pianists offering informal, personal statements that will please those who've followed Because you know. we know where our prrorrt res Ir e: the consummate acoustic experience Rr lttx. vvr.'re no t tll ltlllt to p rP\\tii P Villi TIH' v t ~ry L t ~ :t tl lll l y ot : d ll ! rR tHhll~jlili s itHltcdtes thtll you krw w whd t IVPP ul sy :-. !f~ r ll y(Ju wJ nt . Wr.'1e h e u~ to If~ ! you lit nl tt. Vtstt ll tJI f~ x p dtl!!P rl shtJWJtH Jtll Lt cil tiii!S , t:,!ll fnr advir.e, lll tll t Hi dlirn~. rar1 ye f m il p t rv <~ tP co rl sul!il!l rlll 111 JUS t luuk us ovf~ l C h ;~m:es i.l ll ~, we have w"" ' sornPtiliiHI yu11 A.11rl11r R;~ s '''"c l r. Mc11k Lr•v11rso rt . D<~ylllll W r~ ul t t , GreJt Arneru: dll So und Ctl ., 8dl l iJ dl l d Ol utsP rl, At' IHIS L !I X . fJdhlq ti! SI. Mllqn epan M<rqt wpl;llr<rr . Mii,K 'NrrrJII' r [tll\\rt VI'r. Y<1111 .drd . SAE . Ht R. Polk Aorlru . Oo ad. TPc ll 11 rcs , L11 t11 SorHIPk KMA L. 011ky o. IMF . Olldlr l' . Ftrr> rl Jrtti 111<rll Y 111ore . We of fe 1 lihP1al trade 111 allo wa nces, ldwrtll s~:~ t i s f ac t 10n w 1t h all CH I! co mp onPn ts 11Uille l l li!l polt C H~ S, and Ulwranteed stereo errporim 3407 DelawarP Avenue . Buffalo New York 14217 Telellhone (716) 8743372 �bit ion it fails to make a commitment to one directi on and more importantly does not ut i lize th e availabl e tal ent to it ' s fullest potential. There should have been more moments I ike the acousti c piano port ions of Sonata for a Dream which as Nighthawk points out th e liner notes is " ... aprevi ewof things to come from the pen of th is enfant - t errible of musi c. " Too much of the album, however, is I ike a beautiful "preview" of an as yet un fini shed work . J .H. DEXTER GORDON - BITING THE APPLE - INNER CITY 2080 So, another Dexter Gordon album. Inner City, Columbia and Xanadu have coll ect i vely been pumping Gordon albums out like sausage in th e last year (this is th e t enth if my count is corr ect, not counting re - issues and i mports from other l abels) . Being a Gordon freak , I'm enjoying it imm ense ly . Biting the Apple was recorded in November of ' 76 , during the t our th at he ended as a "star ". Th e quartet features Barry Harris, Sam Brown and AI Fo ster - an exceptional rhythm aggregat ion. Each i s a f avorite of Don Schlitten for his Xanadu l abel . Th e program her e consists of the ballad I'll Remember Apr i l , and thr ee up - t empo swing er s. Two are Gordon originals . Th is album, whil e good , i s not am ong h is be st. Un less you're coll ectmg Go r don album s (as I am) you' II do better t o pi ck up such other Inner City r ecords as The Apartment and Stable Mabie , and Columbia ' s Homecoming first. Th en f or mo r e try this and others . Don't assum e thi s t o be a bad r eco rd. It' s not. Let's just say he's done better . B.W . When Your Feet Need A Friend 719 Elmwood Avenue Buffalo, N. V. Swedish Clogs for Men, Women and Children Largest Selection of Sizes, Styles and Colors . their lengthy careers . Haig and Williamson also have trio recordings for the labels . Al's Portrait of Bud Powell (Interplay 7707). a tribute to the late pianist, isdonewithbassistJamil Nasser and drummer Frank Gant, both formerly with Ahmad Jamal's trio . Williamson's All God's Children Got Rhythm (Seabr eeze 1003) features the pianist with Bob Magnussen & Chuck Flores . Each is a bright, swinging set and more good examples of thes e men's work. Solo piano , and to a slightly lesser extent trio records are a daring venture since th e only r eal market i s those people who are heavily into the particular arti st. If you follow any of these , you shouldn't go wrong with the above . One artist who has a large, loyal following is t enor saxophonist WARNE MARSH. If you're among them, or recently became interested in the cool , cerebral soundofKonitz , Marsh, Tristano, etc ., pick up Warne Out (Interplay 7709) . This is a tenor led trio with bassist Jim Hughart and drummer Ni ck Ceroli . You'll find some great music in the Tristano school tradition . Four cuts are Marsh originals, Ceroli wrot e two and the last is Tristano ' s Lennie' s Pennies . Marsh ove r dubs a second t enor track on a few cuts bringing to mind the many Konitz/ Marsh recordings . Other albums from Toshiya ' s labe ls have been previously reviewed , and there are more t o com e . B .W . MIROSLAV VITOUS - MIROSLAV - ARISTAIFREEDOM AF 1040 You may find Miroslav perpl exing and if so it's probably because it's leader and sole composer, Miroslav Vitous, intends to make it difficult for his music to be neatly catego rized . You may doubt the worth of any attempt at labeling . Howver, if you choose to do so, it is a task to assign any label, including jazz, to the music on this record . In this age of over. dubbing, it is no surprise that Vitous (formerly of Weather Report). who is known primarily as a bassist, would play several instruments simultaneously. What may come as a surpri se to some is the depth of instrumentat ion he employs . In addition to acousti c bass he rev eals cons iderabl e tal ent on piano, el ec tric piano, mini-moog and ARP String Ensemble . All are played by Vitous with forceful accompaniment by percussionist Don Alias on congas, bongos and drums and Armen Halburian in place of Alias for one composition, Sonata for a Dream. Som e of the composition s, I ike Bassamba and portions of Concerto In E Minor, have Latin undertones but even here th e emphas is is on achieving a dreamy, ethereal f eel i ng that de - emphasizes the rhythm . This feeling is heightened by Vitous ' r elentl ess pursuit of upper register melodic lines on arco and pizzicato bass and synthesizer . The String ensemble provides an almost constant backdrop whil e AI ias punctuates th e scen ery with percussion in a capacity that seems to have been unnecessarily limited by Vitous and therein lies • the probl em . Vitous is attempting to be whatfew musicians are capable of being - a one ""'" h"nti Thi<: "lh11m'" nl-imary fault is that in it's over am- 10 THE GALAXY RELEASE Fantasy Records has reactivated th e Galaxy label, with an initial release of four albums . Two are led by drummers , the others by pianists . Drummer ROY HAYNES' Thank You Thank You features a fairly constant rhythm section, whi ch in c ludes Cecil McBee on bass and Kenneth Nash on percussion . De spite th e absence of any horns on the album, and only one r eed chart , th e musi c r emains vari ed and excit ing . The titl e pi ece features John Kl emm er on t enor sa x and Ron Carter on bass. Thank You Thank You is th e funkiest piece on th e album , a cl ean and lively performan ce in whi ch Klemm er avoids th e meditativ e c ir cular approach whi ch is his trademark. Th e second pi ece features a group of seven , in cluding vibi st Bobby Hutcherson , Stanl ey Cowell on pi ano and Marcus Fi orill o on guitar . Haynes ' drummi ng establ is hes a strong Latin beat under a very inter esting guit ar sol o ; Fiorill o' s t one is sear ing and ro ck - based, but th e stru ctu r e of his solo is rooted in jazz . Hayn es prov es hi msel f the leader of th e sess ion with exc ell ent and unobtrus ive pl ay ing . He guides th e musi c without ov erwh elm ing Hutchers on' s gent l e solo or Nash' s conga drumming. H is own so lo is neith er self - indulg ent nor monotonous ; its structure changes raptdly and he is join ed by th e other s before th e I istener can become bored, avoiding a common pr obl em with drum sol os . All thr ee sel ecti ons on si de two are noteworthy . Th e second is a duet with Nash, perhap s the m ost diffi c ult of th e ft ve pieces t o pull off . Th e first pi ece f eatur es Haynes' drumming behind piani st George Cabl es. Sweet Song, th e album cl oser, is a beautiful ballad. Hutcherson and Cowell sol o, whil e Haynes pro v ides a wash of cymb als and li ght brushwork. A lovely con clusi on to a vari ed and tasteful album . Drummer SHELLY MANNE'S Essen ce is som ewhat les s succ essful. A medl ey of Jerome K ern's Yesterdays and Duke Ellington's Take the Coltrane is ra th£,r di sjoint . Th e quartet , whi ch includes t enori st L ewTab ac ki n (ofth e Akiyoshi - Tabackin big band). handl es th e E II in gton pi ecP well , but th e in c lusi on of Yesterdays at the start and again at th e conc lusion detr ad s from the extended middl e porti on . A personal favorit e is a r eading of Ain't Misbehavin' . Th e rhythm section holds a blues mood, whtl e Taba cki n tri Ps tb pick up the pace. Thi s tug - of - war effect , coupl "d with a pretty S()_lo_.frqm _p i__anist Maike Wofford, get s sid e two off to a good �For$499 you can't beat the system! You've had your starter system for some time and now you 're ready to move up to our System #2. It is specifically designed to offer you exceptional quality in a medium priced system. This system features a Technics by Panasonic SL23 turntable, with automatic shut-off, a SA5170 Technics by Panasonic AM/FM Stereo Receiver and 2 Genesis Model 1 loudspeakers. This coordinated system offers you the quality and adaptability not found in systems costing hundreds more. So if you're moving up or want to start out a little above the rest, remember that for $499 you can't beat the system. $49900 Convenient Financing Available $19.08 PER MONTH $499 + $34.93 Tax= $533 .93 - Down payment $13 .93 Finan ce amount $520. 00 - Monthly payment $19 .08 x 36 months- Finance c harge $156.88- Total cost $690.81 - Annual percentage rate 17.72% Ttan1cendental Audio .Ltd. 773 NIAGARA FALLS BLVD. SOUTH OF SHERIDAN , AMHERST- ERIE- JAMESTOWN �The last of the Galaxy releases is an intriguing solo album by pianist STANLEY COWELL known for his work with Charles Tolliver and Music Incorporated, and for having co-founded the artist-woned Strata-East record company . Cowell is also an inquisitive musician who explores many realms of jazz . Side one begins with a ragtime and a boogie woogie selection, studies of Cowell's musical roots . Two more pieces follow, in a more contemporary vein . To close the first side, however, he turns to African thumb piano, an indication of other roots and broad musical awareness. The last selection leads right into side two, which features the pianist's own compositions . There are many overdubbed tracks -- among Cowell's instruments are clavinet, ARP Odyssey synthesizer, thumb box, various electric keyboards, and an acoustic piano . The blend of sounds is interesting, but never overindulgent. Unlike some electric keyboard players, Cowell's approach lets the I istener appreciate the various instruments because the sound is clean and thoughtful . Cowell approaches his music with an open and imaginative mind, and the result is a study of jazz styles and keyboard instruments which produces very good music . Shepherdson BASF 90 Min. Studio Cassettes Reg. 4.99 Each - 10 @ $34. 77 - R~cei ve $15 Storage Rack FREE! 2815 Delaware Ave. (corner Euclid) Kenmore, New York 873-9534 Open 10-9 Daily Sundays 12·5 start. The second selection, however, lacks d1rect1on. Essence begins with no obvious structure or melody -- which, in itself, is no valid criticism . In fact, Manne turns in strong, Elvin Jones - like drum rolls beneath Taback.in's airy flute. Chuck. Domanico's bass playing is strong and thoughtful here, as elsewhere . But the tune never gets off the ground -- it simply fades without saying anything . Essence, written by the quartet, lacks definitions. It attempts to step outs ide the mainstream, but fails to establish any new identity. The HANK JONES release is well-defined by the title, Just For Fun. Pianist Jones rarely breaks new ground these days, but that is no criticism. He incorporates a strong melodic sense with tasteful and logical improvisation. Ray Brown's s. Interlude, a J .J . Johnson tune, opens the album on an energetic note . Shelly Manne, drummer for the session, stands out on the opener and on A Very Hip Rock. and Roll Tune, where his tradeoffs with the others define Jones' brand of swing . Howard Roberts, the West Coast guitarist, contributes a fine solo . There are two selections from younger brother Thad Jones among the remaining tunes. Notable is the album closer, Kids Are Pretty People, in which Manne lays out and Brown gets solo time. Hank. Jones usually stays within a mid-tempo, mainstream style, always tasteful and lyrical. Just For Fun is a fine record for those very reasons. RCA OF FRANCE - MASTERS SERIES French RCA has quite an impressive re-issue program going . We aim to pick up as many as we can and pass the word on to you . SHORTY ROGERS is represented with Blues Express (FXLI-7234) . This was recorded in '53 & '56 with two slightly different big bands . This is what was known as West Coast jazz, and includes people such as Art Pepper, Jimmy Giuffre and Shelly anne . There's fine writing and soloing on this album, which has been number one on the British Jazz charts for months. LIONEL HAMPTON'S Newport Uproar (FXLI-7286)was recorded live at the '67 Newport Festival- back when it was held at Newport, Rhode Island . There's some swinging, often screaming big band music with Frank Foster, Snook.y Young and Joe Newman included in the I ineup . I II inois Jacquet is a guest soloist on an eightminuteversionofFiyingHome- from Hamp's Benny Goodman days. The leader , of course, gets plenty of solo space himself. Swingin' With Bud (FXLI-7312) comesfromthegreatpianist BUD POWELL. This is the second Powell volume in the series. The trio consists of Bud, George Duvivier and Arthur Taylor and the three deliver some sweet music with five originals and some bop classics - such as Shawnuff and Salt Peanuts . Powell. a p~werful, fluent and highly inventive pianist died in 1966 after a long 1llness which had been affecting him long before this . recording. His brother, pianist Richie Powell, was killed in an accident ih '56 - which also took the life of Clifford Brown . This series is available at major r ecord stores; distributed by Peters International. B.W. Is The Answer Yes? Have you ever heard a UNIS1A.GE Sound System? You can say yes if you've ever been to the "DOWNTOWN ROOM': or heard SPYRO GYRA. or been to an outdoor BUFFALO PHILHARMONIC concert. or eaten at UPSTAIRS/DOWNSTAIRS. The people in charge of these organizations. and over 500 others in the past 4 years. have chosen UNISTAGE to design their Sound Systems. From the most critical of performers (ART GARFUNKEL with the Buffalo Philharmonic). to the most powerful of Buffalo Talent (1A.LAS). UNIS1A.GE not only satisfies their demands; we even make them smile. INISI"AiiE 330 Genesee St .. Buffalo. N.Y. 14204 BUFFALO'S LARGEST STOCK OF PROFESSIONAL SOUND AND RECORDING EQUIPMENT. VISIT OUR DISPLAY STUDIO. CALL FOR APPOINTMENT 853-6500 12 LES HOOPER - DORIAN BLUE - CHURCHILL 67234 There is no shortage of young , enlhu~ i astic big bands these days. Every major city, in fact every university and college seems to have its own big band where young players gather to play, for the most part, modern , up t empo charts . Pianist Les Hooper out of Chicago, is another name to add to the list of big band leaders . Dorian Blue is a collection of his compositions plus one by Miles Davis arranged a great deal like many of the college ensembles' I've heard recently. It's tight and funky but there's very little new offered in terms of composition or arranging. Comparisons can be made between Les Hooper's band and the Eastman Jazz Ensemble from Rochester or perhaps the studio work of the David Mathews big band. These kinds of bands can play their tails off when they want to but slip too easily into a slick. M.O.R. format designed to be safe rather than make any new inroads into jazz arranging. The lyric-less voices seem tacked on so that selections from this album can be played in dentist offices all across America . Hooper should have left them off. Hooper's piano soloina is ��other names you'll recognize on these sides are Art Blakey, John Lewis, Sonny Rollins & Kenny Clarke. Collectors should take note of the setfrom RED GARLAND. REDISCOVERED MASTERS (Prestige 24078) is comprised of thirteen cuts all issued for the first time. Record one finds the pianist with Paul Chambers, Art Taylor & Ray Barretto (congas) and includes some gorgeous balladry on side two. Side three is a trio setting with Doug Watkins and Specs Wright, while the last side is a quintet with Oliver Nelson and Richard Williams. The three sessions date from '58-'61. If you're into the warm, soulful, sexy ballad work of GENE AMMONS, you've got to have GENTLE JUG (Prestige 24079). Recorded in '61 & '62, this package contains sixteen slow ballads in quartet fashion . Some of the cuts included are I Remember You, Skylark, Till There Was You and Willow Weep For Me. All were previously issued on the Moodsville label. Many of the finest recordings of THELONIOUS MONK were on the Riverside label and have become rather rare until Milestone's twofer program dipped into the catalogue. AT THE GORILLA /TEREO I/ COminG barely able to sustain interest long enough for the rest of th e ensemble to come back in. In general, the solos by all members of the group are too short and under r ecorded to give us a realistic picture of their talent. This is a group with great potential, especially when they move into selecttons like Miles' All Blues (minus the voice) and Hooper's Fast Forward but I suggest they all sit down soon and listen to Thad and Mel Live in Munich . J.H . PRESTIGE/MILESTONE TWOFERS The first of the latest batch of twofers from Prestige/ Milestone is by alto saxophonist JACKIE McLEAN. CONTOUR (Prestige 24076) was r ecorded in 1956, just a year after Charlie Parker's death, when Jackie was at the young age of 24. Donald Byrd plays on eight of the twelv e cuts, all of which have been previously issued on Prestige . The legendary pia nist Elmo Hope and Mal Waldron split th e piano work, with bassist Doug Watkins and drummer Art Taylor· rounding out the group. There's some sweet be-bop here from one of the great altoists to come out of the Bird tradition . TUNE UP (Prestige 24077) comes from MILES DAVIS. This is a collection of six sessions don e in '53 & '54 and all the music has been previously issued. There's a lot of fin e moments here, such as a 13 minute version of Walkin' with J.J. Johnson, Lucky Thompson, Horace Si I ver, Per cy Heath and Max Roach . Another highlight is Bag's Groove, another long cut, with Mi It Jackson, Monk. Heath & Roach . Some of the FIVE SPOT (Milestone 47043) revives yet two more, both done live at the New York Club in 1958. There's some great blowing from Johnny Griffin (check out In Walked Bud) and Monk is in top form. Ahmed Abdul-Malik is on bass and Roy Haynes is on drums . Monk fans should havethisone. (Note : These were also issued here as Japanese Riverside imports - In Action and Misterioso). Two very different sessions come from DONALD BYRD titled YOUNG BYRD (Milestone 47044). The first was done I ive at the Five Spot in 1958 with Pepper Adams, Bobby Timmons, Doug Watkins & Elvin Jones. For legal reasons, this was originally released under Pepper Adams' name (10 to 4 at the 5-spot) although it was Byrd's date. Adams, however, seems in charged- blowing his tail off on 'Tis and The Long Two/Four. The second date is a quintet with Gigi Gryle done in a studio with much less excitement or hard core blowing. More BILL EVANS Riverside discs are available again on THE SECOND TRIO (Milestone 47046). I could only suggest this to those building a large Evans collection as it is not one of his better efforts . The problem is probably the fact that Bill's former bassist Scott Lafaro had been killed in an accident and the new bassist Chuck lsraels just couldn't fi II his shoes-good as he was. Better music can be found on Spring Leaves (M-47034) and Village Vanguard Session (M-47002). both with LaFaro and Paul Motian. By contrast, Second Trio sounds weak and uninspired. B.W. Music for all tastes. Sun./ Argyle St. Mon./ Dillon-Brady Band Tues./Billy Brite Wed.,Sat./Shakin Smith and his Blues Band Thurs./Bahama Mama Fri./Dolly & the Midn ighters BUDDY TATE MEETS DOLLAR BRAND - CHIAROSCURO 165 The idea of pairing theformerCountBasietenor star Buddy Tate with African pianist Dollar Brand may seem a bit odd to many. It did to me, butthemusicon this record is marvelousinstantly arresting any preconceived querries. Brand & Tate each taught th e other two originals, they added a pair of standards and together with Cecil McBee & Roy Brooks did an album that went straight to my "heavy play" box with one listening . These two musicians from very diverse backgrounds fused beautifully and the results should more than please fans of both the men and the styl es they repr esent . Don't miss it. B .W. ATTILA ZOLLER - INNER CITY IC 3008 Avante-garde guitarist Attila Zoller was r ecorded in a small club in Munich and ' demonstrates why, thought not th e most popular guitarist today, he is given a large part in the develop ment of the off beat styl es which surfaced in the late 60's and early 70's. Side one is relatively mainstream in comparison to Dream Bells, featured throughout side two . An interesting guitar, drums, and bass trio with some wild but fathomable passages. T.M. live music 7 nights Sun. thruWed./NoCover Candi's Kitchen Open 'till 4 AM - 7 Nights a Week March 15-18/Fenton RobinsonChicago Blues BONA VISTA 1504 HERTEL 836-8985 14 support live music �BEBOP REVISITED VOL. 2 - XANADU 124 This is a sequel to an earlier set wh1 ch mcluded Dexter Gordon and Fats Navarro (Xanadu 120). This ' is an entertaining collection featunng three groups wh1ch illustrate perhaps th(' transistion to bop, and one group cornplet E> Iy onented to th '~ then new music . 1945 recordings under Oscar Pett1ford' s name include some scream1ng D1zzy on "Something for You" and Rubberleg Will1ams has three vocdls . tc:a1 Winding is heard on four sides in a group led by Roy Stevens and Count Basie is an influence here as on the Karl George s1des which included J .J. Johnson. Both Winding and Johnson turn 1n notable performances on the respect1ve sides they parti c ipate on . These three ses SIOns mix musicians from botn swing and the rising new mus1 c Not so on the four tunes including Terry Gibbs and Aaron Sachs . ee letter was one of the first bop clarinetists and the unison I ines with vibist Gibbs are quite interesting. With good notes from Mark Gardner w<? have an interest mg 1ssue of more than historical worth . It should be noted that thE>re is some sur face noise which undoubtedly was on the onginals from which this album was taken . It i<; never really bad however . R .W. PAUL MOTIAN - CONCEPTION VESSEL - ECM 1028 ST It was pnor to 1969 that Paul Mot1an and Charlie Haden first worked as a rhythm section. lnd1ally th e recordings were aligned wiJh a very specif1c school of Jazz musicians: The JCOA and Haden's own Lib eration Mus1 c Orchestra . As the years passed. the sound they created together became a very identifiable entity, and they were asked by Keith Jarrett to become a pari of h1s long standing small ensemble . This d1sc , headlined by Motlan , offers some eloquently contrived tunes and of course, the expert mus1 c ianshipof the1r cl1que of el1te fr1ends . A couple of song tltl ?s betray overtones of the year 1972 when the session took place, but the musi c itself offers the luxury of timel essness. Motian always plays as 1f he 1s soloing but without over - THE Check Out Our 45 RPM & LP Collecters Section Featuring Original Labels and Artists. Also - Inquire About Our Large lnventory of 78's- All At Reasonable Prices. 2815 Delaware Ave. Kenmore. New York (corner Euclid) 873-9534 Sundays 12-5 powering his accompanists . He punctuates with constantly vary ing rhythms the chord-1 ike statements of Haden's persistent octave pi aying, as if Mot ian were some language teacher second guessing what his student is attempting to say. Sam Brown plays exquisite "flamenco" guitar on the opening cut, "Georgia Bay". It's the first I've heard him in that style since the "Liberation Orchestra" days. Keith Jarrett makes two quite distinct appear- , ances on the album, in duet form . On the title tune he plays both introspective and explosive piano. On "American Indian ... " he plays repetitive flute I ines which seem to serve as a backdrop for extensions by Motian on bells, maracas and traps . In the final tune, Motian and Haden are joined by Leroy , Jenkins and Becky Friend on viol in and flut e respectively for an "Inspiration from a Vietnamese Lullaby". The album on the whole is very " individual" and offers interesting insights to some of the most respected music1ans in the jazz world. B.B. Dollar Brand /solo piano VOLUM E ()"'Ei on ISRCKVIUEI Open 10-9 Daily at better record stores everyllllhere �E'vaA.VMAN's Boo•<sToR&, 'NC.. 3101 MAIN S'T. BUS:FAI.01 H."f. 937.:.t5'St.f th.e fL~u.st booKs~ peri~icals . from la.Y"9e. a.V\.Cl ~-.LL pre~s. SAL b S (IO.,o off) Marc.h 1-15 Womtn's Stt.ld.les Ma:re'k 15-Ap1'~L 15 Musi.c MON-FRI) IO&W\-jpp""' f Fbet_.~ SATifa.,..·Sp'\1\\ KENNY DREW/N.H .o .P·. - DUO 2 - INNER CITY 2010 Recorded almost a year after th e first Duo album between Kenny Drew and Niels-Henning Orsted Pedersen (SCS-1002), Duo 2 sounds as though it might have be en done th e same day. Their rapport is stunning and the year's tim e has only sharpened their awareness. Side one opens with th e traditional Danish song Jeg Gik Mig Over So Og Land that sounds as if it could also fit as an Am erican gospe l. Th e absen ce of drums or another sol o instrument is not noti ced . Having onlyDrew'spianoand Peder sen's bass is more than enough to hold your attention . Th e setting created is so int im ate that another voi ci ng wou ld only unnecessarily c lutter th e sound . On Chari ie Park er's My Little Suede Shoes, Pedersen carries th e joyous bop me lody without missing a note and helps to furth er th e excitmg possibiliti es of the bass as a truly unique sol o instrument . Dr ew's accept ance by th e European jazz sce ne as one of th e great pianists is fitting . Hearing him swing so effortless l y and beautifully on this record makes me wish he had been apprec iated mo re while he lived in the states . For Kenny Drew and N .H.O.P . another fine album . We look forward to number thr ee. J .H. Editors Note: Th ere is a thi rd - "Duo in Concert" - to be reviewed soon . CANNONBALL ADDERLEY - CANNONBALL VOL. 1- DOBRE 1008 This live recording is a good nostalgia item for the many fans of the Cannonball Adderley Quintet . Judging by the personnel, I'd say that this was recorded in early '75, a short time before ' Ball died . Mike Wolf, Roy McCurdy & Walter Booker are in th e band , along with Nat . It's a typical example of theAdderl eyQuint et asthey wer e heard on their many club dates . First, there's Ball's raps with the audience . His introduction on the 13 minute version of Country Preacher is longer than the music portion . That wasn 't un common - I witnessed it myself the nights I saw him . He also f eatures his sidemen heavily . Woburn is a vehi c le for its composer , Mike Wolf; and, the rhythm section is high I ighted again on Unknown Song. Neither of th ese two tun es inc lude any horns . The remaining cuts are Cannon ' s Five of a Kind - a burner during whi ch ' Ball shines; and Joe Zawinuls popular Mercy, Mercy. Overall, this is something tocheckoutonlyif you are a di ehard Cannonball fan and you have most of his s!T'all group re cords -then you ' ll have to add this one to your collection . .You will have to put up with his talks (whi ch is easy enough) and a few very sour notes from brother Nat's cornet. By the way Cannon announces that the club's name is "In Concert". whi ch I presume to be the Montreal Jazz Spot. B .W. son of jazz bill besecker HORO RECORDS Editors Note: Horo records from Rome was kind enough to ship us a box of their product for review . This will be done in installments over the next few months . Th ese albums are avai 1abl e thru your local major record stores . If you have to have them ordered - t ell the store clerk that Horo is distributed by Record People , New York City . Buffalo's Yamaha Dealer p II . L3LJ 1:.: - : ~- .. :: -(·(_-_- :· ] ~ 8-~ :--ij~ ~ ij iS::eS·:Q: '~.,J· 'i. ' ·: ~· .-. ~· 0 ··-· :6 W: IT _- ~~·® YAMAHA CR-1020 70 Watts RMS With Less Than 0.05% THO transcendental audio, ltd. 834 - 3100 773 Niagara Falls Blvd. Amherst, South of Sheridan Jamestown & Erie I thought that as a complement to this month's feature on "HORO" records which includes r evi ews on some of the Ital ian musicians represented by that label, I would capsulizea short , though spotty, history of Italian jazz . As in most of the continental countries, jazz was first introduced to Italians by Ameri can troops during WWI. (I wouldn't guess at the psychologi ca l ramifi cations of such a dual onslaught, I shall leave that to your own conj ectur e. ) Th e first Italian jazz musician was a child gu itar pl ayer , V ittorio Spina, who was kept as mascot by a large military orch estra whose repertoire included some ragtime tunes of the day . About the same time, an Italian, Arturo Agazzi, who man aged some jazz clubs in London, was so impressed by th e music, he gave up th e clubs and r eturn ed to Italy to form one of the first regular 'playing jazz bands , The "Mirador Syn co pated Orchestra" , whi ch included two Ameri c an pl ayers . Th e initial Italian r esponse to tour ing Am erican jazz ban ds was an adversity to the "violent pl aying " and it took som e t1me for th eir waltz and tango predominated tast es to open some room for some of th ese expanding experiments in improvisation . (Improvisation did not become a part of Italian jazz until 1924) Vi olinist Joe Venuti became a rising j azz star in th e states during this period . (It may be debat ed wheth er Venuti is actually Italian . He was born on a U .S. bound ship ,...,. in 1908). ; ___ L- - - ~ - .l ..., &.... .... �-accepted as something more than dan~e music. But the gradual development of the American art form here was cut short by the Facist rise and jazz became near forgotten until the end of WWII. The first Italian "jazz" magazine, "Musica Jazz", was founded in 1945. The "Centre For Jazz Studies" was formed by a group of critics and journalists . It later became "The Italian· Jazz Federation", and still later The "Italian Jazz Music Federation" . There were many jazz recordings released at that time under the "Odeon" label . During the Dixieland revival which perused Italy during the 1 late '40's, a band spru__ng up called the "Roman New Orleans Jazz Band" which was termed by Louis Armstrong as the best European band he had heard. Many of the top names in Italian jazz during these early periods have become the Italian film and popular music composers of today, like Piero Piccioni, and Armando Trovajoli. More recent names from the 'SO's to the present include tenor man, Gianni Basso, trumpeter Oscar Valdambrini, and pianist Romano Mussolini, son of Benito , who taught himself piano while in exile and has appeared on selected albums . Today's Italian Jazz musicians include some whose fathers had been pioneers like Franco Ambrosetti and Oscar Valdambrini. The most notarized Ital ian musician of today is Enrico Rava. The "Horo" label is probably in itself one of the biggest things to happen to Italian jazz. It is conquering the international distribution problems which have plagued Italian labels for so long and thus bringing to international attention the talents of some very diversified musicians. ENRICO RAVA --JAZZ CONFRONTO #14 The extremely skilled Italian trumpeter has cut a quite diversified record for Horo with nearly all native players . The range of songs extends from a legato trumpet pi aying over a rap.i<;lly pulsating free form rhythm section ("Maranhao") to a be;~op deluxe type of song ("Wrong Side") . Highlights of the album include a solo trumpet coda ("Any Kind Of Bird") where Rava successfully emulates the birds flight with his instrument. Also the duet figures with Urbani ("Closer") make this ensemble cohesive. this ensemble cohesive. MASSIMO URBANI -- JAZZ CONFRONTO #13 A frio date with Urbani on tenor, this album is the most exploratory of those reviewed . Urbani has a solid control and an individual technique, but by himself his playing can be very depressive . He appeared much more versatile on the Rava album. Three compositions are performed: "Jorge I ina" -which is tempestuous; "Encuentro" -which has some interesting moments with Urbani playing some harmonic minor sounding riffs over a cymbal back -drop; and "Creation" -which creates too many conflicting emotions for me to express . FRANCO AMBROSETTI --JAZZ CONFRONTO #11 This album is special in offering a unique international aggregation: Swiss percussionist, Danial Humair; French bassist, J. F. Jenny Clark; German pianist, Jasper Van't Hof; with trumpeter Ambrosetti. Although I can't immediately relate to Ambrosetti's playing, his side men are very inspiring . Ambrosetti has a different sound in his horn which I've never experienced before. He approaches scales quite differeritl y than an American player, and although I can say the same of Van't Hot's playing, it is much easier to feel akin with the latter. It is probably only a question of time for me to understand Ambrosetti. Humair' s vocalized percussion on his composition "F lagellation'' is one cause for this song being a gem. The other tunes range from mainstream to meterless, a good mix of sounds. My album had some bothersome _surface sound but I heard another which was completely clean so it isn't a general pressing problem. ROBERTO DELLA GROTTA -- JAZZ CONFRONTO #31 On rehearing this album, I am reinforced that this album would be one of the most appealing of those r eviewed to the _h.u-fh ,f .Ronnrt ThP <:n11nrl i<: th<> rnnd U.U.A.B. & S.A . MINORITY AFFAIRS PRESENT Gil Scott-Heron featu;i~~ Brian Jackson and the Midnight Band FRIDAY, MARCH 10 - 8 PM NEW CENTURY THEATRE TICKETS - $4 STUDENTS, $5 OTHERS contemporary offered . Della Grotta swims through each composition with the melodic insight of an exceptional bassist uti I i zing an extremely fat tonality . This quality is th e main reason for this albums unique sound yet it betrays some unintentional dissonance from time to time which I beli eve can be over looked because the excellence of composition and arrangement exhibited by this youthful player . This band is all Italian, but the playing is more mature than one might expect. All the melodies are easily graspable and linger long after th e record is over. B.B. MORE HORO BY BILL WAHL , S. HAMPTON & D. GOYKOVICH - HORO 18 This twelve piece big band led by 1!-ombonistSiide Hampton and German trumpeter Dusko Goykovi ch swings like mad with some expert soloing. Ameri ca n<; such as Hampton, Benny U.U.A.B. MUSIC COMM. A Division of Sub-Board I, Inc. · Proudly Presents Hal Galper Quintet THE FORMIDABLE PIANIST - Featuring RANDY & miCHAEL BRECKER! FRIDAY, MARCH 17 - 8 PM FILLMORE ROOM, SQUIRE HALL S.U.N.Y. at Buffalo - Main St. Campus $3 Students - $5 Others & Day of Performance Available at U .B. Ticket Outlet 17 �HOUSE OF GUITARS Upstate's Music Building •3 Floors of Musical Instruments for the Rising Young Stars from Earth• - Fan letter Quote *Lots of Used Gibson Jazz Guitars *Save up to 7~ on Professional music equip. 2 for 1 Deals Most Jazz, Blues, on Blank Rock albums Tapes - 3.85 ea. Bailey and Sal Nistico join such Europeans as Gianni Basso, Goykovich and a number of Ital ian jazzmen . All five tunes are originals by the leaders . This one's a good choice for big band fans. SAL NISTICO - HORO 16 Tenor saxophonist Nistico, who hails from Syracuse, N .Y ., has worked with Chuck Mangione, Woody Herman, Count Basie, Don Ellis and others . Backed by an Italian rhythm section including guitarist lrio De Paula, Nistico sails through six ori' ginals bytheband.AIIaremelodic,Latincuts with some mellow guitar work from De Paula. Good light, pleasant listening. STEVE GROSSMAN - HORO 23 lrio De Paula is back for this one, playing a much more modern, forceful guitar. There's no piano here -he carries the rhythm with fellow Italians on bass, drums and congas . Grossman, a veteran of the Miles Davis & Elvin Jones groups, is a hot young player deeply indebted to Coltrane & Rollins. There ' s three Grossman originals and three Latin style cuts by band members. It's a good balance and a good album . De Paula is weak in his comping on a couple of Steve's tracks but that's the only real drawback. KENNY CLARKE - HORO 20 Clarke, the original MJQ drummer, has been I iving in Europe for years. Here he's with trumpeter Cicci Santucci, tenor saxophonist Enzo Scoppa, pianist Enrico Pieranunzi and bassist Roberto Dell a Grotta. There's some good moments when the word is straight-ahead. But there's some downfalls - like Waiting - a long solo trumpet cut that doesn't make it, and Via Sistina an unnecessary solo drum piece, with this in mind, number 20 is not one of the better Horo releases. JOHNNY GRIFFIN - HORO 10 Johnny Griffin has been an American expatriate since 1962. Prir to that time, he had gained a reputation as a hard swinging, hard blowing tenor player . That is exactly what we hear on half of this 1974 recording, balancedwithapair of ballads . The rhythm section is rather stiff but Johnny is in good enough form to make up for it. Griffin on record has been a rare find since his discs on Riverside and those with Monk. If you ' ve missed him - pi ck this one up . *Specials on Moogs, A.R.P., Oberheim, Roland, Polymooc Synthesizers *Save on Fender Rhodes pianos, R.M.I., Hohner, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards. *Sunn 6 Moog lab amplifiers for keyboards . *Up to 7~ off on Pro Drum Sets - new and used selection (all brands) *D,Ancelico New Yorker on display *Gibson's Howards Roberts, L5's, Johnny Smiths, Byrdlands (Guild Artist Awards) *1/2 off on drum heads - 1/2 off on microphones *Larce selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets. *Drum sticks (nylon or wood tip) $1 pair *Good selection left handed guitars *Sale on all brands of guitars, basses and amplifiers -Gibson, Fender, Guild, B.C. Rich, Martin Alembic cuitars and basses; Sunn, Ampeg, Music Man, Marshall, Kustum, Mesa Boocie & Polytone Jazz Amps. *New and used horns - trumpets, saxes, trombones, flutes, woodwinds, flugelhorns. *30f, off music books, instruction books, headphones *Imported LP's, rock starT-shirts, strobe lights, hit 45 sincles. *Switchblade combs $7.98 *No admission - No cover charge. Free limited addition H.O.G. Bumper Stickers, Buttons. 646 TITUS AVE. Ph. 716 - 544 - 3500 STAFFORD JAMES- HORO 26 Bassist James has been heard with a II kinds of bands - from bop to new music. This album features trumpeter Enrico Rava , with two members of Archie Shepp ' s Band - Dave Burrell and Beaver Harris. The menu is ballads and up-tempo cuts, with Rava & James taking most of the solos . Stafford is up front recommended for (contemporary) acousti c bass fanciers . This feature on Horo Records will be continued next month. Not e: Any rekrence to "those reviewed" in Bill Besecker's section pertains to albums reviewed in his section only . NEW EX-PLORATIONS ROCHESTER, N.Y. (The House of Guitars Luvs You Baby) Open Mon.-Sat. 10 AM-9 PM/Sun. 1-5 PM. Take N.Y.S. Thruway to Exit 45 on to Expressway 4to, to Express 47 North to Titus Ave. 18 SUNNY MURRAY AND THE UNTOUCHABLE FACTOR CHARRED EARTH - KHARMA PK-1 It's around 2 in the afternoon, and the group is rehearsing in the club for the evening's gig . The place is empty except for the owner ;md a few friends of the band, one of whom has a good portable tape recorder and is sitting directly in front of the saxophone player . (He digs saxophone playing .) The piano and drums are coming through okay on the tape, but the bass is pretty much drowned out. The band is warming up, after just recently waking up, and from the way things are progressing, it sounds like it's going to be a very good evening . This is not the way this record came about, it just sounds that way. Actually, it is the most recent recording (New Year's Day 1977) by drummer Sunny Murray's current Philadelphiabased quartet . , featuring Byard Lancaster(ts, ss), Dave Burrell (p), and Bob Reid (b) . It also introduces a new new-jazz label. Kharma, run by import jazz record czar Dan Serro. Murr like Andrew C rille is �can play very free, and still maintain the pulse. He and the · other members have all proven themselves elsewhere many times, but here we must be satisfied with potential note quite fully realized. J.L. ELMWOOD VILLAGE TICKETS K & P ENTERPRISES SPECIALIZED SERVICES FOR EVERYONE! F~ANK LOWE - DOCTOR TOO-MUCH - KHARMA PK-2 This second release on the Kharma label, recorded in May of '77, shows a great deal of improvement over the first, both in terms of recording quality and the general togetherness of the music. Lowe, a hard-toned, Trane-influericed tenor player out of Memphis, fashions his ·solos out of short, clipped fragments, rather than going for the long line . Joining Lowe on this date are two trumpeters, Olu Dara and Leo Smith. Of the two, Smith is the more eccentric. Whereas Dara sticks to the normal range of the instrument. Smith (like Braxton) explores the extremes. Using lots of silence, he jabs, flutters, and plays long, perfectly controlled tones, each sound hanging in space like a heavenly body. Rounding out the quintet are drummer Phi I ip Wi I son and bassist Fred Williams. Their relative looseness serves as a foil to the terse, tight statements of the horn players . Incidentally, Lowe is quite a versatile composer as well. Six of the seven tunes are his, displaying considerable variety within a cohesive style. J.L . SHEA'S BUFFALO STUDIO ARENA KLEINHANS MUSIC HALL TRALFAMADORE TORONTO & N.Y. SHOWS All Major Sports & Theatrical Events 510)12 ELMWOOD near W. UTICA 884-0122 and trumpeter Olo Dara . Blui ett turns in gritty solos on clarinet and baritone sax as does Dara on trumpet . Pensive is a solemn and moody pi ece. Its' composer Julius Hemphill carries the weight of thetunewithhis alto saxophone . I WILDFLOWERS 5 - THE NEW YORK LOFT JAZZ SESSIONS - DOUGLAS -7049 These five musicians beat, pull and sing out the chant that will be central to the ritual about to be performed . Khan Jamal begins to conjure with his vibes, but his voic e is a little uncertain. The high priest and warrior drummer Sunny Murray steps in and reassures Jamal of his power. Jamal leaves th e circle and tenor-saxophonist David Murray move s to its center joining bassist Fred Hopkins and drummer Murray . The music expands and spirals, reaching fever pitch in spots, and climaxing as wi lied . Byard Lancaster enters and surg es on alto sax, the others reach inward and assend still higher . The two saxo phonists make a frenzi ed attack on all evil spirits using th e center as their thrust . Sunny and Fred back their brothers with full support. David Murray, having r <: l eased some extremely potent magic moves from center, Lan caster continues on . Hop kins who has become an int egral part of the Work moves out front and makes his call. Lancash:r pronounc es that the last act of the ritual on flute, th e group fad es through ce nt er , and the ceremony is over . Roscoe Mitchell's Chant i s an extended three part composition . The music moves forth w ith Mitch ell 's alto sax repeating the chant phrase with slight variation s. Drummer/ Percussionist Jerome Cooper and Don More fir e Mit chell on, but he's not breaking new territ ory , rather adding layers t o what he ' s already established . Mitchell drops th e chant phras e and leads th e others into the second part. This sect1on is an excursion utilizing sound and space with Cooper and More col oring brilliantly . There's a short period of pure enchantment created by th e confluence of Cooper's saw playing and Mitche ll ' s horn , as Mor e's symbals hum and sing to the interplay . Mitchell states the chant phras e announci ng part th ree and proceeds on a joyously hair rai s ing solo. Rosco e is all over his instrument, growling, shoutmg, screaming, sin gi ng, crying, pouring his innards through his horn. Cooper and More are a battery of excellence that does not falt er under th e tr eacherous pace set by Mit chell . With an almost abrupt r eca lling of th e chant phrase, tran ce broken, th e Work is done. P .S. WILD FLOWERS 4- THE NE:W YORK LOFT JAZZ SESSIONSDOUGLAS NBLP 7048 Hami et Bluiett s' Tranquil Beauty is a very goo d blues and doesn't try to be anything else. Hamiett s group consists of two guitarists .. But ch Campbell and Billy Patter son ; two drummers Charl es Bobo Shaw and Don M oye, bassist Juney Booth, GORILLA STEREO IS COMING Bern Nixs' guitar is the altos alterego for this tune with Abdul Waduds ' cello occasionally taking on that rol e. Drummer percussionist Phillip Wilson and Don Moy e provide thunder and 'A Swinging Place' Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week - $1.00 Wednesday & Sunday Hot Dog W/Kraut- 40¢ We Serve Food til 3:00 AM No B.S. Compare Our prices EEF EER B ILL lARDS & JUKEBOX 19 OPEN EVERY MORNING TIL 4 AM 3178 BAILEY AVE. - 836-8905 (across from Capri Art Theatre) �GORillA /TEREO I/ COmiNG flashes of I ight. Push Pull writt en by Jimmy Lyons begins with the lyrical alto saxophone of Lyons. Bassist Hayes Burnett joins the altoist in duet; a duet between Karen Bor eo on basson and the bassist follows; Lyons rejo1ns for th e coda . Drummer Henry Maxwell Letcher supports th e pi ec e with I ight percussion throughout. Oliver Lakes ' dramati c Zaki is a fine vehicle for the dy- Give a disabled veteran a chance EMPLOYERS PHONE 854-VETS E" e Count y A~nc.-. Leg•on • Veteran~ Employmen t Serv1ce • City of BYfhllo S.P.A. namic aho saxophoni st to fr ee his ideas in sound motion. Guitarist Michael Ja ck son is riding the same wave flow as Lake and makes some mcr Pdibl e statements . He stays closely be hind Lake giving enco ura gem ent but never steps in front allowing 01 iver com pi et e fr eedom of direction . Bassist Fred Hopkins Mini Jazz Festival An evening with Gerry Niewood March 7,8 Hal Gal per Quintet with Randy &Michael Brecker March 18,19 Stephane Grapelli March 21 Pharoah Sanders March 1s ALL ARE 2 SHOWS EXCEPT Nl EWOOD" ADVANCE TICKETS RECOMMENDED, SERIES TICKETS AVAILABLE., COME EARLY& ENJOY DINNER FROM ~UNIQUE MENU OF GOURMET DELICACIES & HEARTY HOMEMADE SPEOALS. 300 JEFFERSON RD. ROCHESTER (716) 271- 9208 ~--------------------------~20 hoi ds the bottom but can't resist joining the flow of the wave once in a whi Ie. Drummer Phi II ip Wi I son is the spirit force traveling through the . Music continually inspiring the others. Bassist Fred Hopk'ins, fenor saxophonist David Murray and trumpeter Olo D;:~ra -begin Murray's Short Song with simultaneous moans and growls. They then move to a short collective improvisation including drummer Stanley Crouch. Murray slides tones, and squeezes out cries from his terior, Dara responds with low moans and jagged screaches. A dirge like quality is maintained through this short piece, and it ends quietly as the musicians fade out. P .S. JAZZ MAGAZINES- by RON WEINSTOCK It seems the past few years has seen the emergence of a number of new magazines devoted to jazz. This will be a brief attempt to survey some of the more interesting ones. Coda magazine and Jazz Magazine have been reviewed here recently and are available in the Buffalo area so they'll not be discussed again now. Jazz Journal International (the International is a recent addition to the title) has been around for 30 years. It is one of the world's truly fine jazz magazines with interesting and informed articles, interviews and analysis. Reviews are literate and thoughtful. Recent issues I've seen included articles on Thelonious Monk (a controversial appraisal), Machito, New Orleans jazz, a special feature on Jazz in Scandanavia (with a piece on Jan Garbarek and review of representative records) and a piece on bluesman-r'n'b artist Tommy Tucker. $14.00 brings a one year subscription shipped from England via air freight and then via second class mail. Subscriptions can be ordered from Carnaby Street, London, W1V 1PG, England . In its third year the digest sized Cadence has become an interesting magazine with several interviews and oral histories as well as loads of record reviews of major and minor labels, running the gamut from traditional to free. Of the jazz magazines it also has the fullest coverage of blues with articles and reviews in all issues. The only possible critique has been the format and small type for articles but its most recent issue (December 1977) saw the use of larger type on articles . Single copies are $1.25 and subscripti.ons are $11.00/ year and available from Rt. 1 Box 345, Redwood, NY 13679. It has truly become The American Review of Jazz & Blues, which is its subtitle . Musician Player and Listener is a new jazz magazine scheduled for publication 8 times a year, aimed at what might be called the Down Beat readership . Glossy, professional appearance is tied to a straightjazzgroundingwith some commentary on aspects of rhythm'n'blues and rock. The Dec.15-Jan . 30 issue had analysis on Mingus as well as interviews with pianists McCoy Tyner, Bill Evans, MoseAIIisonandGeorge Duke. Besides reviews are various features Studio for the musician and include Jamey Aebersold on "Playing the Blues", and David Leibman on playing the Saxophone . Also included are equipment reviews and a most welcome publication that costs $1 .00 an issue or $8.00 for a years' subscription from P .0. Box 1882, Boulder, Colo. 80306. Listeners of new jazz should be aware of Bells and The Grackle Bells features surveys of records and live concerts and costs $.50 an issue or $3.00 for six issues. Avilable from Henry Kuntz Jr., (who checks should be made out to), 1921 Walnut #1, Berkeley, Ca. 94704. The Grackle besides surveys includes reviews of Latin, salsa and interviews (issue 4 has interviews with Ralph Ellison, Armanda Peraza and Ronnie Boykins) and surveys linking new trends with older traditions. Both are offset from typeg copy but are fascinating' and The Grackle is obtainable from Ron Welburn, P .0. Box 244, Vanderveer Station, Brooklyn, NY 11210. Checks should be made to him and single issues are $1.50 or $4.50 for three issues. I assume enthusiasts of the new music are aware of Coda's excellent coverage. They would do well to read Cadence as well, and perhaps Jazz Journal -International. �Blue,s AFRICAN AMERICAN CULTURAL CENTER PRESENTS Dollar KING VINTAGE VAULT COLLECTORS SERIES Last month in th e bl ues column thr s seri es of twelve r <!issues from th e King Federal catalog s was notPd. Rev iews · appeared of th e Freddi e Kin g and Ray Charl es album. This · column will attempt to provide basic information on the r •>st of the issues. ~· Li"le Willie John (King - 5004X) coll ects 15 of th e late gospel-t inged singer ' s greatest recording s. Th er <> is some duplicat ron with Free At Last (K i ng KS-1081) but most stuff her e is otherwise unr eissued . Origrl'lals of "Fever " (before Peggy Lee) and "Sl eep" are special hrghpoints. Bill Doggett (5009X) and Earl Bostoc (5010X) coll t> ct a numb(•r of fine instrumentals by the organist and saxophonists . This was jazz - flavored instrumental R&B at its best Doggett's fourteen sides include the classi c "Honky Tonk " whereas tun es on Bostoc' s sides includ0s " Flamingo" and "Harlem Nocturne ". A good portion of the King catalog was old group sounds. Whil e histo r ically important th e sides by the Ink Spots (5001X) and th e Platters (5002X) are too sweet for my taste Ro ck ' n' Roll Ol.di es freaks will feel other-wis e. Much morP sol rd is th e rocking album by Hank Ballard and the Midnighters (5003X) . Among th e 20 tracks are "Work With Me Annie" . "Ann ie Had a Baby " . "Annie's Aunt Fanny", "Finger Poppin' Time " and th e or iginal r ecording of " The Twist " . Great party music with hot band and vo-cals . Good bluesy f ee l on much material. Finally four albums tracrng th t• car eer of th e group The Dominoes . Volume One (5005X) includes th eir 14 big hits in cluding th e bawdy "Si xty Minute Man" . Vol ume 2 fl' atur<:' s Clyde McPhatter (5006X) in 18 tunes inc luding two duets with Little.:Esther (Phillips) . Volume 3 featur es Jackie Wilson on 14 tunes (5007X) and Volume 4 collects 21 other tunes by th e group_(5008X) . Th e Dominoes was a gospel influence d group cap;;bl e of doing intense ballad interpretat ions and some ni ce bluesy 'numbers. Both McPhatter' s and Wi I son's albums are superb featuring some strong vo cal p~rf o rman c es. and ltlce Vol 1 are worth checking into . Th ese are histori cally impor tant r'e i s.,ues whi ch are also great for parties wher e you can pop your frng ers and twist the night away . Here's hoping for mo r e to corr e i n this s0ri es . Down here in New York I had an opportunity to catch a live broadcast of Eddie Kirkland over WBAI. It sounded really good rT)~king me wish I was part of the audience . Kirkland was at one ,time with John Lee Hooker and later with Otis Redd ing. He mixed some B .B . King numbers with his own soul flavored blues workouts . If not a most original guitarist he plays with a drive .:.and comes across .as a forthright guitarist. His singing is just right and has a gritty texture adding to his persuasive att~ck . Those who heard his Trix albums will have an idea of wh'!t, to expect live and from a radio interv iew with Mr . Kirkla11d I received the impression he would like some gigs outsi<M~ ...of Georgia and the New Paltz area where he has most of his boakings . Those records I would like to cover this t ime could be carried just as well outside the confines of this column . Until . recently , all well known jazz players had some roots in the blues . That the blues was the root of jazz was a cliched . With more recent trends in pop , soul music , and the various fusion musics, the blues aspects of jazz seem less apparent. But all one has to hear is an old King 01 iver recording, or Ornette Coleman or Albert Ayler to see the blues as something part of jazz past and future . For those blues listeners not into jazz. the following albums might challenge your preconceptions . Surely Have No . Fear Big Joe Turner Is Here (Savoy SJL 2223) will be picked up by the fans of the Boss of th e Blues. 31 vintage tracks from 1945 to 1947 featur e him with such greats as Pete Johnson, Alber-L Ammons , Don Byas (dig his work on "S.K . Blues'',) . Teddy Bunn (dazzling gu itar on tt:lose sides he is present on) and others . Joe is strong voice and even if the backup gets Brand Solo Piano ,. Iunday, March 12 , Tralfamadore Cafe 2610 Main St. at Fillmore 1hows at 6&9pm $5per 1how All PROCEEDS TO BENEFIT THE AFRICAN AMERICAN CUlTURAl CENTER TICKETS: African American Cultural Center. Black Dance Workshop. U.B. & Buff State Ticket Offices, Audrey & Del's,& i at the Tralfamadore Special $10 Preferred Seating Patron Tickets Available at the Center Only. For More Info. Phone 884- 2013 21 �ing Face of Harlem. For some reason the annotation of the Big Joe Turner is uncredited but the notes are obviously by Pete Welding turning in his usual informative words . TheJoe Turner is a must and rankswiththeArhoolie reissue and some stuff on Atlantic. The Harlem anthology is worth checking out. Jay McShann I ike Joe Turner bridges the world of jazz and blues . The Last of the Blue Devils represents a new Atlantic issue (SO 8800) where he is joined by Paul Ouinichette, Joe Newman, Buddy Tate, John Schofeld, Milt Hinton and Jackie Williams . McShann is known as the leader of th e big band from which Charlie Parker emerged. Ouinichette a well known tenor player also was associated with McShann . McShann's band was known as a band that played the blues . Recordings in the 1940s with singerWalterBrownwerequitepopularandled to a limited view of his own talents which hopefully this album will rectify (along with other recent recordings including the wonderful duet album he did with Buddy Tate on Sackvill e). This album should win McShann many new fans . It swings with a vengence with lots of bluesy swinging piano that shows slight traces of Art Tatum . McShann takes five persuasive relaxed vocals. He redoes "Confessin' the Blues" which he recorded with vocalist Walter Brown and has since been done by Little Walter, B.B. King and the Rolling Stones. Bird, Brown and McShann composed "Hootie Blues" which features some nice electric piano from him capturing an almost organlike flavor. McShann ' s singing is quite like bluesman Lowell Fulson and it may be more than coincidental that both come from Oklahoma . Besides the five blues vocals, there are five instrumentals including one solo piece . McShann is in good company with especially good work from Tate and trumpeter Joe Newman. All told a most wonderful album that any lover of jazz or blues can iII afford to be without. Atlantic may be part of the WEA conglomerate but releases I ike this show that label founder Ahmet E rtegun sti II hasn'tforgotten the musicthat the label was built on and we are grateful. Mr. Frtegun, may we have more of the same, please. FENTON ROBIN/ON I Direct from Chicago March 15 thru 18 first show 10:30/$2 adm. BONA VISTA 1504 Hertel 836-8985 1 pedestrian on occasion , Joe is a revelation singing with force and fluidity . Ten years later he would be rocking and rolling . Incidentally this is Vol. 2 of Savoy's The Roots of Rock . Also of merit is the second volume of The Changing Face of Harlem (Savoy SJL 2224) . Like the first volume this is an anthology showing off a number of different facets of jazz . Indications of the emergence of r'n'b and bop from swing are present. Highlights include two tracks from Nat King Col e . (anticipating Charles Brown and others), Pleasant Joseph .(today known as Cousin Joe) on four good blues, Don Byas' ' fine tenor on five sides led by Hank D ' Amico , and Stuff Smith' s viol in . Another enJoyable sampling of black music of the period. Both of these along with other new Savoy r eissues have attractive new cover designs with attracti c e and sturdy inner sleeves. Dan Morqenstern contributes qood notes to The Chang- The cllatLi~iifiied Big Band Sound Is Back. This space is available to private individuals, organizations, mail-order houses, etc . The cost 1s 10¢ per word- mm1mum charge $3 . Send ~opy and payment to BJR - 1335 Main Street, Buffalo, N.Y . 14209. RARE & Out of Print Jazz LP's, price lists and auctions. Wm . Carrar·o, 25 Aberdeen St ., Malverne, N.Y. 11565 MUSIC LESSONS: Guitar, electric bass , string bass and composition . Theory and improvisation incorporated into each lesson. Gerry Eastman - 884-4136. LIVE! SACKVILLE - Th e Jazz Record Company : Dollar Brand, Anthony Braxton, Davi~ Holland, Oliver Lake, George Lewis, Jay McShann, Roscoe Mitchell, Don Pullen, Buddy Tate, Teddy Wilson andmanyothers . Writeforfreecatalogueto SACKVILLE RECORDINGS, Dept. K 893 Yong e Street, Toronto, Ontano, M4W 2H2 Canada . Every Fri., .Sat. & Sun. Night The STEREO COMPONENTS FOR SALE - Kenwood KT -2001 Tuner , Marantz 1060 60 watt amplifier . Togeth er or separate . 885 - 6815. MAIN EVENT STUDY SAXOPHONE, FLUTE & CLARINET with Di ck Griffo (Woody Herman, Tommy Dorsey, Bflo . Philharmonic, Emil Palame, etc.) . Also - Lessons and/ or coaching sessions on jazz improvising and styles . Call (716) 856-8916 . Kensington at Olympic 836-8846 L---------------------------~ 22 JAZZ RECORDS FOR SALE. Wide selection of titles ... mostly out-of - print. For free catalogs: JAZZ HOUSE, Box 455 (BJR). Adelaide St. E .P.O., Toronto, Ontano, Canada M5C 1J6. �IMPORTS from Japan and elsewhere. Sony, East Wind, Trio, BYG, Timeless and many other labels . Albums by Coltrane, Braxton, Miles , Woody Shaw, etc . Also College Big Bands, Vintage big band and traditional. Send for free lists and specify tastes (Mainstream. Big Band, etc .) - International Records, Box 717, Dept. B, Mentone, California 92359 . March Tralfevents JAZZ·Wed.thruSat. Radio WBFO - 88.7 FM MON. THRU FRI. Noon - 2 - Spirits Known and Unknown with various hosts; 11 PM -Mid . Jazz w/ various hosts ; Mid . - 3 AM Round Midnight - various hosts. SATURDAY - 3-8 AM - Embryonic Journey w/ Steve McKee; 8 AM- Noon - Freedom Flightw/ EdSmith ; Mid . - 6 AM - Opus in Modern Music/Jazz by Request w/ Pres Freeland. SUNDAY- Noon- 2-JazzContoursw/ Bill Wahl; 11 PM - Mid . Big Bands w/ Bob Rossberg; Mid - 3 AM - Roots, Rhythm & Sound w/ Dave Jacobs; 3-8 AM Progressively Yours w/ Harry Schuster . WEBR - 97.0 AM Jazz in the Night every night 7 - midnight w/ AI Wallack. WBLK- 94 FM The Sound of Jazz w/ Carroll Hardy - Sat . Nights 10 PM 1 AM. WADV- 106 FM Jazz Nitely w/ Geo . Beck ROCHESTER WCMF - 96.5 FM The Jazz Scene, with Tom Hampson, Sundays 11 PM- Mid. WRUR - 88 .5 FM Jazz in the Morning - 7 - 11 AM Jazz at Midday - 11 AM - 2 PM. (Monday - Friday for both shows) . WXXI - 91.5 FM ·sATURDAYS The Essence of Jazz with Will Moyi e - 6- 8 PM . Jazz Alive!, with Billy Taylor 8-9 :30 PM. The American Art Song, with Al ec Wilder 10-11 PM . Jazz Straight, No Chaiser - 11 PM - 2 AM . SUNDAYS The Big Band Go-Around, with Di ck Marsh - Noon - 3 PM. WDKX- 104 FM Will and All That Jazz, with Will Moyie - Sundays 2-4 PM. CANADA SELECTED LISTINGS CKQS - 94.9 FM From Bebop to Now w/ BJR's Hal Hill -Sat. nights 10 PM2 AM . CING- 108 FM What's Happening w/ Jack Col e- Sun . thru Thurs . 10-Midnight, Sat. afternoon 3 - 6. CJRT - 91.1 FM Jazz Scene w/ Ted O' Reilly Mon .- Fri . 10 PM - 1 AM and Sat . 6 AM - Noon . Jazz in Concert w/ O'R eilly Sat. 7-10 PM . CKFM - 99.9 FM All That Jazz w/ Phil McKell ar Sun . 10 PM - 6 AM. CODA Editor Bill Smith will do an hour segment on Hal Hill's program on March 18 (CKQS). It is part of a series titled "Introduction to New Music." Fresh Trait introduces Bflo.'s newest Fusion Band- every Wed. SpyroGyra March 2 ,3,4,5,30,31 ;April1,2 Gerry Niewood Quartet 9,10&11 Dollar Brand AACC Benefit - 12 Pharoah Sanders 16,17&1a Riff Raft 23 James Clark Quintet 24, 25 Max Thein Trio 19,26 Mon./Acoustic Tues. /Buffalo Comedy Workshop GOOD FOOD & DRINK NIGHTLY BUFFALO tralfamadore cafe Tralfamadore Cafe - 2610 Main- Gerry Ni ewood, Dollar Brand , Pharoah Sanders & more. See ad. Circus Bar- Military & Grote -Jazz Wedn esday nights,Biues Friday . 2610 main at fillmore 636-9678 23 • ..__ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _....,._ �SUPPORT OUR ADVERTISERS! Bourbon Tell them BJR sent you! Street Greenfield St. Restaurant - Main near Greenfield - David Fulton March 10; NTVC group March 17. Phone 836-9035. B.B. King & Bobby Blue Bland- Sunday , March 19 - Kleinhans See ad. Grover Was,!lington, Jr. - March 24, Kleinhans - See ad . Gil Scott Her<on - Friday, March 10, Century Theatre . See ad. Hal Galper Quintet - March 17, Fillmore Room U.B. See ad. Tara Manor - 5100 Main St. Jack Bacon Morgan Street Stampers with Eli Konikoff Fri . & Sat . nights. C.P.G. - Central Park Grill - 2519 Main St . -Jazz Jam Mon. nights, Tender Buttons every other Tues . Also, folk and blue grass. See ad . Bona Vista - 1504 Hertel - Blues & Jazz . Fieldstone Manor (Lockport) - Dixielandw/Will Alder on weekends . Checkerboard - Main & Utica - Jazz Nightly. Odysey- 1005 Tonawanda St . -Jazz Sat . nights. Anchor Bar - Main& North - Johnny Gibson Trio w/George Holdt on trumpet . Every Fri . & Sat . night. TORONTO (416) 598-3020 The Finest in Italian Cuisine TOM HARRELL March 6 -1 1 BARNEY KESSEL March 13-25 BILLY BUTTERFIELD March 27- Apri I 8 Phone Ahead for Dinner Reservations Open Daily 12-1 Sundays 6- 10 No Cover TORONTO Bourbon Street - 180 Queen St., W. -Tom Harrell March 6-11; Barney Kessel 13-25; Billy Butterfield 27-April 8. See ad . Georges Spaghetti House - 290 Dundas St ., E. - Ted Moses March 6-11 ; Bruce Cassidy 13- 18; Joe Sealy 20-25; Moe Koffman 27-April 1. Sonny Greenwich - Sunday, March 19 . Colonial Tavern . Basin Street, 180 Queen Street, West , over Bourbon Street. April 3 to April 8 -Tommy Ambrose with special nine piece band - $2 .00 cover charge per person . The Garden Party - 82 Av enue Road - Pianist Joel Shulman Monday to Saturday from noon - also Sunday evenings from 8:30PM . Nag's Head - Tor onto Eaton Centre - Yonge and Dundas Sts. Jim McHarg's Midnight Special every Sunday from 5pmto 8 pm . Stop 33 - Sutton Place Hotel - 955 Bay Street - every Saturday 3 to 6 pm - top jazz artists from the Toronto scene. The Ports - Summerhill Avenue at Yonge Street- TorontoExcelsior Jazz Band Saturdays from 3 to 6pm . Chez Moi - 30 Hayden Street - Metro Stompers w Jim Galloway Saturdays 3 to 6 pm . Chuck Mangione Quartet - Massey Hall - Thursday, March 2 at 8 pm . Stephane Grappelli w the Diz Disley Trio - Massey Hall Sunday, March 12 at 8 pm . C.C.M.C. - (Canadian Creative Music Collective) Tues. & Fri. nights 9 PM . The Music Gallery - 30 St . Patrick St. Phone 598-2400. Cafe May - Roncesvall es Ave . at Howard Park - Lorne Lofsky Trio Sun . 7:30 - 11 PM. Alberts Hall - The Brunswick - 481 Bloor Street, West, Nightly from 9 pm - Dr . McJazz . GEORGE'S SPAGHETTI HOUSE 290 DUNDAS STREET. E. TORONTO. ONT. -923-9887 Featuring some of Canada's Top Jazz Artists nightly as well as our famous Italian Cui sine. ROCHESTER Scott Hamilton - March 20-26 (off 24) Chez Jean Pierre - Paul McGinley Tri o - Fridays, Bill Dobbins - Saturdays. Club West Indies - Existing Reality - Wedn esdays and Spheres Quartet - Sundays. Stone St. Pub - Jazz Wednesday thru Saturday. Call club for details (23209839). JJ Lounge - Jazz Friday, Saturday , Sunday . Call club for details (328-3690). Eastman School of Music - March 27 Eastman Jazz Ensemble with special guest Pepper Adams; March 17 Experie mental Jazz Ensembl e and April 3- Jazz Lab Band . University of Rochester - Grover Washington, Jr. -April 1 U of R Pal estra . Call 275-2331 for ·ti cket info . Red Creek - Gerry Ni ewood, Hal Galp e r, Stephane Grapelli See ad. .---------------------:· · ' "' buffalo jazz report 1335 main st. buffalo, n.y. 14209 u.s.a. return postage guaranteed - r PERIODICALS & BINDERY LOCK WOOD Y.EMORIA L LIBRAnY !S.U.N.Y.A.B. ~UFFAtO, NY 14214 SJ6 _,_..._ _.,. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3590 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 49 Date A point or period of time associated with an event in the lifecycle of the resource 3/1/1978 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Music > Periodicals. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 49 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/e935a8da9dee02b337fc9a760e48e2b7.pdf 2b8f9dac3ac9b5737f25fc0b62fc53a9 PDF Text Text APR 1 2 1978 fVl Pharoah Sanders �CHOOSE YOUR SOUND REINFORCEMENT, RECORDING, OR CUSTOM MUSICAL INSTRUMENT SYSTEMS AT UNISTAGE/PURCHASE OR RENTAL INiSrAiiE 330 Genesee St., Buffalo. N.Y. 14204 BUFFALO'S LARGEST STOCK OF PROFESSIONAL SOUND AND RECORDING EQUIPMENT. VISIT OUR DISPLAY STUDIO. CALL FOR APPOINTMENT 853-6500 CHUCK MANGIONE Feel1/o Good Once again Mangione combines jazz. ballad, rock 'n roll & disco -coming up with another brilliant performance sP 4658 See CHUCK MANGIONE On Tour: Ithaca- April 8- Ithaca College Buffalo- April 12- Kleinhans Music Hall Syracuse- April 18- Civic Center Rochester- April 20 - Auditorium Theatre Available at fine record stores everywhere Chuck Mangione ChaseThe Clouds Away " �Pharoah Sanders FESTIVAL EAST CONCERTS PRESENTS 4 GREAT CONCERTS COMING TO BUFFALO! The month of Apri I wi II afford many Jazz Report r eaders the opportunity to hear tenor saxophonist Pharoah Sanders' Quintet live in a small club atmosphere. Th e band , currently on a national tour after the release of Sanders' new Arista album Love Will Find AWay, will be at the Red Cre~k in Rochester on April 20andat Buffalo 's Tralfama dore Cafe April 21, 22 & 23. Born in Littl e Ro ck, Arkansas in 1940, Sanders moved to California in - '59 wh ere he studied and worked with various bands including that of Sonny Simmon s. Thr ee years later he located in New York and played with Rashi ed Ali, Don Cherry , Sun Ra , John Gilmore and others. He began to work with John Coltrane in '66 and became a permanent member of ' Tran e's band - working and recording with th e great saxophonist unti I his death in 1967. Aft er this period, Pharoah toured and recorded with Ali ce Coltrane and began a long association with Impulse records, recording several albums as a leader . His bands have included such peop le as Leon Thomas, Lonni e Li ston Smith , Cecil McBee & Stanley Clarke . Pharoah's long list of original compositions include Thembi, The Creator . Has A Master Plan, Black Unity & Colors. Leonard Feath er has written that "Sanders' framewo rk has ranged from swirling, rasping, guttural explosions to pastoral, spiritual PanAfn can expressions." Look for the ads in this issue for information r egarding th e appearance of th e Pharoah Sanders Qu intet, as well as the many other jazz event s for th1s month. SAT., APRILS -8:30pm KLEINHANS MUSIC HALL - TICKETS: $8, $7 & $6 Roberta Flack & SPECIAL GUEST STAR - - - - - - A N EVENING WITH _ _ _ _ __ CHUCK MANGIONE THE CHUCK MANGIONE QUARTET ANU THE CHILDREN OF SANCHEZ WED., APRIL 12-apm I EDITOR & PUBLISHER -Bill Wahl KLEINHANS MUSIC HALL- $6.50 & $5.50 CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Bill Harris, Brad Hunt , John Hunt, Jim Kay, Tom Mazzone, John Osborn, Paul Smith , Paula Wahl, Ron Weinstock . ILLUSTRATOR -Sabrina Mayberry Smith. also in SYRACUSE on APRIL 18th & Pittsburgh- April 11th, Cleveland- April 21st and Cincinnati on Apri I 23rd. ADVERTISING Manager - National & Local - Bob Riley (716) 883-3909 Niagara Falls/ Lockport - Ed Supple (716) 297-7878 Toronto/Hamilton - Hal Hill (416) 742-4081 (after 6 PM) CORRESPONDENTSRochester - Jim Laniok Syracuse - Bob Shepherdson Toronto- Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909 , Ext. 11 FRI., APRIL 21- 8:30pm Jean-Luc Ponty & Larry Coryell PRINTED IN U.SA KLEINHANS MUSIC HALL - TICKETS: $7 & $6 1978 - Buffalo Jazz Report No portion of this pub I ication may be reproduced without written consent from the publisher . THURS.,APRIL 20 ·a pm The Buffalo Jazz Report, founded in March 1974, is pubBJR is distributed free of charge throughout Buffalo , Rochester, Syracuse, Toronto , St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown . We are subsidized solely through advertising and ask that you support our advertisers . Subscriptions are available at $7/ year, paid in advance . 1ished monthly at Buffalo, N . Y. Bonnie Raitt SHEA'S BUFFALO THEATRE- $7, 6 & 5 All Seats Reserved For All Above Shows So GET YOUR TICKETS NOW! ELLINGTON ORCHESTRA TO PERFORM The Duk e Ellington Orches tra, under th ed irectionofDuke's son Mercer , will play a concert Tuesday, April 11 at Alden Central High School Auditorium . It is a presentation of the school's Spanish Club. Th e event will begin at 8 PM . Tickets are $5 advance, $6 at the door - available at RecordTh eafre , Roxy's Music· (Bata- Tickets Available at Festival Tickets in the Statler Hilton Hotel or with Nominal Service Cha~ge ot All Man Two & Pantastik Stores, U.B.'s Squire Hall, Audrey & Dels Records, Buffalo State College, Amherst Tickets, D'Amico's in Niagara Falls & Sam the Record Man Stores in Canada. 3 ." -------------------------..1 �facture and distribution on its two labels. in th e Western Hemisphere . This fine catalogue feature s the most r ecent recordings by such outstanding artists. as Earl Hines, Don Byas, Milt Buck ner, Lionel Hampton, Buddy Tate, Illinois Jacquet, Stephane Grappelli, Helen Humes, Teddy Wilson. Eddi e "Lock jaw" Davis . Hank Jones, and many oth ers. First releases on INNER CITY / CLASSIC JAZZ will appear in April, with approximate ly four LPs scheduled per month . 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store via), Depew Musi c Center , John & Mary's (Lancaster) and at the door . JAZZ REPORT GOES TO CLEVELAND This month the Jazz Report w i ll have a sister publication in Cleveland, Ohio. To be known as Cleveland Jazz Report, the magazine will be distributed free in the same type of locations as the Buffal o issue - record stores, jazz clubs, stereo equipment deal ers, etc . in th e Cl eveland/ Akron/ Kent area . CJR will be localized for the area- cover story, local happenings , radio , advertising, etc . If you should have any friends in Cleveland - let th em know we're coming . We should hit the streets about April 15. BLACK & BLUE INNER CITY and CLASSIC JAZZ, have announced the licensing of the famed BLACK & BLUE label of France , for manu- BY ------·Z® SUPERSCOPE® CD-310 Stereo Cassette Deck 139.95 FEATURES: • Front Loading • Dolby Noise Reduction System • B ias and Equalizer Switches for Sta ndard . CR02 and FeCr Tapes • Locking Pause Control • 3-Digit Tape Counter • Super Hard Permalloy Head • Peak Limiter • Separate Right and Left Record Level Controls • Front Pa nel Headphone and Mic Ja cks • Cal ib rated VU Meters • Rear Panel Aux Input and Line Output Jacks F.na.S Uf\D OFFERING THE FINEST NAMES IN AUDIO 4510 BAILEY AVE. · Amherst, N. Y. 14226 836-7720 4018 SENECA ST. West Seneca, N. Y. 14224 675-2420 B.J.W. TO PERFORM The newly formed Buffal o Jazz Workshop wi II perform their first concert as a benefit for the Northwest Buffalo Community Center on Wednesday, April 5th at 8:00PM . The performance will be in the Center auditori um at 155 Lawn St . which is one bl ock north of Herte l Av e. on Military Road. Donation for the event is $2 .00 for adults and $1.00 for students and children. Refreshments will be served. DOWNTOWN ROOM GOES BACK TO JAZZ The Statler Hilton's Downtown Room , a jazz club since 1974, has been under new management sinc e January of this year . After a couple of months of rock, the new owners have decided to switch back to jazz as of this month . As of this writing, the bookings are not compl ete - but you can check the ad in this issue for this month's schedule. Riff1 in Print BOOK REVIEWS BY BRAD HUNT No matter where other jazz scene s existed, New York , as in so many other fields , attained primacy . (Even today, most of the exciting AACM pioneers of th e New Musi c have migrated from their native Ch icago to New York). Leonard Kunstadt and Samuel Charters produced a valuable work on jazz in New York in 1962 (JAZZ-A History of the New York Scene) and now two more titl es can be added t o the bibli ography, The Cotton C.h.1b (Rapdqm House ; $15 cloth, $7.95 paper) and 52nd Street (Da Capo, $5 .95) . Unfortunately , neither entirely works. Jim Haskins's Cotton Club, "A Pictoral and Soci al Hi story of th e Most Famous Symbol of the Jazz Era ," is more modest in its goals arid more successful in its execution, while Arnold Shaw's ' survey. of "The Street That Never Slept" is in th e main, · soporific . The elegant Cotton Club , started at 142nd Street and Leno x Avenue in 1923 by gangster Owney Madden (who had acquired the nickname Owney th e Killer at age 17) drew wh1te crowd s to suddenly chic Harlem and sold them Madden's bootl eg liquor . The key word in that sentence is whit e: originally, the Cotton Club refused admission t o blacks ent1r ely; later , it relent ed enough to accommodate ver y l ight - skinn ed bla cks, though they were always seated in booths off to th e s ide . Like the Grand Terrace, but more sophisticated, th e Cotton Club offered a complete show with dance rs , chorus l ine an d orchestra . Talents like Lew Lesli e and Harold A rlen help ed produ ce a new presentation every si x month s, and perfo rm ers such as Dulce Ellington , Cab Call oway, " BoJangl es" Robi nson, L ena Horne and Ethel Wat ers graced its stage. On ce wh1t e audi ences grew tired of Har'lem, the club mo ve d to 48th an d Broa dway , where Andy Kirk and his Cl ouds of Joy , Buck and Bubbl es , and Stepin Fetchit maintained th e Club 's high standard of stage performance . By 1940 th e idea had somehow worn out -perhaps the publi c had tired of the big Zi egf1 elu lype show, perhaps it had grown more interested in th e big whit e swing bands, per haps the 52nd Street ambi ence pull ed th e audienc e away; th e dub losed in 1942. Although Haskin s has wr itten a good and glossy read to accompany th e many fine photograph s. it fa ils to probe . For instance, we never get a sense of how th e entertainers felt about th e admi ssion pol icy. And it betrays an un 4 expected prudishness-Haskins constantly r efers to th e "adult �------------~--------------------------~---- ----songs" which were a part of every Cotton Club show, but never gives any lyri cs ! 52nd Street should have been a good book, a history of the block between Fifth and Sixth Avenues known as "The Street," whi ch was full of nightclubs from the late '20s on . Unfortu - ' nately, Shaw never tak es command of his material. If Stanley Dan ce's book (BJR, March '78) shows us some of the possibiliti es of oral h istory , Shaw's shows some ofthe pitfalls . There is far too much repetition, andfewofthe interviews come alive. On ly at the end of th e book , when bebop is first featured in 52nd Street clubs, do some of th e interview's strike sparks . Dizzy Gill espie t ells a f earsome tal e of being harassed by a number of drunken white sailors on lea ve during World War II. L eonard Feather' s denunciation of the cramped, smoky character of most 52nd Street clubs stands in welcome contra st to th e endl essly parroted praise for the wonders of The Street . Too many pointless anecdot~s. too many interviews whi ch fail to extract an y refl ection-52nd Street simply doesn't have any soul. The/ound Approach by JIM KAY SHOPPING FOR SPEAKERS OR WHO'S ON FIRST, WHAT ON SECOND . PART II . Last months arti cle in which I discussed the merits or lack of merits in consol e model music machines certainly did nothing for my popularity among the vendors of such goods . This was made ev ident wh en a fri end of mine told me that, while walking through one of the b igger Brown goods dealers in the city, he found some Jazz Reports thrown on the floor in front of a large enterlainment center . When he approached a near by salesman to ask, why? he was told they felt the sound approach arlicle was best suited for catching tweeter droppings . In order to exhibit my willingness to be totally fair with all concerned I have decided to give a review on this exact entertainment console. First this mass of simulated wood I ike plastic structure was 118 inches from stem to stern . It incorporated radio, TV, S-track cassette, cheese sli ce r, ic e crusher, pit remover and golf ball polisher, deoderant dispenser and a mute control for your mother - in-law. Now for its technical specspower consumption 4333 .6 watts, output 4 .3 watts continuous into your underwear drawer. Signal to noise, identical. Stylus tracking - if your lucky. We found that with this unit in the phono mode it could do a good job of picki ng up all 40 C.B. channels. We found the ice crusher satisfactory as was t~e golf ball polisher . The TV was really something . Its 3 inch screen had great detai I. This company had a great ide an when it incorporated the head brace so as to set up th e proper focal point between your left eye and the TV· screen while allowing your right eye to oversee the cheese slicer. In actual use we found the mute, radio, cheese slicer , TV & pit remover to be of no use. But if you need your balls polished over crushed ice this is the machine for you . This model is availabl e wherever ig norance is bliss. Enough nonsense, lets talk :~bout tweeters . The tweeter provides all high frequen cy sounds in th e system, and manu facturers have made considerable strides in this area . The true test of tweeter design is its ability to spread its high frequen cies evenly over a wide listening ar ea . When l istening to a speaker stand directly in front of it and note its r esponse . Now slowly move off axis and see if you can detect any high frequency loss . Since bass frequen cies are non -directional it is the mid and high frequencies that will provide proper stereo imaging and even distribution of these frequen cies is a must . When it comes to the amount of power needed to "produce a �FAST SERVICE_ SOLID STATE REPAIR • AMPS • TUNERS • RECEIVERS SPECIA~ISTS • JAPE DECKS • TURNTABLES • ETC .. ETC.. ETC. LARGE SELECTION OF FINE QUALITY USED & RECONDITIONED SOUND EQUIPMENT & TV'S 835-4202 I 285 PARKSIDE AV . BUF. (ACROSS FROM THE ZOO) ·~ Swinging Place' Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week - $1.00 Wednesday & Sunday Hot Dog W/Kraut - 40¢ We Serve Food til 3:00 AM No 8.5. Compare Our prices EEF EER B ILL lARDS &JUKEBOX AVE BAILEY 3178 ' . · • OPEN EVERY MORNING TIL 4 AM ~ 836 . - 8Qos ~------~(a~c~r~os~s~t~ro~m=C~a~p~ri~A~rt=T~h~e=at=r=e)======~ 6 given sound level the tweeter is the least demanding and the most delicate. Tlile. power handling capability of tweeters in general has improved considerably .in recent years . There have been considerable design advances and because of the large number of these advances we feel a more detailed explanation can be provided and should be provided by your local Hi-Fi dealer. Let's discuss power handling and efficiency . Power handling is not a simple matter. Here is a statement that seems to contradict itself. "The speaker can handle 100 watts RMS and I just burned it out with my 20 watt AMP." This is no contradiction . The speakers abi I ity is determined with a few other factors in mind. These power hand I ing factors are- distortion, and frequency . Distor·t ion is the deviation between what goes into your amp and what comes out. To a great extent your amp determines your speaker power hand I ing capab i I ity, not vice versa . It is important to remember that any amplifier can be made to distort and no matter how low the level, or high the level, it will destroy most speaker systems . I should explain The normal signal coming off the speaker terminals of your amp are A.C. in nature, if your amplifier is driven too hard the nature of that signal becomes D.C . and no matter at what point in volume dial rotation this takes place the ·effect will cause coil burn out . Knowing this, it souldn't seem unusual that more speakers are damaged by a lack of power than by an over abundance . Match your listening habits to your system . Loud. requires power no matter what the speaker efficiency. Efficiency can best be defined as the speakers ability to convert watts into DB or sound, pressure levels . Lets take th is as an example, speakerA.willproducea(sound pressure level) of 40 DB with 1 watt . Speaker B will produce 40DB with 4 watts . So speaker A. is more efficient. As I said there are no absolutes in this market. Efficiency is not always what it seems to be . Now I will quote a case h istory . One of this country's top speaker manufacturers states that their speak er will produce a 90 DB. S.P.L . with 3.6 watts . Another leadi'ng manufacturer states theirs requires · 10. watts for 90 DB . S.P .L . It would appear that the first speaker is three times as efficient. Well maybe for now but if you continue to read you qui ckly come to the realization that both of these speakers requir e 200 watts for a S.P.L. of 107 DB. The effi c iency advantage is gone. One should also keep in mind that th e power requir ed for a given S.P .L. is directly related to the frequen cy being ampli fied. Example - at 1000 CPS 1. watt may be required to pro duce a 90 DB S.P.L . This same speaker requires 50 watts to produce the same S.P .L . .with a 300 cycle per second tone . The confusing part of HiFi is that so many things are relativ e to one another and require an extensive knowledge to decipher . Next month we will discuss more about th e r elationship of power versis sound pressure levels andwhatS .P.L . is requir ed to reinact a live performance. See you then! We invite your quest ions and your comments pros and cons write to : Sound Approach c/ o Jazz Report 1335 Main Street Buffalo, New York 14209 Record1 RECORD REVIEWERS: Bill Wahl (B .W.), John Hunt (J H), Tom Mazzone (T .M.). Ron Weinstock (R .W.), PauiSmith(P .S.), Jim Lanivk (J .L .) and Bill Besecker (B .B ). LOUIS HAYES- THE REAL THING - MUSE 5125 The Louis Hayes/ Woody Shaw Quintet, whi ch JUSt r ecently split up into two bands, has been one of the hottes t; mor·c· ex cit· ing bands on the scene overthe last coupl e> of ye ars . Their brand of hard swinging mainstream jazz t1 ck.l€'d th e ea rs of l1steners, critics and musicians throughout the world as a r•·sul t of th r>ir �many c lub and concert dates. Thi s is th e same basi c unit that appear-ed at th e B er-1 iner- Jazztage, a concert that was r-eleased a few month s ago on Muse (MR 5139). Side one her-e is th e quintet - with Rem e M c lean , Staffor-d James & Ronni e Math ews and, of cour-se, Loui s Hayes & Woody Shaw . Side two find s tr-ombonist Slide Hampton join in g th e band - as he did at the Jazztage . This is pow er-ful musi c full of exce ll ent solos and tight gr-oup wor-k . Oth er- than th e abo ve mentioned album, th e only other- example of th e Loui s Hayes / Woody Shaw Quint et can be found on the Dut ch import lchi Ban, on Tim eless r- eco r-ds. Hopefully, Muse will have mor-e in th e ca n for- futur-e issue. B.W . Th e gr-oup sh ines in many ar-eas - full, br-ight ensembles, str-ong cr-eative soloing and th e over- all sound of a well rehear-sed, close-knit band . "Cook" must have been the word forthi s dat e- ther-e's not a slow ballad in th e entir-e set . B.W . ART BLAKEY & THE JAZZ MESSENGERS - GYPSY FOLK TALES- ROULETTE 5008 This album is sever-al months old, but we just r-eceived it thanks to someon e new at Roul ett e that car-es about us . I r-emember- wr-iting a bad r- ev iew of Blakey 's pr- evious disc, Backgammon, and was tur-ned ar-ound wh en the stylus made it s way thr-ough th e fir-st tr-ack. Gypsy Folk Tales rs a frr-st c lass, str-aight - ah ead acousti c jazz album tr-ue to th e long standing tr-adition of th e Jazz Messenger-s . T enor- saxophonist Dave Schnrtter- has impr-oved since th e ea r-li er- album. He's stopped imitating Dexter- Gor-don and used D ex as an influence t o becom e a power-ful soloist in his own r-ight. Bobby Watson i s a hot young alto player- whose r- ecently join ed the band - as has tr-ump et erValer-i Ponomar-ev. A Russian natrv e, Ponomar-ev was r-ecently on "To Tell th e Tr-uth ". r-e lating that one of hi s lrfe ambitions as a musi c ian in Russia was t o play with Art Blakey . The band played on th e show and his wor-k th er-e and on thi s r-elease shows that the fin e trumpet er- shouldn't hav e any tr-oubl e in th e Amer-i can jazz scene. Pianist Walter- Davi s and bassi st Denni s Ir-win complete th e sextet. Al l eight of th e tune s ar-e or-rginals by m ember-s of th e band. WOODY SHAW - ROSEWOOD - COLUMBIA JC 35309 In th e fir-st sentence of th e liner- notes, Michael Cuscuna boldly states that "this is Woody Shaw's fir-st album for- a maJor- label. .. " . This is actually Woody's ninth r-ecor-dingunderhis own name - and many ar-e on Muse - a label I'd have to call a major- as far- as jazz is concer-ned. I r-eally didn't know what to expect fr-om Woody's fir-st Columbia disc . They did alr-ight with Dexter- Gor-don, but Fr-eddi e Hubbar-d, Hubert Laws and other-s would now be per f ect guest s for- "Soultr-ain" based on their- CBS output. The fact that Shaw's album is a str-aight - ahead, cr-eative and unadulter-ated acousti c jazz album could be a good sign for the futur-e. Columbia is gener-ally on top of th e tr-ends. The title tr-ack sets thrngs off with musi c typi cal of the tr-ump et er-'s wor-k on Muse and that of th e quintet he co-led with Louis Hayes. Next is a medium tempo ballad , Ever-y Time I See You, wr-itten by pianist Onaje Allan Gumbs who shar-es solo honor-s with Shaw. Dr-ummerVictor- Lewis offer-s The Legend of Cheops, a bouncy up cut with stat ements fr-om Joe Hender-son and Woody . One of the hottest tr-acks is a Shaw tr-ibute to Roland Kir-k Ron Carter, Pharoah Sanders, Mose Allison. At the Tralf. SeeourAds-pg.'s 13,14 Milestones! .M~C9YTYNER • Milestone M- 55004- Ron Carter/Piccolo Just Released - M 9082- Pegleg 1800 MAIN at LAFAYETTE BUFFALO M- 9079 - McCoy Tyner/Inner Voices Rochester Locations: Midtown Plaza Greecetowne Mall Gates Eastview Plaza 2525 W. Henrietta Rd. Syracuse: On The Hi II APPEARANCES: RON CARTERTralfamadore Cafe - Apri I 12,13&14 McCOY TYNER- ~uffalo Statler Hilton April 20-23 �be able to enjoy . Pick it up along with the new Louis Hayes album on Muse (reviewed in this issue) and treat yourself to the latest work from one ofthefinesttrumpetplayers in the music . B.W . lriHIE §IPJEfRliH~E~ §IHilOJIPJ PAUL MOTIAN TRIO- DANCE- ECM 1-1108 This is not unlike prior albums of Motian in terms of scope and concept, but then again th e inclusion of new personnel adds differing colors to Motian's thoughts . David lzenzon is the bass player . Charl es Brackeen is th e man on soprano and tenor . The album seems to be a tour de force of the world of (as the titl e suggests) Dance. Each cut highlights in Motian's own way a particular idi om of "dance" melody . The subject matter is not exhaustible, of course, on one short record album, but quaint insights are offere d to his perceptions of movement through musi c, whi ch I believe would interest dancers and musi ci ans alike . I'm never quite sure what time "Waltz Song" is in . It overlaps onto itself so fr equently and easily. "Kalypso" is interpret ed with a m i I itary step underneath . The meld of dance from "Asia" provides images of oriental coordination. I miss Charli e Haden's style of bass playing, but lzenzon is quite compatible to Motian's ideas. Brackeen is melodic and haunting . B .B . Speakers Our Specialty Quality Raw Speakers. Crossovers. Critically Acclaimed Cylinder Enclosures, Speaker Kits, Subwoofers. A Full Line of Audio Components. 1015 Kensington Avenue • Buffalo • New York 14215 Telephone: (716) 837-1557 (who had di ed just 10 days prior to this recording). Rahsaan's Run features short solos from Woody, Carter Jeffer son/ tenor sax, Onaje & bassist Clint Houston foll owed by tradeouts between Shaw, Victor L ewis, Jeffer son & the ensembl e. Mil es' "In a Silent Way" album comes to mind during the opening of Houston ' s Sunshowers. After th e tempo pi cks up, th e band cooks hard with some impressive work from Woody and Joe Hender son . The closing track, another Shaw original - Theme For Mxine, has both a themeandmoodstrikinglysimilar to Mingus' classic "Goodbye Pork Pi e Hat ." It's gorgeous balladry with some superb soloing - especially from Shaw & Henderson . This album falls into a style of jazz that I neve r tire of wh en its well performed . That mid to late si xti es sound most heard on the Blue Note label by bands such as those of Horace Silv er, Jackie Mclean, Bobby Hutch erson, Joe Henderson & Wayn e Shorter . Rosewood isn't mind boggling or a new innovative blockbuster. Its simply an excellent jazz album anyone should TACOS BURRITOS ENCHILADAS TOASTADAS GARY BARTZ - LOVE SONG - VEE JAY VJS - 3068 Bartz, a most t alented alto/soprano saxophonist, has been doing his own fusion of jazz, funk and street musi c for about five years now . Th e results on the albums produced during this period have varied from poor t o excellent. Now we come to Love Song. Bartz and his quintet plow their way through five lengthy (avg . 7 min . each) tunes without coming close to tapping th eir creative abilities. Sacharine is a good adJective to describe th e musi c. It ' s filled with ridiculous soul-style repetitive vocal choruses, dull rhythms andthe like . George Cables - known to be a bitch on the acoustic piano (Art Pepper's The Trip album on Cont emporary is a good exam pl e) sounds as tir ed as th e others and does a synthesizer solo on Just Suppose that's so bad it's actually funny. Bartz & Cables alone share th e honors of doing· anything of merit on th e album, and only in a few spots . There is one good cut - an alto/ piano duet - and it runs only a minute and a half . Oddly enough, it is titl ed Afterthoughts. Slightly jazzy soul / pop is what Love Song has to offer. Th ere are many better Bartz albums to choose from . B .W. First with the Best in Buffalo 1247 Hertel Ave. between Colvin & Delaware 873-6606 2114 Seneca St. w 2 blocks north of Cazenovia 822-7733 Watch For New Location At 3355 Bailey at Minnesota 1- Hours 11 -5 AM Daily :I: 8 FRANK STROZIER - REMEMBER ME - INNER CITY 2066 Alto saxophonist Frank Strozier had not had an album rel eased under his own name in 15 years when Remember Me was recorded in 1976 . Frank is probably best known for his work with th e bands of two of jazz' finest drummers - Shelly Mann e and Roy Haynes . He's a fluent soloist in the post bop style and offers a good array of ideas . This album finds him at th e helm of a sextet with Howard Johnson / tuba and Danny Moor e/flug elhorn joining him on th e front lin e. The able rhythm section of Harold Mabern , Lisl e Atkinson & Michael Carvin prov es t o be a wise cho ice for th e date. Fi ve Strozi er compositions are hea rd among th e seven cuts on thi s balan ced set of up t empo swingers, ballads and Latin flavored cuts. Th e mo st notabl e soloing comes from Frank (who also plays some gorgeous flute on th e ballad Neicy) and Howard Johnson . Howard solos on most of the tunes - some at an incredible t empo for a tuba . He also works well with Atkinson behind th e soloists- at times sounding lik e a bowed bilss while Atkin son plays in the upper r egis t er . Piani stMabernshould be mentioned for hi s work as well and Carvin is an easily adaptabl e master perc ussionist. A good set of all acoustic jazz with a unique sound courtesy of Howard Johnson . Don't confuse this with another r ecent Strozi er album, "Dance, Dan ce " on Trident records , which fails in every area that this one excels . B.W. �STANLEY TURRENTINE -WEST SIDE HIGHWAY- FANTASY 9548 SONNY ROLLINS- EASY LIVING- MILESTONE 9080 Here we have a pair of new releases from two of the best known tenor saxophonists in jazz. Each is aimed at a wide audience, but with a more artistic approach than heard on the previous albums from both .artists. Turrentine, known as a soulful tenor player, had been doing funk albums for quite a while. West Side Highway exhibits all of Stanl ey's soul but there's only one funk track in six. Two others are sweet, lush ballads and th e remaining three swing. There's a version of one of Stan 's most popular ·origina ls, Sugar; then there 's a rendition of Walkin' - the Ri chard Carpenter tune made famous by Mil es Davis . Th e third swinger is Sonny Henry's Hudson Parkway (West Side Highway). Turrentine's regular band is augmented by Eri c Gal e, Ron Carter, & Grady Tate among others. Oddly enough, Tate replaces drummer Charles Collins on the up t empo cuts, and Carter plays bass on all but the funk track . A fu II string and horn section arranged and conducted by CIa us Ogerman is used with taste on fiv e tracks. Sonny Rollins, one of the few remaining giants of the tenor saxophone, has in the fusion direction but seems to be heading back . Easy Living is a straight quintet date with George Duke, guitarist Charl es Icarus John son, bassist Paul Jackson and Tony Williams . Although Paul Jackson's e lectric basswork leaves a lot to be desired, thi s record is a vast improvement over Sonny's ear l1 er Mil est one release The Way I Feel. High lights are th e title tra ck, two of the thr ee Rollins originalshear What l ! m Saying and Down the Line and his soprano reading of th e standard My One and Only Love. Stevie Wonder's Isn't She Lovely cou ld easily have been ruined with disco drumbeats and the I ike but it wasn 't. Roll ins & company bounce along nicely with Duke using th e Yamaha e lectric grand piano (sounds acoust ic). Arroz Con Polio could have been better per- Music for all tastes. live music 7 nights Sun. thruWed./NoCover Candi's Kitchen Open 'till 4 AM - 7 Nights a Week BONA VISTA 1504 HERTEL 836-8985 BUFFALO haps if Roll ins hadn't chosen the soprano; and Wi II iams gets a bit carried away. The mix could also be a partial blame . The tune just gets bogged down in overplay and repetition . A s you've probably deduced - I enjoy both of these records as above average examples of th ese men's recent recordings. It's heartening to see that musicians who have been doing highly commercialized, often over - produced albums are moving back to the swinging sounds they're known for. One last bit of information - there's not a vocal chorus, disco beat, or overdone synthesizer to be heard on either album. B.W. MAL WALDRON & SIGNALS - ARISTA-FREEDOM AF 1042 Mal .Waldon seems to have a nearly inexhaustible supply of mus1c 1n the cans of European studios, in addition to the many discs released there which have not yet found American IT'S OUB BIRTHDAY .. ... And We Are Raving A Sale To Celebrate!! Since we don't want to celebrate alone, we have put over a quarter of a million dollars of our inventory on sale. So whether it's one of our six birthday special systerns, a single component, accessories or some of our large selection ofdirect to diskjazz recordings, you won't find a better time to stop inandseeus!! *Master Charge *Visa *Monthly Payments Mon.-Fri. Saturday 10-9 10-5 2010eggert Phone 834-2266 s~ereo (Behind Northtown PI aza) �release. Arista is doing an especially commendable job in offering these recordings to the American audience . This al bum survives some August 1971 sessions in Holland . I extr-emely enjoy side one, which features two eerie compositions, Signals - the titl e cut, and Things That Go Bump In the Night. Both could probably be utilized by a musically sensitive film producer- for- all thevisual imagery they conjur-e, but per-haps the loss to the musi c's power by for-cing some filmed image to th e music would do that conjur-ing power- an injustice . Waldon plays "hypnotic" piano . His touch often makes the str-ings sound strummed r-ather than hammered {noti ce the last minutes of "Things ... ) A tune entitled Zapata se ems to make harmoni c comment on that famed her-o's senseless murder- . Touch of the Blues is not th e twelve- bar- toe tapper one might expect, but strict use of the "blues" scale is the only "touch" he fondles . B.B . HOUSE OF GUITARS Upstate's Music Building "3 Floors of Musical Instruments for the Rising Young Stars from Earth" - Fan letter Quote *Lots of Used Gibson Jazz Guitars *Save up to 70CI, on Professional music equip. 2 for 1 Deals Most Jazz, Blues, on Blank Rock albums Tapes - 3.85 ea. LARRY CORYELL & PHILIP CATHERINE - TWIN HOUSE ELEKTRA 6E-123 Anyone who is into contempor-ar-y guitar should alr eady own a copy of the Coryeii / Steve Kahn duo album "Two for the Road" on Ar-ista. Get ready for- another- brilliant display of acousti c guitar ad i stry. The Car-yell / Catherine duo leans mor-e towar-ds jazz / r-ock in their- mater-ial. The music is ever-y bit as good as that of the Kahn duo - the dynamics, unbelievable r-uns, th e sensitivity bet ween the two arti sts and the overall strength and melodi c bri I I iance. Twin House was recorded at a London studio and the sound quality is excellent . Anoth er difference fr-om th e live Kahn album is the use of occasional overdubs whi ch in no way de tract . This was originally available only as an impor-t, but popular demand resulted in an American release . Coryell, whose done albums of opposite degrees of quality through his career, has come up with a pair of albums no one could r-ightly find fault with {I said "rightly" since th ere's always someone who can find fault with everything). Look into this one. B .W. *Specials on Moogs, A.R.P ., Oberheim, Roland, Polymoog Synthesizers, A.R.P. Avatar. *Save on Fender Rhodes pianos, R.M.I., Hohner, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards, Chapman Stick. *Sunn & Moog lab amplifiers for keyboards. *Up to 71)% off on Pro Drum Sets - new and used selection (all brands) Sonor; North; Gretsch. JAMES MASON - RHYTHM OF LIFE - CHIAROSCURO CR 189 James Mason plays guitar and keyboar-ds and has recently work ed with Roy Ayr es. Though you may f1nd thi s reC"Ord in the Jazz bin s it lacks mo st of th e qualiti es associated with jazz especially impr-ovisation . Mo st of th e tunes ar-e r-epeated funk nffs with banal lyr-i c s. One positive factor- is singer Clari ce Tayl or who sings in a manner r- eminiscent of Dee Dee Bridgewat er and despite th e banality hear-d elsewhere has great comm and of her voic e. I'd like t o hear- her- in a pure jazz setting or with mor-e interesting soul material. R.W. *DtAncelico New Yorker on display *Gibson's Howards Roberts, L5's, Johnny Smiths, Byrdlands (Guild Artist Awards) *1/2 off on drum heads - 1/2 off on microphones *Larce selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets. *Drum sticks (nylon or wood tip) $1 pair *Good selection left handed guitars *Sale on all brands of guitars, basses and amplifiers - Gibson, Fender, Guild, B .C. Rich, Martin Alembic cuitars and basses; Sunn, Ampeg, Music Man, Mar• .._ll, Kustum, Mesa Boogie & Polytone Jazz Amps. RED RODNEY- RED, WHITE & BLUES- MUSE 5111 Th1s is trump eter Red Ro dney's foudh Muse album since his comeback a f ew years ago . Each has been done with slightly different instr-umentation, but each has had one th ing in common - superb B eBop trumpet pl aying fr-om Rodn ey . Sin ce new ly recorded bop albums ar-e a r-are commodity th ese days , this and th e other Rodn ey albums should be a bop fan s delight . Th e group includes th e bright young Phil Woods influenced alto player Ri chi e Col e, who shines on most of th e cuts especia lly Ode To A Potato Plant, No Jive Line & Lolita's Theme {the last two of which were composed by Tor-onto pianist Bernie Sen ensk y), Roland Hanna , Buster Will iams & Eddi e Gladden comprise the rhythm sect1on . Th e tunes are or-iginals by bandmembers, th e Sen ensky cuts and, naturally, aBir-dtune {no bop set is complete without one) Little Red Shoes . A good time, loo se f ee ling prevails on this album whi ch ~ ho1dd pl ease fans of both Rodney & Cole . B.W. *New and used horns - trumpets, saxes, trombones, flutes, woodwinds, flugelhorns, pro sound equip. *301 off music books, instruction books , headphones *Imported LP's, rock starT-shirts, strobe lights, llit 45 sincles. *Switchblade combs $7.98 *No admission - No cover charge. Free limited addition H.O.G. Bumper Stickers, Buttons, Post Cards. 646 TITUS AVE. Ph. 716-544-3500 ROCHESTER, N.Y. (Tbe House of Guitars Luvs You Baby) Open Kon.-Sat. 10 AM-9 PM/Sun. 1-5 PM. Take N.Y.S. Thruway to Exit 45 on to Expressway Express 47_North . _______ ._410, _ _to __ ____ _ _ _to _Titus _ _ _Ave __ 10 011111 MICHAL URBANIAK - URBANIAK - INNER CITY 1036 Throughout the last thr ee years or so we've heard Polish violinist Mi cha l Urbaniak doing both high energy Jazz / ro ck and avant garde . This latest r elease is melodi c jazz / rock mor-e along th e lines of some of Jean - Luc Panty's wor-k . Ur-baniak �A New Trio from Col~mbia At~Meola WOODY SHAW STANLEY CLARKE CASINO , ROSEWOOD including: Sunshowers/Every Time I See You Theme For Maxine/The Legend Of Cheops Rahsaan's Run lnc:tudlng: ' . " '.. • Egyptian Danza/Chasin'~VOoiklo ,. Dark.EyeTango/SeilorMocM FIWltasia Suite FOfl\110 Guitarll MODERN MAN including: Rock 'N' Ro ll Jelly He Live s Or. (Story About The last J ourney Of A Warrior) GotTo Find My Own Place Da y ride Watch For Local Appearance In Concert- April 29. Century Theatre (Buffalo) & April 27. Eastman Theatre (Rochester) In Concert Tues .• Apri I 11 Shea's Buffalo · I Now .on Super Sale! SENECA MALL EASTERN HILLS MALL MAIN PLACE MALL SOUTHGATE PLAZA BOULEVARD MALL SO. SHORE PLAZA THRUWAY MALL COMO MALL LOCKPORT MALL UNIVERSITY PLAZA SUMMIT PARK MALL 'AVAILABLE AT ALL CAYAGES MEMOREX MEMOREX 90-Minute 8-Track Recording Cartridge - --.- MEMOREX PRICE 112SALE ..... _ 8T- 90 BU ¥ ()fol ~ gortndv- "' tiii•Ng•tr-o~ ullltpftee 9 . , . , . - •t tl2pnc.. Buy one at 60-Minute Cassette regular price, get the other at 1f2 price ~ MEMOREX 60 ' 12 SALE PRICE ""' 0 "' ,. .. :: ~':::,"',." ·:" •• s... Pnc•' .. MEMOREX Recording Tape "Is it ive or is it Memorex?" AVAILABLE AT CAYAGES SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA SO. SHORE PLAZA COMO MALL UNIVERSITY PLAZA & SUMMIT PARK MALL �more prevalent roots of his native Panama. The country offers a quite unusual cross-cultural dialogue of the musi c of North and South Ameri ca , which is obviously due to its centralized location. . Much of the music is termed "fusion" by the liner notes, although this reviewer feels it actually lies closer to straight ahead jazz textures than to rock riffs . One selection that stands on its own is Memories of John Coltrane . The slow repetitious chant1ng of the simple lyrics out I ines expert playing by Garnett, Hi no and pianist Joe Bonner . The selection of artists banners many whose names are quite album active : Alphonse Mouzon, Terumasa Hino and Guilherme Fran co. Th ere are no pion ee ring improvisational achievements here but th e album succeeds in just the way it wants - Listenable for th e general audi ence whil e not losing "stimulation" for th e exclusively jazz listeners . 8.8 . ELMWOOD VILLAGE TICKETS SHAW FESTIVAL- ARTPARK MELODY FAIR SHEA'S BUFFALO STUDIO ARENA KLEINHANS MUSIC HALL TRALFAMADORE TORONTO & N.Y. SHOWS All Major Sports & Theatrical Events 510% ELMWOOD near W. UTICA. BUFFALO 884-0122 Sat. 11:00- 5:00 Mon.- Fri. 9:30- 5:00 features Zbigniew Na'myslovski (alto sax &flute)throughoutthe set adding more dimension andcolortothemusi c. Th e two also shared the composing for th e date. Vocalist Urszula 0)Jdziak is on hand as usual offering word less vocal stylings. On e of the downfalls of both Mi chal and Urszula in the past has been to get caught up in an overdose of electronics . That doesn 't happen here and the r esult is a lyri c al , electri c funk album that should be of interest to many who foll ow that style of jazz . B .W . CARLOS GARNETT - THE NEW LOVE - MUSE - MR 5133 A ccessab le melodies with "stimulating" improvisational and rhythmical intricacies seems to be the underlying concept behind this new album . My first hearing of Garnett goes backto the Miles Davi s band of On The Corner . His own sessions sinc e that time refl ec t th e Chuck Mangione (L.) April 12; Jean-Lu c Ponty April 21 . Both concerts at Kleinhans Musi c Hall presented by Festival East. Head for ... twr,-,i,-,y ti~~i "STAY HIGH WITH THE TIMES" Largest Selection of Head Gear in W. N.Y.! SUPER PRICES ON ... PIPES MEERSCHAM WATER ONYX SOAP STONE COLA BOWLA ROSEWOOD TEAKWOOD EBONY WOOD BONGS GLASS ALUMINUM CERAMIC PLASTIC POWER HITIERS. SUPER CHARGER, FAZORS ROLLING MACHINES & PAPERS FANCY MIRRORS & SPOONS BACKGAMMON SETS CURRENT & BACK ISSUES OF "HEAD". "HIGH TIMES" & FABULOUS FURRY FREAK BROS. COMIX COME IN AND BROWSE MON .- SAT. 12-9 807 Millersport Highway Buffalo, N.Y . (715) 835-2169 �Keep BJR free/support our advertisers! Blues by ron weinstock I r-ecently saw Willie Dixon and his band, the Chicago All Star-s at New Yor-k Univer-sity! After- a lackluster-set by r-ockerDelber-t McClinton, which included some blues, the Chicago Al l Star- s came up . Willi e's son and gr-oup bassist Fr-eddi e led the band as har-moni ca player- Billy. B r-anch, guitar-ist Eddie C . Campbell and pianist Lafayette Leake each had a number- to be featur-ed on. Billy Br-an ch did a nice ver-sion of "Juke" showing influence fr-om both Big Walte r- and Littl e Walt er-. He plays with tast e. swing and has a ni ce tone and played good supporting har-p thr-ou ghout th e evening . " M other-- in- Law Bl ues" evoked . the memor-y of Magi c Sam in Eddi e Campbel l's tenor- and stunning guitar- work . Hi s playing throughout the evening was a part icular- highpo int for- me. Lafay ett e Leake's "Tr-ouble in Mind" suggested Charles Br-own in its unusual mel od i c tr-eatment of the blues standar-d . L eake Just may be the best blues pianist 1n Chicago since the late Oti s Spann and my only complaint is that on occasion his playing gets too swe et . Willi e Di xo n wa s in New Yor-k fo1· the fir-st time since his leg was amputated as a con sequence of his having diabetes . Dixon is a major- figure in blues hi story as a songwriter, bassi st, and produ cer. Th e solid rocking band he has here shows the care he tak es in getting th e right sound. A s a singer (and on this night that is all he did) Willi e Dixon is somewhat flat and doesn't possess th e emot ional range of tho se bluesmen he has writt en for (Otis Rush, Buddy Guy, Magi c Sam, Muddy Water-s, Sonny Boy Williamson, Howlin' Wolf, etc.) In the context of l ive per-formance with his f ine group he c ame across gener-ally quite well . Songs performed 1n c luded "Twenty Nin e Way s", " YouShook Me", "Seventh Son" and " Wang Dang Doodl e". Th e show I saw concluded with the band do 1ng " Hideaway" w1th Eddi e Campbell engaging in some guitar tricks including playing with h is f eet an d tongue . It was a thoroughly enJ oyabl e eve ning . Among new r-ecords is Lonesome Sundown's fi rst r-ecor-dings in over- ten year-s . Hi s Joliet release Been Gone Too Long (6002) mar-ks the former- Ex ce ll o art1st's retur-n to wax after . hi s r et1 remen t from music in the s1xtles. He is also r-eunited with guitanst Phill ip Walk er-, w ith who m he played in Cl ifton Ch en ier's band in the fifties . Lon esome Sundown was one of th ose artists recor-ded by Jay Mill er in Crowley, Loui siana . Mr . Mill er's artists wer-e known for- th eir doomy 'swamp blues' sound . Severa l numbers incl uding "They Call M e Sundown". "Deal in' From the B ottom of th e Deck" and "If you Ai n't B een to Houston" effective ly recreate this approach with some inter-esting descending guitarfigur es coup l ed with heavy vibrato and an echoey lone from Lonesome Sundown . "One M ore Night" is an eff ect 1ve slow blues and Jimmy McCrackl1n's "Just Got to Know" r eceives a f1ne reworking . "Louis1ana L over Man " is some Chuck B err-y sty l ed rock'n' ro ll whereas "You Don't M1 ss Your Wat er" is a gospel blues. Th e presence of the M ~elody K mgs on these two is an unsuc cesful addil10n of a vocal chorus . " Bla ck Cat B one" featur-es a di sco - ish r-hythm and a sl1ghtly strain ed vo cal Thi s album may not complet ely pl ease purist s but shows pr-oducer Bruce Bromberg to be concer-ned with making it appr-oachable fornon -blu es l1steners as well . Other quibles I hav e include th e drumm1ng whi ch 1s not as loose as I'd l1 ke to hear-, and bassist Denn1 s Walk er who drags things a littl e. Phillip Walker- is superb on guitar and has sometastysolosto add to those of his fn end . Ba si cally good blu es album that is worth investing in. Blues punsts shou ld have no hesitation in buying a collection of mo stly un1 ssued Chicago blues Blues is Killing Me (Juke Joint 1501) . Fourt een stunning performances by th e likes of pr ~se nt day C l evela nder Robert Jr . Lockwood , Baby Face Leroy 13 /pring Jazz at the Red Creek & Tralf.l Pharoah /ander1 Quintet Red Creek: APRIL 20/TwoShows 8&11 PM Tralf.: APRIL 21,22,23/10-2 Mo1e 1AIIi1on I Trio Red Creek: APRIL 25/Shows at 8&11 Tralf.: (WI JAMEs MOONEY BLuEs BAND) APRIL 26&27/Showsat7:30&10 Tickets: RED CREEK: BOB HYATT'S STEREO & RED CREEK TRALF: ELMWOOD VILLAGE TICKETS & TRALF. Red Creek 300 JEFFERSON RD ./ROCHESTER- 271 -9208 Tralfamadore Cafe 2610 MAIN at FILLMORE/ BUFFALO- 836-9678 �Foster, John and Grace Brim , Sunn y l and Slim (who plays great p iano throughout this set), B .B . King and J .B . L enoir . Robert Jr . does a ni ce version of h is step - fath er' Robert John son's " Dust My B room" and plays behind L eroy Foster on th e titl e track . M emphis Minni e, perhap s the great es t blueswoman of all time, is heard on "World of Troubl e" . J .B . L enoir is represente d by th e rocking "How Much Mo re" (Rocker Elvin B is hop has also recorded this) . B .B . King is heard from 1958 on a superb "Recession Blues " (with great guitar) wh1 ch was originally recorded (I believe) for Ch ess and unissued ti II now. Not on e bad track an·d this album includes excellent annotation wh1 ch is uncredited but I presume by Pet e Welding . Southern Re cord Sal e s can supply this splendid set of blues r ecordings . Buffalo's Yamaha Dealer cna~~ii~ue<dJ This space is available to pnvate indi v idual s , organizatio ns , mail -o rder hous es, etc . The co s t is 10c per word - minimum charge $3. Send copy and payment to Jazz Report - 1335 Main Street , Buffa lo, N .Y. 14209. YAMAHA CR-1020 70 Watts RMS With Less Than 0.05% THO RARE & Out of Print Jazz LP's, price l1sts and auctions . Wm . Carraro , 25 Ab erde en St . , Malverne, N .Y . 11565 JAZZ RECORDS FOR SALE . Wid e se lection of titles ... mostly out-of-print. For free cata log s: JAZZ HOUSE, Box 455 (BJR), Adelaide St . E.P .O. , Toronto, Ontario, Canada M5C 1J6 . 773 Niagara Falls Blvd. Amherst, South of Sheridan 834-3100 STEREO COMPONENTS FOR SALE - Kenwood KT - 200 1 Tuner, Marantz 1060 60 waH amplifi er . Together or separate. 885 -6815 . Jamestown & Erie IMPORTS from Japan an d el sewhere Sony, East W ind , Tr io, BY G, Tim el ess and many oth er l abels . Albums by Coltrane, Bra xto n , Mil es , Woody Shaw , et c . Al so Coll ege big bands, with Quartet Kenny Barron I Buster Williams I Ben Riley The World's Greatest Bassist- Aprill2,13&14 Showsat7:30andiOPM PHAROAH SANDERS Quintet April21, 22and 23 I IO'til2 SPYRO·GYRA Apri11,2,28,29,30 MOSE ALLISON TRIO wlJohn Mooney Blues Band JAZZ EveryWed. thru Sun. Night. April 26and 27/Shows at 7and 10:30 TICKETS: ELMWOOD VILLAGE TICKETS & THE TRALF . tralfamadore cafe 836-9678 2610 main at fillmore �Vintage big band and traditional. Send f or free li sts and spe cify tast es (Mainstream, Big Band, et c.) - Internati onal Re cords, Box 717, Dept. B, Menton e, California 92359 . The Rebirth of Jazz CADENCE - Monthly revi ew of jazz & blues. Intervi ew s oral-histories, news and th e mo st co mpl et e cove rage of th e enti re sc ene. Sampl e $1 .2 5, Sub sc ription $11 - outside U .S. $14 . Cadence, Rt. 1, Bo x 345X, Redwood , N .Y . 13679 . UUW~TUW~ SACKVILLE - Th e Jazz Record Company : Dollar Brand, Anthony Braxton , David Holland, Oliver Lake , George Lewis , Jay McShann, Rosco e Mitchell, Don Pullen, Buddy Tat e, Teddy Wi I son and many oth ers . Write for free catalogue t o SACK VILLE RECORDINGS, Dept. K, 893 Yonge Street , Toronto , Ontario M4W 2H2 Canada . at the Statler cCoy Tyner PIANO LESSONS in the privacy of a musi c studio. Basi c piano studies t o jazz improvisation from a former student of Russ Messina , AI Tinn ey and Berkl ee School. Joe Brancato 884-8768 . wlhlat'(g lhlappeniing For additional information and late additions consult the ads throughout the magazine . BUFFALO Sextet Chuck Mangione- in concert Wed., April12 - 8 P .M . Kl ei nhans Music Hall . Jean-Luc Ponty- in co nce rt Fri., April 21 - 8:30 P .M . Kl einhans Music Hall . Tralfamadore Cafe - Main & Fillmo re- Jazz Tu es .- Sun . n ights. Highlights - Ron Carter, Mo se Alli son, Pharo ah Sander s. See ad . Statler Downtown Room - nam e jazz acts - See ad for details . The Main Event - K ens ington & Olympi c - jazz Fri ., Sat . & Sun . nights . Duke Ellington Orchestra - directedbyMercer EII i ngtonTues , April 11 at Ald en High School Audit ori um , 8 P .M . Ontario House (Niagar a Fil s)- Gary Kell erQuartetFri . & Sat . nights from Apri I 7 . Tara Manor - 5100 Main St. Jack Bacon Morgan Street Stampers with Eli Konikoff Fri . & Sat . nights . C.P .G - Central Park Gri II - 2519 Main St . - Jazz Jam Mon. nights , Tender Buttons every other Tues. Also, folk and bluegrass . Bona Vista - 1504 Hertel - Blues & Jazz . Fieldstone Manor (Lockport)- Dixi e landw/ Will Alder on weekends . Checkerboard - Main & Utica- Jazz Nightly . Odysey - 1005 Tonawanda St. - Jazz Sat . nights. Anchor Bar - Main& North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri . & Sat . night. TORONTO Bourbon Street - 180 Queen St. , W. - Bill y Butt erfi e ld thru April 8; Sam Mo st April 10 - 22. Sunday Sessions - Gordi e Fleming April 9; Ed B icke rt Apn l 16 ; Jerry Toth April 23. George's Spaghetti House - 290 Dunda s St ., E . - various local jazz groups . Horseshoe Tavern - Qu een St. , W. at Spadin a- Cecil Tayl or Unit Apr il 7 & 8; Anthon y Br ax ton Quartet April 19 & 20 . Basin Street, 180 Queen Street, West, over Bourbon Street . April 3 to April 8 - Tommy Ambrose with special nine piece band - $2.00 cover charge per person. The Garden Party - 82 Avenue Road - Pianist Joel Shulman Monday to Saturday from noon - also Sunday evenings from 8:30PM . Nag's Head - Toronto Eaton Centr e - Yonge and Dundas Sts . Jim McHarg's Midnight Special every Sunday from 5pm to 8 pm. Stop 33 - Sutton Place Hote l - 955 Bay Street - every Saturday 3 to 6 pm - top jazz artists from the Toronto scene . The Ports - Summerhill Avenue at Yonge Street- TorontoExcelsior Jazz Band Saturdays from 3 to 6pm . C.C.M.C. - (Canadian Creative Musi c Coll ective) Tues . & Fri . nights 9 PM. Th e Music Gallery - 30 St. Patrick St. Phone April 20-23 Hank Jones Trio April 25-30 sets from 9:30 Watch this space for future acts. BUFFALO STATLER HILTON 107 Delaware Ave. 856-1000 Presented by Shepard Enterprises 15 �Bourbon GARY KELLER QUARTET Street TORONTO (416) 598-3020 The Finest in Italian Cuisine Formerly with Emil Palame BILLY BUTTERFIELD Trumpet March 27- Apri I 8 w/ Tom Schuman SAM MOST Flute & Reeds April 10-22 FRI. & SAT. NIGHTS IN APRIL- FROM APRIL 7th Ontario House Phone Ahead for Dinner Reservations Open Daily 12-1 Sundays 6- 10 No Cover 920 Ontario Ave. Niagara Falls, N.Y. 282-9877 GEORGE'S SPAGHETTI HOUSE 290 DUNDAS STREET, E. TORONTO. ONT. -923-9887 Thruway (190) to Packard Rd . Exit. Cross Packard to Porter Rd. , Left on Porter Rd. to Hyde Park Blvd .. Right on Hyde Park to Ontario. FOR CANADIANS- One Minute From The Whirlpool Bridge Right to Ontario . Chez Moi - 30 Hayden Str eet- Metro Stompers w J1m (jalloway Saturdays 3 to 6 pm . Alberts Hall - The Brunswick - 481 Bloor Street West Nightly from 9 pm - Dr . McJazz . ' ' ROCHESTER Glass Onion - 4 & 11 - Joe L ocke Quint et; 18 & 25 Jon Weiss Quartet . Sundays - Duk e Jupller . April 19 - 22 Cour se of th e Electric Messenger . Casablanca - 100 Whil e Spruce Bl vd . (across from M .C .C .) nightly except Sun . Barry Keiner - 5-8 P .M . Stone St. Pub - Joe Lo cke Wed. - Sat . R.I.T . - Ice Rink - J ean - Lu c Ponty an d Flora Purim April 22 8 P .M. Eastman Theatre - Ap rtl 18 Chuck lsrael s & Nation al Jazz Ensembl e- 8 P .M . Ea stman Jazz En sem bl e Apri l 28. Chuck Mangione - April 20- Audit onum Th ea tr e. Stanley Clarke - April 30 - 8 P.M. - Eastman Theatr e. Club West Indies - Sph eres Quartet, E x i st ing Realll y Wednes days and Noon Lun ch Sat. , Apr il 15th Featuring some of Canada's Top Jazz Artists nightly as well as our famous Italian Cui sine. ROCHESTER'S NO. 1 JAZZ LOCATION Jenks & Jones J.J. Lounge 325 GENESEE ST. Cor . Frost Ave . NOW APPEARING: The Roland Armour Trio YOUR HOS buffalo jazz report 1335 main st. buffalo, n.y. 14209 u.s.a. PERIODICALS & BINDERY LOCKWOOD UEMORIAL LIBRARY ~.U. N .Y. A . B . BUFFALO, NY return postage guaranteed l42l4 SJb � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 3641 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 50 Date A point or period of time associated with an event in the lifecycle of the resource 4/1/1978 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Music > Periodicals. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 50 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/11dbe6bfc96cf66896341ffb857e3693.pdf 2834c2ab5866b75d68c382e3ca599f55 PDF Text Text ML ! 0~ \q12 Buffalo Rochester/Toronto II JQZZ \51,e May'78 Issue 51 Free SARAH VAUGHAN �.... ' SARAH VAUGHAN Are You Looking For Alice*? This month you'll have the opportunity to hear one of the first ladies of jazz, Sarah Vaughan, in concert with the Buffalo Philharmonic. Sarah, born in 1924, fi rst began singing at the Mt. Zion Baptist Church in her hometown of Newark, N.J. She won an amateur contest at the Apollo Theatre and was recommended to Earl Hines by Billy Eckstine. She began wor~ing as vocalist and second pianist with Hines Band in 1943, and the next year she joined a new band formed by Eckstine and made her own recording debut. Since '45, she has mainly worked as a solo act and became one of the most important vocal ists in the bop movement. Her voice was hailed as a new development in jazz by such musicians as Charlie Parker and Dizzy Gillespie, and she began working in the finer club circuits, gaining widespread recognition. She's recorded dozens of albums through the years in many different contexts, from straight jazz with a piano trio, to popish records with string sections, to music done with symphony orchestras. Her hundreds of club and concert activities have included concerts with Boston Pops, Cleveland Symphony, L.A. Philharmonic, San Francisco Symphony and many others as well as the Buffalo Philharmonic. . Its been a few years since Sarah has been in the Buffalo area. Seeing her in Kleinhans with the Philharmonic Orchestra should turn out to be an enjoyable evening of music. For more information on this and the other jazz events for May, consult the ads throughout the issue. OR ANY OTHER PROFESSIONAL SOUND EQUIPMENT. YOU'LL FIND IT AT UNISTAGE. MICROPHONES MIXERS SHURE AKG ELECTRO-VOICE TASCAM YAMAHA INTERFACE TROUPER MALATCHI TAPCO METEOR BEYER SONY SENNHEISER EDCOR VEGA AMPLIFIERS TAPE DECKS BGW CROWN TAPCO SPECTRA SONICS YAMAHA JBL SPEAKERS JBL GAUSS YAMAHA EMILAR TASCAM by TEAC OTARI STUDER REVOX SONY EDITOR & PUBLISHER - Bill Wahl CONTRIBUTORS - Louis Bradshaw, Bill Besecker, Bill Harris, Brad Hunt, John Hunt, Jim Kay, Tom Mazzone, John Osborn, Paul Smith, Paula Wahl, Ron Weinstock. ILLUSTRATOR - Sabrina Mayberry Smith. ADVERTISING Manager - National & Local - Bob Riley (716) 883-3909 Niagara Falls/Lockport - Ed Supple (716) 297-7878 Toronto/Hamilton - Hal Hill (416) 742-4081 (after 6 PM) CORRESPONDENTSRochester - Jim Laniok Syracuse - Bob Shepherdson Toronto - Hal Hill Address correspondence to: Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 PRINTED IN U.S.A. (716) 883-3909, Ext. 11 SIGNAL PROCESSORS dbx EVENTIDE SPECTRA SONICS TROUPER ORBAN U.R.E.I. "Malatchrs New Ughtlng Controller. lNiSIlIiE © 1978 - Buffalo Jazz Report , No portion of this publication may be reproduced without written consent from the publ isher. • The Buffalo Jazz <Report, founded in March 1974, is pubI ished monthly at Buffalo, N. Y. BJR is distributed free of charge throughout Buffalo, Rochester, Syracuse, Toronto, St. Catha rines, Hamilton, Niagara Falls, Lockport and Jam,estown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $7/year, paid in adva~ce. 330 Genesee St., Buffalo, N.V. 14204 BUFFALO'S LARGEST STOCK OF PROFESSIONAL SOUt..D AND RECORDING EQUIPMENT. SALES, RENTAL AND SERVICE. VISIT OUR DISPLAY STUDIO. CALL FOR APPOINTMENT 716 853-6500 2 STATLER BOWS OUT The jazz program advertised in last month's issue was cancelled about a week before the scheduled appearance. of McCoy Tyner. Hank Jones, who was to follow Tyner, was also cancelled. We were given no reason for the termination of the project by Shepard Entertainment. ': �PAUL GRESHAM Saxophonist Paul Gresham wi II be performing with his trio at the Tralfamadore Cafe May 6 & 7. Paul has not performed in this area since a concert at Albright-Knox in October of last year. The trio, consisting of Gresham, Hayes Burnett & Sydney Smart, recorded a live album in December '77 at Friends Of Great Black Music in Boston, which has just been released on Freelance Records it's titled Every Sound We Make. -' Gresham, who plays tenor, alto and soprano saxophones and alto clarinet, has performed with Jackie McLean, McCoy Tyner, Ron Carter, Clifford Thornton, Freddie Hubbard, Herbie Hancock, Doug & Jean Carn and the Buffalo Philharmonic. He was a co-founder of the excellent group known as Bi rthright, which also included McCoy Tyner's current saxophonist - Joe Ford. Birthright recorded two albums for the Freelance label, and Paul is presently recording a suite of music dedicated to Cannonball Adderley which is scheduled for future release. Bassist Hayes Burnett has recently been heard on the Wi Idflowers series of loft sessions and Sun Ra's Montreaux '76 album. He's worked with such people as Cecil Taylor, Sam Rivers, Pharoah Sanders and Jimmy Lyons. Hayes is also a member of the Boston Art Ensemble. Drummer/percussionist Sydney Smart was a member of the group Brute Force, and played with Joe Ford at Central State in Ohio, with Ken Mcintyre being the instructor for both. Syd has performed with Sam Rivers, Jimmy Lyons & Bill Dixon, and is also a member of the Boston Art Ensemble. He also operates Boston's most popular loft "Friends of Great Black ~usic", where the album was recorded. Syd can be heard on the Wildflowers series as well. So there you have some history, credentials and trivia on the members of the Paul Gresham Trio. For some music, drop by the Tralf and watch for the new album, which should be in the stores now. It's good to have Paul back. -Wahl OREGON TO PLAY U.B. The excellent quartet of musicians known as Oregonwill do a one night concert at the Fillmore Room of Squire Hall (Main St. Campus) on May 5. The event wi II be sponsored by the U.U.A.B. Music Committee and will be set up club style with tabl es and chai rs. Beer and food wi II be served. Oregon consists of Ralph Towner/12-string and classical guitars and piano, Glen Moore/bass, Call in Walcott/tabla, percussion and piano and Paul McCandless/oboe andbass clarinet. their departure resulted in a great loss for the Winter band's sound. They've worked a fusion of jazz, baroque and contemporary classical, rock and Indian music coming up with a distinetful, original sound. Their audience appeal, as with the music itself, transcends musical categories which is not the case With most bands performing today. Oregon as a unit has seven albums on Vanguard Records. Some have featured guest musicians to achieve a diversity in sound. Two of these are Oregon/Elvin Jones and Violin, with �viol inist Zbigniew Seiferl. The previous appearance of Oregon was also a U.U.A.B. event held in the Fillmore Hoom about two years ago - with Gato IBarbieri. This will be the last U.U.A.B. Jazz Concerl for the current semester and our thanks go out to Rich Saltas and the staff for the fine series presented this year. ington. Jr. and the Ron Carter Quarlet. The three arlists, each in their own right, conveyed soul, jazz-rock and acoustic' jazz, but the qualitative difference between the quarlet and the other two groups was quite enormous. Dee Dee and her group individually and collectively had little to say and lacked the musical talentto convey their inner feel ings, i.e. to improvise. Her voice lacked sensitivity, warmth, range, and at ti mes she would resorl to yell ing. Her strong point was her energy. The main music~1 change that occurred was one of loudness to softness and vice versa; the gr:oup played soul, not jazz and played it rather poorly. Grover's band, Locksmith, was better than Dee Dee's group, but also of rather poor qual ity. They were too loud, repetitive and uncreative. In addition, the individual musicians in the group were unclear and interplay was mostly nonexistent. Unforlunately, none of Grover's sidemen were his equal, and this was part of the reason he was unable to convey music of the same quality as his studio LP's. Grover is one of the best at what he does and did have good command of his saxes, but at times was boring and the loudness would detract from the main thing worth listening to - some of his solos. The compositions did not h'lve much content, especially in comparison to the great standards chosen by the quartet, (So What, Epistrophy. and Bag's Groove). Concerning the quartet, (Ron Carter, Buster Wi II iams, Kenny Barron and Ben Riley). the four masters listened to one another's ears, spoke to each other at multiple levels, and no matter how dense the musical content; conveyed their messages to the audience with amazing clarity. In the context of a piece the quartet would change rhythm, harmonize with other.s and themselves, change keys, convey many different emotions and play in many different forms of duets and trios. Interplay was the key to the group. Ron's use .of the piccolo was very complex and dynamic and histonewasbeautiful and expressiv~. Miles' influence was present especially in the many changes a single tune would go through. NEW JAZZ SHOW ON WBFO (88.7 FM STEREO) Since Apri I 19 there's been an extra extra hour of jazz every day on WBFO. JAZZ 88 is the name of the new jazz show and it will be three solid hours, Monday through Friday from 2 unti I 5 hosted each day by John Hunt. The former afternoon jazz show Spirits Known and Unknown was only two hours in length and was heard from noon - 2 weekdays. Jazz 88 will present not only the best of the WBFO recorded jazz library (current releases as well as the hard to find vintage recordings) but it will also have live broadcasts from Studio A, special jazz features produced by WBFO jazz announcers, I ive-an-tape broadcasts from the Tralfamadore Cafe, Downtown Room, Studio A and other locations and at least one album featured in its enti rety each Thursday afternoon. Whenever possible jazz arlists .visiting Buffalo will join Hunt for live interviews on the show. . The rest of the WBFO jazz schedule remains the same with jazz each evening from 11pm - 3am weeknights; from 11pm Friday night until noon Saturday; midnight Saturday until 6am Sunday; noon - 2 Sunday and Sunday night from 11pm - 8am Monday morning, plus numerous I ive broadcasts and Jazz Alive from NPR every Thursday evening at 9:30. Buffalo's only afternoon jazz show is now an hour longer and its every weekday from 2-5. Join WBFO M~nday through Fridayfor Jazz 88. CONCERT REVIEW by JEFFREY CYLKOWSKI On April 1, the University of Rochester presented a Jazz Festival consisting of Dee Dee Bridgewater, Grover Wash- ~ Swinging Place' The/ound Approach Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ Rl!CORDS ON OUR JUKEBOX Our Specialty - Beef on Weck Wednesday & Sunday Hot Dog W/Kraut We Serve Food tfl 3:150 API No B.S. Compare Our prices EEF EER ILLIARDS & JUKEBOX B OPEN EVERY MORNING TIL 4 AM a178 SAlLEY .AVE. - Theatre) 836-8905 (a«O$$ fiom . ~prl.~rt 4 by JIM KAY POWER: (WHATS? WATTS) In the past few issues we have discussed speakers, and how to evaluate them in regard to our needs. Before we go any furlher into exploring speaker theory, I think it may best serve our purpose to look at power and determine, how much and of what kind do we need to make our speakers do thei r thing. Another thing we will do is take a close look at the specifications that run wild in this business and separate the meaningful from what the ad writters find to be good copy. I would imagine we all recall from our childhood what our grandparents told us would happen to our skin if we went around touching the dreaded toad, well forget it we're discussing watts not warts. But if we don't understand watts, we are liable to run into more trouble than HiFi warts. Watts is what is used to define power ability in Hi,Fi or any other kind of amplifier. Now take note there are many kinds of watts, there are I.P.P. watts, I.H.F., I.E.A. and R.M.S. Watts all originally intended to help us in truly evaluating ampl ifiers/ . abilities. Luckily, the Federal Trade Commission has come to the real ization that R.M.S. (root mean square) figures are most meaningful and it is now law that all who choose to rate ampli-· fiers must use this standard in advertising. In simple terms l R.M.S. requires that the amplifier be abletodeliver it's stated' power over a long duration oftime without exceeding a specified distorlion. We will go into this inmoredetail in a future issue. For now let's use a less technical approach. After hours of I istening we have hopefully made a wise choice in selecting our speak~rs. Now we need something to powerthem. Whi Ie the HiFi �salesman could do little in helping uswithspeaker selection he can be very helpful in answering how much power is enough. But understanding is again the best sound approach so lets try and understand. Minimum power required is usually stated by manufacturers and can be confidently heeded. Thisvariesfrom speaker to speaker. Keep in mind these minimum figures are not always indicative to maximum power handling. In other words, a speaker with a minimum of 10 watts will not always handle more power than that of one witha minimum of 5 watts. There are a few important considerations to keep in mind when determining how much is enough. 1. what size room, 2. how loud, 3. what kind of music, 4. how many speaker systems now and later. First there is a relationship between room size and power required to attain a given SPL (soun'd pressure level). Large rooms fi lied with soft furniture, carpeting and draperies wi II requi re more power for a given S.P. L, than one of opposite characteristics. #2 How loud is determined by your listening habits let me inject here that S.P.L. is a measurement used in gauging sound intensity. It is stated in DB (decibels). #3 The kind of music is relative in that it takes more power to generate a given S.P.L. in low frequencies than in high frequencies. Lets say for example that you enjoy organ music with rich deep tones, More power is required to provide an 80 DB SPL than would be required to produce the same 80 DB SPL in a mid frequency range such as a horn or piano. Another factor is dynamic range. This is the variation in music intensity; maybe this can be best understood in the followingmanner. Let's take two very different recordings #1 rock music and #2 classical. Its a common misconception that rock music would require .more power than classical. This is not the case and here is the reason. In classical music it is normal to find a great variation in music intensity, the music ismeantto tell a story. There are soft low passages and loud heavi ly orchestrated passages. To hear these in their intended balance is what is important in recreating the original performance. The soft low passages must be loud enough for you to enjoy and you F.M.Sound presents "Music Systems For Everyone" Let us Assist You in Selecting the Stereo System to Satisfy Your Personal Needs for Your Home or Car. • • • • • Quality Brands 25 Years of Experience Our Own Service Dept. Financing Available Knowledgable Sales Staff f:1ft.SOUI\D OFFERING THE FINEST NAMES IN AUDIO 4510 BAILEY AVE. Amherst, N. Y. 14226 836-7720 M-F 10:00 A.M.-9:00 P.M. 4018 SENECA ST. West Seneca, N. Y. 14224 675-2420 Sat. 10:00 A.M. - 5:30 P.M. Basic Fact: This Album is by and it contains the Hit Single 5hakerSoo3 now, if you've never heard Spyro Gyra you're in for a treat. If you've seen them but don't own this album -- you'll be impressed. If you've only heard them on the radio - the album holds more in store. We invite you to experience Spyro Gyra, an experience united in Mind, Body & Spirit. Rochester Locations: Midto\"m Plaza Greecetowne Mall Gates Eastvi ew PI aza 2525 W. Henrietta Rd. AMH.I014 ~ amherst records �HOUSE OF GUITARS Upstate's Music Building -3 Floors of Musical Instruments for the Rising Young Stars from Earth- - Fan letter Quote -Lots of Used Gibson Jazz Guitars -Save up to 7~ on Professional music equip. 2 lor iDeals on Blanlt Tapes must have enough power in reserve to attain the loud passages in proper balance. Rock music in general does not exhibit this type of dynamic range. A great deal is compressed in recording. This is not to say that power is not needed for rock or jazz it just says its not needed in the same way. #4. How many speakers plays an important part in determining amplifier power. If sometime in the future you would like a pair of speakers in the den or bedroom away from the main listening area its wise to buy the needed power now. Future changes in amplifiers can be expensive. The number of additional stereo speakers should be considered. Also, 2 pair and 3 pair amplifiers are available with terminal poststoalloweasy connection , of 2 or more pairs of stereo speakers. Each of the above requires explanation and will be discussed in depth in future issues. The amount of amplifier power, or watts needed is not a question easily answered. There are many variables, most of which we will cover- in depth. Understanding specifications is another tuff nut to crack. Here, unl ike in speakers, they are useful if used in proper perspective. Because of the complell-ity of what we will cover and the size limitations of this column it is suggested that you keep these issues for future reference. Together we will put together a very interesting puzzle. Your comments on this column and suggestions for future columns would be greatly appreciated. Send them to: Sound Approach c/o Jazz Report Robert Jr. Lockwood Famed bluesman Robert Jr. Lockwood and his band will return to Buffalo, appearing at the Bona Vista May 10 thru 13. Robert last appeared in Buffalo at the U.B. Folk Festival in 1977. Born in Marvell, Arkansas in 1916, Robert grew up around Memphis. During the 30's legendary bluesman Robert Johnson was common-law husband of Robert's mother and gave him lessons on guitar. Robert Jr. became a major figure in the blues scene of Memphis & Chicago. In 1941 he recorded with singer Dr. Clayton and made his first recordings for the Victor subsidiary Bluebird. The songs he recorded'~ Take a Little Walk With Me, Little Boy Blue, Mean Red Spider and I'm Gonna Train My Baby have become blues standards, being redone by Muddy Waters, Little Walter, Jazz Gillum and others. During the fifties Robert made some 78's for small labels and did numerous sessions as a sideman for Chess & J.O.B. He has appeared on countless recordings including those of Sonny Boy Wi II iamson, Little Walter, Muddy Waters, Eddie Boyd and Sunnyland Slim. He was the guitarist with the. bands of both Little Walter & Eddie Boyd. Around 1960, about the time he participated in Otis Spann's classic Candid recording session, Robert Jr. settled in Cleveland where he played music on an increasingly sporadic basis and drove a truck for a pharmacy. An appearance at the 1969 'Ann Arbor Blues Festival led to a recording for Delmark records and a revival of his career as a working bluesman. This led to international recognition, as apparent from his live Japanese recording. Robert Jr. remains an innovator in blues guitar and I refer all readers to my review of hisnewalbum Does 12 in the blues column. His club appearances will be a real treat, and I hope to be up from the apple to see him. -Weinstock ·Handmade Galager Guitars. ·Specials on Moogs, A.R.P., Oberheim, Roland, Polymoog Synthesizers, A.R.P. Avatar. ·Save on Fender Rhodes pianos, R.M.I., Hohner, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards, Chapman Stick. ·Sunn" Moog lab amplifiers for keyboards. ·Up to 70% off on Pro Drum Sets - new and used. Selection (all brands) Sonor; North; Gretsch; Pearl; Ludwig; Tama. Tama Octabands (something new). / ·D'Angelico New Yorker on display. ·Gibson's Howard Roberts, L5's, Johnnv Smiths, Byrdlands (Guild Artist Awards), Geo. Benson.Ibanez Guitar (new) ·1/2 off on drum heads - 1/2 off on microphones ·Large selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets. ·Drum sticks (nylon or wood tip) $1 pair ·Good selection left handed guitars ·Sale on all brands of guitars, basses and amplifiers - Gibson, Fender, Guild, B.C. Rich, Martin Alembic cuitars and basses; Sunn, Ampeg, Music Man, Marsball, Kustum, Mesa Boogie" Polytone Jazz Amps. ·New and used horns - trumpets, saxes, trombones, Outes, woodwinds, Ougelhorns, pro sound equip. ·30% off music books, instruction books, headphones ·lmported LP's, rock star T-shirts, strobe lights, bit 45 singles. ARP Avatar. ·Switchblade combs $7.98 ·No admission - No cover charge. Larce selection vintage Gibsons, Fenders, M;artins. Free limited addition H.O.G. Bumper Stickers, Buttons, Post Cards. 646 TnUS AVE. Ph. 716 - 544·3500 ROCHESTER. N. Y. (TIle House of Guitars Luvs You Baby) OpeD lIon.-Sat. 10 AM-9 PM/Sun. 1-5 PM. T• • N.Y.S. Thruway to Exit 45 on to Expressway .... to Expren 47 North to Titus Ave. 6 Select Discography Steady Rollin' Man - Delmark Contrasts - Trix Blues Live in Japan - Advent Does 12 - Trix .Also - four tracks on the anthology: 1935-1953 Windy City Blues - NighthawK �TORONTO UPDATE By HAL HILL During the month of Apri I Gene Perla produced an album for his PM label which features flautist, singer, tenor sax player Kathryn Moses and her group. This was done in Toronto right after an extremely successful week of work for Gene with Sonny Greenwich at one of the local clubs. An interview with Gene Perla can be heard on CKQS FM on May 20th with your correspondent! (F rom Bebop to Now lOpm to 2am) Also -CodaeditorBiliSmith will feature an hour of Lester Bowie on From Bebop to Now on May 20. A new feature on CKQS has begun, and can be heard every Wednesday morning at approx. 11 :40 am Your correspondent on air by phone with a report of his previous evening's tour of the club scene. Back to Gene Perla, new releases to look for in the next couple of months are: "Stone All iance" with Steve Grossman, Gene Perla, Don Alias plus some very fine Argentinian musicians, two albums ...... Marcio Montarroyos on PM PMR-014, and Con Amigos on PM PMR-015. A further album with Grossman, Alias, Perla and Jan Hammer called "Terra Firma" will be released in the fall. An interview with Barney Kessel can beheardon From Bebop to Now on Saturday, May 13th. Of special note for Dixiel and fans, Peter Appleyard has begun taping the second season of TV shows under the title of "Peter Appleyard Presents". Taping dates still to come are: May 1516-17 and 24-25-26, location is Albert's Hall, Brunswick Hotel, 481 Bloor Street West in Toronto. Taping starts at 2pm, admission is FREE, and all interested fans are most welcome to attend. Some of the stars booked are: Eubie Blake, Henry Cuesta, Joe Venuti, Helen Humes, CI imax Jazz Band .... an added bonus if you are a baseball fan is that there are dai Iy draws for Blue Jay ticket. A recent engagement at Basin Street saw singer Tommy Ambrose backed by a fine band under the di rection of keyboard Buffalo's Yamaha Dealer YAMAHA CR-I020 70 Watts RMS With Less Than 0.05% n-lO 173 Niagara Falls Blvd. Amherst. South of Sheridan 834- 3100 Jamestown & Eri e Super Albums At Super Sale Prices! 6E-119 AVAILABLE AT ALL CAVAGES 6E-123 6E-120 6E-121 SENECA MALL EASTERN HILLS MALL MAIN PLACE MALL SOUTHGATE PLAZA BOULEVARD MALL SO. SHORE PLAZA THRUWAY MALL COMO MALL LOCKPORT MALL UNIVERSITY PLAZA SUMMIT PARK MALL �wiz Doug Riley ..... The band set fi re to every song that Ambrose performed, and all members including people like Rick Wilkins on tenor, Guido Basso on trumpet and flugelhorn, Dave Caldwell on alto excelled beyond one's expectations. With material like "Come Fly with Me" "Hard Hearted Hanna", "A Cottage for Sale: "Get out of Town", and Rob McConnell's chart on "A Cottage for Sale" Ambrose made us all wish that we could be his audience more often. Sitting in the same room as Oscar Peterson can be an experience one is not likely to forget in a hurry, when that room is a recording booth and Oscar is the composer of a score being recorded, the experience becomes one of the most awesome events one can witness. The event this correspondent was most fortunate to attend was the second day of a two day recording session for a National Film Board of Canada movie soundtrack, and of course the prime interest was that the score was composed by Oscar Peterson. Looking through the glass into the recording studio from my vantage point I was able to recognize people like Rick Wilkins, arranger .... Dave Young, bass .... Jerry Fuller and PeterAppleyard, percussion ... Eugene Amaro, tenor .... Butch Watanabe, harmonica ... (he is usually known for his excellent trombone work, but watch out for his harmonica playing) ... there were many more extremely talented musicians, and all evidently enjoying themselves as much as I was. The film was shot in various cities and towns across Canada last summer and will be called "Fields of Endless Day" .... it is the story of the History of Black Communities in Canada, during a period from 1607 to the present, and if the film is as exciting and powerful as the musiethen it shouldwin many, many awards. Produced by Terence Macartney-F i Igate and associate producer Jennifer Hodge the film has some of the most impressive actors and vocalists involved, such as Ricardo Keenes-Douglas, Winston Sutton, Tracy Connel, Mireille Metellus, Ron Small, Lily Francks and Bobbi Sharon. The National Film Board and Television Ontario will have the film ready forNatlonalbroadcastingbytheCBC in the early fall, and hope to sell to PBS. I sincerely hope the music can be released in album form, it wi II open the eyes and ears to yet another area of the greatness of Oscar Peterson. lrlHIE 5~ErRlIH~EfRl 5IHI(Q]~ Speakers Our Specialty Qual ity Raw Speakers, Crossovers, Critically Acclaimed Cylinder Enclosures, Speaker Kits, Subwoofers. A Full Line of Audio Components. SAVE 50-70% ON TOP QUALITY SPEAKER SYSTEMS QUALITY RAW SPEAKERS: Kef, Audax, Philips, Decca Ribbons, Peerless, Creedence ASSEMBLED SPEAKER SYSTEMS: Kef, Quad ESL, Burhoe Acoustics, TSS, Gollehon. ELECTRONICS: Hafler Pre Amps, Quad, Mitsubishi, Ariston, Denon, Hitachi. Rotel, Armstrong. FULL LINE OF JAZZ DIRECT TO DISC RECORDINGS BY GREAT AMERI CAN GRAMOPHONE & CRYSTAL CLEAR. 1015 Kensington Avenue. Buffalo. New York 14215 Telephone: (716) 837-1557 OREGON NEW RECORDING STUDIO OPENS IN ROCHESTER Recording Concepts, Ltd., 625 Panorama Trai I, Rochester, celebrates their Grand Opening this month. The studio is uniquely designed combining excellent acoustics, and attractive modern appearance in a very relaxed atmosphere. The studio incorporates some of the newest, advanced recording equipment, including the Tascam 90-16, 16 track recorder/reproducer as the heart of the recording system. The 90-16 uses 1 inch tape, a new development in state of the art professional tape recorders. For more information contact Mr. Mark Kugel at (716) 381-2300. Recordl RECORD REVIEWERS: Bill Wahl, Willard Jenkins, Jr" John Hunt, Tom Mazzone, Ron Wejnstock, Paul Smith, Jim Laniok, Chris Colombi, Jr., Bill Besecker, Bob Shepherdson and John Simna. VSD- 79397 VANGUARD RECDRDS ~ At All Record Theatre Locations APPEARING: FILLMORE ROOM, SUNYAB MAY 5th 8 KENNY WHEELER - DEER WAN - ECM 1-1102 Kenny Wheeler, Europe's prem ier jazz trumpeter, is joined on this side by Jack DeJohnette, Dave Holland, John Abercrombie, Jan Garbarek and Ralph Towner. Wheeler's horn is large and often lush in tender moments. He is capable of searching out uncharted grooves with Anthony Braxton, and melodically caressing Keith Jarrett's keys as he has in the past. This time his chief cohort is Garbarek, who is ;nrloorl lin. f"v- .fohn r'\,...,..~c::.i()n ::tonn c:oornc.: fn h::ll\/O rnollnwon hie:. tnno ��������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4220 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 51 Date A point or period of time associated with an event in the lifecycle of the resource 5/1/1978 Language A language of the resource en_US Subject The topic of the resource Music > Periodicals Jazz. Jazz musicians. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N.Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 51 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/eb9a3667aeb867f6dd4e3b0bcefd2170.pdf 39696bb0419bd2a12522cff9f4ce97ad PDF Text Text JUN 14 1978 11 1 June'78 Buffalo Rochester/Toronto Issue 52 Free II JGZZ \ llt Roda de Samba Brasilian Jazz at Bobby Minicucci's Ontario House Is ')_ repott �Roda de Samba Quality Raw Speakers. Crossovers. Critically Acclaimed Cylinder Enclosures, Speaker Kits, SIA»woofers. A Full Line of Audio Components. SAVE 50-70% ON TOP QUALITY SPEAKER SYSTEMS QUALITY RAW SPEAKERS: Kef, Audax. Philips, Decca Ribbons. Peerless. Creedence ASSEMBLED SPEAKER SYSTEMS: Kef, Quad ESL. Burhoe Acoustics, TSS, Gollehon. B.ECTRONICS: Hatler Pre Amps, Quad, Mitsubishi. Ariston. Denon, Hitachi . Rotel. Armstrong. Choice Selection of Jazz Direct to Disc by Gr~at American Gramophone, Century, Nashville. Umbrella. etc. THE PHIL WCXJDS QUINTET SONG FO~ Special! $14.SO Direct to Disc LP's Also By - Buddy Rich, Woody Herman , Dave Brubeck, Barry Miles, Les Brown & Glenn Miller Orch. 1015 KENSINGTON AVENUE Buffalo, New York 14215 (716) 837-1557 CMadiMs - Take advantage of our Low prices and Save on duty. 2 SAN FRANCISCO GROUP TO PERFORM BRASILIAN MUSIC IN NIAGARA FALLS Beginning June 1st the group "RODA de SAMBA" (pronounced hoda gee samba) wi II appear Thursday through Sunday, through the month of August, at Bobby Mini cucci's Ontario House, 920 Ontario Ave ., N iagara Falls. New York. Focusing on three areas of music, the group will perform the compositions of Brasil i an composers Edu Lobo, Marcos Vall e, Milton Nascimento, Antonio Carlos Jobim, and Vinicius de Moraes, among others . For these works the emphasis wi ll be on a quintet format, including piano, bass. trap drums , conga drums/ percuss ion, and reeds, yielding a blend of jazz and South Ameri can rhythms d istinctly different from Cuban/ Puerto-Rican based "Salsa" music, and perhaps not as widely known in the Western New York Area . Also within the repertoire are songs of the world- famous Brasilian "Carnaval" of Rio de Janei ro , performed on the typi ca l samba percussion instruments - SURDO. CUICA, AGOGO, GANZA, TAMBOUR 1M. PANDE IRQ - and sung by the group in Portuguese, the national language of Brasi I. Prominent among these are the compositions of Martinho daVilla and other composers of the Rio de Janeiro "ESCOLAS DE SAMBA" (samba schools), which compete each year at Carnaval for top honors in 4 days of massive eel ebration and parades, preceeding the season of Lent. RODA de SAMBA wi II perform as its third main area of concentration selections used in "CAPOEIRA". a mart ial arts/ dance-form originat ing in Ango la, Afr ica and performed in the Northeastern Brasilian state of BAHIA since the 16th century . This music features the un i que instrument "BERIMBAU" . Resembl ing a strung bow, sound is produced by striking <the single string and control! ing the resonance of a gourd attached to the bow. Percussion and tradi tiona I lyri cs in Portuguese and various Afro/ Brasi I ian dialects accompany the musi c. Organ i zed in San Francisco , RODA de SAMBA includes musi ci ans from diverse areas . Leader/ drummer/ percussionist Lenny Riforgiato, originally a native of Buffal o, has made his home in San Francisco since 1970, when he played in a qu int et led by pian1st Ri chard Kermode (another Buffal o native) who later performed with San Francisco art1sts Jani s Joplin . Mal o, and Santana . (Kermode and Riforgiato appeared for several weeks at the Ontar io House, Mull igan's and other Western New York night clubs in 1976). For the past 5 years Riforgiato has been involved with the study of Brasil ian musi c , language, and culture, including a year with the San Francisco-based "V1va Brasil" , and has been support1ng th1spursuitwithregular night club work throughout the Bay Area. In September he will leave for Bahia . Brasil to study ber imbau and capoeira, after whi ch he will make his home - base in Ri o de Janeiro . San Franciscan Jose Sierra - Franco plays congas and per cussion instruments in the group . lnadd itionto Brasi l ian musi c Jose is well versed in a wide variety of percussive and vocal styles of Lat i n Amer ica and the Carribean . As a special f eature he will present an example of one of these, the Cuban form of conga drumming and singing known as GUAGUANCO (wa - wahn lco) supported by the other band members . He also has appeared wide ly in the Northeri)Californiaareawithsuchartists as Colee Escovedo (brother of Pete and Shei la) and Abe l Zarate. the original guitari st of Jorge Santana's Mal o. Jose also plays berimbau ; he will travel w ith L enny t o B rasil,before returning to San Francisco to l ead h1 s own group . Bassist Mi chael Formanek plays both upright and electnc basse s. He has r ecently toured the West Coast w ith the groups of drummer Tony Will iams, saxophon1st Joe Henderson. trum peter Eddi e Henderson, and New York t enor - saxist David Li ebman , with whom he has recently r ecorded . M1lce i s a v alu able asset to RODA de SAMBA as h1 s extens ive jazz back ground has not kept h im from developing and pursuing an act1ve interest in Latin rhythms and percussion instruments . Mike will make his home base in New York City after the three month engage- �ment in Western New York. Recently returned to Man)lattan from Rio de Janeiro, Brasilian pianist/flutist Alfredo Cardim studied at theBerklee School of Music in Boston, and was also a member of the ori ginal "Viva Brasil" group in San Francisco in 1975-76. He spent 1977 touring the Northeast of Brasi I with a Rio-based jazz/ samba ensemble, and has recently been appearing at the N .Y.C . night club "CACHACA" and gigging around Manhattan . He is a sensitive art i st whose style tends towards a Bill Evans approach to the piano, as well as a seasoned percus -sionist . Both he and Lenny are looking forward t o their r eunion in Western New York . Rounding out the quintet is Di ck Griffo, well - known around his hometown of Buffalo as one of the best reed men. Dick has tour ed with the W&ody Herman Band , and has worked extensively on the East Coast. Especially in th ~c jazz / samba musi c, the sound of soprano alto and tenor saxes and flute, add the perfect contemporary dimension to the lyr ical compositions . In addition to the weekly engagement at the Ontario House in Niagara Falls , special appearances in Buffalo and the Western New York area are being arranged . Host Bobby Min icucci has recently enlarged - the park i ng and seat ing facil it ies at th e Ontario House . Together he and the members of RODA de SAMBA hope to present a show well worth the bri ef drive to Niagara Falls . PHOTO CREDITS Main photo by Kevin McGiynn/ picture Thi s Stud ios, 1885 Lo m bard St . , San Franc isco, Ca . 94123 Small er photo by Florence Li cata . OPEN JAZZ MIKE SESSIONS NOW A WEEKLY FEATURE AT QUINCY'S The turn out for the open mike jazz session at Quincy ' s Lounge featuring saxophonist Dick Griffo was so encouraging that manager/ owner Reggie Eyre has decided to continue the format on a weekly basis . "We get about 200 people in the audience, during the even- -""'' (.) ...J Ql (.) c: Ql I.. 0 j u.. 0 •• -· .• ,\A~ ~ 0 ~ a. )J Jazz saxophonist, Dick Griffo (left), and pianist George Jones (right). Host Quincy's New York Style Open Mike Mondays from 10 p.m. to 2 a.m . ing, plus a number of good entertainers, including several very fine percussionists who've sat in during the session, • said Eyre . Eyre said the format wi II be continued indefinitely Monday evenings with Di ck Griffo and George Jones . A tenor saxophon i st , Griffo studied music at the University of Buffalo . He was a tenor sax soloist with the U.S. Army Studio Band and has played with Tommy Dorsey, Woody Herman, the Buffalo Philharmonic, and for Tony Bennett, 4 Tops, and Lou Rawls . · Griffo was the f eatured saxophone soloist with the Emil 1~1 PAUL WINTER COMMON GROUND An uncommon achievement from Paul Winter. SUITE LADY v Gap Mangione Also Available Gap Mangione - SP 4621 She & I - SP 3407 Paul WinterAlso Available: Earthdance- SP 4653 Road - SP 4279 Something In The Wind- SP 4207 The Winter Consort- SP 4170 SUITE lADY is where you can "Mellow Out" with Mangione- the album with the single from the Gap. Throu~h his music, Paul Winter has found a startlmg common ground with whales, wolves, and eagles. His new album is a conceptual masterpiece which acknowledges and respects the diversity of beings who share music as a truly universal interspecies language. On A&M Records and Tapes �known for his versatility and improvisational stylings . He has performed across Canada ~d has appeared in New York, San Franc isco and Boston . Previous appearances in Toronto include: University of Toronto, Seneca College and in the hit Cabaret product ion "Piaf" . Mi ch ael Kleni ec's LP recordings include the innovative " Sending " recorded in Van couve r and a Jazz/ Blues album for Sound Canada recorded in Toronto. Among hi .s many broadcast credits is an upcoming segment of "Identities" for C.B.C. Radio which will feature Kleniec's own Compos itions. Th e Mi chae l Kl eni ec Trio will present a highly stimulating program of Jazz/ Blues Standards, EastlndianAagasandMulticultural Th emes to serve as thematic material for the group's improvisat ions. ll!rd~s!J sterli~ and irnporttd, jc~u:lrY. rtcyclcd ~military 9arb t.J)ot). -thru head 9&lr and 91f~s"' Alltt7 5t. 882-8200 SAt. 12:00- 6:oo gold s' TORONTO UPDATE BY HAL HILL Sackvill e label has just released the long awaited Pete Magadini quartet' album featuring Don Menza, Wray Downes and Dave Young ... Sack v ille 4004. Also on the Onari label just released the solo album debut of alto saxophonist Maury Cole . . .. Onar i 003. Coming into the El Mocambo Club (College and Spadina, Toronto) on June 7 and 8 .. .. th e big band of Buddy Rich . Basin Street wi II present the Boss Brass for one week June 5 to 10 and Nimmons and N ine plus Six on July 10 to 15 . .. . " From Bebop to Now" is currently running a contest for listeners . ..th e winner wi II receive dinner for two at Basin Street' during the Ni mmons engagement, to enter tune in Saturdays to CKQS FM 94 . 9for details . Also , Bill Smith will present an hour of jazz vocalists on June 17, featured artists w i II be Jeanne Lee and Abbey Linco ln, and on July 15 Bill will present the music of Canadian artists Sonny Greenwi ch and the late Br ian Barl ey .. .. The Forum Ontario Place, w ill present the following this summer : Boss Brass . .Jun e 2. Ray Charles .. June 5. Oscar Peterson ..June 9. Tommy Dorsey Orches tra . .June 16 . Maynard 'Ferguson Orchestra .. June 30. Pho ebe Snow/ Gato Barb ieri .. July 9. Paul Horn Sextet .. July 21 . Grover Washingt on , Jr ... July 24. Preservati on Hall Jazz Band . .July 28. Chuck Mang ione . .August 12. all of the above concerts start at 8:30 p .m. Chuck Mangion e .. August 13 at 3:00p .m. ·M oe Koffman .. Sept ember 9 at 3:00p.m. "Palame Big Band when the group r eco rded its first album , ,MMake Room," on the Mark Records label, last year. This Fall, Griffo , a Buffal o native, will record his own album on Mark Records . · His accompanist each week, George Jones, studied piano at the Eastmap School of Musi c and has most recently played ·With Nancy Wilson . Quincy's Lounge is located at 561 Forest Ave . The weekly 's essions will be from 10 p.m. to 2 a.m. Between sets, other entertainers will be invited to take the stage . MICHAEL KLENIEC- CLASSICAL/JAZZ GUITARIST The Michael Kleni ec Trio will be appearing afterhours at the Cafe Soho Thursday through Saturday July 13, 14 and 15 from 1:30 - 4 :00 A .M . Cafe Soho is situated at 334 Queen St . , W. Telephone is 862 - 0199 . Admi ssion is $2 .00 . · Belgium born and New York trained Michael Kleniec is well NATIONAt/(eCOfd .Mart PRESENTS EDITOR & PUBLISHER - Bi ll Wahl CONTRIBUTORS- B ill B esecker, Chn s Colombi, Jr ., Hal Hill, Brad Hunt , John Hunt, Will ard Jenkins . Jr., Jim Kay, J im Lan10k , Tom Mazzon e, Bob Shepherdson. John Simna , Paul Smith, Paul a Wahl , Chuck Br aman and Ron Weinstock. COVER ILLUSTRATOR - Sabrina Mayberry Smith ADVERTISING Manager - Natipnal & Local - Bob Riley (716) 883-3909 Niagara Falls/ Lockport- Ed Supple (716) 297-7878 Toronto/ Hamilton - Hal Hill (416) 742-4081 (after 6 PM) Pick up "Feels So Good" --Mangione does just what the title promises. AT CORRESPONDENTSRochest er - Jim Laniok Syracuse - Bob Sh eph erdson Toronto- Hal Hill Address corres pondence t o: Buffalo Jazz Report 1335 Mai n Street Buffalo, New York 14209 (716) 883 · 3909, Ext. 11 MATIOIA'/lecofti ,Mart Eastern Hills Mall Chautauqua Mall 01 ean Center Mall 4 PRINTED IN U .S.A . �1978 - Buffal~ Jazz Report No portion of this pub I ication may be reproduced without written consent from the publisher . © The Buffalo Jazz Report, founded in March 1974, is pub N. Y. BJR is distributed free of charge throughout Buffalo, Rochester , Syracuse, Toronto, St. Catharines , Hamilton, Niagara Falls , Lockport and Jamestown . We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $7/ year, paid in advance. 1ished monthly at Buffalo, STEVE KUHN BRINGS HIS QUARTET TO THE TRALF. Pianist Steve Kuhn, whose quart et in c ludes bas s i st Miroslav Vitous, will be appearing at th e Tralfamadore Cafe on Jun e 9 & 10. Kuhn has been playing and studying piano since age 5, and in 1959 began working with trumpet great Kenny Dorham. In 1960, Kuhn was the pianist with th e John Coltrane Quartet , preceding McCoy Tyner . In the next few years he worked with Stan Getz and Art Farmer, and has been leading his own trios and quart ets since _ Miroslav Vitous, a native qf Czechosl ovakia , is probably better known to many young er jazz fans than Kuhn . In addit ion to playing with such peopl e as Mil es Davis an d Chi ck Corea, Vitous was an original member and co - founder of t he group Weather Report. He has albums of hi s own on th e Ari st a, Warner Bros ., Atlanti c & Embryo l abels . Rounding out the quart et will be re edman Steve Slagle, who's been with Kuhn fo r a coup I e of years now, an d drummer/ per cussi onist Bob Moses, whom many may know from hi s r e,cent work with Gary Burton. Most Recent Recordings Steve Kuhn- Motility- ECM 1094 Miroslav Vitous - Miroslav - Arista / Freedom AF 1040 Sam the Record Man Square One shopping centre 100 City Centre Drive Mississauga 275 ~2511 U.S. VISITORS WELCOME EXCHANGE GIVEN ON U.S. FUNDS NOTICE We will not be publi shing an August i ssue of Jazz R~port. In all this madn es s we need t o takea vacation this year ; therefore, next month ' s i ssue will be a combinedJuly/ August issue . SOUND APPROACH Jim Kay i s on va cati on and so i s Sound Approach . Back next month. · BUFFALO JAZZ WORKSHOP Th e Buffalo Jazz Workshop wi II perform a benefit concert at the Odyssey , 1005 Tona wanda Street on Wednesday, June 7th at 8 PM . Pro ceeds wi II benefit the Northwest Buffalo Community Cent er . Ti cket s are $1.50 in advance or $2 .00 at the door . For furth er informat ion contact Lou Marinaccio or Joe Steinmetz at 876-8108 . �CREATIVE MUSIC STUDIO The Creative Musi c Studio announces it's summer concert seri es I with Leroy Jenkins (June24). Jack DeJohnette (July 1), Garrett List (July 8) and Frederi c Rzewski (July 15) . Admission for most concerts is$3.00(etudentsandseniorcitizens- $2.00) . The Creafive Musi c Studio is located just off Rte. 28A between Woodstock and Kingston. For mo re informat ion call (914) 338-7645. HOUSE OF GUITARS Upstate's Music Building Records •3 Floors of Musical Instruments for the Rising Young Stars from Earth• - Fan letter Quote •Lots of Used Gibson Jazz Guitars •Save up to 7~ on Professional music equip. Most Jazz, Blues, 2 for 1 Deals on Blank Rock albums Tapes ·- 3.85 ea. RECORD REVIEWERS: B ill Wah l, Willa rd Jenkins, Jr., John Hunt , Tom Mazzone , Ron Weinstock, Paul Smith , Jim Laniok , Chri s Colombi, Jr ., B ill Besecker, Bob Shephe rdson, Chuck Braman and John Simna . AURACLE - GLIDER- CHRYSALIS/CHR 1172 The liner notes on this spanking new rel ease state accurately the main thrust of this album : " .. .prE>cisinn ... in the heads, hearts and hands of the players." The young musi c ians that mak e up thequintetAuracleare , l1 ke many of the new jazz ; maJor Ameri can city, tal ented and pre ci se inst r umental ists . What's missing here is a r eal depth t o the musi c and an individual sound . This is not t o di scredit what t h<'y seem to be t r ying t o do - packageandproducetheirmusi r in eucha way as to offend as small a number of the reco rd buying pub Iir: as possibl e. Teo Macero (you ' l l rememberhimastheproducer for many of Mil es Davi s' fin estalbums , besidesbeinga good musician himself) is the producer of th is album, Glider, and that's a posit1ve statementaboutthe musi c inandofitself . It has a similar sound t o the latest albums of Chuck Mangi one (comparisons to Mangi one are inevitabl e as all of the members of Auracl e attended the Eastman Schoo l of Mus ic in Rochester , home of Chuck Mangi one and Mang ione- man1a) in that it's pl easant I istening that' s not intended t o be chaii E>nging . The songs are happy and l1ght and so lightly arranged that t hey seem on the ve rge ofspl llting atthe seams . Tothe irc r edit, Gl ider is enti rely musi c written and arranged by the group members with credible sol o 1ng especially by keyboardist John Serry , Jr . who - J. Hunt cont r ibutes four of t he eight compos itions . *Handmade Galager Guitars. *Specials on Moogs, A.R.P . , Oberheim, Roland, Polymoog Synthesizers, A.R.P. Avatar. *Save on Fender Rhodes pianos, R.M.I. , Hohner, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards, Chapman Stick. •sunn &: Moog lab amplifiers for keyboards . •up to 7~ off on Pro Drum Sets - new and used. Selection (all brands) Sonor; North; Gretsch; Pearl; Ludwig; Tama. Tama Octabands (something new). *D'Angelico New Yorker on display. *Gibson's Howard Roberts, LS's, Johnnv Smiths , Byrdlands (Guild Artist Awards), Geo. Benson Ibanez Guitar (new) *1/2 off on drum heads - 1/2 off on microphones *Large selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets. *Drum sticks (nylon or wood tip) $1 pair *Good selection left handed guitars *Sale on all brands of guitars, basses and amplifiers -Gibson, Fender, Guild, B.C. Rich, Martin Alembic euitars and basses; Sunn, Ampeg, Music Man, Marshall, Kustum, Mesa Boogie&: Polytone Jazz Amps. *New and used horns - trumpets, saxes, trombones, flutes, woodwinds, flugelhorns, pro sound equip. *3~ off music books , instruction books, headphones *Imported LP's, rock starT-shirts, strobe lights , hit 45 singles. ARP Avatar. *Switchblade combs $7.98 *No admission - No cover charge. Large selection vintage Gibsons, Fenders, ~artins. DOC CHEATHAM AND SAMMY PRICE - DOC & SAMMY SACKVILLE 3013 Sackville has followed thei r wonderful Jay McShann and ' UDDY Tate duet album with anothe rduetrecordingof two older jazz stylist s. Sammy Pri ce is one of the few true surviving boogi e woogi e pianists left, thoughhispl ayingalso incorporates som e stride and swing el ements . Doc Cheatham is representa t ive of the blues- drenched t r umpet stylings of the twent ies. Together t hey do some wonderful earthy interpretationsoftr-aditional jazz staples like "Tishomingo Blues" and "Sheik of Araby" . Fats Walter's "Ain't Mi sbehavin" and "Honeysuckl e Rose" receive lively takes . TheempathyofPri ceand Cheatham is qu it e high and they produce a mos t rewarding set for whi r. h we should be thankfult o Sackvill e andDocand Sammy for givi ng us . Here ·s hoping Sackvill e continues this series of t radit ional jazz sty l1 sts in duo sett1ngs . Incidenta lly th<' order of tunes on the record Iabel and jacket is erroneous though l1 sten ing makes it clear which is "Summertime" and whi ch is "The She ik of Araby ." - We instock Free limited addition H.O.G. Bumper Stickers, Buttons , Post Cards. 646 TITUS AVE. Ph. 716-544-3500 ROCHESTER, N.Y. (Tbe House of Guitars Luvs You Baby) Open lloa.-Sat. 10 AM-9 PM/Sun. 1-5 PM. T ..e N.Y.S. Thruway to Exit 45 on to Expressway flO, to Express 47 North to Titus Ave. 6 PHIL WOODS- SONG FOR SISYPHUS - CENTURY CRDD-1050 No doubt you've been hearing quite a bit about "direct-todisc recordings" late ly. In a future issue we 'll completely explain the process, but basically the band is recorded live in the studio and the sound is transmitted directlytoa master. There is no tape used (hence, no hiss) and there's obviously no retakes, splicing, editing or overdubs . • This album features the marvelous Phil Woods Quintet, re - �corded in November of I ast year . Its the same group that was heard on Phil's Live at the Showboat album, without the extra percussionist used for that date. While the music on Sisyphus is not quite as hot and inspired as much of the Showboat set, (which still has my vote for one of the cream-of-the-crop for 1977) it is the next best example of Woods' recent work on record and is a fine set of bop from an extremely well versed, close knit unit. Typical to Woods co-operative policy, thebandmembersget plenty of input with respect to solo space and arrangements. Pianist Mike Melillo composed one tune (theMonk-ishMonking Business) and arranged three others . ~hi l's only original is the title track, and the rest of the tunes come from Irving Berlin, Chari ie Parker, Django Reinhardt, and then the'r e' s Bird & Dizzy Gillespie's Shaw Nuff. In addition to the high caliber music delivered by Woods' Quintet, owners of quality sound systems wi II also be treated to the extremely clean, pure sound achieved by the direct-todisc process . You'll pay for it too, the records cost more than twice as much as most,butifyou'reinto Woods you'll want this limited edition album . One more thing, you mightnotethatPhil is wearing a yellow Jazz Report T -shi rl on the back cover, and the drawing of Woods on the inside cover wasdonebyour own Christine Engla Eber and was in fact the cover illustration for our July '76 Buffalo issue. - Wahl ~ Swinging Place' Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week Wednesday & Sunday Hot Dog W/Kraut We Serve Food til 3:00AM No B.S. Compare Our prices EEF EER B SONNY STITT - BLUES FOR DUKE - MUSE MR 5129 This is basi ca lly a blowing sess ion, centered on Duke Ellington tunes : "C Jam Blues,· "I Got It Bad," "Perdido," "Don't Get Around Much Any More," and "Satm Doll . " The exceptiOn is the t1tle track, "Blues For Duke". by St1tt, whi ch is just what it says . Stitt plays tenor throughout, except on "I Got It Bad," where he switches t o alto. He doesn't try to imitate Johnny Hodges, but plays the tune in h1s own way . In fact, the statement could be made about the album generally . Although it's a tribute to Duke , Stitt plays the songs h1s own way . Ha doesn't seem to be quite at the top of his form on side one, but side two is nice all the way . Pianist Barry Harri s is heard t o good advantage in his solos, and he does provide some Ell1ngton - styl e compi ng during the closing choruses of "C Jam." Bassist Sam Jones and drummer Billy Higgins provide sol1d rhyt hmic support, and solo well when called upon . Higgins also trades fours n icely with Stitt. -Simna DAVID EYGES - THE CAPTAIN - CHIAROSCURO/CR 191 Unprecedented is one word that describes th e musi r: of David Eyges . It is a first in Jazz for the ce l lo to be used as a solo, l eading vo1 ce in a group . As the I mer notes c l early point out , ce ll 1st David Eyges (pronounced EE - jus) is not the f1rst mus ician t o utilize the ce ll o in a Jazz context but unlike his cello - play1 ng predecessors , Ron Cart er and OscarPettifordor h 1s cont emporary, Abdul Wadud, Eyges has brought the cello into the front of the group 1n exactly the same manner as the saxophon e, t rumpet , flut e or piano - the most common sol o instruments . Eyges has chosen a highly i mprovisatiOnal format for t his album and from the on eness of thought it seems as though hi s co - workers share in hi s exc itement for the unique ness of thi s musi c. Ronnie Boykins was a wise choice for bassi st in this quart et. HistenurewithSun Ra and more recently w i th Mary Lou Will1am s points to t he wi de range of playing styles hehasathi scommandandtu h1 s stea diness . Mark White cage, t he alto saxophoni st is l ess wellknownbut he seems well suited to th1 s sett1ng . The drummer, Jeff Williams, is known pnmari l y for hi s work wit h Dav1 d L1 ebman and Lookout Farm and hi s subtl ety com es t hrough again here as some passages cal l for only tile barest min1mum of volume from the parti c i pants . Th e compos 1!1ons range from moments of bop and swing to very free form musi r: with acres of solo space but the key ingredi ents in thi s groundbreaking album are cohesi ven<:> ss and ta st e. - J . Hunt ILLIARDS & JUKEBOX OPEN EVERY MORNING TIL 4 AM 3178 BAILEY AVE. e36-8Q05 (uross from Capri Art Theatre) I- :c ~ I TACOS BURRITOS ENCHILADAS TOASTADAS First with the Best in Buffalo 1247 Hertel Ave. between Colvin & Delaware 873-6606 2114 Seneca St. 2 blocks north of Cazenovia 822-m3 3355 Bailey w at Minnesota 833-4566 J: 17 Hours 11 - 5 AM Daily �NEW FROM BEN SIDRAN A LITTLE KISS IN THE NIGHT AB 4178 Featuring: Phil Woods Blue Mitchell David Woodford & More Rochester Locations: Midtown Plaza Greecetowne Mall Gates Eastview Plaza 2525 W. Henrietta Rd . 1800 MAIN at LAFAYETTE ARISTA Syracuse: On The Hi II BUFFAL O NOVUS. Where music • • 1sgo1ng. IN ovus AN 3001) (N ovus AN 3000) OPEN AIR SUIT atr (Novus AN 30031 INovu s AN 3003) Rochester Locations: Midtown Plaza Greecetowne Mall Gates Eastview PI aza 2525 W. Henrietta Rd. 1800 MAIN at LAFAYETTE Syracuse: On The Hill 4\ ARISTA �CHR 1172 AURACLE GLIDER FLYIN' HIGH WITH 'GLIDER' FROM "Glider" soars Because Auracle has successfully combined the elements. textures and colors of class1cal composition with jau improvisation There's no question about 1f Aurac le IS guaran teed to fty AURACLE AII'Qlloble on ClarpMa .. records and topes Rochester Locations: Midtown Plaza Greecetowne Mall Gates Eastview Plaza 2525 W. Henrietta Rd. 1800 MAIN at LAFAYETTE Syracuse: Ori The Hill BUFFAL O THE DEDICATION SERIES JOHN COLTRANE JOHN COLTRANE THE MASTERY OF JOHN COLTRANE/Vol. 1 THE MASTERY OF JOHN COLTRANEI\Iol. 2 To The Beat Of a Drlfemnt Drum Feelm' Good QUINCY JONES The Quintessential Charts - OLIVER NELSON Three Dimensions Rochester Locations: Midtown Plaza Greecetowne Mall Gates Eastview Plaza 2525 W. Henrietta Rd. 1800 MAIN at LAFAYETTE BUFFALO Syracuse: On The Hill \ lmpul~ �bebop. Dig the interchange between Gray and Farmer at the tune's close with Manne kicking things along and Hampton laying down a solid groove. The whole album is I ike that and there is over fifty minutes of music here . Highly recommended . -Weinstock Off The Wahl Capsule Reviews by Bill Wahl 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry store WARDELL GRAY /LIVE IN HOLLYWOOD - XANADU 146 This album is from the tape collection of Bob Andrews who was to West Coast jazz of the fifties what Jerry Newman was for the jam sessions at Minton's . Wardell Gray was in his brief life amasterofthetenorwhowason Charlie Parker's "Relaxin' at Camarillo• date for Dial, and was in bands with Benny Goodman, Count Basie and Billie Eckstine. Let's notforget the va ious dueling tenor sax albums with Dexter. Precious few re cordings were made under his name and this 1952 location re cording is a most worthy addition to the Gray and bop discography. Gray was joined on this date by Art Farmer playing some hot trumpet, Hampton Hawes playing with a judicious use of space and angularity which is sort of a more fluid Monk . Joe Mondragon and Shelly Manne complete this group which includes a hot version of Dameron's "The Squirrel", which is classic LISTEN ••••••••• JOHN McLAUGHLIN - ELECTRIC GUITARIST - COLUMBIA JC 35326 McLaughlin has departed briefly from his Indian music with "Shakti" to deliver some of the electric guitar work he's best known for . The collective list of personnel (twenty in all) reads like a "Who's Who in Fusion and Funk",but the album contains some of the better muS.lC of the energized jazz/ rock variety I've heard in some time - at l east with a guitar as the main instrument. There ' s some good variety here, even some supercharged swing with Chi ck Corea, Stanley Clarke & Jack DeHohnette . There's two throwaway tracks, but thankfully they'r e short. The shortest track on the album is the sweetest - a solo guitar version of My Fool ish Heart. FRANK STRAZZERI - STRAZ- CATALYST 7623 Frank Strazzeri is a magnificent pianist from Rochester, N.Y. who has several first rate albums to his credit. Sorry, this isn't one of them. It was good of him to employ his son and two friends for the record date but family and business don't always mix. The result is tentunesmostof which don't go any where . The excepti ons are Thoughts, Teo and Doliloquy -two are solo piano and the other is an acoustic trio piece . Elsewhere the backup group sounds more I ike they're playing with their instruments than playing them . RICHARD BEIRACH- HUBRIS- ECM 1104 Beirach was the pianist with David Liebman's lookout farm and can be heard on several Liebman albums including the fine seri es of duets the two did for Horizon titled Forgotten Fantasies. His lat est, Hubris, is a collection of solo acoustic piano tunes - all his own compositions . The music is simply gorgeous from start to finish . Recommended for all piano lovers - Keith Jarrett fans take note . NINA SIMONE - BALTIMORE - CTI 7084 I was under th e impression that Ms . Simone had gone into retirement after her recent move to Belgium . Either she's back on the scene or Creed Taylor just convinced her to do an album . Whatev er, Nina is back and so is one of the finest voices in music t oday . lhavethefeelingthatmostof this record was done solo, with Nina accompanying herself on piano, and the strings and rhythm were added here (the album was done in Belgium) . Th e program is lush ballads with strings , and a few funk tracks as well as a gospel song with a chorus. The title track has a raggae f eel. While much of this album is pop - ish, I can't help but like it . While loyal Simone fanswillwant Baltimore without audition , "jazz purists" m~y want to hear it before buying it. to the sound of PAUL GRESHAM on ·· .......•.. fREElANC~ RECORuS Available Now At .... Cavages Sam the Record Man Jazz & 81 ues Centre • • • • • • • • • • • • • • • • • • • • • • • - -. . 10 PUTTER SMITH - LOST & FOUND - VEE JAY 3069 This is the kind of record you'd pass right by while looking through th e record bins . The cover is ugly as sin, and Putter Smith sounds like a ni cknameforthe presidentof a golf caddies union. Remember the thousand year old saying about judging records by the cover? Give this one a listen. It's bright, clean and lively straight - ahead acoustic jazz by a very proficient, well versed quintet. Alto saxophonist Gary Foster with his Konitz influenced sound stands out the most among these West Coast musicians . But they all play well and there's just not a bad solo or weak cut on the album . An exceptionally good group effort. Th is shoul d especially please those into the "cool " sound, such as that of Lee Konitz and Warne Marsh . �HORACE SILVER - SILVER 'n' PERCUSSION- BLUE NOTE LA-853-H The most recent addition to the Silver series of combinations (voices, woodwinds, etc.) on Blue _Note. "Silver 'n ' Percussion" is a happy addition to the catalogue. Side one consists of a three-movement jazz suite titl ed "African Ascensi on". Side two offers a three-part suite "The Great Ameri can Indian Uprising." Both are valid compositional and performanc e work in the Silver style, with hard bop roots still detectable after all these years, but also with solid evidence that Silver has made his own much of the rest of what's been going on. The standard group for the studi o date includes trumpeter Tom Harrell, tenorman Larry Schneider, bassist Ron Carter, and drummer AI Foster in support of Sil ver's piano . African drummers Olatunje and Ladj i Camara add immeasurably to the ideas Silver's trying to get across on the " Afri can" sideofthedisc;OmarCiaydoesthe same on Am erind percu ssion instruments on the final side suite . At first, my affinity was definitely directed to the Afr icaninfluenced suite, but on repeat ed I istening, the Am erindinfluenced work has become more and more fascinating. Sil ver doesn 't waste time or effort . Even his use of a seven-member vo cal chorus throughout both suites is part of wh at he really wants to do in this highly individual outing, and he does it. -Co l ombi New Directions ELLIOTT SHARP AND DAVID FULTON - HARA - ZOAR RECORDS #1 The two musicians who've formed their own company for the product1on of thi s album are for the moment, Buffal o-based, and appearing l ocally in such var ious ensembles as "The NTVC Group ", "Turt le Island" and "Th e New Buff alo Guitar Quart et". This album should be in official rel ease by the time you read thi s.. The album f eatures a seri es of duet s displaying varied instrumentation. The blending of reeds and plucked and ham mered strings takes the album through a cycle of timbres whi ch , is both varied and refreshing. The album begins and ends with soprano and flute duets which are similar in length and flavor. The rest of side one tours the various melodic and percussive effects of acoustic guitar interplay . Sharp arid Fulton seem to be lay ing some new ground in this respect, for their " newish " style l1es beyond Coryell's furthest out acoustic pi eces but not nearly as far out as Derek Bail ey's work. There is still much unexplored area in this realm . 1 The two can often sound as one, with such c lose interplay as t o f1n1sh lmes the other hadbegun, i .e. one of the album's highlights: "Farewell " . My focused enJoyment lies in th e "Three blues" whi ch open side two . Allthreeutilizethe soprano, while two of the three uli I ize the 12-string guitar. Pov;erful statements abound during all three with my personal favorite being the more 'swinging', "For Dacajeweiah" . I feel the strength of the album I ies in side two's first four cut s , which are very open and refreshing . The album will be distribut ed by the New Musi c Distribution Service (JCOA's offspring) but local access to the group and album can be made through Zoar Records / 36 Brewster/ Bfl o. 14214/ 837 - 8189 . -Besecker Blues by ron weinstock Th ere is a pl ethora of other new albums out. How can one miss with Little Walter, Blue and Lonesome (Le Roi du Blues 33.2007). This record contains unissued sides, alternate takes and sides only reissued overseas by the master of blues harmonica. Leonard Chess cal l s Walt er Little 'Motherfucker' Walter on the longer version ufthetitletrack than the released take. Sidem en include Muddy Waters, Jimmy Rogers, the Aces and Robert Lockwood and do I have to tell you the other titles. Great stuff, which might be the only Walt er currently in print. Clifton Chen1er has not exactlybeenunderrecorded . His new SOUND POWER. We Carry a Complete Line of Professional Sound Equipment From . . . ANVIL Eventide the next step -11056:: Professional Products olba,_ paiQIOUftCI dbx p<>~V.f=CJSI<Jr J We Also Feature A Complete Selection of Texas Instruments and Hewlett Packard Calculators. KEfiTiHG PRODUCTS.IHC. 2153 NIAGARA FALLS BLVD., TONAWANDA, N.Y. 1716)691·6043 �Arhool ie album And His Red Hot Louisiana Band (1078) is typically fine even if it breaks no new ground. John Hart plays great tenor. Clifton wai Is on accord ian and guitarist Paul Senegal gets more than usual solo space. This album is bluesier than Clifton's more recent recordings and especially nice is "Hungry Man Blues" with its Muddy Waters touches and the closing "Highway Blues". A typically solid album that may be overlooked if you are well-stocked with him, but if you don't have any of Clifton's Arhooliealbums,whatareyou waiting for. I don't know what qualifies the Nighthawks to have recorded 4 albums as what I heard previously marked them as a typical white blues-boogie band. Their new set Jacks & Kings (Adelphi AD 4120) is of interest because of the presence of Luthur 'Guitar Jr .' Johnson, Pinetop Perkins, Calvin Jones and Bob Margo I in from Muddy Waters' band . They make this album interesting as Luthurturns in a nice "Sugar Mama" with touches of Magic Sam . Pinetop is superb on his two features "For You My Love" and "Pinetop's (Smith) Boogie Woogie". The Nighthawks own vocalist is less successful. My main quibble is that this record is too much a jam and everybody has to solo, it seems, on every cut . Still it's a nice record . Despite my prejudice against white blues I do find Dave 'Snaker' Ray's Kid Man (Mountain Railroad MR-52780) to be an extremely enjoyable set of country blues. A member of the Koerner Ray and Glover trio thathelpedpopularizemany country blues in the sixties, Ray remains a persuasive interpreter of the blues tradition and doesafineBiind Willie McTell styled version of Big Maceo's "32-20" as well as the ragtime flavored "Rappahannock". Nice record . · When I first put on Joe Willie Wilkins & His King Biscuit Boys (Adamo ADS 9507) I received a jolt . The opening "Mr . Downchild" and "Muddy Walter's "Sad Letter" (a great version) had all the power of Muddy's great recordings from the early fifties . Wilkins was Robert Lockwood's .successor as Sonny Boy Williamson's accompanist on thefamedKingBiscuitTimeradio Buffalo's Yamaha Dealer YAMAHA CR-1020 70 Watts RMS With Less Than 0.05% THO 173 Niagara Falls Blvd. Amherst•. South of Sheridan 834-3100 Jamestown & Erie Head for ... twr"i"Y ti~~i "STAY HIGH WITH THE TIMES" Largest Selection of Head Gear in W. N.Y.! SU.PER PRICES ON ... PIPES MEERSCHAM WATER ONYX SOAP STONE COLA BOWLA ROSEWOOD TEAKWOOD · EBONY WOOD BONGS GLASS ALUMINUM CERAMIC PLASTIC POWER HITTERS, SUPER CHARGER, FAZORS ROLLING MACHINES & PAPERS FANCY MIRRORS & SPOONS . BACKGAMMON SETS CURRENT & BACK ISSUES OF "HEAD", "HIGH TIMES" & FABULOUS FURRY FREAK BROS. COMIX COME IN AND BROWSE MON.- SAT. 12-9 807 Millersport Highway Buffalo, N.Y. (716) 835-2169 �program . This album is his first lengthy exposure on wax and if there are occasional bum notes from the assorted accompanists don't let that deter you. Also, much of this album is from a I ive performance and if the sound isn't perfect, the music is funky and downhome. A truly great record of blues that anyone into Muddy, the Wolf or others wi II dig . My choice for album of the month , Music is My Business is the latest set by Roosevelt Sykes (Blue Labor BL 111) and is a welcome new release featuring him and his piano in mostly a solo mode . Louisiana Red, Johnny Shines, and Sugar Blue also join in on some tracks and even throw in a vocal or two. Tunes range from the reflective title track to the stomping "New York Boogie". This is a damn nice piano blues record by one of the masters . Smokey Wilson is an impressive Mississippi born blues singer and guitarist who has become a central figure in the blues scene of LA. His album (his second I believe) Sings the Blues (Big Town BT-1006) shows him to be a cross between the late Howl in' Wolf and B . B . King singing with a considerable ferocity and playing nice guitar . The album is basically retitled remakes of classic blues credited tohimfeaturingastyle that is how the Wolf would have sounded if he phrased his singing and played like B.B . Nice record . · Bummer of the month is Big Joe Turner-Really the Blues (BT -1007) which has Joe redo ret it led versions of songs he has recorded numerous times before . Joe is all right but the acid rock band is terrible . Much ni cer is the Spiver Joe Turner album "I'm Goona Sit Write Down and Write Myself a Letter" . With sterling Lloyd Glenn piano , nice band work by Bill Dicey on harp, Robert Ross on guitar and a rhythm section including a drummer and Washboard Doc the music is enjoyable, and gets into a nice groove even if at times the drummer and Washboard Doc move with a relentless drive suggestive of Sherman' s march . Only down here is the presence of Brenda Bell whose hysterics on two numbers are jarring. Otherwise Big Joe re - 1 A BARGAIN BOOK OUTLET Browsers Welcome- See our fine Selection of Hardcovers, Art Prints, Magazines & Paperbacks . Savings, up to 85% Off Original Pub I i shers List Price. Bring Paperbacks in -Receive 1/ 4 Original Price in Trade towards Other Used Paperbacks. We Carry Sunday N.Y. Times. Sun. 12-5 Open Mon.- Sat. 10-9 University Plaza (next to Ainherst Theater) peats verses, sings with apparent enthusiasm and the band gets a n1ce groove gomg . clat~~ified This space is availabletoprivateindividuals,organizatioris, mail-order houses, etc . The cost is 10¢ per word- minimum charge $3 . Send copy and payment to BJR - 1335 Main Street, Buffalo, N.Y. 14209. JAZZ RECORDS FOR SALE. Wide selection of titles .. . mostly out-of-print. For free catalogs : JAZZ HOUSE, Box 455 (BJR), Adelaide St. E.P .O., Toronto, Ontario, Canada M5C 1J6. . SACKVILLE - The Jazz Record· Company: Dollar Brand, Anthony Braxton, David Holland, Oliver Lake, George Lewis, 1ST 1504 hertel 836-8985 ·'' CHICAGO BLUES Junt 7,8,9, &. 10 · Koko Taylor �Tralfevents DILLON·BRADY Tues., June 6, and every Wed. from June 14. STEVE KUHN Quartet featuring MIROSLAV VITOUS With Steve Slagle/ reeds and Bob Moses/ drums. Jay M cShann, Roscoe Mitchell . Don Pullen, Buddy Tate, Teddy Wi lson and many others . Wr iteforfreecatalogueto SACKVILLE RECORDINGS. Dept. K, 893 Yonge Street, Toronto , Ontario M4W 2H2 Canada . STUDY SAXOPHONE, FLUTE & CLARINET with Di ck Griffo (Woo dy Herm an, Tommy Dorsey, Bflo . Philharmoni c, Emil Pal am e, et c .). Al so - L essons and : or coaching sessions on jazz improvisin g and styl es. Call (716) 856-8916. HARA - an al bu m of improvi sed musi c by Elliott Sharp- · aco ustt c gui tar s and soprano saxophone , and David Fulton aco ust tc gui tar s an d t aironaflut e. Availabl e from ZoarRe cords, 36 B rew st er St , Buffal o, N.Y. 14214, (716) 837 - 8189. $5 .00 plus $.07 sal es t ax pl us $.28 handl ing . RADIO UPDATE WEBR - 97.0 FM Jazz in theNight eve ry n i ght f r om 8 PM - 1 AM w/ AI Wallack. (recent ly ex t ended an ex tra hour). WBFO - 88 .7 FM I MON. THRU FRI. 2 - 5 PM - Jazz 88 with John Hunt. Midnight3 AM - 'Round Midnight w/ vari ous hosts. June9&10 BFLO. COmEDY EHPERimENT Tuesdays from June 13 - a variety of local comics hosted by Buffalo Comedy Workshop. MAX THEIN June 11,18,25 FRE/H JEFF TKAZYIK Wed., June 7, and every Thurs. from June 15. Quintet June 23 & 24 trumpet & flugelhorn soloist with Chuck Mangione's Orchestra. LOUIE mARinO June 30; July 1 June 16,17- to be announced. MONDAYS: OPEN MIC tralfamadore cafe 2610 main at fillmore 836-9678 '-------------------------'14 wlhlat'~ happening BUFFALO Quincy ' s - Mon . - N. Y. St y l e Open M ike w/ Dick Griffo ; Tues. Dick Griffo Qua rtet (form er l y w/ Woody Herman ). Vinei - Su - 978 Wes t at Breckenridge - 882-5225 -Moody Street F ri . & Sat. night s. Sun . aft ernoons - j am sessi ons . Bagatelle - Main & Wi ns pear - Joe Broncato/ piano & Jack Nor ris / gui ta r - Fr i . & Sat. 9 - 1. Tralfamadore Cafe - M ain at F iII mo r e - var ious loc al and nat ional jaz z gr·oups . Mont hly specia l - Steve Kuhnw/ Miroslav Vitous. See ad f or detai Is. Tara Manor - 5100 Ma in St. Jack Bacon Morgan Street Stampers with Eli Konikoff Fri . & Sat. ni~hts . C.P .G. - Central Park Grill - 2519 Main St. - Jazz Jam Mon. n ights, Tender Buttons every oth er Tues. Also, folk and bluegrass . Bona Vista· - 1504 Hertel - Blues & Jazz . Checkerboard - Main & Ut ic a - Jazz N ightly . Odysey - 1005 Ton awanda St . - Jazz Sat . nights . Anchor Bar - Ma in& North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fr i . & Sat. night . TORONTO Waldorf Astor i a - 80 - 88 Charl es St . - 923-3581 -Saturday aft ern oon sessions - 3 t o 6 PM . - Russ Little Quartet Jun e 10; Joel Schulman Trio June 17; Kathryn Moses Quartet June 24 . ' Bourbon Street - 180 Qu een St ., W. " Lew Soloff June 5- 10; Bi II Watrous Jun e 12- 17 . Basin Street (Above Bourbon St ) - Boss Brass June 5- 10. George' s Spaghetti House - 290 Dunda s St, E . - Herb Spanier Jun Ee 5- 10; Ri ck W,il k ins / Pete Magadini Quart et Jun <> 12 - lT Ontario Place - see Toronto Update by Hal Hi ll . The Garden Party - 82 Av enue Road - Pianist Joel Shulman Monday t o Satur day from noon - also Sunday evenings from 8:30PM . Nag's Head - Toronto Eaton Centre - Yonge and Dundas Sts . J i m M cHarg ' s Midnight Special every Sunday from 5pm to 8 pm . · Stop 33 - Sutton Place Hote l - 955 Bay 'Street - every Saturday 3 t o 6 pm - top jazz artists f r om the Tor onto scene. The Ports - Summerhill Avenue at Yonge Street - TorontoExce l s ior Jazz Band Saturdays from 3 to 6pm . ROCHESTER Glass Onion - Tu es . Jeff Tkazyi k Club West Indies - Jam sessi onsw/ Spher ees. Ext stingR eality - �BOBBY MINICUCCI presents (Pronounced Hoda Gee Samba) BRASILIAN/JAZZ QUINTET FROM SAN FRANCISCO LENNY RIFORGIATO Drums, Percussion, Berimbau , JOSE SIERRA-FRANCO Congas, Percussion, Berimbau MICHAEL FORMANEK Electric & Acoustic Basses & Percussion ALFREDO CARDIM Piano, Flute & Percussion With DICK GRIFFO Soprano, Alto, Tenor Saxes, Flute & Percussion Thurs., Fri., Sat. & Sun. Nights From June 1st. ONTARIO HOUSE 920 Ontario Ave. Niagara Falls, N.Y. 282-9877 Thruway (190) to Packard Rd. Exit. Cross Packard to Porter Rd. , Left on Porter Rd. to Hyde Park Blvd., Right on H.vde Park to Ontario Ave. FOR CANADIANS - One Minute From The Whirlpool Bridge Right to Ontario Ave. �Bourbon Buffalo's Largest Stock of Professional Sound and Recording Equipment MICROPHONES MIXERS SHORE AKG ELECTRO-VOICE BEYER SONY SENNHEISER EDCOR VEGA TASCAM YAMAHA INTERFACE TROOPER MALATCHI TAPCO METEOR AMPLIFIERS SPEAKERS BGW CROWN TAPCO SPECTRA SONICS YAMAHA JBL JBL GAUSS YAMAHA EMILAR Street TAPE DECKS TORONTO (416) 598- 3020 The Finest in Italian Cuisine TASCAM by TEAC OTARI STUDER REVOX SONY LOU SOLOFF June 5-10 SIGNAL PROCESSORS BILL WATROUS June 12 - 17 dbx EVENTIDE SPECTRA SONICS TROOPER ORBAN O.R.E.I. DON GOLDIE June 19-July 1 Phone Ahead for Dinner Reservations Open Daily 12-1 Sundays 6- 10 No Cover INNAiiE GEORGE'S SPAGHETII HOUSE 290 DUNDAS STREET. E. TORONTO. ONT. -923-9887 330 Genesee St .. Buffalo. N.Y. 14204 SALES, RENTAL AND SERVICE. VISIT OUR DISPLAY STUpiO. · CALL FOR APPOINTMENT Featuring some of Canada's Top Jazz Artists nightly as well as our famous Italian Cui sine. 716 853-6500 Wed . Sat. Jazz in the afternoon w/ Existing Reality. Mr. S-1 Executive Lounge - Jeff Tkazyik- 1st week of June ; Aedies Sextet - 3rd & 4th week of June. Chez Jean Pierre - Al exander St . Joe Locke -Wed . & Sat.; Bill Dobbins - Fri. Lloyds - Joe Locke - Sundays - Call for confirmation . Stone St. Pub - Call for info . Casablanca - Jon Weiss on piano Thurs .. Fri . & Sat. Call for further info . The Wine Press- Call for info . Jenks 'n Jones Lounge- Weekend jazz, call for info . The Budapest - Don Ames & Gregg Knapp - Fri . & Sat. Marriott - Jam sessions every Sun . Top of the Plaza - 1400 Midtown Plaza - call for info . Barnaby's (Holiday Inn Downtown) Ragtime - call for info . Monticello Restaurant (Rowntowner Motor Inn) Ragt1me- call for info. ELMWOOD VILLAGE TICKETS SHAW FESTIVAL- ARTPARK MELODY FAIR NIAGARA FALLS CONVENTION CENTER CANADIAN MIME THEATRE KLEII\JHANS MUSIC HALL TRALFAMADORE TORONTO & N . Y. SHOWS All Major Sports & Th eatrical Events 510Y2 ELMWOOD near W. UTICA. BUFFALO 884-0122 Mon.-Fri. 9 : 30-5:0" jazz tepott 1335 main st. buffalo, n.y.14209 u.s.a. FCJ:a~:~ALS • , L r..J't.J · a.••"'"'v..J · & EIPDSSY •• S • U • :·J• Y • ! • L • Ki~?:\LO , return postage guaranteed · • r · ·-· -· • • -· ::·£ r r-·~.~'i 'i. w-~~\ .• •• ~ .. . , ' ('( ~ (( � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4240 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 52 Date A point or period of time associated with an event in the lifecycle of the resource 6/1/1978 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Music > Periodicals. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 52 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/760d9c4cc3420aef8bfb64d923bf5b76.pdf cc163197c18e9165f1aec04aa03da46a PDF Text Text July/August '78 Issue 53/54 Free ERIC KLOSS ~\ L l ' - t J UL 1 8 197: Buffalo ~ochester/Toronto z JGZZ k~J:epott \q_~~ r YUSEF LATEEF �SKILL. PRECISION. TECHNIQUE. INNOVATION. THAT'S PASSPOR~ After massive world tours and international acclaim. Klaus Doldinger's Passport is back, with "Sky Blue." their most exciting album ever. "Sky Blue" is Passport. Your ticket to a musical adventure. On Atlantic Records and •pes. Produced by Klaus Doldinger C I9711Nionto<: Rec:o<d•"Q Co<P .A Wot..., Colol-.coloonl Co �© 1978 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the publisher. The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N.Y. BJR is distributed free of charge throughout Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $7/year, paid in advance. ERIC KLOSS YUSEF LATEEF Alto and tenor saxophonist Eric Kloss and multi-reedman Yusef Lateef wi II be the featured nationally known artists to play the Tralfamadore during the summer . Yusef will also be in Toronto & Rochester. Eri c Kloss made his recording debut in 1965 for the Prest1ge label at the age of sixteen. His original experience came from studying saxophone at Western Pennsylvania School for the Blind (Eric was born blind), and he started playing around Pittsburgh, where he still resides, at the age of 10. Kloss is a bright, powerful (often high energy) player with a fin e sense of melody . He has taken the influences of such peopl e as Bird, Eric Dolphy , Ornette Coleman, Colt,.-ane and others and worked them into his own easily recognizable styl e. To date, Eric Kloss has released eighteen albums under hi.s .own name on the Prestige, Cobblestone and Muse labels. His most recent - NoN - is reviewed in this issue. He'll be appearing at the Trail. on August 1 ( 12 & 13 playing duets with pianist Barry Miles. Yusef Lateef born in Chattanooga, Tennessee in 1921, is one of the best known names in jazz. He worked in Detroit Carroll Hardy The Buffalo area jazz community f elt a heavy loss with the death of Carroll Hardy . He was kill ed 1n a car accident early in th e morning on Friday, June 9. Carroll was one of the pioneers of Jazz radio in the area since working for WHAM, WEBR and WKBW in th e 50's and was probably best known as the host of Jazz Central on WEBR in the sixties. At th e lime of hi s death, Carroll had been doing a Jazz show on WB L K on Saturday n 1ght s. But for the last seven years he had been working for Atlanti c 1 Ei ek tra Records, most r ecent I y serving as the pro mot ion director for th1s area. Carroll's love for Jazz carried over t o h1 s work with Atlantic, as he always supportedthoseenvolvedinJazz media . Speaking for myself - he always treat C'd Jazz Report with a high level of respect and priority , for whi ch we've always been grateful . Carroll is surely missed by myself and th e Jazz Report staff. He was a true fri end - a pleasur e t o know, talk to and wor·k with, and a devot ed promoter of Jazz mus1 c. Th1s issue 1s dedi cat ed to his memory . - Bill Wahl Buffalo's Largest Stock of Professional Sound and Recording Equipment MIXERS SHORE AKG ELECTRO-VOICE BEYER SONY SENNHEISER EDCOR TASCAM YAMAHA INTERFACE TROOPER MALATCHI TAPCO METEOR VEGA EDITOR & PUBLISHER - Bi ll Wahl CONTRIBUTORS - Bi II B esecke r, Chris Colombi. Jr . Dal e Funtash, Bill Harri s. Hal Hill , Brad Hunt, John Hunt, Willard Jenkins. Jr. Jim Kay . Jim Lani ok , Tom Mazzone. Bob Sh epher dson, John Simna, Paul Smith, Paula Wahl, Chuck Braman and Ron Weinst ock. COVER ILLUSTRATOR - Sabrina Mayberry Smith ADVERTISING Manager - National & Local - Bob Riley (716) 883 - 3909 Niagara Falls / Lockport - Ed Supple (716) 297-7878 Toronto Hamilton - Hal Hill (416) 742 - 4081 (after 6 PM) CORRESPONDENTSRochest C' r - J1m Lan1ok Syracu se - B ob Shephen.Json Toronto - Hal Hill Address corrc·s pond ence t o Buffalo Jazz Report 1335 Main Street Buffalo , New York 14209 (716) 883 3909, Ext. 11 MICROPHONES AMPLIFIERS SPEAKERS BGW CROWN TAPCO SPECTRA SONICS YAMAHA JBL JBL TAPE DECKS TASCAM by TEAC OTARI STaDER REVOX SONY SIGNAL PROCESSORS dbx EVEN11DE GAUSS YAMAHA EMILAR SPECTRA sorucs TROOPER ORBAN a.R.EJ. INNAlii 330 Genesee St .. Buffalo. N.Y. 14204 SALES, RENTAL AND SERVICE. VISIT OUR DISPLAY STUDIO. CALL FOR APPOINTMENT PRINTED IN U.S .A . 3 716 853-6500 �TACOS BURRITOS ENCHILADAS TOAST.!\DAS during th e 50's and led his own quartet in New York in 1960. After working with Mingus & Olatunji, Lateef joined th e Cannonball Adderley Sextet and stayed for a two year stint which greatly enhanced his popularity through concerts and recordings. Since '64 he's been touring and recording with his own bands . In addition to his main instruments, tenor sax and flute, Yusef is a fine composer and also is well skilled with the oboe, bamboo flutes, bassoon, shahnai, argole and other instruments. His quartet, consisting of pianist Khal id Mo ss, bassist Steve Neil and percussionist Greg Bandy will be at the Trail . on July 21 & 22, the Horshoe Tavern in Toront o July 17 & 18 and The Glass Onion in Ro chester July 19 & 20 . · First with the RHODA de SAMBA AT THE O.H. A quintet known as Rho da de Samba has been playing 'up a storm and packing ' em in four nights a week at the Ontario House in the Fall s since June 1st . The obvious l eader of the group is Lenny Riforgi ato, who plays drums, various percussion instruments and berimbaua single stringed instrument using a gourd to project the sound. The rest of the band consists of Jo se Si er ra - Fran co/ congas & berimbau, Mi chael Formanek / bass, Alfredo Cardim/ piano and Dick Griffo saxes and flute. Each of th e musicians also plays vanous authent1c Brasil1an percussion instruments, and much of the music is in fact authentic Brasil ian songs. Starting with some solo percussion pieces the band will take you on a tri p through Brasil , interJPctlng jazz along th e way gradually bui I ding up and then changing th e degree of int ensity . Th e last n1ght I was there the set ran non - stop ending with an energized Lat1n / Jazz tune that easily qualifies to be termed a blowout If you lik e people such as Airt o, Flora, Dam um Romao , etc., you owe it to yourself to drive tu the O.H. for a night of Rhoda de Samba. -Wahl Best in Buffalo 1247 Hertel Ave. between Colvin & Delaware 873-6606 2114 Seneca St. 2 blocks north of Cazenovia 822-7733 3355 Bailey w at Minnesota 833-4566 J: 1- Hours 11 -5 AM Daily ~ Swinging Place' Art park Anacone's Inn F ollowing the success of last year's Jazz F estival Art park has, again, called upon B1ll Hassett to present a line up of artists for the '78 Fest1val Op en1ng Wednesday, July 26, WI II be th e Marian M cPartlan d Tn o. Al so on th e same evening wi II be the Heritage Hall Jazz Band of New Orleans. Kenny Burr ell returns on Thursday, July 27th, Dick Hyman with Bobby Rosengarden, Mi It Hint on, Pee Wee Erw1n and Kenny Davern appear Fri day evening, July 28th. Som ething not to be missed tak es place Saturday afternoon, July 29th. Di ck Hyman will present the hi story of Jazz p1ano That even1ng, Joe Will1ams and Sp1der Martin appear at 8 P.M. Sunday, Ju I y 30th at 2 P .M . featur E' s the I 0gend, Earl "Fatha" Hines To endtheevent-a rare an•a appearance by the Thad Jones M el Lew1s Big Band . All events are VPry reasonably pnced · and we do urge attendanc-e to lr>t Artpar i( know further pzz will be appreciated . Fo r more details see the ad in th1s i ssue . WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week Wednesday & Sunday Hot Dog W/Kraut We Serve Food til 3:00 A~~ No B.S. Compare Our prices EEF EER B Ill lARDS & JUKEBOX OPEN EVERY MORNING TIL 4 AM 3178 BAILEY AVE. - 836-8905 . (across from Capri Art Theatre) 4 ST. CATHARINES Mainstr eam Jazz will be performed two nights a week, starting June 14, here at Win chester's, a downtown restaurant -tavern. Session s wi II be performed Wednesday and Thursdays at the eating spot, I ocated at the corner of K mg and Academy Streets, by the_ Bi II Stevens Quartet . On Wednesday nights a Jam session i s held where visiting musi c ians can perform. Stevens, who is the jazz column1st for The St. Catharines Standard , plays saxophones and c larin et . He worked as a �sideman in bands at Ottawa and the Upper Ottawa Valley before entering the newspaper business . Other musicians in the quartet include: Bill Bradley, who studied in the late 1930s under T eddy Wilson piano; Joe Colonna, bass; and Fred Hill, drums. TORONTO UPDATE BY HAL HILL Sonny Greenwich was recorded by Gene Perla whilst in Yellowfingers just recently, for a future release on the PM labei ..... Sonny is also negotiating for a studio recording , possibly Sackville, and also a big band (strings) for a direct t o disc company ... . wat ch this column for more information Phil Nimmons and hi s Band go into George's Basin Street Club on July 10 for one week and Phil will appear on "From B ebop to Now" on Saturday;July8thfora special int er v iew. Bill Smith continues his monthly visit on air with th e above programme on July 15th with a special on the musi c of th e late t enor player Brian Barl ey andguitari stSonnyGreenwich . LIFE IN MOERS, WEST GERMANY- THE INTERNATIONAL NEW JAZZ FESTIVAL. by JIM LANIOK Greetings to all from the 7th annual Int ernational New Jazz Fest1val in Moers , West Germany' For four magi r al days, this small (100,000) fri endly city became once again the world capital of new jazz . Most of the several thousand who made the journey looked I ike transplant ed Woo dst <•ckers, but t h,ir ears were tuned to far headi er stuff . It was a thri ll t o be among such a crowd wild)y applauding the musi < that goes largely unno!t ce d in the U.S. The Chicago sound was very much in evidence - 9 out of the 25 groups were I ed by pres ent or form er AACM members . As the musi c evolves away from a soloist-with-rhythm sect1on and t oward an interplay-among -equal s situalion the piano be comes l ess of a necessity. Only 9 groups used one . The clari net and bass clarinet are gaining in popularity , especially with If I had t o name the one figure who had the greatest impact on this festival, it would have to be Anthony Braxton . His two concerts were among the highlights of the festival . The first was Braxton conducting a 22-piece orchestra, containing such ringers as George Lewis, Kenny Wheeler, Leo Smith and Joseph Bowi e. The band playeda50-minut e uninterruptedsuite, culminati'ng in the witty (and actually quite uplifting) parade p'i ece. Unfortunat e! y, it was raining quite heavily during the performance, and the fact that I was getting drenched took away from my con cent ration somewhat. The following afternoon we heard the current quartet . The stage looked like a musi c store - Braxton alone had 11 instruments, and the others were similarly equipped. The music was a riot of tone colors, intricate unison lines, and fi ery s<Uos. Alth ough Braxton is not generally thought of as theatri cal, the sight of him wandering around in his forest of over-and under sized reed instruments made him the delight of photographers, who rushed to the scene I ike trout in a fish hatchery when he moved to his cant rabass sax . Cecil Taylor unleashed his new sextet (pi·ano, bass, drums, viol1n, trumpet and alto) and proved once again that he is the unrivaled master of the modern piano. The staggering virtuosity of this man still shocks me . He creates a primal music, a searing white - heat energy that can never be objectified (tamed) by western musical analysis. For pure theatricality, the t op honors must go to the Peter Brotzmann Septet, actually an all-star group comprised of Brotzmann, Will em Breuker, Michel Pilz , Misha Mengleberg, Derek Bail ey, Han Benniknk and an unidentified trombonist . They all take a Marx Bro x. attitude toward their music , creating an illusion(?) of total anarchy. Speaking of Breuker, the Kollektief opened the festival on Friday evening, but cold and wind made it diffi cult for them to play. Too bad, since their performance at the Trait last year was such a success. The good news, though, is that they will be back in the stat es next spring . (How about 3 nights this time , Ed?) There were other highlights: Terumasa Hino's dramatic SOUND POWER. We Carry a Complete Line of Professional Soancl Equipment From . . . ANVIL Bectrolk>ice Eventide the next step -EIO.S~ Professional Products dbx olbcaft pa•cuOUMI We Also Feature A Complete Selection of Texas Instruments and Hewlett Packard Calculators. KEfiTifiG PRODUCTS.IfiC. 2153 NIAGARA FALLS BLVD., TONAWANDA, N.Y. 17161 691·6043 ii ~I )• II •',, �trumpet pi ayi ng and stage presence. Andrew Cyri lin's showstopping drum solo. Lest e r Bowie's pi ani st , Ani ma Claudine Myer s, singing "Precious Lo rd" . and much more . In co nclusion , I woul d l •ke to than k Burkh ard He nnen . fest •val organizer and own e r of Ring Records (t l"'>e Iabe l which documents th e fest•val) and Ingri d and Ut e for he lr ing to make my first visit such a beaut•ful one. I strong ly urge anyone wh o can to at tend this f Pst1 val next year . I van give a ll detail <;- j11st call me at 244 - 0473, (R oc hes t e r) preferabl y mornings aft nr 10. -Laniok HOUSE OF GUITARS Upstate's Music Building \ •3 Floors of Musical Instruments for the Rising Young Stars from Earth• - Fan letter Quote SHARP/FULTON DUO TO PERFORM on Fri da y, July 14 at 8 :30 PM, Elliott Sharp - acoustic & e lectri c guitars, reeds and David Fult on - acousti c & el ectri c guitars, flute will perform improvisations at Hallwall s, 30 Essex St . in Buffalo . The duo have rel ea sed an album, Hara, on their own labe l, Zoar Records (see BJR, Jun e ). Th ere will be no admi s si on charge . •Lots of Used Gibson Jazz Guitars •Save up to 7~ on Professional music equip. Most Jazz, Blues, 2 for 1 Deals on Blank Classic, Rock albums Tapes - 4. 79 ea. NCOrd~ RECORD REVIEWERS: Bill Wahl , Will ard Jenkins, Jr ., John Hunt , Tom Mazzone, Ron Weinstock, Paul Smit h, Jim Laniok, Chr is Col ombi , Jr . , Bill Besecker, Bob Shep he rdson, Chuck Braman, J ohn Simna an d Dale Funtash. PAUL WINTER - COMMON GROUND - A & M SP 4698 Bei ng an old Paul Wi nter conso rt fr ea k, I'd be <> n waiting anxi ously for about four years for th1 s baby to arri ve Its been here fo r about a month now and I've Just about worn my fir st copy out . Mu ch l ike Wint e r's pre vi ous albu m , Icarus, the new A & M rel ease is not by an y means "strictly a jazz al bu m" - es pt? c ially in th e eyes of th e breed known as Jazz pur1sts (of which I'v e bee n accused, but flatl y deny) . Common Ground is a wedding of Jazz with Am encan fo lk , t ra dit1 nnal Af ri can an d Bra zil1an musi cs and th e c r1 es of t he wild (an exp lan at io n to com e) . Two tun es f rom th e Icarus album are r e- don e here Icarus, th e consort's th e me song, sone in the "village ver s ion" with St eve Gadd playing Br a zil 1an c'arn1va l rhythms on th e snare drum; and Minuit -a t r aditi onal lull aby from Gui ne a , sung by a vo cal chorus . But t he th•ng th at diff 0rent1ates th 1s al bum from othe rs is th e use of Wlld l 1f0 in th P musi c . Wint e r is he ard he re in various cont ex t s w1th wolve s , e agl ns an d whal es . Sou nd strange? It'll grow on yo u. The most beautiful song on th e record is Wolf Eyes, a tun e which is actually bas ed on th e how l1ng of Timber Wolf , wh •ch was r eco rded at a nat io nal forest in Minneso ta . Win t er (alt o sax) and David Darling (ce ll o) late r r eco rd ed over th e howl s, with Paul McCandl ess, Ray Brown and oth er s . Duet is JUSt that - with W1 nt e r on a lto sax and Ida do •n g th" woif vocal r ecorded l1 ve at th e Nort h Am e ri can pre dat nry animal cent e r in th e Cal1forn1a Si e rr as. Th en th e r r> 's Trilogy, with voca ls by th e Hump back Wh a le, T 1mber Wolf & Afn can F1sh Eagl 0 I cou ld go on and on, but I won ' t . If you'd e nJOY a di ff e r ent twi >t, or ' if the abo ve descrip!l uns at allln t e r c•s t yo u - buy tho al bum. Fo r this Winter frea k , i Is been wo rt h th e wait . - Wahl *Handmade Gallager Guitars . *Specials on Moogs, A.R.P., Oberheim, Roland, Omni, Polymoog Synthesizers, A.R.P. Avatar, Lyricon . *Save on Fender Rhodes pianos, R.M.I., Hohner, Leslie, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards, Chapman Stick. *Sunn & Moog lab amplifiers for keyboards . *Up to 71)% off on Pro Drum Sets - new and used. Selection (all brands} Sonor; North: Gretsch: Pearl : Ludwig; Tama. Tama Octabands (something new). Slingerland. *D'Angelico New Yorker on display. *Gibson's Howard Roberts , L5's, Johnnv Smiths, Byrdlands (Guild Artist Awards), Geo. Benson Ibanez Guitar (new} *1/2 off on drum heads - 1/2 off on microphones *Large selection guitar strings - Martin, Gibson , Ernie Ball, Fender, etc. $1.89 complete sets . *Drum sticks (nylon or wood tip) $1 pair *Good selection left handed guitars . Lots of used equip. *Sale on all brands of guitars, basses and amplifiers -Gibson, Fender, Guild, B. C. Rich, Martin Alembic guitars and basses; Sunn, Ampeg, Music Man, Marshall, Kustum, Mesa Boogie & Polytone Jazz Amps, Lab . *New and used horns - trumpets. saxes. trombones, flutes, woodwinds, flugelhorns, pro sound equip, Biamp . *30% off music books, instruction books, headphones *Imported LP's, rock star T-shirts, strobe lights, hit 45 singles. ARP Avatar . *Switchblade combs $7.98 *No admission - No cover charge. Large selection vintage Gibsons, Fenders, Martins . Trade ins welcome Free limited addition H.O .G. Bumper Stickers , Buttons , Post Cards. 646 TITUS AVE. Ph. 716-544- 3500 ROCHESTER, N. V. (Tbe House of Guitars Luvs You Baby) Open Mon.-Sat. 10 AM-9 PM/Sun. 1-5 PM. Talle N.Y.S. Thruway to Exit 45 on to Expressway teo, to Express 47 North to Titus Ave. 6 Ida and Paul Winter �FLORA PURIM - EVERYNIGHT - WARNER BROS. 3168 Admitt ed ly I approach ed thi s album with all due caution . I ftgured it was time fo r Fl ora t o fltng herself headl on g into the disco inferno, ac cording to th e dir ection sh e appeared headed . Alas, thank goodness, my f ear s were laid t o r est . As Flora her se lf stat ed i n a r ecent Billboard articl 0 she has soften ed the electroni cs, romanti c iz ed her outl ook and main tained her hot Brazi II ian tt es . Th e r esu lt s surpass all of her studi o effort s dating ba ck t o her second side on Mil es t one. Purim is in fin e voi ce and th e rhythms an' as infectious as ever, parti cularly on Samba Mi chel , no thanks to husband percus sioni st - produce r Airl o. Signift c ant are her collaboratiOns with Jaco Pastoriu s . Th e l tquid qual tty ,o f hr> r vot ce bl erid so well with Ja co's supremely mall eable bass . Los Olas al so finds Herbi e Han cock in f tne acoustt c piano form . Mi chel Columbi er' s string and horn arrangements ad d just th e right touch of sw eet ent ng without intruding on Fl ora 's arti stry - Jenkins SCOTT HAMIL TON - CONCORD JAZZ 42 Scott Ham i It on i s a twenty - three - year - old anachroni sm . In tht s day, wh en mo st t enor saxophonists of hi s age are influence d the post - Coltrane and fusion areas , he is firmly ensconced in what has com e to be known as the mainstream of th e jazz world. Li st en t o him , and you'll hear a hi st ory of the t enor . Th ere are evident su ch influences as Col 0man Hawkins, Paul Gonsal ves, Fltp Philltps and occasionally Lest er Young . Hamilton has already appeared on several recording s with others, including one with th e agel ess vio lini st Jo e Venuti; he has t ou red with Benny Goodman , and played with Roy El dndge, Anita O'Day , Hank Jones and oth er s. On hi s first album , Hamilton is JOined by a ltke - minded group , including piant ~ t Nat Pi er ce , bassist Monty Budwig , drummer Jake Hanna an d trumpet er Bi II Berry . They have a IIr-ID haircutter · 59 Kenmore Ave. 836-1781 (corner of Windemere) behind jewelry stoce good time rolling through standards you might expect "That's All." "Indiana," "Broadway" and oth ers, as well as a Col eman Hawkins riff call ed "Stuffy ." There is a very · de c idedly Basi ei sh air about thi s album - Nat Pi erce's influen ce, of co urse, whi ch seems t o lea d the others in that direct ion . It 's straight - ah ead jazz, with the emphasis on swing. To quot e Leonard Feather's not e, "Scott Hamilton is a good wind who i s blowing us no iII " -Simna RAHSAAN ROLAND KIRK-BOOGIE WOOGIE STRING ALONGWARNERS 3085 Rahsaan ' s l ast i s a mo ving ly rrt ell ow memorial . This is as r elaxed as I've heard Kirk in years. It s.:>unds almost as if he had a clue as t o his fat e and was ftnally at peac e with himself and h is maker . Th e humorou s cove r dn wing tells it all . The cari catur e depicts Rahsaan hea ding forwar d with f eet firmly in r etreat . Kirk explores pas t groo ves and fantasies while A NEW QUINTET! GXY-5106 RED GARLAND/RON CARTER/ PHI LL Y JOE JONES I Crossings Distributed by Fantasy Records GXY-5110 TOMMY FLANAGAN Something Borrowed, Something Blue Available at all Record Theatres in Buffalo & Rochester; all Cavages locations. GXY-5107 CAL TJADER Breathe Easy �PASSPORT - SKY BLUE - ATLANTIC SO 19177 Passport, led by tenor and soprano saxophonist Klaus Doldinger, is based in Germany and is one of the leading jazz / rock units in Europe . Recently they've been making waves in the U.S., and Sky Blue along with its predecessors is reason enough why . Doldinger's sound is at once hard, rocking, sweet and ex tremely lyrical. His band always follows suit well, and the compositions are all his. Ther efore, those adjectives can also be applied to the sound of th e entire record. There's a definite European· flavor here as Passport comes up with a successful fusion of contemporary jazz and progres sive rock thatsl istenable, danceable, partyable, drink-alongabl e, driveable or good 'for just about any thing else you're able to do along with it . Some parallels can be drawn to recent Weather Report, but Passport is no rip-off. If you'r e into "fusion" musi c, Passport is a band to check out if you haven't already . Play it loud . - Wahl tNC. HEARD ABOUT DAVID AND GOLIATH? We don't claim to be the largest, we aren't open 14 hours a day and don't employ 100's of people but we do employ the best! We have one location with the most competitive prices on LP' s, tapes (both blanks & prerecorded) and accessories . If we don't have it in stock - we' II get it for you at no extra charge. We don't claim a $1,000,000 inventory but we have what you are looking for. We have people wi II ing to I isten and assist you. "Big" isn't necessarily "best"- "giants" haven't time to treat you as individuals -we do! We try to guarantee a smile and a good time! Open Mon. -Sat. 10-9 2815 Delaware Ave. (corner Euclid) Kenmore, New York (716) 873-9534 maintaining a forward outlook ... no mean f eat . His blues vo ca l on Make Me a Pallet, a mini-classic in a country blues vein , and the clincher, Watergate Blues, are possibl e standouts but an excellent balance is maintained throughout . Rahsaan man ages to move and relax at the same time . Being Rahsaan 's last recording the effects of the stroke are f elt as he is heard on tenor, flute and clarinet rather than his full arsenal of t oo ls, but one does not notice their absence unl ess one reads liner info . -Jenkins NEW FROM MUSE Wh en Muse president/head honcho / producer, Joe Fi eld s, offer ed t o get us advanc e copies of his new r elease to make it into th 1s issue. he gave me a com p I et e rundown of the records I'd be hearing . I r emember h1m r efer ringto a Will1 s Jackson album as a sort of Mus e V .S.O .P . Fi elds wasn't kidding . BAR WARS (Muse 5162) i s just th e album he was speaking of from WILLIS JACKSON, and t o use an old cliche- its a monst er . The main cor e of thi s quintet, Jackson, Pat Mart1no , Charl es Earland & ldri s Muhammad are all leaders in th eir own right, and each has be en known to produce commercial, electronic laden records of lat e. Th is is hot, soulful straight ah ead "Jazz bar musi c" (hence , th e titl e), th e likes of whi ch you just don't hear much of th ese days - with everyone go'i ng aft er the disco buck. Earland . heard only on organ (a definite plus) plays his ass off, Mart1no i s a bit ch and Jackson delivers powerfu l gutsy, blusey t enor work throughout. Muhammad is right on t op of th ings driving and inspiring the sol oists and conga-ist Budd y Caldwell moves with th e fl ow , t ending t o stay in th e ba ckground . Many will find thi s album to be th e epitome of an organ / t enor / guitar dat e. Six tunes of pure, hard cooking, good t ime jazz. Ev eryon e should own a copy' The l atest from alto & t enor saxophonist ERIC KLOSS is a well - played set th at should reach a lot of new ears. NOW (Muse 5147) is a quartet dat e with piani st Mi ke Nock, bassist Mi ke Ri chmond and drummer Jimmy Madi son. Two of TERRA TU PERCUSSION SO NOR TAMA GRETSCH SLINGERLAND LUDWIG PEARL LP CARROLL SOUND FIRTH BALTER HINGER DEAGAN MUSSER PREMIER MILESTONE 4420 Superior Ave. Cleveland, Ohio 44103 Telephone: 216/431-6482 TERRA TU CAN OFFER YOU ... Quality merchandise from these and many other manufacturers . Low every day discount prices Service for percussionists by percussionists Terra Tu Percussion ... Your First and Last Stop. ALL STICKS AND DRUM HEADS 40-50% OFF LIST PRICE! Write Us For a Price Quote! �Kloss' qualtttes are lyricism and energy, and all of his eighteen records to date have had each in varying degrees. The balance here I eans toward I yri ci sm with a more restrained energy level than is heard on many Kloss albums. Many of the six or· iginals lean towards a funky direction and all are done with taste and class. Kloss & Nock (acousti c & eiPctri c pianos) are the standouts both in their individual solos and their unison work - such as is heard on the title track. Enc's sweet ballad work comes through well on Autumn Blue. Booga-Wooga Woman i s an excursion through the htstory of boogie - woogi e, complet e with tempo and style changes . A good album, and Eric's most widely accessible recordig yet . Those of you who've been waiting for a new album from MORGANA KING need not wait any longer . STRETCHIN' OUT (Mu!.e 5166) pr esents newly - recorded Morgana in great form with superb backing, including guitarist Joe Puma, cellist Charles McCracken and some flute work from Eddi <:> Dani 0ls . Side A is composed of jazz standard s such as What A Difference A Day Made, Makin' Woopie, Them There Eyes and God Bless The Child. Morgana gets int o some unique phras tng and scatting on thts side, whil e side B has a complet <:> ly dtfferent sound . Here she sings four r ecent pop tunes, all ballads and all in an extremely htgh range An air of intrigue is present throughout the side as she practi cally whispers th e Iyn es with the sensittve accompantment of th e qutntr> t, 1t's downright spooky - ! love it. Well, Ftelds r eally did it tht s month . He's going to make organ Jazz fans buy two albums by rel easing a second disc with th e organ / t enor , guitar format This ttme the organist is th e l eader as GROOVE HOLMES comes up with SHIPPIN' OUT (Muse 5134). Here the guitan st i s Steve Gioradno a fine, quick finger ed t echnt c ian , and the tenor player is Art Blakey ' s young powerhouse Dave Schn titer . ldn s Muhammad and Buddy Caldwell, from th e Willt s Jackson date, are back for this one. As sick as I am of Feelings, Groove does tt well here, followed by a fine version of Chick Corea's Windows and a red hot, rendition of Stella By Starlight . Flip it over and you' II get Where Or When - a medium tempo cooker, and Shippin' Out- a slow blues.lfyouhave to choose between this and the Jackson album, it might help if I point out that the Jackson has a more gutsy / R n' B feel whil e this is more of a studio produced, smooth - swingin' session . They both cook and neither contains what we know know as funk. The next album is yet another disc which features the organ. DOUBLE EXPOSURE (MR 5165) is a duet from PAUL CHAMBERS and LARRY YOUNG . Chambers, known to most only as a drummer, plays piano on most of the record, including a sweet ver s ion of the ballad Hello To The Wind and a solo piano version of After The Rain. This i s Young's' last dat e (he di ed March 30 of this year) and his best work on record in a good long ltme. Whtl e he' s mostly heard in a supporltve role, he's up front on Message From Mars and Rock Pile - both duet s with Chambers on drums . These, recall his days with Tony Williams' "Lifettme" rather than hts earlter Blue Not e records with Elvin Jones- they rock rather than swing . A unique and interesting album. Closing the set i s a debut album from guitanst WALT BARR tilled FIRST VISIT (MR 5172). This is the "fusion" album of the releas e and off ers some pleasant, mostly low energy music with a vari ety of apparent influences . You'll hear music with similarities to that of r ecent Pat Martino, Chick Corea, Pink Floyd and perhaps John Mclaughlin. Some drawbacks are the lack of individuality, a mechani"cal sounding drummer and (for me at least) to many synthesizer solos . Ther e are some good moments however, so if you're deeply into fusion mustc you might want to request to hear First Visit on the radio before you writ e up your shopping It st. All in all - its a great month for the jazz organ· and fans new releases from CONCORD JAZZ SCOTT HAMILTON, 2 ~One ot t'le r1105: ll'lu~H31 1a..::: ·' :, ;SI( lan~ todpf..,'t'Jf ;n r-?Cen yea~) ·· Available at finer Record Stores everywhere; or write for free catalog: Concord Jazz, P. 0. Box 845, Concord, CA 94522 . Phone (415) 682-6770. �of Morgana King . Watch for that Willi s Jackson' string passages . Ted Nash plays some tasty alto sax wo.-k, and Ellis himself steals the spotl1ght with a solo on Firebird trumpet, bending not es as if the instrument had a slide . The album's longest composit1o n is "Niner Two, " clocked at 11 :58. Here, a folk song - li ke melody is juxtaposed over Ell1s ' b.i zarre metrics, and the melody is then explor-ed by various instrument combinat1ons . It is stated simply at the beginning by. flute and piccolo, pickedupbythe string quartet , the woodw1nd quintet, a boisterous brass sect10n, several sol oists, and the full band, conc luding the album with a thorough compositional and instrumental exhibition . Even with 23 peopl e in E II is' current I inc-up, th e amount of musi c that can be go1ng on at any given t1me is still quite amazing. Wh at makes Ell1s a mast er though is his ability to be restrained as well , giving a melody to a solo flute wh en it is appropriat e. The band as well is totally impressive , and material l1ke this will always . be wel come f.-om Don Ell 1s . - Funtash -Wahl DON ELLIS - LIVE AT MONTREUX - ATLANTIC 19178 For the style of music that Don Ellis is most recognized and appreciated, Live at Montreux picks up where Tears of Joy left off in 1971 . Live performan ce has always been fertile ground for Ellis and his entourage of musicians, and this album bears out the pattern established by Live at Fillmore, Tears of Joy, and the earlier live albums on th e Pacifi c Jazz label. Although his interpretations of popular songs have always been given unusual and provocative arrangements (Fillmore included a version of "Hey Jude" with a several minute un accompanied electric trumpet solo, for examp l e), · Ellis' groups usually cook best when they're performing his material. His arranging insights are best appli ed to his own compositions, and on Montreux ther e are six new songs totalling over 47 minutes of Ellismusic . The LP opens with I ight, pastel ton es from woodwinds and muted brass , which are shortly interruph•d by a furious, churning rhythm workout that establ1sh es the pace of "Open Wide ." The tun e f ea tures the band singing the metric accent pattern at th e beginning an d end, in a time signature that is anything but typi ca l for anyone but Ellis. The album's single ball ad, "Lone I iness," is a showcase for Ellis' flugelhorn and the band's woodwind quintet. Ell1 s solos in his typi ca lly melodious style over the group's elec tric string quartet (two violins, viola and cello), while th e woodwinds come wafting over th e ensemble at th e opening and closing to form a framework for the int erplay of the soloist and the strings. The opening track of the second side, "Go No Go," would make an excellent theme song for a television show of th e Mannix/ Kojak vari ety . Funky tenor and alto sax lines riff over snappy drums and synthesiz er, coun t crba l anced by suave SOPRANO SUMMIT LIVE AT CONCORD '77 CONCORD JAZZ 52 Save for Sidney B echet and a few other-s, the soprano saxophone was a neglected inst.-ument injazzformany years . In the exper-ime ntation of th e 1960s, John Coltrane cont.-ibuted great I y to the i nst rumen!' s revival . Today, many saxophonists use the sopr-ano, since its sound fits in well with the fusion sound . It also appears regularly as the lead in big band sax sections - Thad Jones - M el Lewis , for· instance . Soprano Summit is a mainstream group, however, oriented more to B echet than to the contemporary sound. Bob Wilber and Kenny Davern are the r eed pi ayers involved (they both also play clarin et, and Wilb er adds alt o). Th ey use the various horns oft en enough t o providecontrast,butthe emphasis is of course on soprano . Guitarist/banJoist/vocalist Marty Gr-osz is the third "core" member of the group, whi ch is support ed in this I ive recording by Concord stalwarts Monty Budwig, bass, and Jake Hanna, drums. This is Soprano Summit's fourth album (at least), and each has been a joy . Th ey play originals by Wilber , Davern and Gro sz , as well as th e Gershwins' " Stri ke up the Band," th e New Orleans standard "Panama Rag," and two seldomheard Fats Wal ler songs , " How Can You Face Me?" and "Th e Pani c is On . " Grosz is the vocal 1st on these, recalling Wal ler- ' s humor. An d his solos on unamplified ·are a gas. Wi lber and Davern are marvel9us, but especially listen to their unaccompanied duet on "Elsa's Dream." Al bums fr-om Concord always sound as if those involved wer e enJOYing themselves immensely. Long may they- and especially Soprano Summit - continue . -Simna AI~IC AAMIIIIA SPECIALIZING IN ACOUSTIC & ELECTRIC GUITARS, ELECTRIC BASSES & AMPS. GUITARS: B.C . Ri ch, Ibanez George B enson, S.D . Curlee, Alembi c, Herb Ellis Aria AMPS: Yamaha, Gallien-Krueger, Hi Watt, Randall , Celestion Speakers Guitar Repairs, Customizing, Refinishing by Dr . Dave Amplifier Repairs by Prof. Pete Plus Effects , Accessori es and Parts CANADIANS WELCOME - DONATIONS OF NONEXPORTED CANADIAN BEER GRATEFULLY ACCEPTED! Open from 12 - 8, Mon . thru Sat . 2021 Bail ey between Genesee & Walden Buffal o, NewYork 14211 716 - 897 - 5409 10 STEVE WOLFE / NANCY KING- FIRST DATE- INNER CITY IC1049 KEN MciNTYRE SEXTET - INTRODUCING THE VIBRATIONS- INNER CITY IC2065 One_ of the obvious joys of r cco'r-d reviewing is finding som eth1ng fa1rly obscur-e that intr-oduces new talents. The Wo I fe King outing is just such a number. Nancy King shows f1ne promise as a Jazz vo cali st . Her scat singing is a r evel ation, as th e l1st ener w1ll f1ndontheopener, "Scrapple From Th e Appl e" whi ch 1s done 1ntandemwith"Honeysuckle Ro se" Wo l fr) i s not necessarily a standout tenor man, his sound is ak1n h ~ ~v o ral styl es, but h1s spirit and sense of swing ar-e ev1dent ,, ned1ately . Jack Sheldon contributes some squeaky cl ean trumpet along the way and hi s vocal duet with King on "M1ne " i ~ warmly humorous . Th1s album also boast s Ray Br own's g1ant bass presence . Recommended . K en M cintyre's albums have been among Inner City 's m os t consi st .. ntly enJoyabl 0. Th e f eeling here is that this on ~ i s the best y et. Perhap s because of the additional horn , Terumasa Hino's tr-umpet Perhaps it i s because of the expanded group with conga player Andy V ega .. .whatever th e reason this i s a cons1stant ly rewarding lp. ThPre are several myster ioso �cisstCiiTY 'Mingus. • Past, present and future merge bril, liandy in "Cumbia & Jazz Fusion:' an innovative and exciting new album from C harles Mingus. From bop to Latin and beyond, the fusion is flawless. And that's Mingus. C lassically Mingus. On Atlantic Records and Tapes. r / �feelings here and two of them open the sides , "Theme" and "Clear Eyes ". "Eyes" arrangement for trumpet and oboe is uniquely penetrating . Ken Mcintyre is possibly the main upholder of the Dolphy tradition of multi - reed experimentation on the scene. Here he contributes on the alto sax, flute, bass clarinet, oboe and an absorbing basoon on "Shorti e" . -Jenkins with th e con '> iderably differ ent appro ach tak en on s i de on e tnd t cate a real depth t o Walker ' s playing and com po<; tng J . Hunt BENNIE MAUPIN - MOONSCAPES - MERCURY 13713 Herbie Hancock's long time reed mate has crafted his third album with th e usual aplomb . Benni e has a penchant for spa cy grooves, with an underlying layer of f.unky rhythms . Maupin plays many of his own synthesizers her e with assistance from space captain Patrick Gleeson . Maupin 's horns addtheirearthy sensibility to the galacti c whirltngs . "A Promise Kept" is case in point. An infectious groove from the start, Benni e blows gold soprano over the shifting, fine ly crafted rhythms . The all too short "Farewell To Rahsaan " is a tasteful dedi cati on. Anoth er welcome Bennt e Maupin effort. .. - Jenk ins LES WALKER - THOUGHTS - MUSTEVIC SOUND Pianist Les Walker was born in Newark, New Jersey and while growing up had as his musical contemporari Ps Woody Shaw, Tyrone Washington, Larry Young and Billy Brooks. Now in his early 30's, Walker has appeared on two albums by Steve Reid, Rhythmatism and Nova (both on Mustevic Sound). as a member of the Master Brotherhood. He remain ed a member of this aggregation of musical explorers for a while then, in the mid 1970's, he made a move to San Francisco designed to develop his solo piano capabilities and to carve a style of his own . Thoughts, recorded in July of '77 in his adopted home of California, indicates a feeling on Walker's part that he's ready to display his unique solo piano approach . Side A is an extended work entitled Thoughts divided into three movements - Colours, Time and Space - and a brief (:58) concluding statement, Thoughts/After. The entire side is performed on prepared piano (similar to those used by modern classical avantgardists) with paper in the strings while he also plays drumsticks and other small percussive devices . During Time, he is accom panied by a metronome. Thematically the title piece goes sub stantially outside the mainstream of jazz . The music was as Walker puts it, " ... conceived in the spirit of I ife' s flow - open and free ... creating its own structure." This statement applies to his further solo piano explorations on side two but side two leans toward a more conventional approach to the instrument . Four Walker originals make up side two : Embarcadero, Rose, Amunifu/Quan and Sagittarian Moon Song the !atter tun C' show ing traces of Tyner . They are pleasant melodies and combined RICHIE KAMUCA QUARTET - •RICHIEH - CONCORD CJ 41 Tenor saxophonist Richie Kamuca was not quite forty seven when he died last year. He produced this album himself, and, from his own I iner notes , was quite pleased with it. "Th is album is me- truly me,"hesaid. The musicians he chose support his light tenor sound quite well. Guitarist Mundell Lowe accompanies sensitively and solos well on his own, and bass i st Monty Budwig and drummer Nick Ceroll i deliver firm support throughout. The songs are, with one except ion , all fami I iar ones, though · somewhat neglected these days . The exception is "Symphony," by Alex Alstone, a tune from the early 1940s. All are played well, but for me the standout i s the ballad "Some Other Spring ." All around, this is a gentle album, in the best sense of that word. Ballads are played without being maudlin, and swingingtempos are not forced. A beautiful album . -Simna THE SONNY STITT QUINTET- FINITE FIN-1978-1 This is a fine straightaheadhardbopalbumfeaturing a m ost together group l ed by Mr . Stitt and including Sam Bivens on trumpet, Hugh Lawson on piano, former Sun Ra bassi st Ronni e Boykins and drummer John Lewis who also pro duce d thi s set. From the cl eanly executed head on Stitt ' s "The F i rst One" th e group plays with swing, grace and lyricism on a col lection of tunes that ranges from Basi e's "Blue and Sent imental" t o "R ed Sails in the Sunset", whi ch provides everybody a chance t o show off their chops and al so shows thi s to be a di sci pl ined group with excell ent execution and vigor . - Wein st ock NEW MUSE Eric Kloss/Now- MR 5147 Groove Holmes with Dave Schnitter, ldris Muhammad, Steve Giordano, Buddy Caldweii / Shippin' Out- MR 5134 Willis Jackson with Chari ie Ear land , Pat Martino, ldris Muhammad, Buddy Caldwell / Bar Wars - MR 5162 Joe Chambers with Larry Young/ Double Exposure MR 5165 Morgana King/Stretchin' Out - MR 5166 Walt Barr/First Visit- MR 5172 at better record stores everywhere See Eric Kloss at the Tralfamadore August 11-13. 12 DUKE ELLINGTON'S BAND SHORTS (1929-1935) - BIOGRAPH BLP-M-2 Th e street sass of Tri cky Sam Nanton's trombone . Th e cl ean New Orl eans scream of Barney Bigard's clarin et. Th e sweet , even , provocative voi ces of lvi e Anderson and Bill ie Holtday . Coott e Wi l l iams and Art ie Whet sol withthe t r umpet ' s snarl and sun shine. Orchestrating it all - th e bold , bi g and bad st r ide of Duke Ellington at th e piano . Biograph Recor ds (16 River Street , Chatham, N .Y . 12037) has rei eased an L P cf E lltngton soundtracks from hi s early ftlms . Quit e a treasurehous e. From A Bundle Of Blues (1933) we hear the wh i pping rhythm and col or of Lightin' (a favorit e of the Sun Ra r epet o ire) and lvi e evoking t he full melancholy of Stormy Weather (f ew do bett er) . Listen to Sonny Greer ' s ringing percussion . With Symphony In Black (1935) we see on e of the Duke ' s ext ended efforts to expre ss the smil e and sorrow of black life here . A masterpi ece, capp ed by swe et Bi II ie' s Blues . Th e Duke ' s first soundt r ack and film appearan ce, Black and Tan (1929) is a simpl e and ingenious scenari o that brings full force the meaning of an Ellingt on classi c , The Black And Tan Fantasy. Deriv ed from th e New Orl eans fun eral marches , it ' s a call for l ife that won't wait for death t o find peace . A raucous ser enity . Wh en we speak of swing and harmoni c sway, don ' t we all start with the Duke? Try this one. - Mi chael F . Hopkins �A FULL HOUSE OF JAZZ on Inner City The most acclaimed te no r player of our time bl ows hot in what c ri tics call one f his best albums ever, "Biting Th e Apple". A \-~~- v E v A celeb sound ration . live o~ recorde~n birthday the 50th Arnerica·s Of o ne Of Jazz fe 9reatest set. 9ends. 2 fp A space e _& the Ark Xtravaganz tncfud· estra, "L. a by Su tng IVe At M n F/a rnent Of ,. a four-de f ontreux·· 2 1 clltngt - orce • P set. on·s "A treatTrain '•. Available At These Stores In The Area: SENECA MALL EASTERN HILLS MALL MAIN PLACE MALL SOUTHGATE PLAZA BOULEVARD MALL COMO MALL THRUWAY MALL UNIVERSITY PLAZ• LOCKPORT MALL SUMMIT PARK MALL 1800 MAIN at LAFAYETTE Rochester Locations: Midtown Plaza Greecetowne Mall Gates Eastview PI aza 2525 W. Henrietta Rd. Syracuse: On The Hill �Contemporary Scandinavian Furniture STEREO SUPPORT ... Buutiful and Functional X 18d X 24h 47W Your Choice of Teak or Walnut Special $105 Customer Pick..p Mil Assembly. tecum furniture Sheridan-Harlem Plaza • Amherst Ridgemont Plaza • Rochester 839-5162 225-4890 I 0 -9 Mon.-fri ., I 0 -5 Sat. CHARLES MINGUS - CUMBIA & JAZZ FUSION - ATLANTIC so 8801 The two side - long compositions on t h ts set , th " tltl r fl·ack and " Musi c for Todo Modo" represent tho l atro st do cu m entati on of the great bassist. and composer's art B ot h pi eces were commi ss ionod for film s and t 'lus rf'flc>c t thi <; in th e shifts in moods, and t empos . The titl e t rac k finds M ingus incorporating th e nat tve rhythms of Columbi a's lndi ans in a f as ci naling recording whi ch includes a segment wher e Mingus sings some politi cize d ghetto nursery thymes. Some strong solo t r umpet from Jack Walrath open s " Music for " with a pow erful passage from George Adams fo ll owing (also acap ella) t o open a strong big band flavored score . More ftne solo s follow in c luding Dann y Mi xon on organ and som e hot Walr ath . Lets not f orget th e ftn e young tenor play er R t•·ky Ford who is heardon "Cu mbi a'' and D anny Rt chm ond , ., hi s usual swinging se lf B estd es organizing th e pro ceed ing s M r . M tngus mak es ht s usual con tri buti on on bass and has front ed a most sttmulattng and swinging album . - Weinstock THREE FROM XANADU - COKER, NOTO & COHN/ROWLES Producer Don Schlitt en of Xanadu Recor ds co ntmues his valuabl e work of making availabl e a catalogue of jazz artt <;ls deserving recognitiOn . Three new r el eases from th " Xan adu studi os pr esen t Dolo Coker - uCal iforni a Hard" ; Sam Noto "Notes to You"; and AI Cohn/ Jimmy Rowles - MHeavy Love ". Cal tfor-nta Hard , Xanadu 142 has a front line of Blue Mit chell on t rumpet and flug elhorn, Art P epper on altn an d t enor, an d wtth Dol o on piano, L eroy Vinn egar on ba ss and Frank Butl '-' r on drums. Wit h th e exceptton of one track thi <; album cooks all t he way , P ep p r~r·s t t•nor , ., a lttll e harsh t o the se ear s . but I attt -tbut o t ha t t o heanng so much alt o work from h im s 1nee hi s mo s t we I come co m eb ack. M i t che II ca n do no harm wheth er on !l·ump et or flug elhorn, and turns in som e fan cy solo s , esp ec tally on Coker's "Tal c of Two Cilt 0 s " A tri o sessi on on one cut " Gone Again " r t' mtnds one of th " earl y Red Garl and sess tons , both in atmo sph e> re and st y l r. As t o the balan ce of tho album, " Jump ing Ja cks" writt en by Coke r f ,•atures A r t on t e>nor , " Gone with the W 1nd" has Art on alt o an d Bl ue on fl ugelhorn , P epp er's "Mr Yohe" with Art on alt o an d Blue or. tr·umpet, Biue gettt ng tt ,t o th atFat o; Nav ar ro brand of B op an d Cok er tnt u so m e very exc tltng Bud P owe ll irleas . Th e onl y t t·ack th at f ail s i'> "Root s 4 FB" . on wht ch t h,•re ,., a e tght and a half mtnu t t• drum so l o Butl •' r ' " a very co mpet ,·nt drummer, but when on<' has to l 1st rn t o a so l o of thts l " ngt h 1t brcomes a bur r> V tsually l ong drum so l os can be inter •• st tn g and at li mes exc tltng, but 1n t ht ~ co nt r xt II do0s not co m e_ If yotire serious atiout recording... 't ' ... you know how important quality is-you're judged every tim e someone plays your tapes . Trackmaster Audio has the iinest facilities around for capturing your sound . State-of-the-art equiprnC>nt in beautiful surroundings. Competent , creative engineers. And 16 tra cks to give you the sound flexibility you know you'll need. off . And from now 'til Labor Day, you can record 16-track for $60.00 per hour-a 25% discount! So if you're really serious about music, give us a ca ll . Or 1e Frankl in Park N. • Buffalo . N.Y. 14 202 • (7 16 )11116-(> lOO 14 Much has be en wri tt 0n and said about trump <'! st ar Sam Noto and th is new album of Sam 's will, I'm su r e, caus e man y of u~ t o con\lnue t o pra t ~e hi rn for h'is hi gh caltbre of wor k . Wi t h Sam on trump et are Joe Rom ano on t enor , Ron ni •· Cub er on bartl one, Jimmy Row l es on pt ano , Sam Jone s on bas s, and Fr t' ddi e Watt <; on drums . Wtt h t h E~ exceplton of 'Round M td nt qht . all th e compos t! tons are Not t, 's. "Oua s inot o", " Parl ey " , "Cross Crt ss", " Not e> s t o You" and " Conclusi ons" . No reservatto ns on tht o., al bu m at all , it IS a p11re de ltght all the way th rough and ever yone invol ve d co ntri hut r-; in an ex cel l ent mann er . On a sc al" of on e to t0n , Sarn r at ro.., ht '> work her e at a s 1x, t hc·n h') al ways ha s bee n a lttll ro humbl e Not es t o You. Xanadu 14 4 The thi rd r el ea se, 1s sheer beauty . AI Cohn and Jimmy Row I es work t ogether ltke they have been a \ roam for years �The rapport on tunes I ike "Them There Eyes" , "These Foolish Things" and "Sweet and Lovely" will thrill and enthrall you again and again . The remaining tunes "I hadn ' t anyone till you" "Taking a Chance on Love" and "Bar Talk" are equally exciting, but if you must have favourites, then the first tunes are mine. A difficult decisi on to make . A great deal of love must have gone into the making of this album, and it is so rewarding to hear Jimmy Rowl es on record again and especially with the master charmer of th e tenor, AI Cohn . "Heavy Lo ve" on Xanadu 145 . As we go to press it is sad to note that these albums are not being distribut ed in Canada ..... a great pity . - Hal Hi ll a!rd~sj) · sterli~ and gold jewdrJ. importtd, r~c~ded ~military 9arb New Direction1 tl)ot). -thru LESTER BOWIE/PHILLIP WILSON - DUET - IMPROVISING ARTISTS 373854 These two consumate Chicago pros, original AACM members , challenge and totally absorb the I istener through the movements present ed here . Bowie has always been noted f or playing the WHOLE trumpet . His tone is impeccabl e and he is not conc ern ed w i th meaningless fl ights of fan cy on h i s horn, preferring instead a r efreshing earthiness . More than pract ic al l y any trumpeter out there (Oiu Dara also comes to mind) Lester makes use of every nuanc e offered by h i s mouthpiece . His bl eats, blats , overblows and smears can stop in mid-stream to offer th e most melodic of sounds . Phill ip Wilson is a most sensitive percussi onist . His use of spa ce and under stat ement totally unders core Bowie 's delight-' head 9ear and 91f1s .5!5 Alltt7 5t. 882-8200 S<11'. 12:00- 6:oo ful ecc entri c iti es . Dig. also Wilson's great use of brushes . Improvising Artists seems to excel at great duets, this is yet another . -Jenkins ARISTA/NOVUS RELEASES Arista has launched a new music line dubbedNovus . The initial Novus rei ease spot I ights Muhal Richard Abrams, Air, Warren Bernhardt, Baird Hersey, and 01 iver Lake . Baird Hersey and The Year of The Ear- LOOK FOR THAT GROOVE (Novus An3004) is the biggest surprise . Figuring on saving the best for I ast I flipped the Hersey record on the turntable and settled down for some reading . Reading was im- GILEVANS / GARY McFARLAND The Greof Arranger~ CECIL TAYLOR/ CHARLES lOLLIVER/ ARCHIE SHEPP/ GRACHAN MONCUR The New Breed r· ~------------- The Crusaders opt for a new viewpoint ; the focus on raw, spare sound with fullpowered performances. Featured are " Fairy Tales" and "Covert Action ." " , ~ ....... .,...... IMAGES from The Crusaders on ABC / Blue Thumb Records and GAT Tapes Rochester locations: Midtown Plaza Greecetowne Mall Gates Eastview Plaza Henrietta Rd . 2525 w. THE CRUSADERS Images Syracuse: On The Hi II I " ' ': --· 1800 MAIN at LAFAYETTE BUFFALO �A BARGAIN BOOK OUTLET Browsers Welcome - See our fine Selection of Hardcovers, Art Prints, Magazines & Paperbacks. .Savings up to 85% Off Original Publishers List Price. Bring Paperbacks in -Receive 1/ 4 Original Price in Trade towards Other Used Paperbacks. We Carry Sunday N.Y. Times. Open Mon.-S,a t. 10-9 Sun. 12-5 University Plaza (next to Amherst Theater) possible almost immediately as I sat glued to The Year of The Ear's improbable grooves. The 11 man outfit went from a nod to Miles, to a Lester Bowie-like trumpet solo by Mark Harvey, to Greedy, appropriately, a funky horn piece with Hersey's penetrating solo on guitar, to a spacyballad accented by Hersey with a tender soprano solo by Stan Strickland, to the somber, excellently utilized space of Invisible Man . All in the space of one side! I've been glued to both sides of the music of , these new voices from Boston ever since. Oliver Lake's new album is LIFE DANCE OF IS (Novus 3003), and it isn't I ike anything else you're I iabl e to hear these days, something that can be safely said for all but one of Novus' initial release. Lake's albums are always of the startlingly original variety. One of St. Louis' finest new Jazz contributors, he continues to mine new veins and grooves. From the opener on, Michael G. Jackson's melodic sensi bi I ities are felt. R ite-ing begins as a strangely spaced piece with short music passages followed by pregnant pauses. Tfon offers each of these explorers solo space and Lake's collaborators, Jackson on guitar, Pheeroan akLaff (Paul Maddoxx) on drums, Anthony Davis on piano and Leonard Jones on bass, and much is made of the opportunity. Particularly toneful is bassist Leonard Jones. The piece is finished by a melodic Jackson figure. Lake continues to be a great player and composer and he displays a humor on Change One, which becomes a wicked reggae about midway through, heretofore unnoticed. Jackson's talents grown in enormity with each new setting . Muhal Richard Abrams, patriarch of Chicago's Association for the Advancement of Creative Musicians (AACM). has joined forces with two of the AACM' s veteran hornmen, Joseph Jarman and Douglas Ewart, tasteful drummer Thurman Barker and a very effective young woman on piano, percussion and vocal named Amina Myers, to produce LIFEA BLINEC (Novus3000). The nearly overwhelmingly free-structured Bud P. opens up the album with a complex juxtaposition of reeds to piano that becomes I ess and I ess knotty with each I i sten i ng and is perhaps the most inside piece to be heard here. The title track opens with Myers vocally searching for the key structureto this free expression. As usual Muhal is a bitch atthe piano, choosing as always to play the WHOLE piano. His high points are the Bud Powell dedi cat ion and Duo 1 where he and Myers engage in an excellent conversation. Barker's strong drum solo onJaDoThu illustrates the totality of this man's drum kit. One would hope tohear more of him. One small problem, the pianos and reeds are not I isted as to channel. Warren Bernhardt's SOLO PIANO (Novus 3001) is at best an ill advised effort . There's very little to separate Bernhardt from the average piano soloist which leads one to wonder why he didn't choose to debut (on an effort of his own) with a group. He just doesn't have a lot to say in a solo context although there's evidence on some of his other efforts (with Jeremy Steig and others) that bear out his talents more than does this tepid effort. Only the closer, Tales of A 39 Man, a haunting Paul Cacia Whil e rock Jazz can loosely define the genre Paul Cac1a 1s exploring , it ' s cl f'ar that he' s beginning to delve 1nto areas not previously expl or ed. The album is a showcase for "A bd of yesterday and a lot of t omorrow " Unbelievable A new big band album f Patunng vocal1 st Janine Cameo. ALX: 1700 On AI exander Street Records Now at SUPER SAVINGS! CAVAGES SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA COMO MALL UNIVERSITY PLAZA SUMMIT PARK MALL �piece, grabs ones attention. Currently the most exciting trio in jazz is AIR with Fred Jackson on bass, Steve McCall on drums and Henry Threadgi II on assorted reeds. Their release is OPEN AIR STRUT (Nevus 3002). McCall and Jackson open this oddessey through Threadgill's five piece suit card game with a duet that Threadgill spins his way into very neatly on tenor sax. Each m~mber of this trio is so strong and precise that one would be hardpressed to pick a I eader among their co-op efforts, though Threadgill composed all the pieces. Jackson's huge bass tone is incredible throughout, anchoring Threadgill and McCall to mother earth . McCall varies the time with originality and subtly that marks him as one of the most expressive percussionists on the scene . STRUT is Air's finest effort to date, notwithstanding their excellent Japanese and Nessa releases . -Jenkins PAUL GRESHAM - EVERY SOUND WE MAKE- FREELANCE FLS 3 ' I have l1st ened t o Paul Gresham 's music for some years now and th e spirit of John Coltrane has always been present. Paul has remain ed sincere to the spirit and co nt inues t o grow as an individual personality . Recorded at the Fri ends of Great Black Music Loft in Boston , Mass ., the medley Every Sound We Make, and Wayne Short ers Moto Grosso Feio reflect the influence of The AACM (Association for the Advanc ement of Creative Musi c) most strongly, with intelligent relative use of space, and overall sound awareness utilizing texture, and color. On Nature Boy bassist Hayes Burnett bows out layers of sound and drummer percussionist Syd Smart produces subtle waves of sound energy on whi ch Gresham's eloquent tenor fl oats with grac e and beauty. Joe Ford's Tangerine (For Muhammed) has always had the feeling of innocence, youth, and happiness - that feeling of sharing, giving and receiving being equally rewarding. The Music for all tastes. live music 7 nights Sun. thru Wed. I No Cover Kitchen Open 'till 4 AM - 7 Nights a Week BONA VISTA 1504 HERTEL 836-8985 BUFFALO musi cians make that f ee ling present here. For Round Midnite and Suite Ball Stan Strickland joins the trio on tenor sax. On Midnit e Greshamstenor is deep and meditative. The aura of Monk gently caresses the air, as Stri ck land's t enor weaves its way to the front from the shadows and engages in a short dialoguewithGresham. Stickland then descends whil e Gresham continues on pondering seriously the possibi I ities of the other side of it with positive results. Stan rejoins Paul for a final bri ef exchange as the quartet bring Midnite to an end . Paul sings beautifully through his soprano sax on his composition Suite Ball, for the late Julian Cannonball Adder l ey . Stan follows with a tenor solo that ac knowl edges Pau l's respect and love for this great musician who now sings in the spirit world. I look to the timeless tomorrow and the possibility of en I ightenment ·as I look forward to the future music of Paul Gresham . -P. Smith B EBERHARD WEBER COLOURS· Silent Feet PAT METHENY GROUP LYLE MAYS MARK EGAN llHN ABERCROMBIE DAVE HOllAND JOHN ABERCROMBIE Characters JACK DEJOHNETTE Gateway 2 DAN GOTTLIEB ECM ECM1 1107 EC1.11 11 14 ECM11105 Now at SUPER SAVINGS! CAVAGES B SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA COMO MALL UNIVERSITY PLAZA SUMMIT PARK MALL ECM1 1117 �DAVID MURRAY - LIVE AT THE LOWER MANHATTAN OCEAN CLUB VOLUME 1 - INDIA NAVIGATION IN-1032 Recorded December 31, 1977 in New York this album f1nds the bri II iant young t enor t eamed with Lester Bowie on trumpet, Fred Hopkins on bass and Philip Wilson on drums . Murray follows -the tradit10n of the late Eric Dolphy and Albert Ayl er in exploring the sound textures possible and makes use of dissonant sounds in producing some fascinating compositions. "Nevada's Theme" is like a blues waltz with stunning work from all involved . Bowi e must be one of the finest trumpet ers around with incredible mastery of his horn. Murray plays soprano on "Bechet's Bounce" - a quasi-New Orl eans number which points out the linkages between the new music and the old. The second side features an extended performance " Obe" and a brief "Let the Music Take You" something which this album does . I picked up th1s set on the recommendation of a fri end who was . at the concert and from what he told me I am eagerly awaiting the second volume . Simply a superb set of "New jazz " that may for the unitiated require a few sittings before you are comfortable, but this is well worth the effort . -Weinstock lf~IE SrPlErPJIH~ErRl SIHilOJ[pl Speakers Our Specialty Quality Raw Speakers, Crossovers, Critically Acclaimed Cylinder Enclosures, Speaker Kits, Subwoofers. A Full Line of Audio Components. SAVE 50-70% ON TOP QUALITY SPEAKER SYSTEMS QUALITY RAW SPEAKERS: Kef, Audax, Philips, Decca Ribbons, Peerless, Creedence ASSEMBLED SPEAKER SYSTEMS: Kef, Quad ESL, Burhoe Acoustics, TSS, Gollehon. JAM RICE RELAXIN' - JAM RICE SEXTET - FRASCO FS7012 Most people with more than a casual interest in jazz know that there is a tremendous amount of improvised musical act1vity in Europe . If you subscribe to two or three good magazines you can read about these musicians and find out wh er e to get their records ; in short , you can keep up if you want to . Th e Japanese scene is another story . Very little infor mation about Japanese players gets into the North American Jazz Press and as a result some very worthy music goes I argel y unnoticed. Th e Jam Rice Sextet is , as far as I can tell, a co-operative group assembled for some concerts in April, 1976. The best known of the six is Yosuke Yamashita, a high energy pianist, who seems to be approaching household - word status in ~urope . Also present are the members of his trio, reedman Akira Sakata and drummer Shohta Koyama. Relaxin' is a 43-1/2 minute sectional work which successfully weds traditional Japanese theatre music and American free jazz . There are parts that sound I ike they were recorded in a downtown Manhattan loft . There is an amazing, dramat1 c vocal by Sakata, starkly accompanied by a piccolo and various percussive devices. And, believe it or not, such sections flow together so smoothly that the result is a perfectly integrated performance. This then is true fusion music. It works because both forms exist for basically the same reason:creative expression. This is what the American fusion musiciansdon'tunderstand . They are forcing together two incompatible musics and ending up with simplistic jazz and pseudo-sophisticated rock . Availabl e from International Records- see classified ad . -J . Laniok ELECTRONICS: Hatler Pre Amps, Quad, Mitsubishi, Ariston, Denon , Hitachi . Rotel, Armstrong. Choice Selection of Jazz Direct to Disc by Great American Gramophone, Century, Nashville, Umbrella, etc. KEF drive units If you're making yow· mm speakers. you cannot do better than build them round the world-famous KEF ruive unit::;: the Bt1H flat-fronted bass rbiver approadung pe1fe<:tpiston performance right do\m to 20Hz; the B200 bass/mid range and HllO mid rang-e units with rubber-modified polystyrene diaphragms and advanced suspension; and the T27 ultra high-frequency tweeter \\ith special mylar dome to give \\ide dispersion. Each of these superb drive units comes with full installation instruction::; and mechanical template to make fitting easy. 1015 KENSINGTON AVENUE Buffalo, New York 14215 {716) 837- 1557 Canadians - Take advantage of our Low prices and Save on duty. 18 JOAN LA BARBARA- TAPESONGS- CHIAROSCURE-CR 196 Awe. "The freak element.. aRd phenomena element with avant-garde vocal'ists is awe. • Thus an un1dent1f1ed fPmal e professional singer differentiates "singers" and the vo c al acrobats of avant-garde music . Perhaps she is right . I have always been at a loss to critique pieces of avant - garde musi c , and th1s "loss" can be construed as "awe" . People who dedicate their entire existance to the pursuit of musical theories of a different plane from the norm have always astounded both the public and · the average musi ci ans . This album of tape songs canndt be called funky , mell ow or even emotionally gratifying . Rather, it can be call ed astonishing, perplexing, difficult, int eresting and ev en (wilh a stretch) pretty . The amount of actual work put into each second of sound or space is intense . One can only admire such f eats of musical exploration. �If you can pick up this album to read the I iner notes on the r everse indicating the intentions of each of the three pieces. and outlining some of the painstaking work behind each 1piec e, you . will surely not be able to put it down without giving it a l•st en . Included are a piece by Cage entitled "Solo for Voi ce 45". "Cath1ng". which treats the awe statement above . and "Thunder", wh ich is self explanat ory, are both composed by Joan . Th e latter is performed with the assistanc e of percussionists ·warren Smith and Bru ce Ditmas . · - B esecker blues ELMWOOD VILLAGE TICKETS SHAW FESTIVAL - ARTPARK MELODY FAIR NIAGARA FALLS CONVENTION CENTER CANADIAN MIME THEATRE KLEINHANS MUSIC HALL TRALFAMADORE TORONTO & N. Y. SHOWS All Major Sports & Theatrical Events by ron weinstock All th e records this month document Chi ca go blues in one manner or another . The Queen of Chi cago, Koko Taylor has a new rel ease, The Earth Shaker, on All igator (AL 4711). It<; a hard h•tting, well produced collect1on of blues . My only r eser vation is that I' m familiar with so much of th e material from other ver si ons that I find it hard to I isten without comparing Practi ca lly anyone reading th1s won't have that probl em and the album includes Koko r eworking "Wang Dang Doodl e" . "Spoonful" and Bo Diddl ey ' s " I'm a Man" with new lyrics ''l'm a Woman" . Harmonica Hinds comes in with a dynamite solo and Bruce lgl auer has really captured the sound of th e classi c fift1es blues here . "Walking the Back Strnet s and Crying " and "Please Don ' t Dog Me" are two fine sl ow blues and Ko ko do es a rowdy "Hey Bart ender ." Pinet op Perkins , Sammy Lawhorn (with some really killer guitar), Johnn y B . Moore (roore fin e guitar) and Abb Lock e (ro cking saxophone) all contribut e to a superbly produced set of blues wh •c h 1 have no reservations of recommending . Eddi e C . Campbell i s a fine guitari st curr ently working with Will ie Dixon. Hi s debut album (with a somewhat tast e less cover) is another good set of rocking blues inc ludinq 510Y2 ELMWOOD near W. UTICA. BUFFALO 884 - 0122 Mon.-Fri . 9 :30-5:00 Sat. 11:00 - 5:00 som e great harp from Car ey B e ll and so l 1d piano from Lafay et te L eake . Campbell i s partly influenced by Magi c Sam and uses a popping guitar t echnique that produces a hard twangy sound co mbined with a sol1d solo sense . Camp bell is a sol1d, if un specta cular singerandthis album has any number of highl1 ghts inc luding a ni ce ver s ion of " Ch eaper to K eep Her" (Without B e ll and L eak e. "Little Red Roo st er" with great effects from B ell on harp , a hot instrumental , "Smokin' Pot atoes and a r emak e of a l esse r known blues "Poi son Ivy " where Campb ell 's l ow- k ey singing i s quite per suasive . I've seen h i m l1 ve and enJoy ed thi s di sc whi ch is , l1k e THE Koko Tayl or, solid Chi cago blues. Pearl, a subsidi ary of De lmark has finally i ss ued its f irst blues rei ssu es from th e Und ed/ Stat es catalog . M emphi s Slim, Memphis Slim U .S.A . (PL 10) inc ludes some great piano and singing from th e pre sent day r es ident of Pari s. Eauall v impressi ve i s the guitar of Matt Murohv who i<: R~-625 PANORAMA TRAIL . ROCHESTER . NEW YORK 14625 (7, 6) 38, -2300 Rochester's Newest 16 Track Recording Facility! Recording Concepts, Ltd. incorporates unique design , excellent acoustics and attractive modem appearance in a relaxed atmosphere, with ·some of the newest advances in state-of-the-artprofessional recording equipment . For a limited. tfme, In order to Introduce ourselves to the many talented perform~, writers and arlfsts In the area, we are making an exceptional Introductory Recording Package with Reduced Rates and the A nest Professional Services On All Our Modem Facilities! OUR STUDIO FACILITIES INCLUDE . .. The TASCAM 90-16, 16 track recorder /reproducer as the heart of the recording system using 1 Inch tape and always included at No Extra Charge : 2 in-house engineers, all tape machines (16, 4 & 2 Tracks), DBX Noise Reduction, all Channels, All special effects, In-house Musical instrumen ts, including, Guild Acoustic Guitar, Epiphone Acoustic Guitar, Gibson ES335 Electric Guitar ,Fender Precision Bass, Buescher Alto Saxophone, Marshall Amplifier, Tam a 8 piece drum set (no cymbals), Stereo Fender Rhodes Piano, Kawai Grand Piano, and Custom Records and Jackets. For Complete Information Call Us Today at 716-381-2300 �stunning on his guitar breaks . Two previously unissued instrumentals are features for him which are of the highest order of invention .. Absolutely recommended . Also r ecommended i s Bricks in My Pillow (PL 11) by Robert Nighthawk. "The Moon is Rising " , " Crying Won ' t Help You", and " You Missed a Good Man " feature Rob ert Nighthawk's clean, concise and cutting slide guitar that influenced Muddy Wat ers, E I more James and countless others and make this another important set. Also included is a ro cking "Kansas City" with rocking Bob Call piano (which de rives from Jim Jackson and is different from Wilb ert Harrison and others who have done Littl e Willi e Littl efi eld's "K.C. Lovin'" and two takes of Tommy John son's "Maggi e Campbell " with a jaunty beat . Robert's deep brooding voi ce (with a touch of cynicism) is also very present and l ike the Slim, a most important reissue . Also availabl e i s J . T . Brown , Windy City Boogie (PL 9). J.T . was a tenor pl ayer with an attack on his solos that suggests to me a guitari st . He is best known for his association with Elmore James but recorded a bit on his own . Not a strong singer, he could be ingratiating as on "When I Was a Lad" though on some numbers he is flat . Such sidemen as Bob Call, Roosevelt Syk es and Jody Wi IIi ams add some tou ches to a pleasant rocking set that isn't essential but co ll ectors will want to check out. All three albums include excellent annotation from Living Blues editor Jim O'Neal and have great, c l ean sound . In cidentally if you are interested in reading about blues ch eck out Living Blues (I be(ieve Everyman 's' Bookstore carries it) and you can writ e th em at 2615 N . Wilt on Av e., Chicago, Illinois 60614 . Don ' t forget the fine jazz magazine Cadence which also carries ext ensive blues coverage available from Rt . 1 Box 345, Redwood, NY 13679 . I also recommend the British magazine Blues Unlimited whi ch Di ck Shurman , 217 N. Lincolnway #224, N . Auror-a, Illinoi s 60542 has supply info on . RADIO UPDATE/Buffalo WEBR - 97.0 FM Jazz in theNight every night from 8 PM - 1 AM w/ AI Wallack. (recently extended an extra hour) . WBFO - 88.7 FM MON. THRU FRI. 2 - 5 PM - Jazz 88 with John Hunt. Midnight3 AM - 'Round Midnight w/ various hosts . SATURDAY -_ 3-8 AM - Embryonic Journey w/ Steve McKee; 8 AM - Noon- Freedom Flightw/EdSmith; Mid. - 6 AM -Opus in Modern Music/Jazz by Request w/ Pres Freeland . SUNDAY- Noon- 2-JazzContoursw/ Bill Wahl; 11 PM- Mid . Big Bands w/ Bob Rossberg; Mid - 3 AM - Roots, Rhythm & Sound w/ Dave Jacobs; 3-8 AM Progressively Yours w/Harry Schuster. WADV- 106 FM Jazz Nitely w/ Geo. Beck clati~ified This space is avai I able to private individuals, organizations, mail-order houses, etc . The cost is 10~ per word- minimum charge $3 . Send copy and payment to BJR - 1335 Main Street, Buffalo, N .Y. 14209 . IMPORTS from Japan and elsewhere . Sony, East Wind, Trio, BYG, Timeless and many other labels . Albums by Coltrane, Braxton, Miles, Woody Shaw, etc . Free lists - International Records.}~ox 717, Dept . B, Mentone, Cal1fornia 92359 . JAZZ PIANO LESSONS: All l eve ls including th eory, impro visation, reading skills, and technique. Call Ri chard Shulman - 837 -3817 . Head for ... twr~i~y ti~~i "STAY HIGH WITH THE TIMES" Largest Selection of Head Gear in W. N.Y.! SUPER PRICES ON ... PIPES MEERSCHAM WATER ONYX SOAP STONE COLA BOWLA ROSEWOOD TEAKWOOD EBONY WOOD BONGS GLASS ALUMINUM CERAMIC PLASTIC POWER HITIERS, SUPER CHARGER, FAZORS ROLLING MACHINES & PAPERS FANCY MIRRORS & SPOONS BACKGAMMON SETS CURRENT & BACK ISSUES OF "fjgAD". "HIGH TIMES" & _FABULOUS FURRY FREAK BROS. COMIX COME IN AND BROWSE MON. - SAT. 12 - 9 807 Millersport Highway Buffalo, N.Y. (716) 835-2169 �CADENCE Monthly Jazz Magazine . 100's of reviews plus oral histories, interviews, news, & Blues . Fantasti c ' Sampl e $1 .25 Subscription $11. CADENCE, Rt. 1 Bo x 345, Redwood , N .Y . 13679 JAZZ RECORDS FOR SALE. Wid e selection of titles ... mo stly out-of-print . For- free catalogs: JAZZ HOUSE , Bo x 455 (BJR), Ade lai de St. E .P .O ., Tor-ont o, Ontar-io, Canada M5C 1J6 . STUDY SAXOPHONE, FLUTE & CLARINET with Dick Griffo (Woody Her-man , Tommy Dorsey , Bflo Philharmonic, Emil Palame , etc.). Also - Lesson s and / or- coaching sessions on Jazz impro vising and styl es. Call (716) 856 - 8916. wlhla~·G lhappening Anchor Bar - Main& North - Johnny Gibson Trio w/George Holdt on trumpet. Every Fri. & Sat. night . .Tralfevents THEYU/EF LATEEF QUARTET JULY 21 &22; two lhowl-9&Midnight· Special Reduced Price for Early Shows! BARRY miLES & ERIC KLOSS DUET/ 10 'ti12 AUGUST 11,12andl3 JEREMY WALL TRIO DILLON·BAADY Every Wed. Night - No Cover Also- Fri. & Sat., July 28 & 29 Every Sunday Night from July 9- Aug. 6 BFLO. COmEDY EHPEAimENT FAE/H Every Thurs. Night Also - Fri. & Sat., July 14 & 15 ACOUSTIC Tuesdays - a variety of local comics hosted by Buffalo Comedy Workshop . Monday Nights JOHN mOONEY Quintet JEFF TKAZYIK BLUES QUARTET August 18 & 19. tralfamadore cafe August 4 & 5. 836-9678 · 2610 main at fillmore �I BUFFALO Quincy's - Mon . -N .Y. Style Ope n Mike w/ Oick Griffo; Tues. Dick Griffo Quartet (formerly w/ Woody Herman) . Vinei - Su - 978 West at Breckenridge ~ 882-5225 - Moody Street Fri . & Sat . ni ghts . Sun . aft e rnoon s - j am sessi ons . Bagatelle - Main & Winspear - Joe Broncato/ piano & Ja cl( No rr is / gu itar- Fri . & Sat . 9- 1. Tralfamadore Cafe - 2610 Main St. - Jazz Thrus . thru Sun . night s . Spec ials - Yusef Lateef July 21 & 22 ; Barry Miles & Eric Kloss Aug . 11 , 12 & 13. See ad . Ontario House - 920 Ontari o Ave . - Niagara Falls - Roda de Samba - Brasil ian Jazz Thrus . thru Sun . nights . Artpark Jazz Festival - see ad . Tara Manor - 5100 Main St. Jack Bacon Morgan Street Stampers with Eli Konikoff Fri . & Sat . nights . C. P .G. - Centr al Park Grill - 2519 Main St . - Jazz Jam Mon. n 1ght s. Tender Buttons every oth e r Tues . Also, folk and blue grass . Bona Vista - 1504 Hertel - Blues & Jazz . Odysey - 1005 Tonawanda St. - Jazz Sat. niohts . Marian McPartland &Trio Heritage Hall Jazz Band of New Orleans Wednesday, July 26 at 8:00pm Sponsored by The Buffalo Evening News Kenny Burrell Thursday, July 27 at 8:00pm Dick Hyman and The Perfect Jazz Repertory Quintet with Bobby Rosengarden. Milt Hinton. Pee Wee Erwin and Kenny Davern Friday , July 28 at 8:00pm Dick Hyman TORONTO Bourbon Street - 180 Queen St ., W. - Buddy Tate July 10 -22; Ernestine Anderson July 24 - Aug . 5; Eddie Daniels Aug . 7- 19 . See ad . George's Spaghetti House - 290 Dund as St. , E .- Brian Brown July 10- 15 ; Andy Krehm July 17 - 22 ; MoeKoffmanJuly 24 -2 9; Eugene Amaro July 31 - Aug . 5; Jane Fair Aug . 7 - 12. Ontario PlaceThe Fo rum Ontario P!ace, will pre sent the fo ll owing th is summer : Pho ebe Snow/ Gato Barbi e ri .. Jul y 9 . Paul Horn Sextet. .Jul y 21 . Grover Washingt on, Jr .. .July 24 . Prese rvat1 on Hall Jazz Band . .July 28 . Chuck Mangi one .. August 12 . all of the above conc e rts sta rt at 8:30 p m . Chu ck Mangion e . .August 13 at 3:00p .m . Mo e Koftman .. Sept emb e r 9 at 3 :00p .m . The Garden Party - 82 Avenue Road - Pian ist Joel Shulman Monday to Saturday from noon - also Sunday evenings from 8:30PM . Nag' s Head - Toronto Eaton Centre- Yonge and Dundas Sts . Jim McHarg' s Midnight SpecialeverySundayfrom5pmto 8 pm . The Ports - Summerhill Avenue at Yonge Street - TorontoExcelsior Jazz Band Saturdays from 3 to 6pm . with The History of Jazz Piano from Ragtime to the Avant Garde Saturday , July 29 at 2:00pm Joe Williams Spider Martin Saturday . July 29 at 8:00 pm Earl "Fatha" Hines Sunday . July 30 at 2:00 pm The Thad Jones/Mel Lewis Big Band Sunday, July 30 at 8:00pm The 2nd Annual Artpark Produced by Bill Hassett TICKETS $4 Inside (Evening) $3Lawn (Evening) $31nside (Matinee) For tickets. call TeleTicket at the Artpark Box Office. Phone (7i6) 694 - 8191 from noon until 6:00pm daily . Ar1park 22 ROCHESTER Chez Jean Pierre - Wed . & Sat . - Joe Locke; Thurs . - Don Ames; Fri . - Bill Dobbins . Stone St. Pub- Wed . thru Sat. - Bruce Mills . Monticello- Aug . 15 - 26 (off 20 & 21) - Jack Maheu Red Creek - Thurs . , July 13- John Lee Hooker; Aug . 15- 19 Duke Jupite r . JJ Lounge - Jam session every Sunday . Lloyd's- Sundays - Joe Locke . Club West Indies- Tues . - Jam Session with Sph e res Quartet and guests; Wed . beg inning July 5 - Nate Rawls and Existing Reality will alternat e. (Nate will play July 5 - Real ity will play July 12, etc.) Eastma~ School of Music - Tues ., July 11 8 PM - Gene Bertoncin i & Michael Moore (Adm . $2 .5p) ; Thurs .. Aug . 3 Arranger's Hoi iday with guest Michel Legrand . Manhattan Square Park - Thurs ., July 27 at noon - duo - tri oquart et - quintet . Lester Finl ey/ trumpet, Andy Calabrese/ piano, Stephen "The Rock" Ferraro/ perc .. David Areni us / bass and Steve Greene/ guitar . Broadcast I ive ove r WXXI FM 91 .5. Paper Moon - Auracle July 6.7. 8; Spider Madin feat . Bootsi e Barnes July 5- 9 (with Auracl e 6- 8) Thad Jones/ Mel Lewis Quart et - Aug . 8 - 13. ' Auditorium Theatre - Maynard Ferguson Aug . 4. �· ~-· · · :.. ~ BOBBY MINICUCCI presents (Pronounced Hoda Gee Samba) BRASILIAN/JAZZ QUINTET FROM SAN FRANCISCO LENNY RIFORGIATO Drums, Percussion, Berimbau • JOSE SIERRA-FRANCO Congas, Percussion, Berimbau MICHAEL FORMANEK Electric & Acoustic Basses & Percussion ALFREDO CARDIM Piano, Flute & Percussion With DICK GRIFFO Soprano, Alto , Tenor Saxes, Flute & Percussion Thurs., Fri., Sat. &Sun. Nights /July &August ONTARIO HOUSE 920 Ontario Ave. Niagara Falls, N.Y. 282-9877 Thruway ( 190) to Packard Rd. Exit. Cross Pac kard to Po1 ·tcr Rd .. Left on Porter Rd . to HydePark Bl vd., Right on II_vde Park to Onta ri o Ave . FOR CANA[))ANS - One Min ut e From T he Whirlpoo l BridgL• ' Right LO Ontario Ave . �Bourbon Street Quincy's Pub TORONTO (416) 598- 3020 The Finest in Italian Cuisine MONDAYS N. Y. Style "OPEN MIKE" Featuring Dick Griffo & George Jones Musicians and Entertainers Invited to Perform! BUDDY TATE July 10-22 ERNESTINE ANDERSON July 24- August 5 TUESDAYS Dick Griffo Quartet EDDIE DANIELS August 7 -19 Jam Sessions 10- 3 Phone Ahead for Dinner Reservations Open Daily 12-1 Sundays 6- 10 No Cover WEDNESDAYS Acoustic Guitar with The Fabulous Joe Head GEORGE'S SPAGHETTI HOUSE 290 DUNDAS STREET. E. TORONTO. ONT. -923- 9887 Music Begins at 10 P.M. 561 Forest Ave. CREATIVE MUSIC STUDIO TIIEORY ORCIIESTRA WORKSHOPS CONCEPTUAL STUDIES DANCE POETRY CONCERTS Featurtng some o f Canada's Top Jazz Artists nightly ds well as our famous Italian Cuisine. 886-9550 FALL SEMESTER Sept. 25 - Dec. 2 Core Faculty Karl Berger Ed Blackwell Carla Bky Anthony Braxton Don Cherry Jimmy Giuffre David ILcnson lng Rid Michael G. Jackson Oliver Lake Roscoe Mitchell Collin Walcott and others ·~ Support Live Music 1' .0. BOX 671 WOODSTOCK, NEW YOI{K 12-1-91! (9H) 331!-76+0 II JGZZ t_epott 1335 rroin street Wfob. n~. IL1209 PERIO DICA LS & BINDERY LOCKWOOD ~E~ O ~I AL ~IBRARY .S.U.N.Y.A.B. return postage guaranteed BUFFALO, NY 14214 SJG � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4241 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 53/54 Date A point or period of time associated with an event in the lifecycle of the resource 7/1/1978 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Music > Periodicals. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 53/54 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/970cc08332619671397a2efa97fd9b45.pdf 44da795c5d988b9a7bf2c84ea205352e PDF Text Text September '78 Issue 55 Free Buffalo Rochester/Toronto I I q'?Z s__j PAT LaBARBERA II s EP 2 2 1978 JGZZ t 'eporr a: �DIRECT DISC JAZZ and Classical Transcendental Audio , Ltd. offers one of Buffalo's largest selections of direct-to-disc jazz and classical albums. If you have a stereo system worth over $500 , you owe it to yourself to hear some of these records. Recordings listed are subject to availability . Because only a limit ed number of pressings can be made from the masters produced at each direct-to-disc session, when supplies are exhausted no more copies can be sold . -=-::jE___ _:::. . TRACKIN' oow r- ... BIG BAND JAZZ VOLUME 2 Humber College Jazz Ensemble UMB -007 BEETHOVEN PIANO SONATA ROC-4 TRACK IN' Lew Tabackin Quartet THE GREAT ORGAN AT METHUEN, VOLUME ONE ROC-3 CANADIAN BRASS UMB-005 TEL-5036 FOUR-HANDED PIANO RAGS SA-LS6 many more available. 773 NIAGARA FALLS BLVD. BUFFALO,NY/834-3100 TAKE THE "A" TRAIN Big Band Jazz Ensemble LF-95011 BEETHOVEN: PIANO SONATAS OP. 53 and OP. 57 GMFD-5 m~scrND~AL AUDIO LIMIT£0 �EDITOR & PUBLISHER -Bill Wahl CONTRIBUTORS - Chuck Braman, Bill Bese cker , · Chris Colombi, Jr., Hal Hill, Brad Hunt, John Hunt , Willard Jenkins Jr., Jim Kay, Jim Laniok , Tom Mazzone , Nanci Self, Bob Shepherdson, John Simna, Paul Smith, Paula Wahl and Ron Weinstock. COVER ILLUSTR~TOR -Sabrina Mayberry Smith ADVERTISING Manager - National & Local - Bob Riley (716) 883-3909 Niagara Falls/Lockport - Ed Supple (716) 297-7878 Toronto/Hamilton - Hal Hill (416) 742-4081 (after 6 PM) CORRESPONDENTSRochester - Jim Laniok Syracuse - Bob Shepherdson Toronto - Hal Hill Address correspondence to : Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A © 1978 - Buffalo Jazz Report No portion of this pub I ication may be reproduced without writ ten consent from the publisher. The Buffalo Jazz Report, founded in March 1974, is pub1ished monthly at Buffalo, N . Y. BJR is distributed free of charge throughout Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown . We are subsidized solely through advertising and ask that you support our advertisers . Subscriptions are avai I able at $7 /year, paid in advance . UPSTATE ASSOCIATION TO PLAY BUFFALO The first con cert ever bringing together trumpeter Sam Noto, baritone saxophonist Nick Brignola and tenor saxophonist Sal Nistico will happen Fnday, Sept. 15 at 10:00 pm at th e University of Buffalo Main Street campus. Noto, Brignola and Nistico all hail from Upstate New York and most Buffal o jazz fans know that Sam Noto was born and raised in th e Queen City. Although all three have distinguished themselves in their stays with the groups of Stan Kenton, Woody Herman, Elvin Jones, Ted Curson and many others, they have frequently made reference to a phenomenon known as "the Upstate Burn ." Th e "Upstate Burn", according to Brignola' s recent interview in Downbeat, refers to a quality of playing that belongs exclusively to the " .. . cats from upstate New York. From the Albany area there's Sal Nistrco and J.R . Monterose . The Mangi ones are from the mid-section. Sam Noto and Don M enza are from Buffalo. It was Sammy Noto who referred t o the whole thing as the 'upstate burn' . I think its an apt description because if you're from upstate N.Y . that's the way you're go1ng to play. There're so many great cats from the region. It would really be a gas to make an album someday with all the guys . .Wow, The Upstate Burn ." Sal Nistico echoed those sentiments by saying that there were, " .so many good people out of this area . My main influence was the late Sam Mancuso from Syracuse and we shouldn't forget Roy McCurdy from Rochester." Sam Noto, who not too long ago played a gig at the Tralfamadore Cafe with another upstate New Yorker Joe Romano, just returned from the Montreux Jazz Festival in Switzerland where herecorded a live album for Xanadu records. Now Buffal onians will have first crack at seeing the upstate association in its inaugural blaze, Friday, September 15 at 10 in the evening on the Main Street campus of the Univer sity of Buffalo behind Squire Hall in the Fountain square . With Nolo, Bngnola and Nistico will be the all-star rhythm section of AI Tinney on piano, Lou Marino on drums and Nick Molfese on bass . This historic performance will be broadcast liveonpublic radio, WBFO (88 7 FM) in stereo. NEW YORK PILLOW COUCHES I FREE! Two Matching Pillows With The Purchase Of A Couch When Accompanied By This Ad! (Offer Ends September 30) 'i Manufacturers of two. four, six and nine pillow couches, end tables, cocktail tables, large variety of pillows and platfonn beds. (Guaranteed not to squeak regardless of what activity is perfonned on them.) 202 AllEN ST. BUFFALO, N.Y. 14201 OPEN 11-117 DAYS A WEEK :l (716) 885- 4522 �Pat LaBarbera HOUSE OF GUITARS "I'll Play Anything That Works." Upstate's Music Building •3 Floors of Musical Instruments for the Rising Young Stars from Earth• - Fan letter Quote •Lot• of Used Gibson· Jazz Guitars 7~ on Professional music equip. 2 for 1 Deals t.~ost Jazz, Blues, on Blank Classic, Rock albums •Save up to Tapes - 4.79 ea . Box Deals on TDK Maxell BASF Scotch 8 Most Scotch 8 Tracks Cassettes Reel to Reels *Handmade Gallager Guitars , Tangent Boards. *Specials on Moogs, A.R.P., Oberheim, Roland, Omni, Polymoog Synthesizers, A.R.P. Avatar, Lyricon. *Save on Fender Rhodes pianos, R .M.I., Hohner, Leslie, Yamaha, Univox, Meletron, Orchestron, String Machine Keyboards, Chapman Stick , MXR, Crumar . *Sunn & ·Moog lab amplifiers for keyboards. *Up to 7~ off on Pro Drum Sets , new and used. Selecbon (all brands) Sonor; North; Gretsch: Pearl: Ludwig; Tama. Tama'Octabands (something new). Slingerland. *D'Angelico New Yorker on display. *Gibson's Howard Roberts, LS's, Johnnv Smiths, Byrdlands (Guild Artist Awards), Geo. Benson Ibanez Guitar (new) *1/2 off on drum heads - 1/2 off on microphones *Large selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets. *Drum sticks (nylon or wood tip),$1 pair *Good selection left handed guitars. Lots of used equip. *Sale on all brands of guitars, ~asses and amplifiers -Gibson, Fender, Guild, B.C. Rich, Martin Alembic guitars and basses; Sunn, Ampeg, Music Man, Marshall, Kustum, Mesa Boogie & Polytone Jazz Amps, Lab . *New and used horns - trumpets. saxes. trombones, flutes, woodwinds, flugelhorns, pro sound equip, Biamp . *30% off music books, instruction books, headphones *Imported LP's, rock star T-shirts, strobe lights, ..hit 45. singles. ARP Avatar. *Switchblade combs $7.98, House of Guitar 'T' shirts *No admission - No cover charge. $2.4!1 . Large selection vintage Gibsons, Fenders, Martins. Trade ins welcome . Don Potter's LP - $4.79. Free limited addition H.O.G. Bumper Stickers, Buttons, Post Cards, Window Decals, Car Tape Player's $29 up. 646 TITUS AVE. Ph. 716-544- 3500 An interview with HAL HILL Transcribed by Bill Wahl Pat LaBarbera, saxes and flut es, was born in Mount Morris, N . Y. in 1944 . At the ag e of e1ght he was playing in the LaBarbera Quart et with his fath er playing piano, his mother on bass and his brother Joe on dr ums . In '64 he went to Berkel ey School of Musi c and studied under Charlie Manana, John LaPort a, Jo e Vi ola, Jo e Hende r son and Joe Allard . Since leaving Berkel ey in 1967 Pat has worked with Woody Herman, Louis Bellson & Buddy Rich- his gig with the Ri ch Big Band lasting over si x years. In 1974 he JOin.ed drummer Elvin Jones ' Band and has be en with h1m ever since. In adddion to the r ecord ings with Ri ch & El vin,- Pat's music is documented on his sol o album f or PM Records titled Pass It On, f ea turing pian1sts Ri ch ard Beirach and Don Thompson, bassist Gene Perla and his broth er Jo e LaBarbera (best known f or hi s recent tenure with Chuck Mang1one) on drums . Since 1973, P,at and his wife M eg (and now his child r en) have been l1ving in Toronto, wh ere he ca n be heard with his own quartet when E I vin' s band i s off between t ours . The following is a condensed vers1on of an inte rview conducted in Toronto with Jazz Report's Hal Hill . - Bill Wah l ROCHESTER, N.Y. The BEST Prices. (The House of Guitars Luvs You Baby) Trade ins welcomed!!! Open Mon.-Sat. 10 AM-9 PM/Sun. 1-5 PM. Take N. Y.S. Thruway to Exit 45 on to Expressway tiO, to Express 47 North to Titus Ave. 4 HAL: You start ed musi c with your father didn't you, around '52. PAT: Right, he start ed all of us off . He started me on clarinet, and my brother Jo e on drums and clarim!t and he plays saxophone too, and John playin g piano and t rumpet. Actually I started on viol in but he took it away from me after a week (laughter) . He couldn't take itl HAL: I think you'r e probably best known to many jazz fans as the dynamic t enor soloist with the Buddy Ri ch Big Band from 'fi7 -' 74 �PAT: Yeah and there were a lot of great players in the band during those years- Art Pepper, Lee Konitz was on for a couple of things, Don Menza, AI Porcino, Duke Pearson. Just all different kinds of guys I wish I could remember everybody. HAL: You made a remark in an interview a few years ago like "on this band I really learned how to play." PAT: I really learned with Buddy's band, especially about spacing and spacing. You have so little time to solo sometimes that you've got to learn to (Hal -get it into eight bars?) right, and energy- especially from Buddy, and Elvin too. The energy is important, people like to see it and feel it coming from the bandstand. Both Buddy and Elvin keep the energy up, they come from an energy source of strong, hard players and they push it through the band and the soloist . You feel it. HAL: I think I made the remark that Coltrane certainly isn't dead. I didn't mean that in any derogatory sense, that you were copying or PAT: Well its obvious who I've listened to. I've listened a lot to Coltrane and some Sonny Rollins comes through, and Joe Henderson. I'm everybody, I've l1stened to hundreds of saxophone players and have probably taken something from all of them. Thats what jazz is all about.. HAL: I've heard you playing in a lot of different types of bands, one day I caught you playing in a Dixieland band doing straight ahead mainstream, you seemed different, I ike you w~ren't playing yourself. PAT: Well I had to, I used to play like that and still can when its called for - play on changes, bebop tenor playing. Its important, everybody should know how to do that and then I extend it from that. Even with Elvin I play tha~ way, I'm always thinking of the changes or the basis or framework of the tune, even if its a free situation. HAL: What prompted your move to Toronto 7 PAT: Well, a couple of things. I had liked the rhythm secion I'd heard here coming through town many times with Buddy's band. Plus, I wanted to be close to my family and my wife ' s family. I wanted to be somewhere where I knew I could work and I didn't want to go to New York- I just wasn't ready for that pace, I didn't want to bring the kids up in New York, and it isn't my style. There's a lot of great musicians up here. Don Menza was here for a short while, Sam Noto is here, Pete Magadini, Junior Cook was here for a while, Marty Morrell is here. I've been all overthe world with Elvin and I really I ike Toronto. Its too bad that you can't always play Jazz, like in New York . But there's other gigs- I was doing a television show for a while. HAL: When did you start with Elvin Jones? PAT: Elvin heard me with Buddy's bandatRonnieScott's in '73, and after the set his wife came up and asked me if I'd like to play in a small group and I said sure, call me. Well at that time he had Dave Liebman and Steve Grossman, and Dave was thinking of leaving. But it never happened, I had moved and she'd forgotten. Then Azar Lawrence joined Elvin and lat er left (and went with McCoy Tyner). But I knew the bassist for the band, Gene Perla, from Buddy'sband -and he'd started a record company - PM Records . He came through Toronto and asked me to do a record and said that Elvin had been trying to get in touch with me . So I signed to do the record that day and Elvin called me the same night. That was in '75 and I've been with him ever since. HAL: Elvin seems to like the tenor inspiration of the late John Coltrane, I guess having played with Coltrane for so many years. He seems to be carrying the thoughts and the ideas and the learning stages that John leftwith him, he likes to press that on . Do you th1nk thats why he's hiring people like yourself? PAT: Well. I don't know. When I went with him I wasn't playing in that direction. He said he was looking for a tenor player who was strong, who could last, with endurance and I said I'd try. My opening job was the Village Vanguard and Frank Foster was the other tenor and he helped me a lot. ACO TACOS BURRITOS ENCHILADAS TOAST.~DAS First with the Best in Buffalo 1247 Hertel Ave. between Colvin & Delaware 873-6606 2114 Seneca St. 2 blocks north of Cazenovia ·822- 7733 3355 Bailey w at Minnesota 833-4566 ::1: 1- Hours 11 -5 AM Daily ~ Swinging Place' Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week Wednesday & Sunday Hot Dog W/Krallt We Serve Food til 3:00 AM No B.S. Compare Our prices EEF EER B ILL lARDS & JUKEBOX 5 OPEN EVERY MORNING TIL 4 AM 3178 BRILEY AVE. - 836-8905 (across from Capri Art Theatre) �4!fd~s!J sttrli"3 and 9old jeu.u:lr~ imported, r~c~cled. ~military 9ar b head 9e4r and 91f~s 5' Allt:rJ 5t. tl)~ o'>· 882-8200 -tnru 5c:l.t. 12:00- .6:oo HAL: What is the curr-ent group? PAT: Its Andy McCl oud on bas s, Roland Prin ce on gui tar, myself and Elvin . Som etimes he' ll usetwotenor players . In Japan Frank Foster was with us and bef or e that Mi chael Stuart (also a Toront o resident) was with the band . We've done a lot of tours - Japan, many of the European f es ti va ls and in the fall we'll be doing Ronnie Scott 's in London and an African tour . Elvin's just all over the plac e . HAL: What about your influence s - Coltrane, Rollin s, Joe Henderson, Ira Sulli van, and I det ect some Joe Romano . PAT: If you can hear some Joe Romano you 've got a good ear . Joe was one of th e first people that I saw live in a club, because of being from the Ro chester, N.Y . area. At that time, there wer e many groups coming through Ro chester. I remember going to a club called Pithod (sp) Hall and you'd pay 509 to be come a member, it was a "private club". I AI~IIIC AAMIIIA SPECIALIZING IN ACOUSTIC & ELECTRIC GUITARS, ELECTRIC BASSES & AMPS. GUITARS: B .C . , Rich, Ibanez George Benson, <; D Curlee, Alembic, Herb Ellrs Aria AMPS! Yamaha, Gallien-Krueger, Hi Watt, Randall . Celestion Speakers Guitar Repairs, Customizing, Refinishing by Dr. Dave Amplifier Repairs by Prof. Pete Plus Effects . Accessori es and Parts CANADIANS WELCOME - DONATIONS OF NON EXPORTED CANADIAN BEER GRATEFULLY ACCEPTED! Open from 12-8. Mon . thru Sat . 2021 Bailey between Genes ee & Walden Buffalo . New York 14211 (716) 891-5409 6 remember my brother Joe was 12 years old and we'd go in and see Dexter Gordon & Pet e LaRoca and all the organ trios. Well Joe Romano was playing in town with Chuck Mangione and at that time Chuck would have a group for a year in one club and I'd go and see them all the time . He had guys like St eve Gadd, Jimmy Garrison, Roy McCurdy in that band. Then I saw Coltran e in Ro chester . In high scho<!_l I' d listen torecords -Gerry Mull iga n, a lot of Lester Young, and then Stan Getz, Chari ie Parker. HAL : What tenor players do you like today . PAT : Th ere's so many- Ira Sullrvan is great, and Da·v~ Liebman, Steve Grossman . Just so many of them out there . HAL: Have you been working on any new r ecords with Elvin? PAT: We' ve JUSt done one on MPS which should be out anytrm e now , we've done one in Japan for Trio Records and one for an acousti c company in New Haven, Connecti cut, but we have a f ew mor e tracks before its out. And, Gene (Perla) and I are talking about doing another on e for his label, per_haps a t enor; drums duet situation . HAL: Can we r eflect a bit about the days when Art Pepp er was in th e (Rich) B and? PAT: Yeah, Art came on th e band in Januaryof '68, with AI Porcino. He stay ed through '68, he left and came back . I sat next t o him eve ry n ight and it just killed me- he's such a gr·eat play er and a ni ce person, I love Art . But he had some hea lth probl ems and just had to get off, but he had some operations and came back and stayed through '69. I had all his records and we'd talk all th e time . HAL : Wa s he an insprration . PAT : Oh yeah, and so was Don Menza and so was Joe Romano and th ey wer e all in the same band at th e same time! HAL: It may be of interest to some of the musicians out th ere t o know what brands of tenor, soprano and flut e you use . PAT: Right n'bw I'm using a Selmer soprano with a Ri co 4 reed; a Royal 4 on th e t enor which is also a Selmer - a Mark Six . I've play ed a Yamaha as well but right now- I'm back on th e Selm er. I'm not t rying t o sell horns though, I like th e Selmer· but I' ll play anything that works! HAL : Can you give any of the young r eaders who want t o become strong musi c ians th emselves any suggestions? PAT: Well, I often hea r guys who'll say "I feel like grving up pl aying" after th ey go out and hear somebody play . I've always felt inspired wh en I hear somebody play and I f rgurP that if he can do it, I can do it . I think that if you want to do it bad enough, you can do anything . You have to spend lim e with your inst r ument , you have to study and you have to pract ice. You might have t o give up a party or a movie but th e t i me that you spend now wh en you're young wi II be well worth it when you're older and you ' r e out th ere playing . Then you ca n have a lot of fun . Th e saxophone has taken me all ar·oun d th e world and I 've met a lot of great people and had a l ot of good lim es. So studying, practi cin g and keeping an · open mind are all important. Right now I 'm a health nut, I don ' t l ook hea lthy but I am (laught er ). I feel that its important to stay hea lthy and in good shap e. Som etimes we play hour an d a half sets at a high energy l evel. And Elvin is 50 years old and sometimes I' ll hav e all I can do to keep up with him! HAL: Oth er than Elvin , is there any other band that you ' d like t o work with? PAT: About th e on)y on e I'd like to play with is McCoy Tyn er . I'd JUSt like to work on that band for a while . But right now , I'm still learning from Elvin, learning how to play with th at time - to m e he has th e gr eatest time of any drummer in th e wor·ld . He makes you rely on your own sense of tim e and he JUSt brings out of you all the best things in your playing . Joe Farrell once said "you r eally know how good yo u'r time is wh en you'v e play ed with Elvin Jones", if you can or you can't - you know. It's helped me considerably and I'll be staying with him for a while. He's played with the great saxophonists - Lest er Young, Col eman Hawkins, Ben Webster, Charlr e Parker, John Coltrane. He brings all that into the music and if I can get just a littl e of that its well ..........--- ..uu:tb a~ .... "".~--'~---=...o..-=~'------=~------------- ��Mr Gordon Chalmers at (416) 429 J598 o r John Ht• nry Jar kson at (416) 869 - 1400 . BE A FRIEI'JD OF JAZZ On Saturday, Oclobror 7- I'll b• dotn4 a fnur hu111 sp•·roal dedtcatcd to the Coles on "From Bebop In Now" 10 PM 2 AM on CKQS- FM 94.9 BARGAIN BOOK OUTLET A Browsers Welcome - See our fi ne Sel ection of Hardcovers. Art Prints. Magazines & Paperbacks . ALTO BLOWOUT . Savings up to 85% Off Original Publishers List Price. PHIL WOODS AND SONNY FORTUNE R ETU RN In lh<' WC'Pks to come, you'll ho.Jvr• a <h,mrc to hr-ar two or the f tnest alto saxophonl'>ls "'pzz ((lddy On Septl•rn bcr 15 & 16, Phil Woods Will n•l11rn t11 Buff,tltl th1 s ttme hr'll br at the Traii.:JmadorP Calf' Wood-. <;hnuld need no mtroductton to S"d'>OflPu ldZZ f,..n-.. a.., h"'.., on•· of lh" all ltrne gr t•a ts of the, allo S<tx and a mastr •r of br•hop StttCc hilling the N Y scent• m lh•· r•ar-ly ftfltr"'· Phtl has br·ro rr1e one o f thr most wtdr•ly acclarmrd al lot..,l'> 111 1·n t" ctrd••s around tho world He's bl'r•n wtrtntng award ... cvr•rywhPrr• 111 cludtng n•C(•nl Downbeat pul l., f.,, ailo RC'cr•nlly, hto., n"me has bN;om<:> more w1dely known as a r"sult of sludw work ltko hts rnsl.rntly famous all~> soltJ on Btlly Jorol'<, Just The Way You Are . H1s band ha'> bPr'n lotwllll'r .,,,,.. 19/4, anrf h.1'> b~" orne on<' of the ftn{•sl en<;PmbiP'> 111 J<~Zl lod<~y II con" ' "'" of Mtke Me l tllo/ p tano. Stf'Vt' G1llliOr r· b"'' Jnd Btl I Go ..dwrn ' drum!. Th l•ll- last RCA album wa., s•·l ·r IPd a., on•· of th" h•·-.t of by BJR wrltl'r'>, Ttme maqdzttw and S"vr•ral oltwr .,our • ,,., If you m1 s-.ed Phtl Woods at tlw Stall •·• dunng lh•· bltzz ,,rd of • 77 (most of U'> dtd - hr• was lhr t 1 durong tlu· dr rvtng ban). don't mtss tht<; band at tht· ft-alf Sonny Fortune's two appeat vnl , •., al thr Trail proofuc0d somt• of thl' mo'>l Pxctl tnq, ntltnsr musH l'vPr h• ar·d \ltr·rr> As 1s tht• cas<' wtlh Woods . Sunny'-. rr•llll n to lh•· ar• •.J •s mo s t wel come The Sonny Fortun,., 0Utnlr>l wil l l.h • at H11· Tr.lltamadure on S\'pt 22 & 23 Sonny worked wtlh tht• MOII(.Jil Santarnana Band b•' l•,·~' JOII1tng Mr.Coy Tyner·., group that tnrhttl<•d Calvtn Htll & Alphonse Mouzon HE> r l'< or·dr-d lt11 •·P albums wtlh Tyn,.r, th <'n went w1th Buddy R1c h for a shot I l11nc bd,rr• g<•1ttnq th(' (.all from M tll''> Dav'"· whun • he JOrm•rf 111 1974 Dunng M11C'5' many brPaks. Fot tunP wor 1-Pd a<; '' lr-ad•·r w1th hrs own group~> on tl11• East coas t H1-. a~<;octaltnn w1th Dav1s tondPd tn Aprtl of 1975, p.rvtng the• way lor h11T1 to tnur wtlh hts own qutnll't, wh tch has brr>n sl• adtly gatntttrJ wtd'"'flrr-ad . populanly ">rnce Fodune ,., a dyn.•m•c . powl?dul and p..t <.,'>trlrwl•· so lw ... t an I h1s band works 1n that dtr"l twn Wtlh hnn wt ll b•· Chart.s Sulltvant l rumprt , Chao; Euhan~., p1..tl1!1, Enr Gr.tvatt drums and Wayne Dot.kcry ' ba'>s Sc(' th!' ads and what' -. happ('ntrrq Sl!c l tnn tn tht., t<.<,ur> I,morr detail<> on lht".;P d:Jlr·c; Bring Paperbacks in - Receive 1 1 4 Original Pnce in Trade towards Other Used Paperbacks. We Carry Sunday N .Y. Times . Open Mon.- Sat. 10 - 9 Sun. 12 - 5 University. Plaza (next to Amherst Theater) TORONTO UPDATE BY HAL HILL For a ltltl<' ovPr twenty years now, George and Dorian Cole have provtded Toronto wtlh homes fut yoUI must <: and mtn~·. Jazz .. The Spaghetti House at Dundas and Sht•rbournr> has pli!ycd host to JUSt abt•ul every smgle T o r onto Jazz must c tan. and th<:> locatton at Bourbon Street as we> ll as Bas1n Sit r>r• l (Queen West at Untvt•rstly) has ptl'scnl<'u a Its! as long a~ a mil" ol intcrnaltonal Jazz art1sts dunng the many y Par'i th ey hav,. bet•n 1n opera I 10n . And lht• stones that could bl' told abo1Jt <~II of tht'Se piOCl'S would ftll f1fly Jazz RPpo.-ts I'm sun:• Many. many fnt•nds of the Coli's havr- cum<:> up wtth a pl.~n to pay lrtbult• to th1•m for all of thrsc good yedr<; and a Jazz Scholarship IS 111 lhC' malc.tng as a rt".. ull of tl1ts tnl'HJI P If you ft>cl you would l1kc toht>lp, or would JU~t hkt' to ftnd out mon• about the plans that an• bctng made why no! cont,1cl ·n NCOrd~ KEFT27 1015 Kensington Avenue • Buffalo • New York 14215 Telephone: (716) 837- 1557 8 PETE MAGADINI - B ONES BLUES SACKVILLE 4004 Th1s 1s drummer Pete Magadtnt'!:. second album as a h!ader. and on<' that h o and lhf' rr•st of Htc• quarlr• l should tic proud of B ones B lues ,., a pruCJt am or ltght, slra rqhl ahPad, no bulls h.t Jazz played by four accomp l1sh1•d, wf'll vPr<.P.d mustctans T enor saxophon ... t Don Mt'nza ,., wPII known tn the We-.lem Nc•w Yot k and Tor onto n •g run a., a powerhous<• o;olot<;t, wht ch is exh tbtled th r oughout. Each ntt•mbc•t of lh P rhy th m team - Wray Down Ps. Davc• Younq & Maqadtnt hac; pl£'nly of solo spacr> and lh(•y havf' what tl lakP-. In makr> full usr- of tl. Thf~ set consr<.,ls of cookgrs. sut.h a~ Bones Blues Solar tM•-.. • ••• ~ -- �and Old Oevi I Moon and balladc; - thP standout 1n thai ca tegory betng a versiOn of I Remember Clifford. But, ols hard to s1ngle out a parl•tular track. p1rk any of lht> s<>vc•n 1ncluded on the d• sc and you'll be 1n for a tn.. at In short -an PXCPIII'nt qtlartt•l dati' If you'r~> not already famdtar wtlh Don MPnz.J, lh1~ 1.., about tht'bPc;t plac~> to start H1ghly rf'cornm,..ndl'd -Bdl Wahl ERIC OOLPHY - THE BERLIN CONCERTS ~ INNER CITY 3017 What can onP say about Enc Oolphy:> A b~r·d calling flut1st who aroused a h,lppy sound or Mus1c: 1n l1meo, wherl' one's changes wcrf' <;uppoc;ecl to br•·ak and bury Oolphy's smtltng sound aroused from lh" earth and sky sp1nts known and unknown to ernl.'rgf' wllh a gPnutnf' n<w br,..ath In t11ne les~ Music H1s altu scJxophonl.' bountf'd fasl~>r· than bop and and f••eltng he could PvPn Charl1f' Parker at tr •PI" spPed The elephantine bass clartnl"t could grumbln and rltulter real low or cxp l nd<' scrcam1ng htgh and r<'ach•ng Moc;t 1mpor-tanl - tho man dtdn't play, he sang a song. How ho sang' Wh at can one, thorf•fun•, say about Er~e Do lphy that hP could not say htmsc• l f? Not vur-y much, and th<'> n<'west Inner City release a doubt" album of unrc•l(•asf'd, l1ve Dolphy shows why. All thp OSS('nrr• of th " m<Jn the bnght swtnq, th e snapptng wtl of hts play•ng, thl' gospel intPnstly and the laugh1ng surpnsl' thai Dolphy brought to thtsMus1c IS her'• Espec•ally graUb1ng ,., a solo bass clartnrot pPrformance of God Bless The Child, a BtlltP Hoftday clas~tr that Dolphy play~ w1th all the" scrr•nr• tcndC'r n<>!.s and f1rc that sweet Billie brought to the• ballad Is 11 any wondr•r that Coltrane, M1ngus, Max Roach and Woody Shaw all brought therr all when they performed at h1c, SldP~ Get th1s album, and l1stcn to a Ptr>d P1p"r mernly callmg the times together -M1chacl F Hop1<1ns HOURS 11 AM- 2 AM Mondoy & Tuesday Wednesdoy- Saturday - 11 AM- 4 AM Sunday 3: 30 PM- 2 AM 10()V !HAII\J l3lJffAU) ., N.J. I f,IL lltl{)li(E ()35·.351'1- GALAXY Fantasy PrcsltgC' 1 Miil•~lunc tnauguralcd a new main stn~arn Jazz lin(' ear l1 ur- tn lhl' year callf'd Galaxy. The second Galaxy rcll.'aS(' mr:ludc~ two numbers by the recently returned Red Garland, dnd one eac:h by Tommy Flanagan, R ichard Oav1s, and Cal Tjdder. CROSSINGS (GXY5106) ~~ ac.tually a JOtnt trio ertort with Garland's tasty ptCJno JOined by Ron Cart£>r and Phtlly Joe Jonr>s, two mastr·r~ who vr: furthPr def1ncd Jazz bass and drurns rL•spcc:llvt•ly How could a ltnPup ltke this lose? Standards are the ordpr of th(• day w1lhthe except1on of the Carter ong1nal "Ratlroad Cross mg." where Jones' deft brush work undt>rscor es (.artE>r and Garland solos. Slratghl ahead, relaxed tno 111tcract•on •s whr<re th•s release makes its mark. Garland's REO ALERT (GXY5109) ftnds the subtle Texan m the company of three horns, Nat Adderley on cornet , Harold tram GRYPHON ... where you'll hear music saying things you've never heard before. ~ .y= .!.......; ( ~iz)~ G-782 APPEARING AT: ------ - - -------- TRAFAMADORE CAFE, SEPTEMBER 15™ AND 16™ �59 Kenmore Ave. 836-1781 etc.). Def•nitely easy brealh1ng all th e way, not much to get excited over. Th1s record makes good sleep therapy, buy one for the family insomniac. Richard Davis' FANCY FREE (GXY5102) is the mostpersonally sa t• sfying album of the lot. That's principally due to the presence of Eddi e Henderson on trumpet andJoe Henderson (no relation) on tenor sax . Stanley Cowell is on piano and Bi lly Cobham puts out h• s best jazz chops and shows an extremely deft touch outs1de his usual fusion realm. "Silver's Serenade" and Miles' strange l tne " Nardi s" are highlights. Th e album ts s•gn1flcant for some of Joe Henderson's most outstand•n g work in recent years. This would be a great working group, one that would nval the VSOP Quintet. - Willard Jenkins. Jr. (c:or~Wr ol Windemere) behind jewelry 510f'e land and Ira Sui I ivan on tenor saxes All thnH• are heard to good advantage on " Red A lert" and "Sweet Georg1a Brown" and each tak es one quartet oullng Land comes out on top w1th h is di st•nct1ve tone on "Stella by Starl• ght", whil e Sull•van •s afforded the most t 1me to stretch out, on " Whiffrnpoof Song" Garland's subtt II es are a warm wei come for b I own out ears and they add immeasurably to h1s way wdh hal lads Tommy Flanagan, Ella's long lim~· accompan•stcwds<"mi nal Detroit pian1st, is JOined by ft>llow F1lzg<••·ald liPs K eter Betts on bass, and Jimmie Smith on dr·ums for· a bnght se t that r eaches its zenith on Monk ' s stndent "Fnday th<• 13th" Flanagan tastefull y tosses n • some effecllve ciC'clr n. p•dno work to boot. H1 s set 1s l 1tled SOMETHING BORROWED, SOMETHING BLUE (GXY5110) . Cal Tjader's BREATHE EASY (GXY5107) ~~ la\P n1ght, easy llstenmg stuff, replete w1th sh1mmenng v1bC's and ever green standards ("If You Could See M e Now," "Just Fr·ir>nds." EVEI\.YMANS !500KSTOI\,E '1'1')C. Q~~-b CJ $n,af( ~ ~e f~~~ 1 bvf&fc T,sh·,rt~' 3U2 ~IN ~ ~.114 S'l-" S5Yi- ~-f ICMI- oi'M ~~. 11AM·5~ DAVE HOLLAND - EMERALD TEARS - ECM-1-1109 JOHN ABERCROMBIE/DAVE HOLLAND /JACK DeJOHNETTE - GATEWAY 2- ECM- 1-1105 JOHN ABERCROMBIE -CHARACTERS- ECM-1-1117 PAT METHENY - PAT METHENY GROUP - ECM-1 - 1114 BILL CONNORS -OF MIST AND MELTING- ECM- 1-1120 EBERHARD WEBER -SILENT FEET- ECM- 1- 1107 KEITH JARRETT - MY SONG - ECM- 1-1115 Wdh th•s 1nd ial batch of e1ght new releases under the newly arranged di str-ibuti on deal with Warner Bros. records, ECM continues to produce beautifully r ecorded sessions by some of the most creat1ve mus1cians of the seventies. One of the most eagerly awai ted of these new sides is Dave Holland's so lo bass out1ng, "Emerald Tears. w Although this is on ly Holland's second recording as a leader in the last five years, he has firmly est ablished htmself as one of ECM's major assets. That the acoustic bass can be a vehicle for an en ti re albumofsoloexprcss10n tsa trtbute to Holland's massive tal ents and ECM's commitment to pure creative musi c. Like "Conference Of The Bi rds" (ECM 1027 ST). Holland's tntltal effort as a leader, th•s 1sa ground breaking, landmark session . "Gateway 2" t eams Dave Holland with drummer/ pian•st Jack DeJohnette and guitarist John Abercrombie and f eatures compos1t1ons f rom all three . "Open•ng," a completely im prov •sed p1 ece, 1s noth1ng spec1al constdering the talents of th1 s tri o, but other p ieces, particularly Holland's " Remi ni scence" and Aber cromb•e's "Sing Song" , inspire some thoughtful col lect iVe mterplay. Th!! most attractive for me is "Blue" , a med1tat•ve compos1t1on wht ch seemed to mspire intense concentration from all three The weakest are the tun es which appear to be th e most casually conceived, such as "Nexus" and the aforementiOned "Openmg,'' although as a whole the album i s quite satisfying . Al though I r ematn b•ased aga•nst overdubbing, guitanst John Abercrombie employs the process very succe ssfully on his solo date, " Characters." Musica lly, his approach varies w1dely from tra ck to track . Some, l1ke "Evensong," cons1st ma•nly of unusual musi ca l eff!!cts th at are amazingly well done; others, l1ke "Telegram," are fine prewntten compo sit ions that employ both chord changes and constant tempo. All tracks, how~ver, reflect both Abercrombie's superior musicianship and rtch •mag1nation If solo albums ltke "Emeral d Tears" and "Characters" are representalive of the ECM dictum of "chamber Jazz," then Pat Metheny's lates t . "Pat Metheny Group," is "chamber Jazz -rock." Unfortunately, the tatd back quality charac IC'rtsll c of ECM does l ittle to add substanceto what is essen bally a run of the mill fusion album . The members of Metheny's quartet are noth 1ng special and have l1ttle new to say. In addit1on. drummer Dan Gottlteb's symbal s are annoy1ngly over recorded. All th• s results 10 not a bad al bum, but one thai is fetr below tht• apparent standards of both M etheny and ECM . Guilanst Bi ll Connors album features an all-star r ecordIng group Including saxophonist Jan Garbarek, bassist Gary P ~ n nn r �We've Re-Opened (Finally) NEW MUSIC FROM Fresh· Stone Country JohnValby Also Back: Bahama Mama· Shakin' Smith· John Brady LIVE MUSIC 7 NIGHTS A WEEK Kitchen Open ' til 4 AM BONA-VISTA 1504 HERTEL Buffalo 836-8985 �one of those artists talented and mature enough to write tunes whrch lend themselves specifically to this unusual combination of musical personalrtres, and thus bring out the best in his sidemen. Having once powered the popular electric "Return To Forever" group, Connors today devotes himself exclusively to the acoustrc guitar, and it is a refreshrng sound withrn the small group jazz context. The quiet, moody music on ~Of Mist And Melting" brings to mind Keith Jarrett's "Belongrng" album (ECM 1050 ST). and like that album, it features what must be considered some of Gar· barek's best improvisations to date. One of the most r espected of ECM's European talents is Eberhard Weber, a modern composer who plays an electrrc uprrght bass and frequently employs jazz music ians in his groups. His latest. MSi lent Feet, • is an incredible combinatron of loose, prewritten frameworks, beautiful melodies. and bri 1liant improv1sat1ons by -Web er, pranlst Rain er Bruninghaus, and saxophonist Chari ie Mariano. Weber' s music reveals to us the potential beauty inherent in electrically derived sounds . One hopes that with each successive rel ease, more and more Americans are picking up on thrs fine European talent. One of the most eclect rc of ECM's art1sts IS Egberta Pianist Keith Jarrett has recordedsometwentysixalbums in the past decade. eleven of wh1 ch are on E CM and have be · come among the most widely praised recordings of the seventies . On MMy Song" Jarrett employs the- same European quartet whrch recorded 1975's "Belonging" album: saxophonrst Jan Garbarek, bassist P a lie Daniel sson , and drummer Jon Christensen. The lack of inspiratron that has characterrzed many of his Ameri can quartet's recent recordings is not apparent here, the compositions are fresh and lyncal , the playing masterful and inspired. Thrs is anoiher LP where Garbarek' s work s tands out, and Jarrett, as always, plays superbly , Agarn I'm l efi longing io hear more from Jarreti, and, of course. ECM . -Chuck Braman · ·. ·. .· Buffalo's Largest Stock of Professional Sound and Recording Equipment :· . · ' ' >. ·.MICROPHONES MIXERS SHURE AKG ELECTRO-VOICE BEYER SONY SENNHEISER EDCOR AUDIO·TECHNICA TASCAM YAMAHA INTERFACE TROUPER MALATCHI TAPCO METEOR AMPLIFIERS SPEAKERS BGW CROWN TAPCO SPECTRA SONICS YAMAHA JBL JBL GAUSS YAMAHA EMILAR TAP€ DECKS TASCAM by TEAC OTARI STUDER REVOX SONY SIGNAL PROCESSORS dbx EVENTIDE SPECTRA SONICS TROUPER ORBAN U.R.E.J. INNAiiE 330 Genesee St . Buffalo NY 14/04 SALES, RENTAL AND SERVICE. VISIT OUR DISPLAY STUDIO. CALL FOR APPOINTMENT 716 853-6500 TERRATU PERCUSSION 4420 superior avenue cleveland, ohio 44103 FIRTH Let TERRA TU satisfy your· percussion needs withThese and mam· other manufacturers of pe.rcussion supplies and accessories ... Affordable discount pri ccs and prompt delivery ... Service and adviet· from pt>r· cussionist!> for pt• rcuss ion isls! TERRA n last stop! :... Your first and good vibes CALATO sonor BALTER milestone HYER musser PER·DEL carroll sound HINGER deagan remo evans promark regal tip Write Us For a Price Quote! 12 FREDDIE HUBBARD - SUPER BLUE - COLUMBIA JC35386 HERBIE HANCOCK - SUNLIGHT • COLUMBIA JC34907 Clap hands, Freddie has made good his promise and done away with the fluff and elrmrnated absentee producers .Bob James and Bert de Cotteaux are nowhere to be found , thank goodness. Supported by a stellar cast that includes Hubert Laws blowing his best JaZz rn years. Joe Henderson , always an excellent match on tenor for Hubbard's floghts. Ron Carter's mellrfluous bass. Jack DeJohnnette' s supr~mely busy traps, K enny Barron's frne keyboards and a cameo appearance by George Benson, Hubbard geto; down to some real busrness here Th e two bookend preces, Super Blue and There For Kareem (yes, THAT Kar<:>em), ar<> rousers both but rt is the hard bop opus Take It To The Ozone that takes the prrze. Henderson contnbutl•S a particularly penetrat•ng solo on the latter. In b<?tween are the soulful Gospel Truth and To Her Ladyship, where B enson shrne-s. Thrs frnr• album rs somewhat remrndful of Hubbard's "St,-alghtllfe" days of smooth. all - star Jamming, wr-apped around Freddo•·'ssrnoke · blowong horn . On th(; other hand w e have Hancock's latr>st abomrnatron Herb1c . who told you you could srng? There's no way the synth<>s izers, phaser'>. c:a thode tubes, <!l r·ctmmc grzmo.., ... nd tt1e lrke can hide Hancock's weak vocal.;, as hr• att•·mph what he thrnks is a nPw twr-,t . srngrngthro11gha synthesrzer" Thr•re are five cuts here ancl Hi•rbi" r.luth'r<; up thr<Je wrth hr'S rnane vocal s and equally rn..trw lyrr cs Aftr•r V.S.O.P . I cxpi!clcd more. rrrstead Herbre has moved even furth• ·r loth•• rr.ght and threatens to drop compi<Jt ely out of srght if h<• marnl<1rrts lhr" course. Hr s pl aying is intact hut th<J t h<ts hecn lr ght••ned to place the spotlrght squa•-"IY on tltos•· wi'ak vor.i.JI<; ' Thr• two rnstr·umentals an! th<· only savrrog Q!"..JCe Good Question rs a maximum burner from the word go, with Tony Wi llr ams and Jaco Pastorius pushrng Herbr e all the way. One other negat 1ve aspect is almost tolal de - emphasis on Herbic·'s . pal Bennie Maupin . The great Detroit reedman, heretofore Hancock's �r principal partner, is reduced to onC' solo on the entire album . Forget thi s one and get thC' Hubbard . -Jenkins NATIONA1(eCOfd SONNY FORTUNE - INFINITY IS - ATLANTIC SO 19187 KENNY BARRON - INNOCENCE - WOLF 1203 I fin;t heard Sonny Fortune on M cCoy Tyn er ' c; "Sahara" album in 1972. From then on, I've madC' a solid effort to g" t every record he'~ on and catch h1m l 1veal every opportun1 ty Infini ty Is IS Sonny's sixth album as a l l'ader and h1s second for Atlanti c. It l eans more in a commen:ral d1 rertron th an the others, but should by no means b e shr·ugged off as "just another funk album" Thn>e of l h(.• sevrn cuts an· funk pt ~>ces wdh Fortune on alto and soprano saxes . Th ey'rr· don.., w1th taste and refuse to fall into the disco pit. Ballad For The Times and The Blues Are Green offer some gorgeous F ortunP mood buddtng, t rue to form - fu l l of pass •on and soul and mner fwe He's heard on flul<' on Perihelion, and alto on Samba Touch, and both bounce along nrcely 1n a swent, mel odl<: groove . Kenny Barron's Innocence fr-a tures Sonny Fortune on thr eo· of the frve tracks. H e'~ l ist edasplay•nga lto. but 1t' s soprano on each cut . Beautiful melod1 cs abound here•, th•lfirst tastr• of which com es in Barron's Sunshower (prC'v tously rr-cor dcd by Fortune & Ron Carter) Barron. an exc••llent p1anrst who ha'> worked wllh Yusef Latcef, FortunP., Ron CartPr and many othP.rs, turn s out some memorab le solos on both acou stic and el ectri c pi c1nos throughout. The three cuts with Sonny average ten minut es each wi th a lot of fmc moments . ThP r emammg tY'{O t racks f1nd Sonny replac!'d by trumpoter Jrmmy Owenc; but rema111 1n a quintet (w/ bass, drums & percu%wn) format . They're well done, but perhaps my own prl'Judi c-es 111 favor of Sonny kel.'p me f r om P.nJOylng them as much as th" other <, I can easily r<'COmmend both th<>">e albums. though you 'd have to be able to acr.c-pt some fL•nk wdh Sonny's All anit e s1de Che-ck Sonny Fortune out. He's got a lot to say and does it wrth a d1sllncl1ve sound. B ut, of you'rr.• looking for the sarne mt en!.lly he off ers l 1ve, you won't f rnd don thesP or any other record, excPpt for parts of Awakening (Hor1zon) and Mll<:'s Davis' Pangea (Japanese CBS) . I'm still wailing for h1m t" do · Bill Wahl a l1v<:> album . FREDDIE HUBBARD SUPER BLUE on eluding: Take It To The Ozone The Go•pel Truth Theme For Kareem To Her Ladyship The Surest Th1ngs Con Change JC 35386 This is certainly Freddie's strongest album l o date. H1 s virtuosity 011 trumpet surpa sses hiS ri vals and w1 11 d"l i ght old and new fa ns alike SPECIAL·WITH THIS AD! $4.99 AT LP $5.97 Tape Eastern Hills Mall Chautauqua Mall 01 ean Center Mall U.U.A.B. MUSIC COMMITTEE PRESENTS The Upstate Association TRIBUTE TO BIRO AND MONK - TOMATO - TOM -2-9002 He1ner Stadler has radt call y rearranged three compoc;oltons each from Parker (" Atr Concd•onmg," " Au PnvatP" and "Perhaps") and M onk ("Ba Lue Bo!Jvar Ba- Lues-Are. " "Stra 1ght No Chaser" and " M1steri oso "I With a sP-xtct of Thad JonC'c;, George Adam s, Georqe Lewrs. Stanl"y Cowr-11 , Reggrc Workman and L ennrc Whi te (wtth appearan<PS from Warren Sm1 th and Cecil Bn dgewater) the mus1 c explo1ts thf' compos1t1ons and shou ld be vi owed as a poc;t-Ornt• tle read1ng of bebop Don't expect a stra1ght bl ow1 ng session . Parkfor's "Perhaps" IS the c losest Stadl er oxplo1ts the angulanly of thl' compo~l lo ons' l•ncs and rearranges the ensemble- to ernphas 1ze polytonaJ dy, staggennq solos so that overlap ex 1sl s between th e solo offor ts. The playong here by all the part rc1pants rs brilltant In its own way th1· musiC rs brilliant ly rearrang<>d and th1~ album rs th C' type of lnbut<> that, because it r efuses to sen ltmentally sl obber· over th e past and recogn•zes thr rnnovat1onc; m Jazz ovPr I hi.' pas t l hr rty years. serves to properly sduate th e music Monk should be (and Bord would be) pl<•ased -Ron Wetnsl ock ZOOT SIMS MEETS JIMMY ROWLES - IF I'M LUCKY PABLO 2310-803 Th e combination of the Ll.'slonan saxophone of Zoot Sims with the unpredictable swmg of Jrmmy RowiPs has produced one of the ftnesl sw1ng•ng albums tn qu1t" awhil<> Zoot 1s so :omant•c yet never maudlin or overly scnllmental andJimmy .Mart Featuring SamNoto Nick Brignola Sal Nistico - trumpet - baritone salt - tenor sax With AI Tinney - piano Nick Molfese - bass l ou Marino - drums FRIDAY, SEPTEMBER 15 - 10 PM U.B. Main St. Campus - at Fountain Square behind Squire Hall. 13 �adding his own zany touch. Those of you sick of Cole Porter's "It's All Right With Me" from the Eastern A irlines commercial will f ind this treatment fresh and spirited. George Mraz on bass and M ousie A lexander provide the underp1nning for one of the best mainstream jazz records I've heard and one of th~:> best Pablo has put out. Sw.ng l1ves - Ron Weinst ock "AUNTI E NATURE" by Lloyd Garber. New - music improvis ation book for guitarists and others . Fragmented thoughts; f 1ngerboard patterns; clusters; prepared guitar; compositions ($37.00) . · e NERGY PATTERNS" solo guitar recording ($10.00). tnt. M .O. to Lloyd Garber. Box 7020. Station "A", Toronto, Canada M 5W 1X7. HANDM ADE B RAZI LIAN ROSEWOOD GUITAR for sale. Fancy inlays and beaut1ful tone. $950. Rosewood classical with ebony f ingerboard and gold tuning machines. $600. Also custom lutes , mandolins, dul cimers, guitars, and f ine repairs . B ernard Lehmann, 34 E lton St., Rochester, N.Y. 716-461 -2 117. CIGGGified This space is avai I abl e to private individuals. organizations, mail -order houses, etc . The cost •s 10c per word - minimum charge $3. Send copy and payment to BJR - 1335 Main Street, Buffalo , N. Y. 14209. DOUB LE BASSES: Engl t ~h . llal 1an, FrC'nc:h, German. Buy, rent or sell. Some great Jazz basses on hand. Or. George Woodall, 416-494 - 4846, P .0 . Box 426, Station K, Toronto. IMPORTS from Japan and el sewhere. Sony, East Wind. Trio. BYG, T imeless .nd many other labels . Albums by Coltrane, B r uton, M iles, Woody Shaw, etc. Free l •sts - International Recor ds, Box 717, Dept. EJ. Mentone. Caltfornia 92359. what~ CADENCE Monthly Jazz Magaz.ne. 100's of revtews plus oral histones. interviews, news. & Blues Fantasllr.! Sampl e $1.25 Subscnption $11. CADENCE, At 1 Box 345. Redwood. N .Y. 13679 happening BUFFALO Tralfamadore Cafe - 2610 Ma1n St. at F1flmorc- 836-9678Double Image Sept. 8 & 9; Phil Woods Sept 15 & 16; Sonny Fortune Sept . 22 & 23; Spider Martin Sept. 29 & 30. The Upstate A ssociation - "WNY All Star" typ~> quintet Sept. 15 at 10 PM - Squ1re Hall Fountain area , U B. Matn St. campus . Vinei - Su - 9'78 West at Breckenridg<' - 882-5225 - Moody Street F,.. & Sat nights Sun afternoons - jam sesstons. B agatelle - Mam & W1 nspear · Joe Broncato/piano & Jac~ Norris/ gu1tar - Fri & Sat . 9 - 1 Tara M anor - 5100 Main St. Jack Bacon M organ Street Stampers with E l i Konikoff Fri . & Sat. niqhts . C.P.G. - Central Park Grill - 2519 Matn Sb.- Jau Jam Mon. ntghts. Bona Vista - 1504 Hertel - B lues & Jazz. JAZZ RECORDS FOR SALE . W•de select 1on of t1tles .. mostly out-of-pnnt. For f ree catalogs: JAZZ HOUSE , Box 455 (BJR), Adelatde St E .P 0 , Toron to, Ontario, Canada M5C 1J6. STUDY SAXOPHONE, FLUTE & CLARINET with 01ck Griffo (Woody Herman , Tommy Dorsey, Bflo Phtlharmontc, Emil Palame. etc). Al so - Lessons and or coaching sessions on J8ZZ tmproviStng and styi Ps. Call (716) 856 - 8916 . TORONTO Bourbon Strut - 180 Oueen St. , W. See ad. * Central Park Grill George' s Spaghetti House · 290 Dundas St., E . See ad. Yettowfingers • 1280 Bay St · Th•· bt>~t tn Jazz The Garden Party - 82 Av enue Road - P1an•st Joel Shulman Monday to Saturday from noon - also Sunday evenings from 8;30 PM. Nag' s Head - Toronto Eaton Centre - Yonge and Dundas Sts. Jim McHarg's M1dniqht Special every Sunday from Spmto 8 pm. The Por ts - Summerh i ll Avenue at Yonge Street - TorontoExcelsiOr Jazz Band Saturdays from 3 to 6pm . (2) - n. Fr . (sen'trel park grill) 1.) Unpretentious bar, affectiOnately known as CPG:* a) offer s a little something for everyone; b) ltve music three n•ghts a week, featur ing Folk, Jazz and Bluegrass; c) and there' s never any cover; d) also has a great sound system f or the rest of the week ; e) always serv ing reason ably priced drinks and sandwiches 2.) ONE GOOD TIME! ROCHESTER JAZZ JAM every Mon.: feat. JAMES CLARK ROTATING TUES.: ACOUSTIC MUSIC POINTLESS BROS IBLUEGRASS) OPEN MIKE: Sun. W/Kathy Moriarty *CENTRAL PARK GRILL 2519 Main St. - - - - -- 836-9466 - -- - -- - . --· 14 --' Club West Indies - Mon Jon Wetss ; Tue<, Sphcr f' S Ouartel and gue~ts; Wed Nate Rawls J.J. Lounge - Jam sess1ons every Sun Glass Onion - Sept . 3- 6 Spyro Gyra; Sept 13 16 Geo rg~:> T. Gregory Band; Duke Jupder every Sun Casablanca - Scott Beatty n1ghtly except Sun Chez Jean Pierre - call for information 325 · 3329 Monticell o Room - Tue s. · Sat Jack MahNt and thl' Salt C1ty Six. Red Creek - Sept. 6 & 7 Clarr•nc: e "Gal(•mouth" Brown; Sept. 13 & 14 Harvey M andel Stone St. Pub - Jazz Wed. - Sat. Call club for 1nfcwmalton 232 - 9839. U. of R. Strong Auditor ium - Sept . 24 Papa John Crnach and James Cotton. 2 shows. 7 P .M . & 10 P .M . Ti ckets $4.50 Paper M oon - Sept. 5, 6, 12 John M oonl'y ; Sept. 7 - 9 Wall at the Door; Sept. 13 - 17 Roomful! of Blues; Sept. 19 & 20 Acdts; . . �·- -·-- --- - -- -------David Friedman/ David Samuels/ Michael DiPasqua/ Harvie Swartz DOUBLE IMAGE SEPT. 8 &9 FRI . & SAT.: 10 -2 PHIL WOODS THE QUARTET with Mike Mi l el l o. Steve Gilmore & Bill Goodwin SEPT. 15&16 FRI. & SAT.: 2 SHOWS 9 & 12 - - SPECIAL REDUCED PRICE FOR EARLY SHOWS FOR SONNY FORTUNE & PHIL WOODS! - - - SONNY FORTUNE QUINTET with Chas. Sullivan. Chas. Eubanks. Eric Gravatt & Wayne Dockery SEPT. 22&23 FRI. & SAT.; 2 SHOWS 9 & 12 SPIDER mARTin SEPT. 29 & 30 FRI. & SAT.: 10 - 2 COMING OCT. 6. 7. 8 - VAN MANACCHUS TRIO with Miroslav Vitous & Billy Hart! TUESDAYS: Buffalo Comedy Experiment THURSDAYS: Fresh SUNDAYS: Theatre Productions by U.B. Theatre Dept. tralfamadore cafe 2610 main at fillmore 836-9678 �Bourbon Street TORONTO (416) 598-3020 The Finest in Italian Cuisine Dining Lounge Featuring the Best in Chinese Food. And SUPER JAZZ ARTISTS! Monday to Saturday - 9 PM- 1 AM \(' ('I) 0.., ( {",( . - ~--~· ('t" EDDIE ·cleanheadH VINSON September 5- 17 SONNY STITT For Two Weeks SEPTEMBER 4 to 16 with BERNIE SENENSKY - piano TERRY CLARKE - drums DAVE PIL TCH - bass ~- Bob Haggart/ Yank Lawson September 19 24 AL COHN SepL. 26- Oct. 8 Phone Ahead for Dinn er Rese• v ut•on !:i GEORGE COLEMAN Tues. • Sat. 9 - 1 Sat . Afternoon 3 - 5 Sunday 6 - 10 No Cover For Two Weeks SEPTEMBER 18 to 30 with BERNIE SENENSKY - piano TERRY CLARKE - drums DAVE PILTCH - bass GEORGE' S SP AGHETII HOUSE 290 DUNDAS STREET. E. TORONTO. ONT.- 923 • 9887 1280 Bay Street (at Yorkville) Toronto F,•,Hl""'Y some> of Canadc~"::. Top Jazz Art i sts n•ghtly ,,s w el l as our f amous I t all em Cu1 sone. (416) 967 - 9337 - ----, ELMWOOD VILLAGE TICKETS I SHAW FESTIVAL - ARTPARK MELODY FAIR NIAGARA FALLS CONVENTION CENTER CANADIAN MIME THEATRE KLEINHAI\IS MUSIC HALL TRALFAMADORE TOROI\JTO & N. Y. SHOWS or Wt:EKEND BRUNCH • THE FOOD IS..... SOUL GOOD! • Underground Railroad Tavern ~1.\llR IF'tt:lXIlX.dl ~~~~~ri!ill"'io\\)~'-.tt A ll _Maj or Sports & Thea tr ica l Events U51\lftC Stru.t Eaat.1bronto 2b· OntArlo-Tetepl\one 869 -1400 fully IJ cencod by L.L.B.O. just 1n town drop around .... and try our Late Night L•te B•te ..... . j J 510Y2 ELMWOOD near W. UTICA. BUFFALO 884 - 0122 Mon.-Fn . 9:30-5:00 Sat. 11 :00- 5:00 -. II uazx ( t_-epott ,. 1335 rron street r:~I J: : : A~3 ~ Wfoo.n~ ~2m L ::.~ .:.';:)):_. return postage guaranteed CI~JS~Y ·· - · .·.-.'.~. :.:i31A:\Y S. U. :l. Y. : . • !.· . E:.:FFt.:_c , ::y 11214 SJG � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4242 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 55 Date A point or period of time associated with an event in the lifecycle of the resource 9/1/1978 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Music > Periodicals. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 55 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/4c30527e37609accb6a0cd39190c6cad.pdf d4d1191ac60fabc34a03b4ca6f37feb6 PDF Text Text '. " October '78 ML Issue 56 Free ) 138 l9 Preddie Hubbard . Buffalo Rochester/Toronto · s ~.~to l JIGZZ r=repott �Buffalo State Student Union Board (878-6728) proudly present BUFFALO STATE LOVES JAZZ! FRIDAY. NOVEMBER 3·SATUR DAY .NOVEMBER 4·SUNDA Y .NOVEMBER 5 THE MOST EXCITING FESTIVAL OF JAZZ YOU'LL EVER SEE! PERFORMANCES, WORKSHOPS , FILMS, PANELS, DISCUSSIONS A THREE DAY EVENT starring JAZZ SAX LEGEND THE INCREDIBLE SONNY ROLLINS SUNRA Special Guest Vocalist MARK MURPHY SATURDAY, NOVEMBER 4 MOOT HALL NIGHTCLUB Very Special Guest ANTHONY BRAXTON SUNDAY, NOVEMBER 5 BUFF STATE SOCIAL HALL Twilight Concert at 4 pm Listen to WBFO and WEBR for details on workshops, jazz critic 's panels, Tickets on sale at Buff State, U .B., Central Tickets and Record Theatre local performances, films and other presentations dezign by Andrew Elias �it a point to go and see as much as you possibly can . Keep the jazz scene growing . Support Live Music. Freddie Hubbard BASIE On Saturday, October 28 the Buffalo area wi II tie treated to a con ce rt by the Count Basi e Orchestra - to be held at the Shea' s Buffalo Th eatre . Th e Basi e · Orchestra was born from the Benny Moten Orchestra after the dea th of Moten in 1935 . Shortly after, the band hit New York City and began to r ece ive wide critical acclaim . Th e Basie Orchestra has been one of the most powerful f orces in jazz since. Som e of the people in the early Basi e band were Lester Young, Jimmy Rushing, Herschel Evans, Earl Warr en, Buck Clayton, Harry Edison & Joe Jones . To run down th e names who've work ed withBasi e through the year s would fill a page, so a bri ef list will have to suffice· Buddy Tat e, J.J. John son, Helen Humes , Clark Terry, Wardell Gray, Thad Jones, Frank Foste r & Benny Carter are just a f ew. Alrea dy in its fifth- deca de, the Basi e band's place in jazz remains in th e for efront . Don ' t mi ss them on the 28th . Freddi e Hubbard, one of th e fin er trump et ers in jazz will be appearing at Shea's Buffal o Th eatr<> on October 20. He ' ll be opening th e concert f or Ramsey L ewi s . . Hubbard, born in lndi ana pol is in 1938, ~tudi"d m e llop~on e 1n h1gh school. H1s f1rst gigswere withth e Mor> tgomery Bro s in lndi a_napolis . He played with Sonny Roliir s for 4 month s in 1960, and th en wo rked with Slide Hamptcr , Quin• ·y Jones and J .J. John son . He became popul ar wi thArtB! akeyand th 0 Jazz Me%en;Jers , and later l ed h1 s own group ~ and playe d w1 ~h Max Ro ach. Since th e 60' s Hubbard has t ou re d eY t ens ively with his bands and other s, including the V .S.O .P . quirtet. T o date hP' s parti cip at ed in countl es s recor ding d::ttes . Af ier a p0r•od of fun k albums for CBS, Freddie cam e ou t wi th Super BI•Je for th e sam e label. It's a fin e, strai ght-ahr e< d alhum ofir>rir·g musi c fro m th e: real Freddi e Hubbard. Th e concert will be presen t P.d by th e U .IJ .A .B . Musi ~ Commit t ee . JAZZ WEEKEND AT BUFF STATE On November 3, 4 & 5 ther e' II be a marathon jazz week end on Buff Stat e's Elmwood Avenue campus. Friday ' evening you'll be abl e to hea r various local groups po ss ibly including Paul Gresham and the Buffalo Jazz Workshop . On Saturday morning vo calist Mark Murphy will do a workshop at the campus, and that same evening Mark wi II open a concert for Sonny Roll ins. Among th e events on Sun.:Jay a1·e concerts by Anthony Braxton and Sun Ra and the Arkestra . As of this writing all the plans haven't been finalized. Th ere's much more . Consult the ad in this issue for more , · information. EDITOR & PUBLISHER - Bi II Wahl CONTRIBUTORS - Bill Besecker, Peter Beuerl ein, Chuck Braman , Chris Colombi , Jr. , Dal e Funtash , Bill Harris, Hal Hill, Brad Hunt, John Hunt , Willard Jenki ns, Jr ., Jim Laniok , Tom Mazzone , Bob Sheperdson, John Simna, Paul Smith, Paula Wahl and Ron Weinsto ck . COVER ILLUSTRATOR -Sabrina Mayberry Smith ADVERTISING Manager - National & Local - Bob Riley (716) 883-3909 Niagara Falls/Lockport - Ed Supple (716) 297-7878 · Toronto/Hamilton - Hal Hill (416) 742-4081 (after 6 PM) CORRESPONDENTSRochester - Jim Laniok Syracuse - Bob Shepherdson Toronto- Hal Hill Address correspondence to : Buffalo Jazz Report · 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext. 11 PRINTED IN U.S.A . MILESTONE JAZZSTARS _ , J. Th e tour t o go down in jazz history books for 19_78 WI 11 ;: be th e Mil eston e Jazz stars -Ron Carter, Sonny Rollins and 1 McCoy Tyner with drummer AI Foster . ' Unfortunately, no one in Buffalo , Rochester or Toronto :j book ed the group . If you ' r e willing to drive 3-1 / 2 hours from ~ Buffalo - you can see them . Th ey' II be at the Palace Theatn: (. in Ci eveland on Tuesday , October 10. :j See the ad in this issue for details . ~ © 1978 - Buffalo Jazz Report No portion of this publication may be reproduced without written consent from the publisher. The Buffalo Jazz Report, founded in March 1974, is pub1ished monthly at Buffalo, N. Y. BJR is distributed free of charge throughout Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, lockport and Jamestown . We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $7/year, paid in advance. TORONTO CABARET Res idents of Toronto and visitors to the area will soon be abl e t o see a cabaret starring Salome Bey, opening at Basin Street on Sept. 25 . Indigo was conceived by Ms . Bey who has just returned t o Toronto after working on Broadway . It traces the developm ent of black musi c, covering gospel , jazz, blues and rhythm and blues . With Salome will be veteran cabaret performer Len Gibson and actor/ singer Rudy Webb. She'll be -backed by . a tri o. Producer David Packett stated that Indigo is the first black musi ca l review in Toronto . Basin Street (180 Queen St., W. abo ve Bourbon Street) is undergoing renovations for Indigo - premi ering on the 25th , with th e official press opening on Octobe r 4. · WE GOOFED! We somehow omitted th e credit for the photograph of Pat LaBarbera in last month's issue. Cred it for that shot goes to Toronto photographer Gerry Bahl, who also took the photo on whi ch the cover illustration was based . By th e way , Gerry has a large stock of photos of jazz artists f or sale. If you ' re looking for a shot of your favorite , drop a I ine to Gerry c/o Jazz Report. SUPPORT LIVE MUSIC COLUMN You ' r e always hearing support live musi c, support live musi c, support live music ..... Well, this is a good month to put that into practice . _Ther e' s a hell of a lot going on around here and its gal to be supported to keep it happening. Check out all the events I isted in this issue and make 3 DUKE ELLINGTON WORLD JAZZ COMPETITION ANNOUNCED FOR 1978 - '79 - JAZZ SOLOISTS, BANDS TO VIE FOR INTERNATIONAL HONORS New York - The International Jazz Federation is organizing a Duke Ellington World Jazz Compet ition for Soloists and Bands whi ch will take place starting September 19, 1978 to February 1980 when the World Finals will take place in New York City . Th e Ellington Competition IS inviting soloists and bands from all nations to compete in th i s first worldwide comp~;!ti­ tive jazz event . There is no age limitation for contestants ~ �and sister, Ruth Ellington . "We believe the Duke Ellington World Jazz Competition will inspire new creative talent and perpetuate his jazz ideals among all who love jazz wh erever they live in the world," they said in a joint statement. "Our Duke was a humanitarian as well as a genius and his unique contributions to music werebothane xpressionofhis personal philosophy and a way of saying toallthe world, "I LOVE YOU MADLY" . For further details and rul es write to: INTERNATIONAL JAZZ FEDERATION, Suite 1203, 1697 Broadway, New York, N.Y. 10019. a!rd~sJJ sterlin:J and gold jcwdr~ imported, r~c~ded. ~military 9arb head 9&1r and 91f~s s:s All4YJ 5t. 882-8200 Mo'1. -thru So.t. 12:oo- b:oo though parti cular attention will be given to young artists. Gold, Silver, and Bronz e Duke Ellington Medals will be awarded to finalists in the foll owing categories: Brass, Reeds, Keyboard, Rhythm , Vo cal & Mi scellaneous, and Groups . A list of additional outstanding prizes will be announc ed shortly . John Lewts, President of th e Ameri can Bran ch Offi ce of the lnte.rnational Jazz Federation, will serve as Cha1rman of the Jury whi ch will include recognized Jazz authorities. An lr~ternational Advi sory Commi~tee will assist in implementing the Competition and stimulating participation.. . • The Duke Ellington World Jazz Competition IS launched with approval given by the late jazz musician's son, M er cer, . LIVE ... AT CLEVELAND'S , oooooooooooooooooooc::iooooooooo • PALAcETHEATRE October 10th Together inco~cert I · Doug Cole Twenty Years of Jazz and Still Smiling for the first and only time ... MILESTONE · JAZZSTARS with ... Ron Carter Sonny Rollins McCoy·Tyner Tuesday at 8p.m. -$475 & $675 Charge By Phone To VISA or MASTERCHARGE Call 523-1755 · Tickets on sale at PALACE BOX OFFICE, 1621 Euclid Ave., Cleveland, 44i 15, and at ALL TICKETRON OUTLETS. 4 A TRIBUTE TO DOUG AND DORIAN COLE September 21st ~as indeed a historic day in the annals of jazz for Toronto. At the famed Casa Lama an event took place to honour Doug and Dorian Cole for their contribution to Jazz, and to present an annua I Jazz Scho I a rsh i p in their honour. 1 Musi cians who volunteered the-ir services for this occ asion reads like a who's who, and if I have mi!"sed anyone from th e I ist, it is simply because I have neve r seen so many gathered together at one time: Eug ene Amaro, ,Norm Amadio, Ar chi e All eyene, Peter Appl eyard, Guido Basso , Ed Bi cke rt, George Col eman, Ron Coli ier, A If Coward, Jimmy Dal e, Wray Downes, Jerry Full er, Jim Galloway, Bill Goddard, Dave Hammer, Hagood Hardy, Herbie He I big, Moe Koffman, Russ Littl e, Terry Logan, Pete Magadini, Rob McConnell, I an McDougall, Phil Nimmons, Berni e Piltch, Claude Ranger, Ron Rully, Bernie Senen<>ky, Herbie Spanier, Neil Swainson, Don Thompson, Butch Wata nabe, Rick Wilkins, Dave Yound, and singers Salome B ey, Jodi Drake, Don Francks, Aura Rully, Hazel Walker. A gala festival indeed, and one which we will not forg et for many years to come. Wh en Doug and" Dorian Cole ftrst became involv ed with jazz it was at the plac e we now know as George's Spaghetti House at Dundas and Sherbourne. Initially it was a hotel and Doug use to run the place virtually on his own for some time, until Moe Koffman suggested they have after hour sessions th ere on weekends . Well, that t ook off and from that po 1nt on many wonderful and funny things happen ed to th e Coles. Moe Koffman ev~rtually became the booking agent f or the club and to this day still ·handlesallthe tasks of obtaining and providing the best . in jazz. Some of the peopl e who went through ' those doors at Sherbourne and played not only included the list of musi c ians abov e but visiting musi c 1ans, �some of whom actually worked as waiters, cleaners and musi cians. Bop pianist AI Haig was resident there for a long time and really did perform the above duties. Others came and jammed and visited with Doug, people like Phil Wood s, Lou Donaldson, Donald Byrd, George Coleman, Blue Mitchell. Chari ie Mingus, Thelonious Monk . Bob Brook meyer, Sam Noto. and even Buddy Greco and· Stevie Wonder too. Bourbon Street was next on the club Jist for the Coles and provides a home for the international artists booked for the club by Paul Grosney, himself a musician. The list of musicians who have played at Bourbon Street is endless, but just a few of the many are: Bobby Hackett, Vi c Dickenson, Mary Lou Williams, Art Pepper, Zoot Sims. Oscar Peterson, B enny Carter. Joe Venuti. Art Farmer, Barhey Kessel. Ri chie Kamuca. Frank Rosolino, Sal Nistico, Chet Baker. Flip Phillips. Gap Mangione. Eddie Daniels, and the list goes on and on ... Recordings were made there too. with engineer Don Thompson albums by the late Paul Desmond andJim Hall are available today. as is a two record set by the Moe Koffman Quintet recorded I ive at George's. Ther e are numerous stories that I'm sure will be told some day of th e trials and tribulation s of the Coles and a book could be the end result I'm sure . In the meantime. there is sti II pi enty of great jazz to be found at both c I ubs. together with great Italian Food. pleasant service by professionals. and now a chance for you to help in the annual tribut e to Doug and Dorian Col e by assisting with the Jazz Scholarship Fund. Remember you could be the recipient of the fund, or your Son or Daughter. If you'd like to contribute to the fund. call Gordon Chalmers at (416) 429 -3 598 or John Henry Jackson at (416) 869 - 1400 . On Saturday, October 7- I'll be doing a four hour special dedicated to th e Coles on "From Bebop to Now" - 10 PM2 AM on CKQS-FM 94.9. B e a fri end of Jazz . -Hal Hill for the Performing Arts Proudly Presents LITTLE GIANT Johnny Griffin Returns Chicago-born t enor saxophonist Johnny Griffin has returned to America to do a on e month tour from Sept. 17- Oct. 22. It is his first appea ran ce in h1s homeland since 1963- 15 year s ago . Griffin's big sound and superb command gained him a large following in the lat e fifti es. working and recording with Art Blakey. Monk and others as well as on his own. He can be heard on many records on the Riverside label. Galaxy Records has r ecently signed Griffin and a new album will be recorded this month . Inner City records will also be rel easi ng a two record set of Griffin live in Japan Welcome home . COUNT BAS IE JOE VENUTI Jo e Venuti. known since the 1920's as the first great jazz violinist passed away in August. He wotJJd have been 74 on September 1st. Joe was born aboard a ship in 1904which was bringing the family to the U.S. as immigrants from Italy . He recorded with guitarist Eddie Lang from 1925-33 and they participated on hundreds of record dates during that time. Venuti began a series of records in 1926, the most famous being " Venuti's Blue Four". He developed the t echnique of playing chords by tying the bow around the instrument and playing all four strings at once. In recent years Joe has been touring and recording ext ensively. His most recent albums are on the Chiaroscuro label. & HIS ORCHESTRA SAT., OCT. 28 8:30PM TICKETS: $7.50 &$6 Support At Buff State, U, B, Main St., SUNY Fredonia, Jerry D'Amico's in Falls, Central, Elmwood Village & Amherst Tickets Outlets, Sam's St. Cotharines, Hamilton & Foils. live Music For More lnfonnation Call Shea's Box Office847-0050 5 �1965, the final year of the "classic" quartet's existence, which I have found to be their most creative period. Vol. 1 consists entirely of previously unissued recordings by Coltrane, pianist McCoy Tyner , bassist Jimmy Garrison, and drummer Elvin Jones . Vol. 2, drawn from both previously released and unreleased sessions from 1963 and '65, offers all of the recordings made by the quartet with Roy Haynes substituting for Jones. During their existence the Coltrane quartet established somewhat of a formula for structuring their music in terms of instrument roles, solo order, and style. However, I find their music to be much more interesting when they strayed from these convent ions, and several such instances are documented on Vol. 1, some of which are so unique as to merit special consideration. "Living Space," for example, is the only instance I know of where Coltrane used the technique of overdubbing, which is employed quite effectively . But for me the real gem of this collection is "Untitled 90320," one of the most advanced pieces ever recorded by the quartet. Here Coltrane seems to float on top of the rhythm section, responsive to it but freed from its restrictions . The piece maintains much of the turbulent, unsettled feeling that characterized many of Trane's later recordings, but within the context of the "classic" quartet which was, in many ways, the ideal setting for his post '50s developments. For the most, this is an excellent set that should be of interest to serious jazz listeners. Roy Haynes is one of the greatest of all modern drummers, an innovator whose style has proven compatible with nearly all of the greatest jazzmen , from Charlie Parker to Chick Corea . Although Elvin Jones was probably better suited to Coltrane's midsixties style, Hayne's playing on Vol. 2 fits suprisingly well within the context of the quartet. The music on Vol. 2 leans more toward the standard Coltrane fare, and in this regard is probably less valuable than Vol. 1. Also since half of Vol. 2 has been previously issued over the course of four earlier LPs, the aficianos who might have been originally attracted to the set wiil likely own much of it already. But for those interested in such a collection, Vol. 2 is well conceived and packaged, and hopefully is an indication of moregoodthingstocome . -Chuck Braman record~ FOUR DECADES OF JAZZ - XANADU 5001 This two-record set is aptly sub-titled a musical history of Xanadu, a · label headed by western jazz producer Don Schlitten. For this package, Don has selected twenty one tracks from the same number of records in his catalog. Most of these are from the Silver series-newly recorded material by a long I ist of artists including Jimmy Raney , Sam Nota, AI Cohn, Dexter Gordon, Sonny Criss, Jimmy Heath, etc . Side4 samples some of the gold series - older material ('40's & '50's) by Tal Farlow, Bird, Bud Powell, Billie Holliday, Art Pepper& Diz. Each cut is accompan ied by a bri ef bio in the liner, making this an interesting and informative set for those bui Iding a jazz collection, or anyone on a tight budget. All thes e tun <?s have been previously issued on Xanadu . -Bill Wahl JOHN COLTRANE: THE MASTERY OF JOHN COLTRANE VOL. 1 - FEELIN' GOOD- ABC/IMPULSE IZ 9345/2 THE MASTERY OF JOHN COLTRANE VOL. 2 - ~TO THE BEAT OF A DIFFERENT DRUMMER - ABC/IMPULSE IZ t346/2 Fortunately for jazz fans, the popular interest in the music of saxophonist John Coltrane has made it possible for Impulse to · sporadically issue most of Coltrane's unreleased recording sessions at the rate of about one or two LPs a year. The latest product of these endeavors is "The Mastery Of John Coltrane Vols. 1 & 2." The first in a series of five projected " Coltrane twofers. Most of the music on these recordings is drawn from Don't Do It!! If you were going to Alltronics on Eggert Rd. for · stereo equipment, don't do it. The reason is simple; due to the growth of our business we need much more room and are moving to Sheridan Drive where we have opened the largest, strictly home audio component store in Buffalo. We are still the Alltronics you know. The SAME PEOPLE, SAME LOW PRICES and SAME GREAT PERSONAL SERVICE! The difference is, better demonstration facilities and more selection. So stop in and see us at the all new Alltronics - you'll be glad you did. STEREO INC. 3417 Sheridan Drive (between Bailey & Millersport) Phone: 7,1 6/834-2266 6 NEW FROM PABLO Producer Norman Granz' Pablo label continues to issue quality items from its stable of regulars . Drummer Louis Bellson's Explosion Orchestra is featured in an album called "Sunshine Rock" (Pablo 2310 813). The band is made up of West Coast stalwarts, including trumpeters Cat Anderson, Conte Cando I i and Bobby Shew, and saxophonists Pete Christlieb, Don Menza and Ted Nash, among many others. In spite of the album title, this is basically a straightahead big band date . There is a new version of Bellson's "The Hawk Talks," other new pieces by Bellson, two by Bill Holman, and a very slightly disguised "SweetGeorgiaBrown" (here called "Feels So Good") which features (presumably) a plunger-muted Cat Anderson over saxes and handclapping. Some good charts for big band (arranger unidentified), with very good soloists, all driven energetically by Louis Bell son. •Jazz Maturity . .. Where It's Coming From" (Pablo 2310 816) is a rather awkward title for a nicely informal session featuring trumpeters Roy Eldridge and Dizzy Gillespie, pianist Oscar Peterson, bassist Ray Brown and drummer Mickey Raker . These men have been around for more than a few years now, but they are in good form throughout. They play two blues numbers and four familiar items, including an unconventionally slow "Take the 'A~ Train." This is a relaxed blowing session, and everyone gets plenty of wellused solo space. Guitarist Joe Pass continues his series of solo recordings with "Vi rtu6so No . 3" (Pablo 2310 805) . In earlier recordings in this series, Pass examined, for the most part, standards. Here, he plays an even dozen of his own compositions. And �the emphasis seems to be on the· compositions more than on improvisation , although the latter i s by no means neglected . The moods vary from gentl e through latin to straight ahead swing . It's all beautifully conc e ived and flawl essly executed . Oscar Peterson and Count Basie r eturn for MSatch and Josh .. .Again• (Pablo 2310 802), a sequel t o their similarly titled earl ier album ofayearortwoago . Unlike mo st sequels , the second time here . is every bit as good as the first. Th e sharply contrasting styl es of th e two compliment each other nicely, and the two play as well as ever . As if more contrast were needed, Peterson and Basi e each play electri c piano on on e cut. Th eir individualism com es through' quite c l earlyeven on th e el ectri c instrument . Th ere is no sense of competit ion here, rather one of admirati on and respect. It's all very r elaxed, and at the same time, exciting . Bassist John Heard and drummer Louis Bell son are on hand with firm support . -John Si mna JIMMY FORREST ._ BLACK FORREST - DELMARK 427 Though this date has been out for a f ew years it w i ll be new to most Jazz Report l ist eners , including myse lf (and JR edit or Bill Wahl who is an Elvin Jone s freak) . Forrest leads a swinging hard-bop date that inc ludes Harold Mabern on piano, Grant Green on guitar , Gene Ramey on bass and Elvin Jones on drums . Thi s is a stra i ght hard bop date with Elvin playing som e straight swinging drums , not his more familiar polyrhythmi c styl e. Forrest is on e of those great southwestern sa x pi ayers with a big fluent sound . One hear s a l ot of Charl ie Parke r in Forrest whi ch i sn't surpri s ing since they wer e both sectionmates i n Jay M cShann's big band whi.ch also included bassist Ram ey . Forrest has had hmure with Basi e and others and I beli eve is· now working w ith AI Grey in a group they led together . He al so had a hit r ecord call ed "Night Train . " From th e op ening moments of th e fir st tak e of th e titl e track wh er e he t ells what he want s from the band , Forre st leads some forceful straightahead , bluesy bop . Ramey and Jones provide strong anchorage for .Forrest's full-bodied gusty playing on the fast "Black Forrest," the loping "Dog It" or on the ballads like "These Foolish Things.• Mr .· Mabern and Mr. Green take th ere own share of strong solo statements. A very solid mainstream date presented in its original mono with no b. s. fake stereo . Bill will like this and . most hard bop fans will t oo . - Ron Weinstock ART BLAKEY - LIVE MESSENGERS - BLUE NOTE BN- . LA473-J2 , Th e drum , for Art Blakey, ha s be en a he lm from which . he' s sent th e driv i ng m es sage of the jazza' Pen to countless · people f or over 20 yea r s . Th e influence and r espect Blakey · commands t o this day i s r efl ect ed by th is album, easily among : mo st important of the uni ss ued material unearth ed f r om Blue ; Not e' s sec r et vault s. .; Th e fir st 3 side s of this doubl e LP (f r om 1961 - 2) f eatures ' on e of Blak ey 's mo st pow erful band s , with th e perennial : pi ano of Cedar Walton and a front line inc luding Freddi e ; Hubbard and Wayn e Shorter . Anyon e wondering why Hubbard' s ~ trumpet bec am e qui ck legend nee d only hea r th e magic ring ' r esoun ding her e, wh i le Short er (in a Tran e mood) i s ever the ; master balladee r . Bl ake y 's mill ion hands st eal th e show on ; Mosaic: a sm oker! l Side 4 i s th e m ain event , as we switch to 1954 and the fam ous Birdl and dat e that wa s pi votal in establ ishing Blakey as a l eader . Th at an y un issued mat er i al sh ould be f ound after 24 years i s inc r edi bl e, espec ially sinc e thi s session features th e immortal trump et of Cliffor d Brown . Her e was a man who r efus ed th e st er eotypes (drug s, et c. ) set for bla ck artists in r eal and or iginal . He co mmanded atrumpetartistrythat could erupt in brass luster , or sooth i ng l y pour i n th e softest loving · f ee ling . You can hea r his influ ence everywh er e, from the sass and street shin e of L ester Bowi e t o th e velv et muscle of Woody Sha w. For Browni e, black was th e fulln ess of musical color Presented by Shepard Enterprises �(what it is). Silver, the classic bass of Curley Russell, or the Parkerish blues of altoman Lou Donaldson . Aside from Blakey, how ever, it's Brownie who holds the sweets here. Art Blakey is a I iving institution of music . Here are some -Michael F. Hopkins reasons why . TACOS BURRITOS ENCHILADAS TOAST.~DAS First with the B.est in Buffalo 1247 Hertel Ave. · between Colvin & Delaware 873-6606 2114 Seneca St. 2 blocks north of Cazenovia . ·822- 7733 3355 Bailey Cit Minnesota 833-4566 w ~ t- Hours 11 -5 AM Daily I J ~-------------------------~ Swinging Place' i, Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week Wednesday & Sunday Hot Dog W/Kraut We Serve Food til 3:00 AM No B.S. Compare Our prices EEF EER B ILLIARDS &JUKEBOX OPEN EVERY MORNING TIL 4 AM 3178 BAILEY AVE. - 836-8QQ5 (;;u;ross from Capri SAVOY REISSUES Arista / Savoy Records has rec ently put out four more reissues of classic recordings . THE ORIGINAL JOHNNY OTIS SHOW (SJL 2230) collects thirty two sides featuring the writer, drummer, talent scouts, band leader, vibes player and occasional vocalist . Opening with four big band cuts and his hit "Harlem Nocturne", we gettwoJimmyRushing vocals . In the course of the record we heard shouter Redd Lyte, the group the Robins, blues-ballad singer Mel Walker and Little Esther Phillips who in her early teens sounded amazingly older. Pete 'Guitar' Lewis, Paul Qui nichette, Bi II Doggett , and Preston Love are among the musicians on these sides which are classic blues, jazz and R&B . Pete Welding's liner notes, taken from an ·interview with Otis are invaluable in understanding West Coast blues and jazz and this is a truly superb package . Another double record set is SIGNALS (SJL 2231) by Gigi Gryce/Duke Jordan and Hal Overton. Each of the four sides features a different group . Side one is Gigi Gryce , a very fine alto player who has disappeared, and Duke Jordan with a group including Oscar Pettiford and Kenny Clark e. Side two features Hal Overton in a group including Phil Woods . Gigi Gryce is featured on the last two sides . Side three in c ludes Art Farmer, Pettiford and Clarkeonasessionusing th e same ' instrumentation as Miles Davis 'Birth of th e Cool' re cording as several of the tracks recall that group . The final side is Gryce with Thelonious Monk, PercyHeathandArtBiakey, and Mqnk's "Gallop's Gallop" was never recorded by Monk ' s own groups. The music is of a very high standard and is well vaned . A very nice collection. Single albums in this batch include Booker Ervin's DOWN IN THE DUMPS (SJL 1119) and Errol Garner's YESTERDAYS (SJL 1118) . Booker Ervin was a fine bluesy T ex as t enor who spent time with Charles Mingus and Horace Parlan . This reissue features a session with Parlan, trumpet er Ri chard Williams and drummer Danny Richmond (longas soc iatedwith Mingus. Two selections feature vo calist Barbara Long , but the album is a feature for Ervin 's confident gutsy pl aying on bluesy tunes like the title track or ballads like "Autumn Leaves." The Errol I Garner combines two distinct groups of sessions . The first four sides feature Garner in a group including Slam Stewart's bass and humming including a ri otous "Laff Slam Laff." Here , as on the album's best tracks, Garner plays in a very stride derived fashion . On the remaining nine cuts, Garner plays with considerable relaxed swing and can .at times be bright, bo.uncy and tasty ("On the Sunny Si de of th e Street"). On afewcutshisornamentationsofth e mel ody str ike me as superficial (September Song). If you are a Garn er fan you'll probably disagree. As always packaging is exemplary, annotation is solid and the sound is generally excellent or th e best possibl e. Arista ' s reissue of the Savoy material i s something jazz and (in the case of the Otis reissue) blues fans can be th ankful for . -Ron Wein <>t ock BUD SHANK - HERITAGE - CONCORD JAZZ CJ 58 Reedman Bud Shank has been active on the We st Coast scene for many years. He is perhaps better known as a flutist, but on this recording he plays alto sax exclusively, and with more warmth and fullness of ton e than one might expect . The songs are , with one exception, older standards. Th e tempos tend to be up and swinging . In some cases, such as "I'm Getting Sentimental Over You," this is surprising, but it works quite well. The performances are outgoing and forceful, and Shank's ideas seem to flowsmoothlythroughout. ~r_t.. T_ o_ h-'e_"'-at-r"-' 'e}'-'--=--='--'--'-'-'-..::=.!._~8:..__....;•~· Sh _a"'""n-'~"":~ol'·..!.~~u-p~po!.. r...:t_i ...ng......:.~...o...rc_e_s..._t...h.;.o•~--gh.:.•·.;.s..o"'m~e•w~o.;h...a..t;..y~o~u"'n~g.ue..lrt.l,,_a..r ..e _ !...' �responds well t o Shank 's l ead, esp ecially in a secti on of counterpoint on "Stella by Star I i ght ." Mays also solos well, and has spac e t o devel op h is i de as. Th e r est of th e rhythm section also fits in well with Shank . Th ey are bassi st Bob M agnusson and drumm er Steve Schaeff er . You can ' t r ea lly ask for mu ch more - so I id song s , well play ed by musi cians with goo d ideas. A ver y goo d album. - John Simn a U.U.A.B. Music Committee Presents An Evening Of Beautiful Jazz. MORE PABLO Th e lat es t bilt ch fro m No r ma n Gr anz ' P abl o lab el inr:: lude.., two vol um es by Ml L T JACK SON and th e COUNT BAS IE B IG BAND (2310 - 822 & 23 10- 823) . Th 1s pr oves t o be a succ e s5ful coll aborati on, yi elding som e of th e m os t p ir> asant ~ u s i r: thr oughout t he fou r sidesJ w ith Ba s i e & B ag s as t he on ly sol oi st s. Both al bum s w er e don e at thP sa m e sess 1on 1n January of thi s yea r , so th ere i s no r eal diff er r> nce in soun d bet wee n th e t wo . Ea ch offer s a sweet and t asl ey se t of ba ll ads an d up - t empo pi ec es writt en by Ba s ie, Fr ank F oste r , E rn ie Wilkin s and other s, al ong with some ol d st andard s. An d y es Norman - I do hear Sarah V au gh an w ith th e r eed section on Lena & L enny ( Vol . 2) . Fri end s of ELLA F I TZGERALD will fin d a differ ent tw i st on L ady T ime (23 10 - 825) . Thi s one, don e i n J un e of thi s yea r i s a r ela xe d, infor mal gat herin g of El la, dr um m er L oui e Bell son and or gani st Jackie Dav i s (k i cking bass ) Ell a i s in fin e f orm as she r un s thr ough a coll ec t ion of e leve n tun es inc luding A ll Or Nothing A t A ll , I Cried For You , Sin ce I Fell Fo r You and M ack The Knife. Next , guitari st JOE P A SS depart s from hi s so l o gu itar f or mat (w ell doc um ent ed on Pab lo) an d com es up w i th Tudo B em! (2310- 824) . Per cuss i on1 st P aulino da Costa i s actu all y th e co - lead er for thi s sex t et da t e wh1 chal so i nc ludes guita r ist Osca r Cast ro Neves , drumm er Cl audi o Sinn, p ia n1s t Don Grus in and ba ssist Oct av ia B aill y . A s you 've p r obab l y f igured by now , th1 s i s Latin j azz allt he w ay . It' s a f in e exa mpl <-: w ith a fu l l, percus s i ve an d lyri ca l so un d. Piani st MON TY ALEXAN DE R usu al ly r ecord s i n so lo or t rio format s , but has expanded t o a sept et for Jamento (2 3 10 - 826) . Hi s int ent was to b lend ja zz w i th ca ly pso and rag gae an d it ca m e off ve r y wel l . He uses t wo drum mers and a con ga pI ayer her e w ith qui ck - fi nger ed gu itari st E r nes t Ran g l m an d ba ss i st An dy Simpkins Of th e s i x tun es, on ly t wo str ay f ro m th e Jam ai can styl e f lavor - th e I ightl y swi ng1 ng Slippery, an d a f as t f unky ver s i on of Geo r ge B en<; on' s Week end In L.A . Over all, th er e's a good am ount of en<' rgy , me lody an d good so l id pl ay ing on th e al bu m . - B i l l Wahl HENRY ' RED' ALLEN - NICE - PHOENIX JAZZ L P 24 Red A ll en wa s a New Orl ean s bo rn trump et er who whil e influence d by Loui s Armstrong deve l oped a st y l e maki ng use of a wid e rang e of sm ear s an d s imil ar ef fects and had a r emarkabl e rh ythmi c sense . He wa s a m ember of su ch bi g band s as Lui s Ru sse ll, Fl et cher Hender son an d Mill s Blu e Rhythm Boy s. Thi s al bu m con t ain s a goo d sa mpl ing ofhi s musi c f rom t he fort ie s on . Side A i s dev,o t ed t o th e hot j ump ban d he had w ith J .C . Hi gginbotham on trombone and Don Stov all on a lto. Th e music i s hot an d swinging as on "Ri de, Red, R ide" or t he hum orou s " Get a Mop" whi ch i s bett er k nown as "R ag M op" with so m e hot pi ano from AI Wi IIi am s. Hi gg inboth am is f eat ur ed on "D ear Old Southland " and St ova ll on "Ju st a F ee l ing" . Side B opens wit h a TV a i rc heck inc luding Co leman Hawkin s , Rex Stewart , Mi l t Hinton and Jo Jones whi ch Red leads mo st effecti ve ly . Th e f our co nc lu ding cut s ar e done in Di x i eland styl e in whi ch thin gs r eall y sound a I itt l e franti c . A ll en and piani st Ralph Sutton are th e st ando ut s here and Red ' s vo cal her e i s sure t o r ai se co mpari sons with Arm strong . Note th at hi s playing i s full of bl ends and sm ears whi ch lend it its unique f eatures . Red All en was a central figure in jazz of th e thirti es wh o as th ese s ides sh ow r etained h is co ns iderabl e powers of in venti on until th e s i xti es. H ighly Ramsey ·Lewis WITH SPECIAL GUEST STAR Freddie Hubbard In Concert At for the Performing Arts FRI., OCT. 20/8:30PM TICKETS: $4 & $4.50/ Students $6 & $6.50/ Non- Students 9 Avail a ble a t: Buff St a te, U. B. Main St., SUNY Fredon i a, Jerry D'Amico' s in Falls, Central, Elm wood Vi llag e & Amh e rst Ti ckets Out lets, San's St. Cat hori nes, Hami lton & Fall s. _, �A complete line of name brand drums and specialty percuss ion accessories at savings that can be appreciated . 4420 superior avenue ·cleveland, ohio 216·431·6482 Cata log Ava l lable EGBERTO GISMONTI - SOL DO MEIO DIA- ECM (WARNER) 1-1116 From the tropical intrigue of Brazilian music, the world has stood in awe of master composers (Villa-Lobos). master singers (Mi Iton Nascimento) and many others. The musicians of Bra.z il have a flair for bold, brilliant tonal structures, bright colors, and a command of percussive, serenading drive. The influence of Brazil on ·Wayne Shorter and many musicians in the jazz idiom is becoming well known . Egberlo Gismonti is a Brazilian multi-instrumentalist of the highest calibre. Whether singing, playing 8 string guitar, wood flute, kalimba, or piano, Gismonti is a beautiful lyricist combining evening romanticism with the open beat of the , · streets. His first Lp, Danca das Cabecas , is an excellent suite of continuous duets with fellow Brazilian, percussionist Nana Vasconcelos . Solo Do Meio Dia continues this excellence, l:.adding the strong music of Jan Garbarek's soprano saxophone .. ' and Oregon's Ralph Towner (12string guitar) & Collin Walcott (tabla) to the original duo of the first LP . . .,. Of special note is Sapain, a tune in which Gismonti and ·- friends blow across the tops of bottles the way a child would i' to create a whistling drone. The five-way drone here results :\ irian exotic melody full of pulse. Lively and lovely . '·. Gismonti is an artist commanding movement. Catch the -Michael F . Hopkins :: stride . I LIONEL HAMPTON - SATURDAY NIGHT JAZZ FEVER LAURIE LES 6003 During the past year or so, Lionel Hampton has been unusually active . In addition to the usual live performances, he has started his own record company, and has appeared on many of the sessions . This disc however is not one of those sessions . It tries to find some rede em ing merit in the score for the disco movie "Saturday Night Fever ." Unfor- 59 Kenmore Ave. 836-1781 (corrwr ol Windemere) behind jewelry st01e tunately, the themes themselves are not at all memorable, and the disco rhythms used throughout th e set are so monotonous as to be unbearable . The arrangements are at best functional and at worst stifling . Th e occasional use of a back ground vocalist adds nothing . Hampton seems to be spinning his wheels most of the time . Only on one cu t, "You Should be Dancing," does he seem t o deve lop some ideas . Of the side men, only George Young on soprano sa x and flut e, seems to have anything worth saying . For the most part, the album seems t o be a co ll ection of "vamp til r eady" sections . Th e musi c stands in one place, both rhythmically and harmoni ca lly . - John Simna COUNT BAStE AND HIS ORCHESTRA - 1938 LIVE -FANFARE 18-118 COUNT BAStE - AT THE FAMOUS DOOR 1938-1939 JAZZ ARCHIVES JA-41 Both of these albums are comprised of airch ecks by one of the all time great big bands . The Fanfare contains an en tire America Dances broadcast and five tunes from Basie's Famous Door engagement. The Jazz Archives comes from the Famous Door with the exception of three tracks recorded in Chicago and not in New York. The Famous Door airchecks on Fanfare are also here. The Basie band included great solists in tenor i sts Lester Young, and Herschal Evans, trumpeter Buck Clayton and Basie himself . The rest of the rhythm included Freddie Green on guitar, Walter Page on bass and JoJones on drums which, with the Count, was the greatest rhythm section in big band ( history . Airchecks like these allow one to hear solos from I Jackie Washington (on two versi,ons of "Indiana" on the Jazz Archives), Earle Warren and some early Buddy Tate (on "Darktown Strutters Ball" .) Helen Humes has vocals on both albums and Jimmy Rushing does his classic "Boogie Woogie Baby" and Duke Ellington ' s "I Let a Song Out of My Heart" as part of th e America Dances ai rcheck reissued on Fanfare . This latter tune is interesting because the Basi e' s band's arrangement really isn ' t as interestingasEIIington'srecord ing though the various stomps on both albums show the fire and impressive solo power of this band. There is plenty of good Prez, Buck, Basie, and all the others . The America Dances ai rcheck includes some well don e continunity by the announcer while the Jazz Archives includes a fin e Ev'ans solo on Fletcher Henderson's arrangement of "King Porter Stomp," Buddy Tat e, Evans successor, is heard to good effect on "Rock-a-Bye Basi e" whi ch herecently recorded with Jay McShann on their duet album . I perhaps prefer the music on th e Fanfare slightly more though the annotation is much better on the Jazz Arch ives . I strongly recommend getting at least one of these, and despite dupli cation of material, after hearing one you'll probably want th e other of these albums. -Ron Weinstock CHARLIE MARIANO - OCTOBER - INNER CITY IC 1024 Charlie Mariano has for more than a decade been in pursuit of the constant expansion of his role as an international jazz musician . Just as President Carter has made the distinction that jazz is the art form which " ... represents what we are as a country ... ", Charlie Mariano must, like myself believe that jazz will one day be accepted as the musical voice which capsulizes all there is to being of one world . His latest band and offering , October (re•c orded in October '77), precedes with his international aspirations by successfully presenting more of Mariano 's compositions and performances along with newer and more adept musicians than ever before . The album is also more of a "group" album than might have been expected, offering excellent charts by keyboardist Ranier Bruninghaus, percussionist Udo Dahmen, and the bass players Hansgeorg Meuser and Barre Phd I i~s. �IT ALL STARTED WITH JEAN-LUC PONTY. Today, Jean-Luc Ponty is still the world's most revolutionary electric violinist, whose brilliance has won him an ever-expanding following. Beautifully conceived and executed, his new album, "Cosmic Messenger," is a masterpiece - unequalled. Jean-Luc Panty's "Cosmic Messenger." One of the most e xc iting m usical v entu res of the year. On A tlantic Records and Tapes. . ;·... • ,,,.,,, O •vv .. ,. Appearing at Kleinhans Music Hall, Buffalo, on October 29. �absolutely marvelous on a 1961 aircheck along with Charlie Mariano or ST-112). Others include pianist Jutta Hipp (on 112, and 113) heard in a 1953 session with Albe,rt Mangelsdorf. They may not be at all familiar , but they are more than capable. ST-111, as the titl e suggests, features records by all women groJps including The International Sweethearts of Rhythm, a >winging big band (also heard on ST-113) a date that include; Mary Lou Williams with guitaristMaryOsborne and vibist Marjorie Hyams (whose excellent work can be heard on all three sets). The sounds are both swing and bop and consistmtly entertaining . ST-112 s a piano album starting with splendid barrelhouse piano by Arizona Dranes, an early gospel singer-pianist . I assume 'Put 'Em Down Blues" featuring Lil (Hardin) Armstrong with Louis, Johnny Dodds, Kid Ory and Johnny St . Cyr is the famous Hot Five. Una Mae Catlisle was influenced by Fats Waller, and Hadda Brooks ' "Chopin Nocturne" is <• successful blend of classical themes in a jazz sett1ng . Sa - roll Carroll's weak "Morocco" is more than compensated for by Toshiko's most impressive modern THI f !N[ S I Ml XIC AN FOO(l!N Ill[ t;IIY HOURS Monday & Tuesday - 11 AM- 2 AM Wednesday- Saturday - 11 AM- 4 AM Sunday - 3: 30 PM- 2 AM '}(}{)() 111/UI\I fiLL ;fi{)I(E (3l)ff!JL{)~ N..'f.. U35·351'J' I Mariano's talents on the South Indian reed instrument, the Nagaswarum, in addition to his soprano, alto and flute. The band sounds "foreign" in the sense that Weather Report can sound "foreign", that is' incorporating elements of foreign cultures without overemphasizing the music of any particular area of the world . It is more like a blend of far away places , and then again, very close to home . If this album is a promis e of directions to come, Mariano may yet become that musi c ian of the world that he may have dreamed of during his days with Stan Kenton and Toshiko Akiyoshi . -Bill Besecker performanc~ . ST -113 includes women in various roles. The International Sweethearts· are here as is trumpeter and vocalist Valaida Snow recorded in Europe . Marjorie Hyams is stunning with Herman's First Herd and Beryl Booker is on piano behind Miles Davi~ . on a 1953 aircheck of "The Squirrel". All three records have a good deal of musical as well as historical i 1terest. The notes speculate about the role of women in jazz and do provide some background on the records (though ST .. 111 is in this regard weak) . I find these records invaluable add it ions to my record I 1brary and You wi II too. -Weinstock WOMEN IN JAZZ -STASH RECORDS VOLUME 1- ALL WOMEN GROUPS- ST-111 VOLUME 2- PIANISTS~ ST-112 ' VOLUME 3- SWINGIME TO MODERN- ST-113 Stash flecords has developed a catalog of theme albums based on 'hip' themes I ike dope songs or songs on sex or the "jake "llalk" . These three albums follow up a double record set Jazzwomen (ST-109) which I haven't heard but hope to check out after hearing these records . It is not surprising that with -~ h e women's movement , interest ir women jazz performer~. should be growing . Stash has on these albums made available some of the forgotten jazz history from rare, obscure records and airch ecks. A few artistswillbe familiar such as Mary Lou Williams and Toshiko Akiyoshi (who is RALPH SUTTON - PIANO SOLOS - SACKVILLE 2012 Pianist Ralph Sutton handles traditional material quite well . Hts playtng shows a strong love and knowl ed ge of stride and a couple of Waler tunes "My Fate is in Your Hands" and "Vip.~r·s Drag" _r ~.ce ive strong reworking . "EchoesofSpring" and . Mornmg A1r are credited to "Smith" whom I take to be Wlilte the Lion, and show furth er evidence of his relaxed mast ery of stride. "Honky Tonk Train Blues" r ece ives a very soltd reworking and Bix Biderbecke's " In the Dark" receives a lyri cal introspective reading . Sutton is simply a very fine prantst who knows how to use both hands . Thanks to Sackville for li censing this originally Swiss recording . -Weinstock · l\4. Garro n1 Presenr.\ MAYNARD FERGUSON AND HIS ORCHESTRA Special Gu'est: LARRY CORYELL SUNDAY OCTOBER 22 8:00PM Tickers: $8.50, 7.50, 6.50 KLEINHANS MUSIC HALL Symphony Circle, Buffalo TICKETS AVAILABLE NOW AT: IISTIVAl TIOCIJS in th. Stat._ Hihen Hotel (or wllh nominal •••vice (harge) at AMHEIST TICKETS u a SOUtll HALl, MAN TWO~ PANTASTIK STORES, BUFFALO STArE, AUDREY & ou·s, D' AMICO' S iN N . PAUS, IICOID UlAKfl .,, HomMe, THI N. FALlS CONVENTION CENT£1 BOX OffiCE SAM THE ~~~,..~~~ ~~.:sr:.~-=-YAL OUTLITS IN WESUIH N .Y. & CANADA. INfO ,#154-7173 12 SAVOY REISSUES Arista Records ts conttndtng t o rei C' ase items of t he bop and post - bop eras wht ch wer<> origtnally IJ'I th e Sav oy c ata logue . They are bet ng produc ed under t hP Savoy name M os t of the sessions are of more t han ht ,lorll-al tJ'I\ Pr cs t GOLD COAST (Savoy 1115) ·~ombtnes retssue rnat <:! roill with versions of som e tunes \hdl had no t prevt nusl y been avai Iable . The sess ions co mpnst rog \ht s album wer '' oroginally put out under fl ugelhornt sl Wilbur Harden's name , but tenor saxophonist John Coltrane IS clr-ar l y the do•ninant soloist . He was, in these 1958 r ecord tn gs, sloll in t he har !bop format, but his play tng c l early shows the dtrectt on he was heading . This is clearly th e Colt ra ne of th c· second M ile s Davis period . Trombonist Curios Full er, \h en J'l s\ 23, is heard to advantage here, his big tone and sure \C>chnt que standing him in good stead . Piant sl Tommy Flan agan is hts sure, always - tast eful self (Ho ward Wt l lt ams r epla ces htm for one track . ) It ' s good , late - fiftte s Jazz, with mor" than a hint of things to come. OPUS DE FUNK (Savoy 1116) i s a 1955 da\r>hyvohist Milt Jackson, one of many dat< ·s he made oulstrle the conh,x \ of the Modern Jazz Quartet . A s wa s often th" case 1n these extracurricular affairs, tho• fram ework was mor e relaxed than in the more ttghtly - structur ed MJQ . Jackson is t"amed here with Frank Wess, who . mo st! flute and some te- �nor. His flute work is impressive . Pianist Hank Jones is, as always. perfect . Bassist Eddie Jones walks steadily throughout. and drummer Kenny Clarke is firm without being obtrusive. It's a mostly-blues album, relaxed and clearly enjoyed by the performers. and a joy to hear . As Mark Gardner says in his notes, this album is not a milestone . On th~ other hand. it is, on its own terms, timeless . STAR EYES (Savoy 1114) is another item from the midfifties . It brings together a man who subsequently went on to a fair degree of popularity, trumpeter Donald Byrd, and one who has subsequently dropped from sight, altoist John Jenkins. The title track, treated beautifully~ was previously unavailable; the other four tracks are reissues . This is essentially a mid-fifties hard bop album . Jenkins is very much under Chari ie Parker's influence (no bad thing) . The best soloist on the date, however, istrombonistCurtts Fuller, with his big tone, technique. ideas and sly sense of humor . Pianist Hank Jones is again heard, as is of course superb . Bassist Doug Watkins provides the firm foundation, and drummer Art Taylor supplies fine rhythm - he ltstens and reacts to the soloists . SO RARE (Savoy 1117) might just as easily be called ·George Shearing - The Early Years.· It covers thr~e record dates by the pianist at about one-year intervals in 1947 and 1949 . The first two are trio dates; the third is the initial appearance- and in fact was the organization of- the original George Shearing Quintet . Margie Hyams was on vibes, Chuck Wayne, guitar, John Levy, bass. and Denzi I Best. drums . On the trio dates, Shearing plays well, in a boppish styl~. but with touches of the Shearing style already noticeable . Half of the album is from the quintet date. and illustrates the classic sound of that group. without being formula performances. Sheanng also demonstrates his accordion techniques, flatted ftfths and all, in "Cherokee" and "Four Bars Short.· M s T GONG! (Savoy 2226) is both title and first sound heard on a two-disc album of reissues by reedman Yusef Lateef. The sessions were made in October, 1957, and feature Lateef on flute and tenor saxophone, with his working group from Detroit; Wilbur Harden, flugelhorn, long - time collaborator Hugh Lawson, piano. Ernie Farrow, bass. andOiiverJackson, drums . Included aresomeoriginals. standards. andjazztunes . The gong is used as one of a number of instruments to provide exotic near-Eastern colors to the music. usually around Lateef's flute. Mostly, the colorations are used sparingly, but in the case of "Sounds o.f Nature.· they are the entire fabric of the piece . Lateef's tenor is heard in more usual jazz- contexts. Harden's flugelhorn is mellow, with nice ideas . Lawson is a pianist about whom one hears little, save in association with Lateef. but he plays well. A collection of performances by eight different groups, ranging in size from quartet to big band, is called THE BEBOP BOYS (Savoy 2225). The dates range from 1946 to 1953, with sessions in New York, Detroit and Pittsburgh . All of side one is devoted to a quintet featuring Kenny Dorham, trumpet, and Sonny Stitt. alto sax . Pianist Bud Powell also contributes some sol1d solos. The second date represented was under bassist Ray Brown's aegis, although trumpeter Dizzy Gillespie dominates the proceedings . Pianist Hank Jones and tenor saxophonist James Moody contribute good solos, and we also hear a couple of spots by the stilldeveloping vibist Mi It Jackson. The big-band session features four good bop charts (plus a vocall) by Gil Fuller. Then we are treated to a side featuring singers Kenny Hagood. Babs Gonzales and Eddie Jefferson, in three very different approaches to the problem of bop vocal 1zing . On the fourth side . baritone saxophonist Leo Parker is·, heard on two dates, which also feature at various times tram- N E IMcCOY TYNER! The Greeting M -908 5 Don't Stop the Carnival M-55005) In concert: Three masters of acoustic jazz, together on tour for the first and only time. TUESDAY, OCTOBER 10, 8 PM, "THE PALACE" Tickets: $6.75, $4.75. Available at the Palace Ticket Office and Ticketron Outlets. ~ Distribute d by Fanta sy Records. 1800 MAIN at LAFAYETIE 7 Days 10 AM- Midnight LOWEST PRICES IN TOWN! �IMPORTS Although imports have been popular in theclass1cal music field for years, only recently have jazz imports been in strong demand. There are some obvious reasons. First, the European countries and Japan are more interested in the music in a pure, acoustic form than the "fusion" so often recorded by the U.S. companies. l herefore, ther e's an enormous amount of great, newly-recorded Jazz availabie only on imported records . Second, its a well known fact that in mo st cases th e pressings are far superior to the American (and Canadian) product. Until recently, the biggest drawbacks with imports have been the lack of availability and price. But, due to the efforts of a few good import distributors, and th e constant increase in the wholesal e cost of U.S. records, those problems have been I icked; except for Japanese imports - a case of the yen stomping all over the dollar- they are e.x tremely expensive. But Japan also has some of the best music, and the f1nest pressings on this planet. With all of that out of the way, this, then, is th e beginning of a continuing column on imports, to appear when ever we receive some for review. We'll always be sur e to include information on purchasing every record mentioned (I ike every magazine should). The first batch came to us from Art1 stic Music Distributors and their product is available (or can be ordered through) any major retail record store . The first three are part of a serie s on PYE records f•om England called "Ronnie Scott's Presents" . There's one disc each from CARMEN McRAE (NSPL 18543) and SARAH VAUGHAN (NSPL 18544) . Both are reco1· ded live at Ronnie Scott's (the famous London Jazz Club) with each singer 's regular rhythm section. The r esult is some fantastic musi c from two of jazz' finest vocalists. Carmen's leans more heav ily in the direction of up - tempo pieces, while Sarah tends t o balance her program in the opposite di rect1on- heavy on slow ball ads. The third in the series comes from the man hi mse If RONNIE SCOTT titled Serious Gold (NSPL 18542). Scott . on tenor and soprano saxes, leads a fm ely - tun ed quintet h" re , which includes some tasley guitar work from Louis Stewart (an authentic Irishman r ecently told me he's th e only well known Jazz musician in Ireland). Th e qual1ty of th e musi c is right uptherewiththatofCarmen&Sarah as th e band deiiV ~C"rs some straight-ahead cookers (ch eck out Invitation), ballads and spacey mood pieces (such as Eberhard Weber' s Forty Colours). All three re cords are highly re co mmended . Next, from F ranee, we have two B I ue Note r e-issues which are not available in the states. Early Tal (BNP 25 104) comes from the legendary guitarist TAL FARLOW. This album brings togeth er two of Tal's early (1953) Blue Note 10 "LP's bonist J.J. Johnson and tenor men Dexter Gordon and Chari ie Rouse. There's a touch of Illinois Jacquet's style in Parker, but it's fun to hear. On the whole, "The Bebop Boys" is an interesting sampling of one company ' s catalogue of bop-era performances by some of the luminaries of that time. No classic performances, but a lot of good playing . -Simna The Individual ism of Pee Wee Russell (SJL 2228) is a superior live Dixieland date including hot piano from Red Richards and Ruby Braff sounding I ike 'Satchmo' Pee Wee Russell himself was a fine clarinetist and this is a nice set including a good range of material . If you I ike traditional jazz you'll go for this. -Weinstock CAL COLLINS: CINCINNATI TO L.A. -CONCORD JAZZ -CJ-59 On his debut album as a leader, Cal Coll1ns shows why he was successful in Cincy, equa!ly so as a sideman recently with Benny Goodman in Goodman's concert groups since late 1976, and now as a guitarist/leader on the West Coast. Some fingering, and mostly the plectrum approach, distinguish the mainstream sound of th1s new vo1ce, who admits that pianists, not guitarists, have always been his major jazz influences . Working with bassist Monty Budw1g and Jake Hanna on drums, Coll1ns easily finds the lushness in old and nr:w romantic lines, rangmg from an eloquent and evocat1ve reading on Thad Jones' "A Child Is Born," to standards l1ke "I Fall In Love Too Easily," first crooned by 01' Blue Eyes in 1945 in the t1me .. honored fl1ck "Anchors Aweigh," and n1ne more nicenesses. Don't miss this guitarist's gu1tarist debut album. -Colomb1 Buffalo's Largest Stock of Professional Sound and Recording Equipment MICROPHONES MIXERS SHORE AKG ELECTRO-VOICE BEYER SONY SENNHEISER EDCOR AODIO-TECHNICA TASCAM YAMAHA INTERFACE TROOPER MALATCHI TAPCO METEOR AMPLIFIERS SPEAKERS BGW CROWN TAPCO SPECTRA SONICS JBL GAUSS YAMAHA EMILAR TAPE DECKS TASCAM by TEAC OTARI STUDER REVOX SONY SIGNAL PROCESSORS db:x EVEJ'mDE SPECTRA sorucs TROOPER YAMAHA ORBAN JBL O.R.EJ. INISI"AiiE 330 Genesee St.. Buffalo. N.Y. 14204 SALES, RENTAL AND SERVICE. VISIT OUR DISPLAY STUDIO. CALL FOR APPOINTMENT 716 853-6500 14 brings together two of Tal's early (1953) Blue Not e 10" LP' s for the first time as a 12" disc. Side one is a sextet with Howard McGee, Gigi Gryce & Horace Silver; and s1de two is a quartet with a second guitarist, Don Aarone, bassist Clyde Lombardi and Joe Morello. A must for Farlow fans or guitar freaks in general. Next, a jump in' be- bop session comes fro m ZOOT SIMS under th e heading of Jazz Alive! A Night At The Half Note (BNP 25.105). This i s a 1959 r ecor ding done at th P N.Y. Club for United Artists with Zoot's bl owing partner AI Cohn. The section here is Mose Allison, Knobby Totah & Paul Mot ian . Four long tunes are heard, with alto saxophon is t Ph 1l Woods joining in for the last two (all of side 8) . It was a good night . Next up is a pairfromFiuidr ecords out of Paris . A Touch Of The Blues (F-102) is fromARCHIESHEPPf ea turing vor;alist Joe Lee Wilson on 5 of the 6 tracks . This 1977 date included Cameron Brown / bass, Clifford Jarvis/ drums and Siegfried Kessler / piano, with Shepp on teno• and soprano saxes, flute & piano . Shepp & Wilson compliment each other well - each is in fact rather "gruff" and often "shouting". Th e program is, of course, all blues, a highlight being a version of Saint Louis Blues. SAM RIVERS followers alr~ady know about imports since �il., pablo jasz month at CGYG9e1! .,. ~ . , ~~~. .JOE PASS PAUUNH€:DACOSTA CI..AUDIO Sf.. ON OCTAVtQ 8AJlL Y OSCAR CASTfiO NfVES DON CRUSJN Pablo ~ SPECIAL SAVINGS ON THE ENTIRE PABLO CATALOG FOR THE MONTH OF OCTOBER! COUNT BASIE ELLA FITZGERALD JOE PASS MILT JACKSON DIZZY GILLESPIE OSCAR PETERSON MONTY ALEXANDER ART TATUM DUKE ELLINGTON LOUIS BELLSON J. J. JOHNSON •G E 5 C~M . r K BENNY CARTER EDDIE "LOCKJAW,. DAVIS HARRY EDISON JOHN FADDIS JOHN COLTRANE SENECAMALL EASTERNHILLSMALL MAIN PLACE MALL SOUTHGATE PLAZA BOULEVARD MALL SUMMIT PARK MALL THRUWAYMALL COMOMALL UNIVERSITY PLAZ• LOCKPORT MALL �his U.S. output i!\ nothing compared to th e quantity of his European r eleases. Paragon (F-101) is a superb trio effort from Rivers/teno r & soprano saxes, flute & piano, Dav id Hoi Iand/ bass & cello and Barry Altschul / drums and percussion. Th ere's a good variety here - both light & intense improvisation, and medium and red hot cookers. All five compositions are Rivers! Chances are mostnewmusicpeople already have this one. If you ' ve been looking franti ca lly for the old BOOKER LITTLE album on Tim e records, you can r e la x_ Island r ecords of England has issued it unde-r th e titl e The Legendary Quartet Album (ILPS-9454) . Littl e was becoming on e of th e great innovators of jazz trumpet (rather than shadowing Mil es, Clifford or Diz) at th e time of this re cording , but he died th e next year, 1961, at the age of 23 . Thi s album, with Tommy Flanagan and Wynton Kelly/ piano (mostly Fl anagan), Scott LaFaro / bass and Roy Hayn es/drums is not only areissue of some rare jazz, its gre at musi c and part of an important chapt er of jazz history . As long as we 're talkingabout,thegr eatsof jazz, drummer PHILL Y JOE JONES should fit right in. New albums by Ph ill y Jo e are practically non -ex istant, but Sonet r ecords ofSweden took care of that . Mean What You Say (SNTF 735) is a good, strong quart et date recorded last year with piani st Mi ckey Tu cker, bassist Mi ckey Bas s and sa xophonist Chas . Bowen . Trumpet e r Tommy Turrentine (Stan 's broth e r) is added for two cuts. Except for Turrentine, Ph illy Joe's band is much young er than he and the sound of the group is quite modern . He's one of the few drumm e rs who can do an extended sol o without becoming boring , but he limits himself to short but sweet _spots on four of th e six tracks . The last import for this issue comes from th e German MPS lab e l (but a Dut ch pres sing) . Thi s one is a du et by gui tarist GENE BERTONCINI (MPS 15 .5 11) and bils s ist Michael Moore . This is a gorgeo us , r e laxing s etofjazz , clilssir:-al an d pop tunes done with taste, class and good chops. Both Gene and Mi chae l are well resp ect ed in jazz but aren't exactly "hous ehold words ". Th ey deserve mor e r ecogniti on . Th e MPS re cord is th e on ly one r eviewed whi ch is not distribut ed by Artist ic. The MPS line is di stributed by Capitol re cords and should also be availabl e at maj or stores _ Remember that some s.tores hav e a spec ial jazz import section, and some have them mixed in with domesti c stock. If you ever have trou bl e getting a r ec ord r evi ewed in th1s magazine , don't hesitate to call or write our offi ce . Bi ll Wah l HOUSE·' OF GUITARS Upstate's Music Building •3 Floors of Musical Instruments for the Rising Young Stars from Earth• - Fan letter Quote •Lots of Used Gibson Jazz Guitars •Save up to 7~ on Professional music e~uip. 2 for 1 Deals on ' Blank Tapes ~ost Jazz, Blues, Classic, Rock albums - 4.79 ea. Box - Large Selection ; Direct -to Disk LP's $11.25 ea. Deals on TDK Maxell BASF Most Scotch 8 Tracks Cassettes Reel to_ Reels· *Handmade Gallager Guitars, Tangent Boards. *Special on Moogs, AJR.P., Oberheim, Omni , Polymoog Synthesizers , A.R.P . Avatar , Lyricon. *Save on Fender Rhodes pianos, Hohner, Leslie , Yamaha , Univox, Meletron , Orchestrom, String Machine Ke_y boards, Chapman Stick , MXR , Crumar-Digital Synth, Multivox . •Sunn & ·Moog lab amplifiers for keyboards . •up to 7~ off on Pro Drum Sets ~ new and used. Selectton (all brands) Sonor; North: Gretsch: Pearl: Ludwig; Tama. Tama'Octabands (something new). Slingerland. •D'Anrelico New Yorker on cijsplay . •Gibson's Howard Roberts, LS's, Johnnv Smiths, 'Byrdlands (Guild Artist Awards), Geo. Benson Ibanez Guitar (new) •t/2 off on drum heads - 1/2 off on microphones •Large selection guitar strings - Martin, Gibson, Ernie Ball, Fender, etc. $1.89 complete sets . •Drum sticks (nylon or wood tip) $1 pair . •Good selection left handed guitars. Lots of used equtp . •Sale on all brands of guitars, basses and amplifiers -Gibson, Fender, Guild, B.C. Rich, Martin Alembic 1uitars and basses; Sunn, Ampeg, Music Man, Marshall, Kustum, Mesa Boogie & Polytone Jazz Amps, Lab. ~New and used horns - trumpets. saxes. trombones, tlutes~ woodwinds, flugelhorns, pro sound equip, Biamp. off music books, instruction books, headphones •Imported LP's, rock star T-shirts, strobe lights, ..hit U .si~Jes. ARP Avatar. •switchblade combs $7.98, House of Guitar 'T' shirt.s *No admission - No cover charge. $2.4!1. Large selection vintage Gibsons, Fenders, Martins . Trade ins welcome. Don Potter's LP - $4. 79 . Free limited addition H.O .G. Bumper Stickers, Buttons, Post Cards , Window Decals, Car Tape Player's $29 up. CHICK COREA - FRIENDS- POL YDOR 0798 With very little fanfare accompa nying thi s r e lease, Chi ck Core a has turn ed out his best jazz date since LIGHT AS A FEATHER. Corea collabo rates with thr ee of hi s most adept musi cal friends, Joe Farrell on r eeds and flute, Eddi e Gom ez on bass and (Bad) St eve Gadd on drums . Th e simpat ico bet ween th ese three is magn1ficent on this slightl y unde r s tated, no less delightful album . There are no vocals to clog up th e works and no guitar s t o rock it out, just four dynami c tal ent s inte racting on eight of Corea 's best melodi c composit~ons _ Side two, op Pned by th e loping "Fri ends" , is th e most r ewardi ng of th e tw o sides . Time-wise this is another Chick Corea extravaganza; th Pr e's more than 50 minutes of musi c on this lp' Chick Core a r r~a lly knows how to treat his listening "Friends." - Wi II a rd J enkins , Jr . •3" 646 TITUS AVE. Ph. 716- 544- 3500 ROCHESTER, N.Y. The BEST Prices. (The House of Guitars Lt~vs You Baby) Trade 'ins welcomed!!.! Open Mon.-Sat. 10 AM-9 PM/Sun. 1-5 PM. Take N. Y .S. Thruway to Exit 45 on to Expressway tto, to Express 47 North to Titus Ave. 16 TAL FARLOW '78 --CONCORD JAZZ -- CJ-57 One of the verybestofthepost-bopmainstream guitarists, Tal Farlow adds a second album to th e one already under his name in Carl Jefferson's Con co rd catalogue, and th e second outing ranks right up there with th e first one . In the previous session, Farlow's pluckings were heard with Hank Jones _and Ray Brown in attendance; the present Affnrl \ inrl11tioc: no\.ul""nrnot-c r:~.,." 1\A ............... ""' ... ; -- ~--,.. --..J �drummer Ton Sayek, providing a rhythFn-se'ction context for Tal's musings that is more than equal to the task. Farlow's skills seem to age with a fine patina; his mellow chordings and nimble-fingered runs compare and contrast nicely, whether in up-tempo or ballad readings·. And , along with six evergreens that somehow sound fr esh once more (quite a feat when you consider how many t,imes you've heard "Autumn Leaves"). the listener also gets to sampl e two of Farlow's own compositions, "Mahoney's 1l Ohms," and "Gymkhana in Soho." Both are valid states of mind and valid compositional work; i.e., you probably couldn't tell if the lines were written by a guitar player if you didn't already know ahead of time -- an acid test for any solo composer . -Colombi PM RECORDS Anyone who is interested th e "Coltrane Sound" in t enor saxophonists should definitely look into Steve Grossman, who IS heard on all three of PM's latest rel ease s. TERRA FIRMA (PMR-012) is Steve's second album as a leader for the label. The personn el is th e sam e as th e previous disc - Grossman/ tenor sax, Jan Hammer/ piano and Moog synthesizer, Gene Perla/ bass and Don AI ias / drums and conga. While there's some funky rhythms throughout, thi s on e won't make AM radio . It's a high energy, hard blowing, dri ving jazz date with some fantastic tenor work . 37 Willoughby Place is a gas, offering sup ercharged t enor / drums and Moog/ drums duets. They don't relax until Relentless Lady on side two - a gentle ballad by Perla . Katonah & Inmate Man are funky tenor blowouts. STONE ALLIANCE is basically a trio made up of Steve Grossman, Ge[le Perla & Don Alias, all thr ee of whom hav e worked with both . El vin Jones & M i les Davi s. A 1977 6- week South Am eri ca n t our l as t ed si x mo nth s wh en th e poc op lc went nut s ove r th em an d wo~ldn ' t. let th em g0 . Two albums wer e re cor ded on t hat t ou r . CON AM IGOS (PMR - 0 15). r ecorded mo stly in Arg ent ina, f1nd s th e trio augm ented by seve r al native mu s ic i ans on percussi on and piano. Grac iala an d I'll Tell You Tomorrow are th e longer, hard driv ing t racks giving Gro ss man r oom to stret ch out . Th e latte-r is op ened w ith Dani el Binell i pl ay ing B andon eon - an in strum ent sou ndin g lik e a c r os s bet wee'n an accordi onandaharmon ic a. Amigos is a thr ee part per cuss i on suite, Mi ss T i s a l i ght sw i nger and Taking A Good Long L ook i s a mel low mood piece re mini scent of Herbi e Hancock' s Bu tterflies. MARCIO MONT ARROYOS (PMR - 014), record ed 1n B ra zil, STAY lnPORmeD... SAVE monEY! II /Ublcrib(Z to 1fll~rt today ! These are only two good reasons to become a subscriber . Don't mi ss an other event interview or news item of local or national interest . Don't buy anoth er r ecord onl y t o f ee i ripp ed- off without, first, getting a "second" opinion . Although it is a fr ee magaz ine, th ey go fast and you might miss out. We can help keep you informed - fill out th e co upon, be low, and we'll mail every issue to your door. Enclosed is my $7.00 . Pl ease begin my subscripti on immediately . Name --~--------------------~------------------------------------------==~ Address--------------------------------------~-------------------~----~ City-------------~~ State ~-------- Zip -~--~~- Jazz Report 1335 Main St . �Also recorded. I ive is the two-record Tribute to Leadbelly (TOM-2-7003) which is a remarkable set. Performers include The Lunenberg Travel ers, Brownie McGhee and Sonny Terry (Sonny takes charge on these sides, Pete Seeger and Arlo Guthrie. Excerpts from intervi ews with the great Black American songster are included with performances of some of his greatest tunes with a f ew r eminiscence s of him by the performers . The performers are"moving, and convey insight rn thrs great folk artist much more than the recent Hollywood exploitation of his life . Albert King is one of the major modern blues figures around . Kihg Albert (TOM - 6002) is a new studio album that attempts to combine Albert's funky soul-blues with contemporary R&B song forms and settings . At times (as on the remakes of B .B . King' s "You Upset Me Baby" and Detro it Jr.'s "Call My Job") it almost works and at times the girl vocals in th e background add some punch but I have very mi xe d feelings about this album . I recommend th e Live doubl e record I talked about earlier . I wouldn't say don't buy this . I doubt stauch blues fans would be abl e to really enjoy this particular diac . Others I don't know . One blues record I unequivoc ally recommend is Blues Roots (TOM-2-7006). Originally on Poppy , this is a four sided sel ection from Arhool ie Records catalog. Artists include Mississippi Fred McDowell, Big Joe Williams, Bukka White, Man ce Lipscomb, Lowell Fulson, Lightnin ' Hopkins, Jesse Fuller, Joe Turner and Pete Johnson, Earl Hooker, Big Mama Thornton with Muddy Waters, and Cliftoro Cheni er . All sides are available i n the Arhooli e catalog and thi s is a great sampler . ltalsoisagreatintroductiontothe blues and would make a great gift for someone (The holiday season is almost with us). Incidentally Arhool ie Records is now located at 10341 San Pablo Ave ., El Cerrito, Ca . 94530. Finally andofmostimmediateinteresttojazzfans is a new record by Dave Brubeck. Recorded with his sons at Montreux th e album is The New Brubeck Quartet Live at Montreux (TOM-7018). Brubeck is known for th e. '~lassical' trappings of his music and his employment of unusual time signatures. This is a nice record opening on "(It's a) Raggy Waltz" which is effective because th e waltz provides a sett ing in which Brubecks romanticism can be quite effective. "Brandenberg Gate" deve lops a Beethoven theme with son Darius adding some interesting coloration on keyboards . Brothers Chris (bas s and trombone) and Dan (percussion) complete th e family group . A very entertaining album with about 45 minutes of good music . -Ron Weinsto ck is th e band' s most widely accessib le album . Eight very li st enabl e tr acks are heard including a sweet v ersi on of A Child Is Born . In c luded among the seven guests are trump et er Ma rcie M ontarroyos (kind of r eminds me of Enri co Rava at ' t ''' · ~s ) and pianist/flautist Hermeto Pascoal . T hroughout the album you'll get tastes of mainstream, funk & Brazilian jazz mi x"d t ogeth er in various fashion s. Grossman's Libra Rising brings to mind some of th e work he and Perla did with Elvin Jon es. All in all I I ike each of these records and can recom m end th em all. Try one and check th ese guys out. If it's a he lp , I might m ention that the Terra Firma album offers th e most intensity. -Bill Wahl JAZZ & BLUES RED HOT TOMATOS - RON WEINSTOCK Tomato Reco rds has emerged in the p c~ t f ew month s as an rmportant indl •pendent label with a small cat<Jiog ranging from Joh n L ee Hook er t o John Cage. 1 assu m e Tomat o is r el ated to Popp y Records whi ch was in existe nce in th e early si xt1es and I hdve already r ev i ewed an excellent do.,ble r 8cord set by Lightnin' Hopkins , Lightnin' (TOM-2 - 7004) that was on Poppy. Tomat o is directly des ce nded fr om Utopi a whr ch was distributed by RCA . Tomato has reissu ed all the Alb ert King albums from Utopia inc luding the f., ,e double rec ord Albert Live! (TOM -2-7005). Two double r ecords show ing th e uniqtJe charc;ctP r of T omato are live recordings. Townes VanZandt, Live at the Old Quarter , Houston , Texas (TOM - 2-7001) features a f ;roe singersongwriter in a program of originals andh•!'lesfr·om th e likes of Lightnin' Hopkin s and M erl e Travis . VanZan dt reminds m e of th e ear ly Dylan with awi~ningbiuesy folkiness Magma might be desc ribed as a fusi on band (jazz -rock ro ot jazz-soul) an d Magma Live (TOM- 2- 7008)st rtJck m e asawild experience in c luding wild shifts in mood, tempo an d intensity with a Pantyl ike violinist. Th e musi c gets somewhatbombasti c att imes and I'm not sure .if this was in English wh eth er I'd find this pn~t ent ious . I'd r ecommend you gi ve th is group a hearing as th ey are quit :_ interestin~_.? _quite Germani c in manner . New Direction' 18 CHICK COREA - CIRCULUS - BLUE NOTE BN-LA882-J2 On. the subject of the Real Forever . The Blue Note twof er series has begun again, and it has started in high style. This LP (like the 1975 Circling In) is previously unreleased and f eatur es Corea's most unyielding and, for this writer, finest period. Here, his Latin - flavored lyricism expands into the tonally open intrigue associated with masters I ike Sun Ra , and the results are fascinating . With bassist Qave Holland and percussionist Barry Altschul, Corea on Drone produces a w i Idly explicit melody with unusual empathy ; picture Bill Evans, Scott LaFaro, and Paul Motian forming in the t empests of the late 60's, and you have the ritual dance of Drone . Fast, lovely, and very deep. The breadth of . the LP adds the rhapsodic reedsman Anthony Braxton to the previous trio, as the group Circle unfolds a musi£ of tonal colors and suspenseful flavors music biting hard with surprise and caressing with bold directness. On piano, vibes, celeste, prepared piano and more, Corea forms sweet murmurs and thunderous tides of melody merging w~fh .Braxton, whose sighs and screaming solos carry the urgent softness of warmth. Altschul is the cobbler of �sound, and Holland is simply magnicient. Musically, Circle was the unknown exploding into rose fragrance of physical presence . Catch the curves. -Michael F. Hopkins HAMlET BLUIETT - ORCHESTRA, DUO & SEPTET CHIARSCURO CR 182 Having seen Hamiet Bluiett live I can t estify to his re markable fluency and imagination on the baritone saxophon e . His playing on this record, ·accompanied by the likes of pia nist Don Pullen, trumpet er Olu Dare, bassist Abdul Wadud, and drummer Michael Carvin, is superb as he uses th e entire range of the cumbersome instrument wh ether playing a growling bottom or a tenor-l1ke portion . I did find this record somewhat disappointing in that the compositions are generally not very complex anrJ especially the orchestra performance "Glory", and septet "Oasis- The Well" are full of long smolderir>g percussi on sections suggest Pharoah Sanders' records of ten years ago . Edit i ng of the performances and/ or the recording have added potency to these efforts whi ch otherwise drift at times . "Nioka" a duo with Pullen and Bluiett is a much morerea llzerJp er formance sh owing considerable empathy. Th e record is in consistent, not poor, and Hemi et Bluiett is a figur·e in contemporary jazz that will be heard from a lot more . -Ron Weinstock HELDON - HELDON IV - AURAL EXPLORER AE5001 The last Heldon album I I istened to, Dream Without a Reason, was enjoyable because of its uniqueness . A pair of electronic audio mappers were caught amidst a tidal wave of "sound" technological advancement, and were attempting to sort out usable from the unusable to bring promethan like audio-electronics under some type of control. This album does not go beyo'nd what has already be en explored (despite the name of their record company) and RAMSEY LEWIS BROTZMANN/BENNINK - EIN HALBER HUND KANN NICHT PINKELN - FREEMUSIC PRODUCTION FMP 0420 Without attempting to discuss biologi ca lly or philoso- Maynard Ferguson Carnival including: All The Way Live/Don't Look Back Moogin'On/1 Love To Please You including: Theme From "BATTLESTAR GALACTICA" (From The Universal Television Series " BATTLESTAR GALACTICA" ) Baker Street / Fantasy Birdland /OverThe Rainbow Hear Ramsey Lewis & Freddie Hubbard on Oct. 20 at Shea's Buffalo JC 35480 Maynard Ferguson's hit single, "Theme From ' BATTLESTAR GALACTICA'" is only one of the powerful performances featured in this brilliant new package of contemporary deli Hear Maynard Ferguson on Oct. 22 at 8 PM at Kleinhans including: Take It To The Ozone The Gospel Truth To Her Ladyship At Super Sale Prices! The Surest Things Can Change SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL DOLLAR BRAND - THE JOURNEY - CHIAROSCURO CR 187 The nommo is Brand . Th e magic of the Music bears its own words . Tho se of you who enjoyed the Buffalo - Toronto concerts brought about by GBM productions this year will find Dollar Brand's Journey a continuance of his consist ently high pia nistic excellence. All th e virtuosity of the Afri can folk root s come together as Abdullah (Brand 's chosen nam e is Abdullah Ibrahim) runs and extends the many musi cal branch es of the world . Expect to be touched by Afri ca n street song (an R & B flavor) shouting into unknown fronti ers that percussively construct new vogues of' timel ess musical tradition . Th e beauty of Cape Town Fringe is expanded even furth er in this session ... . . a live one, inc identally, from th e Ali ce Tully Hall of NYC's Lincoln Cent er For Th e Performing Art s. Thi s LP i s also an orchestral family reunion, as Abdullah is r eunited with pee rl es s master s that he has performed with throughout th e years (Don Cherry, Hami el Blui ctt, Johnny Dyani , Carlos Ward, Roy Brooks) al ong with Talib Rhyni e, Claude Jones, and John B etsch (two of whom, I beli eve, are members of Abdul I ah' s current group) . Together , th e orchestra truly paint s th e Hajj (The Journey) of th e Mu sic and the peopl e it sings from. L et it sing for you. - M icha el F. Hopkins On Columbia Records and Tapes. LEGACY FREDDIE HUBBARD SUPER BLUE proves to be only a recycling of the same t extur es and electricity as before. The tonal colors of Ri chard Pinhas and associates are mindbending, but if it is more a dept el ectronic l"(lusic you seek, stick with Rob ert Margoul eff, Mal col m Cecil, Larry Fast and Walt er Carlos . - Bill B esecke r EASTERN HILLS MAll SOUTHGATE PLAZA COMO MAll UNIVERSITY PLAZA SUMMIT PARK MAll AVAILABLE AT ALL CAYAGES �~nd structure of music in primary grades rather-than concentration on the emotiOhal power of music. The music on ' this record is much larger than a duo. Bennink brings all his expertise as an inventor of instruments. One of a kind percussive instruments are used sparingly to create indescribable sounds. Brotzmann, as usual, is an extremely powerful player, in volume as well as ·statement. The trio of Brotzmann, Van Hove (a pianist). and Bennink is claimed by a critic of Melody Maker to be capable of b~otting out the entire London Symphony in sheer volume alone should they ever play simultaneously on adjacent stages. Incidentally the rotating Berlin Arts Prize for 1978 has been awarded to Brotzmann, Bennink and Alex Schl ippenbach (who leads the Globe Unity Orchestra) for .. . "significantly chang(ing) the European Jazz Scene and ... show(ing) a high degree of crea tive regeneration ." Almost as an afterthought, I must add that the music must be approached with a good share of humor. Rerllembering the Kollektief's Buffalo appearance, and being mindful that Breuker and Bennink were once close co-workers, it is a quality not to be ignored in the European avant-garde . -Bill Besecker Jazz Music In structional Aids In Stock: Berke l ee Seri es La Porta Books Joseph Vi o l a 2113 Niagara Falls Blvd. l\mherst. N.Y. 14150 Phone: 691 - 8032 Hours: Mon.- Fri. 12 - 8 Sat. 10-4 phi cally th e co nnot ati ons of thi s al bu m' s off - beat titl e, suffi ce it t o say t he two great m en of European avant - garde jazz have c r ea t ed, unde r th is of f - bea t titl e whi ch seems to indi cat e som e basic pre m ise of childhoo d l ogi c , anoth er al bum of pure mu s i c unh1nder ed by an y prejudgem ents · th e 1st, 2nd or 3r d Worl d might make r egarding musi cal f orms . As simpl e or com plex as th e emoti ons intended to be express ed in each p iece , and as def inite ly compli c ated th e t echnique and co nt ro l requ ired t o perfo rm th ese pi eces , both r ee d pl ayer Pet er Brotz mann an d percussi onist Han Bennink insi st th at onl y a child's mind i s r e quir ~ d to both understand an d enJOY t hei r m us i cal stat em ents . Brotzmann h imself i s a prop onent of an idea t o bring children into the world of mu s i c vi a free Jazz . Thi s r ea soning i s thi s: Since emotional communi ca t ion is th e primar y purpo se ·of musi c, why should th is pu rpose be c loude d by emphaslng th e form B - 93 WBUF PRESENTS JEAN-LUC PONTY + MARK-ALMOND BAND ·' SUNDAY, OCT. 29th- 8 PM Kleinhans Music Hall Tickets: $7.50, 6.50, 5.50 Tickets Go On Sale MONDAY, OCT. 2 Available at Festival Tickets in the Statler Hilton Hotel, Audrey & Del's Record Slores, U. S.'s Squire Hall, Buffalo State, Amherst Tickets, Record Breaker in Hamburg, Man Two & Pantastik Slores, D'Amico's in Niagara Falls, Sam the Recordman Slores & All Festival Outlets in Westem N.Y. & Canada. -A FESTIVAL EAST PRODUCTION- 20 SCRAPPLE FROM THE APPLE - RON WEINSTOCK New York still r emains th e jazz c apital of th E' wo,.-lrl and any we ek one ha s a cho1 ce of a wide variety of very different forms of Jazz f r om trad to fr ee . In a thr ee we ek period I had a chan ce t o se e a good variety. I first caught l ~? gensary Kansa s City (h e's actually from Oklahoma) pianist Jay McShann lead a group including or e-time Ellingtonian Harold Ashby on tenor, Jack Six on bass, Jo e Morello on drums (both have been associat ed with Brubeck) and trumpeter Jimmy Maxwell . Th e group played most of August at Michael's Pub and evoked strong Kansas City memori es with a swinging "Penni es From Heaven." A bluesy ballad brought some wonderful B en Webster-ish t eno r from Mr . Ashby . McShann plays with trac es of bop and stride in his piano and is an appealing smok ey vocal 1st as prove d on "Sweet Lorrain e" or his famous "Confes sin ' th e Blues" (a tun e blu es fans will know from Littl e Walter 's version). Spl endid and M cShann ' s Atlilntic album Last of the Blues Devils shoul dn't be miss E'd. Next week was a littl e more busyformy ~a rs . First to the Villag e Vanguard to cat ch to see Eddie 'Cieanhead' Vinson;in a group including Ray Bryant on piano. Cleanhead is a swinging, boppish alto player and a warm humorous vocalist on his "Cieanhead Blues" or "Alimony Blues" or playingandsinging "Things Ain't What They Used to Be", a bit of Ellingtonia he sang with Cootie Wi II iams big band thirty five years ago in a group that included Bud Powell and Eddie 'Lockjaw Davis. From the Vanguard I went to the Jazz Emporium at Beefsteak Charlie's to hear Ronnie Matthews on piano in a fme trio inc luding bassist Stafford James and drummer Keith Copeland. Matthews and James will be familiar to some from their part in th e Louis Hay es-Woody Shaw quintet . Stafford still g1gs with Louis , while Ronniehashisown gigs. Matthews plays in a mode analogous to McCoy Tyner but not as lo cked into a styl e as the gre a~ pian1st seems on re ce nt r l?cordi'lgs . Stafford James contribut ed ani nterest1ng arco perfor·man ce on "Green Dolphin Street ". "Selena ' s Dance" was an imaginat1ve Matthews composition which was followe d by Monk ' s "Round Midnight". Keith Copeland maintained a fin e pulse for th is trio at a casual room that I've heard a number of fif"l e groups at. Next night I heard"i)ouble lmageatSweetBasil's and whil ~> in truth I can appreciate their musicianship and group empathy. the two mallet instruments played by Dave Samuels and Dave Friedman do not provide enough variety in tonal colors to these ears, for a long period of time, though the group shows considerable togetherness and bui Ids a burning intensity with subtly and wit. Finally I caught Spyro Gyra's NY debut at the Bottom Line where they opened for a fine Gary Burton quartet. This was the first time I've seen SpyroGyrasincepersonnel changes. Adding Tommy Schuman to keyboards gives the group major a �soloist and Tommy burns on whatever he plays . Jim Kursdorfer was his usual steady self and Jay Beck enstein played solidly though with the enlarged group he isn't as dominant and even sounded thin at times, but this could be due to the room. Drummer Eli Konikoff isokbuttheguitaristand percussionist don't reallydoanythingforme . Thebandcame across well and even though I've heard them better, th ey got a strong r esponse from the crowd, for their danceable soulful jazz. Gary Burton had aquartetwhi chhadbassistSteve Swallow, drummer Bob Moses and trumpeter Tiger Oshoshi . Th e pr e sen ce of trump et changes the character of thE> group from when Burton had a guitarist, giving it a hotter sound , than oth e r Burton groups. Tiger played through hisampan,'occaSI On"l_lly sounded muffled but added numerous solos of intere'd . Play1ng compositions from Mike Mantl er, Carla Bl ey." Swallow, and E 1llngton, the music combined rock touch e s withstrongexc1tmg playing and impress ed me greatly with a wide vari ety of tem pos, moods and sounds. Gary Burton, one of th e earl1est Jazz artists to add rock influences has not abandoned h1s mastery of demanding musi c and this group has become on e of the major bands in Jazztoday . lcan'twaitto Rear th em on r <? cord . -Ron Weinsto ck · blues by ron Weinstock· In my first blues column (back in the Augu st 1976 Buffalo edition) I reviewed Mr . Johnson's Blues (Mamlish S-3807) by Lonnie Johnson which was in my opinion the Be st Blu es Reissue Album of 1976 (Clevelander Robert Lockwood Jr . and the A ces had the Best Blues Release with Live in Japan on Advent). Mamlish's head, Don Kent, rec ently sent me three other Maml ish records to r eview and they continue to document the early history of recorded blues. Mississippi Bottom Blues (S-3802) f eatures two sides by legendary Delta bluesman Chari ie Patton along with Freddie Spruell (on 7 sides), two sides by Otto Virgial, two by Long Cleve Reed and Papa Harvey Hull and one by Tommy Brad ley. Reed and Hull aren't far removed from ragtime and the songster tradition. Mr. Spruell is far removed by the great Patton in style. A very interesting collection that usefully supplements classic anthologies available on Yazoo and Origin Jazz Library of Mississippi country blues. Bullfrog Blues (S-3809) features six sides by Bo Weavil Jackson (Also recorded as Sam Butler), and four each by William Harri s and Walt er 'Buddy Boy' Hawkins . Hawkins is a rag flavored bluesman and Harris shows traces of rag on occasion and other times (on the title track) shows a more heavy rhythmic attack. Both show con s ide rabl e variety in the recordings . Jackson is the star being v ery idiosyncratic in both style and how he combines his musical mate rials. Particularly nice are his spirituals played with some flat lap slide. "You Can't Keep No Brown" is a stunning recording as he avoids using a repeat ed 12 - bar m e lodi c th eme, rather shifting the melody in a fluid and imaginat1ve way . This is a particularly nice collection of three obscure names in blues, that country blues fans can't go wrong with . Chocolate to the Bone (S - 3808) i s devot ed to the musi c of Barbecue Bob (real name Robert Hi cks) a twelv e string suitarist and singer from Atlanta. His singing suggests Blind Willie McTell slightly but his guitar is less accomplished in one sense and more forceful in anoth er. Bob's music possesses a rhythmic drive similar to Delta artists and also makes use of minimal amount of chord changes, being in a sense modally based like the blues of John Lee Hooker (his solo sides). Robert Pete Williams, or some free jazz artists . His singing is light in contrast to the forcefulness of his playing . He was in the late twenties one of th e most popular bluesmen, reflected in his many recordings as well as th e cleanness of the originals from which this album is compiled. Sound on all three albums is generally good though rare Charlie Patton's will have riiore noise than common Barb~cue Bob. Chocolate to the Bone is a particularly invaluabl e documentation of a bluesman whose reputation deserves to be better known . OCTOBER 6, 7,8 \ 10-2 VANMANAKAS trio VAN MANAKAS/Guitar MIROSLAV VITOUS/Bass BARRY ALTSCHUL/Drums Mon./Acoustic Tues. /Buffalo Comedy Experiment WED./ BFLO. OUTWRITERS SERIES followed by JEREMY WALL/JOHN BRADY a tralfamadore & streetnoise production SPECIAL PRESENTATION Mon., Oct. 23 - Martin, Bogan & Armstrong String Band An Evening of Blues, Early Jazz and Swingtime tralfamadore· cafe 836-9678 AI so Appearing Sunday, October 22 at Janicks Steak House Niagara Falls Blvd., N. Falls 2610 main at fillmore �ELMWOOD VILLAGE TICKETS STUDIO ARENA KLEINHANS MUSIC HALL ueorge Shearing on Nov. 9 TORONTO~ N. Y. SHOWS SHEA'S BUFFALO THEATRE Ramsey Lewis & Freddie -Hubbard on Oct. 20 Count Basie on Oct. 28 All Major Sports & Theatrical Events 5107'2 ELMWOOD near W. UTICA. BUFFALO 884-0122 charge $3. Send copy and payment to BJR - 1335 Main Street Buffalo, N.Y . 14209. ' IMPORTS from Japan and elsewhert. Sony, East Wind, Trio, BYG, Time!ess and many other labels. Albums oy Coltrane; Braxton, M1les, Woody Shaw, etc . Free lists - International Records, Box 717, Dept. 13 •. Mentone, California 92359. , I CADENCE Monthly Jazz Magazine . 100's of reviews plus oral hi.stories. interviews. news, & Blues . Fantastic' Sample $1.25 Subscription $11 . CADENCE, Rt. 1 Box 345, Redwood , N .Y. 13679 JAZZ RECORDS FOR SALE. Wide selection of titles ... mostly out-of - print. For free catalogs: JAZZ HOUSE . Box 455 (BJR) . Adelaide St. E .P .O .. Toronto, Ontario , Canada M5C 1J6. Sat. 11 :00- 5:00 Mon.-Fri. 9:30-5:00 STUDY SAXOPHONE, FLUTE & CLARINET with Dick Griffo (Woody Herman, Tommy Dorsey, Bflo . Philharmonic, Emil Palame. etc .). Als6 - Lessons and ·or coaching sessions on JIZZ improvising and styles. Call (716) 856 ~ 8916 . RADIO UPDATE WEBR- 97.0 FM J~zz in theNight every nig,t from 8 PM - 1 AM w/AI Wallack. (recently extended an extra hour). WBFO11.7 FM . . MON. THRU FRI. 2-5 PM - Juz II with John Hunt. Midnight3 AM - 'Round Midnight w/various hosts . SOPOTNICK'S WOODWIND REPAIR - Quality service on everything from minor repairs to complete repads and overhauls on all woodwind instruments . Gary Sopotnick 694-8331 . PIANO LESSONS - frorn fund.Jmental t o jazz i'llprovisations, study with form'"r student of Berk. lee> Coll og", Russ Messina, AI Tinn ey L essons in privat· · sl't!•ng Call Joe Bran ca to (716) 884-8768 . JAZZ PIANO LESSONS - all levels ir>cluding thoo..-y, improvisation , r eading skills and t ech ni q•.1e. Call Ri t:hard S(lulman - 882 6563. clar~Gified This space is available to private individuals, organizations, mail-order houses, etc. The cost is 10c per word - minimum •AUNTIE NATURE• by Lloyd Garber. New- music improvisation book for guitarists and others. Fragmented thoughts; fingerboard patterns; clusters; prepared guitar; · compositions ($37 . 00~ . "ENERGY PATTERNS" solo guitar recording ($10.00). Int. M.O. to Lloyd Garber , Box 7020, Station "AN, Toronto, Canada MSW 1X7. HANDMADE BRAZILIAN ROSEWOOD GUITAR for sale . Fancy inlays ~nd beautiful tone . $950. Rosewood classical with ebony fingerboard and gold tuning machines. $600. Also custom lutes, mandolins, dulcimers, guitars, and fine repairs . Bernard Lehmann, 34 Elton St . , Rochester, N.Y. 716-461-2117 . DOUBLE BASSES: Engl1sh, Italian, French,German . Buy, rent or sell . Some g~eat jazz basses on hand . Dr. George Woodall, 416-494 - 4846, P .O. Box 426 , Station K, Toronto . wlnat'i:IJ lhappeniing· SWTH - - blLJe5 - - . 1501 HERTEL AVE. 836-8?85 ~-------------------------------~22 BUFFALQ ·' Danny ·'Sansone's - 1066 Abbott Rd . ~ Joe Brancato / piano and Jack Norris/ gui-tar Wed . & Thur s. nights, 9:30 - 1:30 . Lance & ShieldJHolland, N.Y .) jazz Sun . afternoon. Continental - Pearl, behind old bus station- jazz Fri . & Sat. nights. · Statler Hilton -' Downtown Room - Barbie Ranhn & Fn end<; every Wed ., Fri. & Sat. in October. Ramsey Lewis with guest Freddie Hubbard in concert at Shea's Oct. 20 at 8:30 P .M. See ad . Count Basie and his Orchestra in conc ert at Shea's Oct. 28 at 8:30 P M. See ad . · St. George's Table - 675 Delaware Av e. - Mark Murphy sometime in Octobe r- call 884-1100 for details . �Thursdays at 8:30 Kleinhans Music Hall Series Price $25 Single Tickets $6 PETER PERRET Exxon / Arts Endowment Conductor GEORGE SHEARING November 9, 1978 JACKIE& ROY January 11, 1979 PRESERVATION HALL JAZZ BAND ~ MARCH 8, 1979 (without orchestra) MARIAN McPARTLAND BUFFALO PHILHARMONIC ORCHESTRA 1978-79 SEASON April 5, 1979 DIZZY GILLESPIE May 31, 1979 •• ••••••••••••••••••••••••••••••••••••••• • SUBSCRIPTION ORDER FORM SECTION-ROW • e e PJ • Buffalo Philharmonic . 370 Pennsylvania St. Buffalo, N.Y. 14201 • Telephone 885-5000 • e e • • Reserve (no.) Pops Subscriptions for Series PJ ind icate price and location at right . • • If unavailable , my alternate choice(s) is PJ Series. location. • • • 0 Full payment 0 Charge (full payment only) to VISA . • e • Card No. e Exp. Date • My Check for$ e • Voluntary contribution of$ is included. • Name • Street e• • e e • e • e e Master Charge (circle) • • • • is enclosed . • • • •e Please enclose large, stamped self addressed envelope. Make checks payable to Buffalo Philharmonic. City State Zip DO NOT WRITE IN THIS SPACE Phone (day) _ _ _ _ _ _ _ _ __ Date Rec ' d (evening) PLEASE TYPE OR PRINT o e• • Amt. Rec 'd. " • tl 9 e e • �,' ,, }.· , , tft ~- .·,·. ,,;.::, . ....., );...\. ,"\..,; . l ~1J \ . ~'---- '. ~/ , .,J FOR Bourbon DIN~;R-LUNC~------l Street WEEKEND BRUNCH ... TORONTO •THE FOOD IS .. ... SOUL GOOD!• (416) 598-3020 The Finest in Italian Cuisine · The Underground Railroad Tavern ~\\llll IF'ooxdl ~m~~lt~\\ll ft'~J!\\\1 U51UI\Il Street Eaat. 1bronto 2b· Ontario- Telephone 869 ·1400 fully licenced by L.L.B .O. AL COHN just in town drop around ... . and try our Late Night Lite Bite . .... . Thru October 8 AI Grey/ Jimmy Forrest October 10 - 22 RED NORVO Tralfamadore Cafe - 2610 Main - var ious lo ca l and nat i(lna l jazz groups . See ad . Library - Bail ey & Roun ds - Taxi -Carl Cedar/ bass, Bobby Previte/ drums, Steve Parisi / keyboards, Rick Strauss/ gu1tar, Sal Andol ina/ sax and Ron Witherspoon/ percussion Sun . nights. Jean-Luc Ponty - in concert at Kleinhans Oct . 29 at 8 P .M . See ad. Maynard Ferguson with guest Larry Coryell in concert at, Kl ei nhans Oct . 22 at 8 P .M . See ad . Vinei-Su - 978 West at Breckenridge - 882-5225 -Moody Stneet Fri . & Sat . nights . Sun . afternoons - jam sessions . Begatelle - Main & Winspear - Joe Broncato/piano & Jeck Norris/ gu itar- Fri . & Sat. 9-1 . Tara M1nor - 5100 Main St . J1Ck B1con Morg1n Street Stompers with Eli Konikoff Fri . & Sat . ni~hts . C.P.G . - Central Park Grill - 2519 Main St . -Jell Jam Mon. n1ghts , Bona Vista - 1504 Hertel - Blues & Jazz . Oct. 24 -Nov. 5 Phone Ahead for Dinner Reservations Tues. - Sat. 9 - 1 Sat. A ftemoon 3- 5 Sunday 6- 10 No Cover NEW AT BOURBON STREET SATURDAY MATINEE from 3-5 P.M. Also Sunday Dinners from 5-10 P.M. Presenting Our feature entertainment at this time . Weekdays- Tuesdays to Saturdays from 9p.m. -1 a.m. ROCHESTER TORONTO Cafe Soho - 334 Queen St. , W. - Susan Slack Oct . 31-Nov . 4 (after hours). Daniel's - Queen St. , E . at Lee- Peter L eat ch Tri o Oct . 22. Bourbon Street - 180 Queen St., W. See ad . George's Spaghetti House - 290 Dundas St ., E. See ad . Yellowfingers • 1280 Bay St - Thl' , best 10 Jazz The G1rden P1rty - 82 Avenue Road - Pianist Joel Shulman Monday to Saturday from noon - also Sunday evenings from ·8:30PM . N1g's He1d - Toronto Eaton C11ntre- Yonge and Dund1s Sts . Jim fy1cHarg' s Midnight Special every Sunday from 5pm to 8 pm . The Ports - Summerhill Avenue at Yonge Street - Toronto Excelsior Jazz Band Saturd<iv.s from 3 to 6pm . Chez Jean Pierre - Thurs . - Don Am es and Greg Knapp , Fr i.- Bill Dobbins , Sat. - Steve Harrow Qu artet. Lloyds - Barbado s every Sunday . Glass Onion - John Hammond - Oct. 11 & 1.'; Duke Jupi' "r every Sunday . Casablanca - Jazz every Fn. & Sat. Bat·ry K ei ner 6-9 :309:30 on Joe Locke Quint et. Red Creek - Van Manak as Oct . 4 & 5, Paul a Lo ck hart Oct . 18 - 21. J.J. Lounge - Rolan d Arm our Tn o. Fri ., Sat . & Sun . Club West Indies - M on. - various jazz groups; Tues . Sph eres Quartet and guests; Wed . - Nate Rawls . Eastman School of Music - New jazz ens 0mbl e & Eastman Jazz Ens embl e, Oct. 13 at 8 P .M . Eastman Th ea t rn. . I • II IGZZ ,-.pott 1335 rroin street bifoo. ny JLl209 P E~IO)ICALS & BIND2RY ..... ' : ", L •....,. ; .""'. . ~\ ' 'v J"' J,.. t~ .• ..:~....-~. ,·.~ _.. ·. ~,~ ~ ru i- ·c ....... ' ' .•• s.u.:! . Y . !\ . ~ . f ,j BU FFALO, IJ Y return postage guaranteed .!.. ..... :12~1 SJ6 1 { � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4243 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 56 Date A point or period of time associated with an event in the lifecycle of the resource 10/1/1978 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Music > Periodicals. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 56 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/033c26004046403e93c45e9c3c263696.pdf 8ec0548cb154088ff1067233920b33d5 PDF Text Text NOV 1 ,, \9T8 buffalo/toronto november '78 issue 57 free ML b~ jazzt t-epot.: {(,' 7<6 McCoy Tyner 57 �McCOY TYNER The McCoy Tyn er Sextet at th e Tralfamado r e - th at' s something a good port ion of th is area' s j azz f o lk have been waiting a good long t i m e f or; a wait that will be over on November 15 & 16 . McCoy is somewhat of a l egend t hese day s, so only a bri ef history should suffi ce . He was born i n Philadelphi a in Decem ber of '38, and after studying musi c as a child he f orm ed hi s first band at age 15. He met John Coltran e whil e work ing with trumpet er Calvin Massey at age 17 an d th ey worked a couple of jobs t ogeth er and Colt ra ne expr essed int er est in t he young pian i st . In '59 : th e twenty year o ld Tyn er j o ined th e Jazztet with Art Farm er & B enny Go lson. He made h1 s r ecording debut with that band , but s ix m onth s later M cCo y joined th e John Colt ra ne Quartet , whi ch in c luded El v in Jon es and (soon) Jimmy Gar r i son . From '60 - '6 5, th e years he spent with 'Trane, M cCoy's bri II iant piano work was heard on dozens of al bum s f or Impul se, inc luding severa l as a leader. In 1965 McCoy f orm ed his own group , recordin g f or Bl ue Note . He was al so hea rd on Blue Not e album s by Joe Hende r·son, Lee Mo r gan , Wayn e Shorter & others th r oughout th e sixties . Since 1971 , McCoy has been r eco rd ing f or Mil estone Records, working with vet er an p'r od uc er Orri n Ke epnews . To date , M cCoy has r ecorded thi r teen al bums f or Mil est one, the latest being a live set titl ed The Greeting (M - 9085), recorded earli er this year. Anoth er treat for Buffal on i an s will be th e appearan ce of saxophonist Joe Ford with McCoy . Joe lef t th e f ine area band Birthright in '76 and ha s been a m ember of Tyn er 's band sin ce . It' s a rare occ asi on t o see M cCoy in a smal l cl ub . Trait owner Ed Lawson has been wo rki ng on th is f or som e t ime though, and even though th e on ly dat es he cou ld get f e ll on a Wednesday and Thursday, he couldn't pas s it up . George Shearing exampl e i s Carmen M cCrae, Bobby Hutcherson and Ear Klugh with th e Lo s Angel es Philharmoni c on th e album Blut Note Meets the L.A . Philharmonic . According to spokesper son s at the Buffal o Philharmonic. this year ' s seri es grew out of the r ealizati on that asubsta~ ­ t i al jazz audi ence ex ists in Western New York . Th e1r goal IS to bring large numbers of th ese jazz f ans mto Kleinhans anc to I ikewi se bring this unique ly Ameri can art form to th e traditional symphony concert goer . It is for th ese reasons that th e somewhat conservat ive I ine- up fo r thi s season was chosen . George Shearing (Nov . 9), Jackie and Roy (Jan . 11), the Preservation Hall Jazz Band (Mar . B), Marian McPartland (Apr . 5). and Dizzy Gillespie (May 31) are all nationally and internat ionally known jazz stars that have earned respect 1n jazz circl es and are known by the general public as well. It goes without saying that the succes s of th e '78-'79 series is important to the jazz community. Plans for next year ' s "Jazz Meets the Buffalo Philharmoni c " are underway and names I ike Oscar Peterson, Ron Carter and others have been discussed . Wh ether or not next year' s series happens at all , though, depends upon the attendance f or this seri es . Subscr ipti ons for the ent ire conce rt pack age is suggested to insure th e be st poss ibl e seats and to he lp support another signif icant mil estone in Buffal o jazz history . - John H. Hunt BUFFALO PHILHARMONIC ORCHESTRA BEGINS FIRST JAZZ SERIES WITH GEORGE SHEARING For those of us l ucky enough to see and hear Sarah Vaughn ' s r ecent performanc e with th e Buffalo Ph i lh armoni c Orchestra there can be no quest ion that jazz and th e B. P .0 . go togeth er well. Listening to th e evenings mus i c wa s especially h<>artening knowing that 1978 would ma rk th e fi rst Buffalo Philharmoni c jazz se r ies . Th e series begins Thursday , November 9 with p iani st/ composer Ge-orge Shearing and continues for sev en months .concluding with trumpet er Dizzy Gillespie May 31 , 1979 . All concerts will be on Thursday nights at 8:30 in Kl ei nhans Music Hall. Jazz art ists as sol o ist s and guests with majo r orchestras is certainly not unprecedented . A good r ecent HEY MAN ... I just been to th e Reco rd Boutiqu e to di g new jazz rel eas es by AI Jarreau , Gro ver Was hin gton, Tom Scott, Wea th er Report. Oregon, Donal d Byrd and Da.vid San c ious . Th ey got great j azz reco rds at even greater pric es . Open Mon.- Sat . 10-9 281 5 Del aware Av e. (corner Eucli d) Kenmore , New York (716) 873 - 9534 \NC. 2 TRALFAMADORE CAFE JAZZ TO BE HEARONATIONWIDE ON NPR , Mark Thur sday, Nov ember 30 at 9:30pm or\ your cal endar. That' s th e date wh en th e Ron Carter Quartet, with Carter on pi ccolo bass, Ben Riley/ drums, Kenny Barron/ piano and Buster Williams/ bass , will be heard on WBFO (88.7FM, ster eo) and all that week acros s th e United States on National Publi c Radio 's (NPR) Jazz Alive program . Th e perfor mance by the quartet was r ecorded at the Tralfamadore Cafe this pa st Apri I by WBFO for NPR . If you wer e ther e in person your applause will be heard across 201 pub I ic rad io stati ons from coast to coast. If you wer en't, you missed a beautiful evening of musi c and now you've got a second chan ce t o hea r it. Th e program was co - produced by myself and Mark Fruehauf . JAZZ ALIVE is a week ly program of. jaJ Z r eco r ded l ive at concert halls and clubs all over the country and is then made avai I abl e to NPR m ember stati ons. On a coupl e of occ asi ons they have even done direct live transmissionsfrom New Yo rk City, Wa shington, D .C. and New Orl eans. It is NPR's mo st su'cce ssful on - go ing p r ogram seri es being used by more stat ions than any other program . WBFO's involvem ent with NPR is long standing. In additi on to th e Ron Carter Quart et program, our 13- week series "Downtown Jazz" r ecorded at the Statler Hilton's Downtown room and produced by WBFO was the precursor to lhe Jazz AI ive ser ies and ran on NPR the summer before Jazz AI ive began . You can call WBFO at 831 - 5393 for more informat ion about future r e-broadcasts of jazz perfo t'man ces and future NPR proorams . - John H. Hunt �. '' •' we wi II be pres ~nting many spec ial jazz p'rograms including guest appearances on Jazz 88 bypianistJeremyWall, an hour program on t enor saxophonist Elvin Shepherd, an ex clus i ve intervi ew with the l egendary ragtim e pi anist Eubie Blake, and for certain portion s of th e show I wi II have as my co - host Mike Healy of the Couri er Expres s and Bill Wahl of th e Jazz Report. All you have t o do t o be a part of WBFO and make sur ~ that we can continue in our efforts t o brin g you th e best possibl e jazz is give us a call during that week at 831-5393 and pledg e your f inanc ial support. Th e pl edgel evelsa re made to suit you and we ask you to give whatev er your budget all ows . Th e most important thing t o do, however , is to tune during th e week of November 12 - 19, listen and enjoy the great jazz you'll hea r all during that week and bec ome a part of WBFO . Spec ial programs will al so be heard on Di ck Judel sohn's Mode rn Jazz : th e first 20 Yea r s (Mon. 11 pm). Bill B esecker 's Prodigal Son (Tu es . 11 pm), P aul Smith ' s Creative Ext ens ions (Wed. 11 pm), A Bi g Band extr avaganza with Bob Rossb erg (Sun . 6 pm-12 midnight), Ed Smith's Free dom Flight (Sat. 8 am - 11 :30 am) , a j azzvo c ali st s spec ialwith myself and Ed Smith (Thur . 6 :30- 11 pm) , a li ve · broadca st from the Tral f amadore of F ootl oose an d El v in Sh eph er d Quartet (Fri . 9 pm) and much more . Tun e in t o WBFO (88 .7FM) all during that we ek and help keep our j azz programming strong. - John H. Hunt BUFFALO STATE LOVES JAZZ Just as this · issue hit s the street s, th e j azz weekend at Buffal cr Stat e begins t o burn . Fri ., Nov . 3 it 's Spyro Gyra, Sam Noto & St. Joseph ' s · High· School Jazz Band at 8 PM in th e student uni on soc ial hall. Sat. , Nov . 4 th e;e' s a Jazz Vocal Workshop di r ecte d by Chuck Mancuso & Mark Murphy - f ree in Communi ca t io ns Sout h. Th en, at 1 .PM it's a Jazz Critics Symposium with mo de rat or John Hunt , f eat unng J eff Si mon, Gary Giddens, Robt. Pal me r , Dan M or ganst ern , Bill Wahl & Stan ley C r ouc h fr ee in So c i al Hall . At 3 PM th er e' ll be an Instrumental Workshop with Sonny Rollins in F iresid E! L ou nge, f o llowed by a con cert w ith Sonny Rollins & Mark Murphy at 8 PM in Moot Hall . Sunday, Nov . 5 at 11 AM it' s Jazz On A Summers Day rar e f 1lms from th e '58 Newpo rt Jaz z F es t iva l - f r- ee in As sembly Hall . At 2 PM th er e' ll be an inst ru m enta l wor k shop with Anthony Braxton an d at 3 PM a w.orkshop/ di sc ussi on with Sun Ra - both f re e at F ires1d e L ounge. Th e wr ap - up i s a co ncert at 4 PM with Sun Ra & The 24 Piece Solar Arkestra an d Anthony Braxton - in Soc i al Hall . If th ese event s ar en' t over by the t ime you' ve r ead th 1s check out what you ca n an d be a part of a grea t Jazz weekend' WBFO JAZZ PROGRAMMING NEEDS YOUR SUPPORT Read er s of th e Jazz Report are no doubt familiar with at l east som e port ions of WBFO ' s j azz schedul e. With more than 70 hour s of j azz each an d num er ous l ive broadca st s we are Western New Yo r k's l ea ding j azz stat io n. Mo st of you al so· kn ow that we are a pub I ic r adi o stat ion and as su ch nee d th e supp ort of th e community th at we se r ve. In th e very nea r futur e you wi II have th e opportunit y to sho w your suppo r t f or WBFO pr ogramming by beco ming a m emb er of th e stati on . Dur i ng the wee k of November 12-19 - . JAZZ & BLUES CENTRE MOVES Th e Jazz & Blues Cent r,e in T oront o, Ho m e of CODA Magazin e and th ei r combinati on Jazz/ blues r ecor d and bo ok stor e, mo ve d on Nove mber 1st. Prev iousl y locat ed at 893 Yonge St., th e J/ B Centre is now at home at 337 King St ., West between Spadina and Uni versity . Th e new phon e number i s (416) 368 - 3149 . I WBFO PRESENTS ;- AL LOU MAX Tinney, Marino &Thein Elvin Sheppard FEATURING Friday & Saturday, November 17 & 18, 11 to 2 AM ,. 1/FOOTLOOSE" opens -both nights 9=30-10:30 \ r-------------------------------------------------------------------------~--------------~ At the Tralfamadore Cafe- 2610 Main at Fillmore in Buffalo I $3at the door �MILESTONE JAZZSTARS The Milestone Jazzstars con cert la st month at Clev eland's Palace Theatre proved to be on e of th e most memorable evenings of mus i c I ' ve experienced . Sonny Rollins, McCoy Tyn er & Ron Carte r - all gi ants , all living legends and all on st age at one time, pr es·ented in two sets, the band played four quartet pie ces and vari ous solos, duos and tr i os high I ighting everyon e in the band . If there was a star of stars , it·wasRollins, who was magnifi cent from the opening .of the first tun e Cutting Edge, to the c los mg of th e encor e, Impressions. A bl ow by bl ow r e- has h of the co ncert wo ul rl ma ke no sense at th1 s po1nt . It wa s a groa t n1 gh t. Wh r the r you wer e th er e or not - kee p your ey e ~ op en for a l 1ve two - r rco rd set t o be r eleas ed soon, t ake n f r om f <•ur Cl'r<ce r t s on th eo tour - Bil l Wah l · ~ Swinging Place', Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week Wedriesday & Sunday Hot Dog W/Kraut We Serve Food til 3:00AM EDITOR & PUBLISHER- Bill Wahl CONTRIBUTORS - Bill Besecker , Peter Beuerl ein, Chuck Braman, Chris Colombi, Jr., Dal e Funtash, Bill Harris, Hal Hill, Brad Hunt, John Hunt, Willard J enkins, Jr ., Jim Laniok, Tom Mazzone, Bob Sheperdson, John Simna, Paul Smith, Paula Wahl and Ron Weinst oc k . COVER ILLUSTRATOR -Sabrina Mayberry Smith No B.S. Compare Our prices ADVERTISING Manager - National & Local · - Bob Riley (716) 883-3909 Niagara Falls/ Lockport- Ed Supple (716) 297-7878 Toronto/Hamilton - Hal Hill (416) 742-4081 (after 6 PM) CORRESPONDENTSRochester , Jim Laniok Syracuse - Bob Shepherdson Toronto- Hal Hill Address correspondence to : Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext . 11 PRINTED IN U .S.A. EEF EER B ILl lARDS & JUKEBOX OPEN EVERY MORNING TIL 4 AM 3178 BAILEY AVE. - 836-8905 (across from Capri Art Theatre) © 1978 - Buffalo Jazz Report No portion of this pub I ication may be r,eproduced without written consent from the publisher . COeaft CCintendg. CUJe'ue gone-...~ The Buffalo Jazz Report, founded in March 1974, is pub- 1ished monthly at Buffalo, N.Y . BJR is distributed free of tlvrough a Qot Ob change~ oue~ the tJJpm:t bew yeaMl. howeue~.the one thmg that ha~ ~HQQ e11du~ed LCl ou~ ~we u\Au~LC. CWhe11 aQQ the wee~end c~owd~ haue gone a11d the ~IJeCLaQ~ 11taht~ a~e oue~. we ·~e p~oud to p~e~ent the best a~wy Ob taQettt we catt Mnd. S)b itg J\:cou~Hc you QL~e . we beatu~e two pe~b0~~11e~~ eue~y .Quttday. CCThe Qo11ge~t Mtllg J.QDS Jam L11 the cLty ~J-- --.-...;;LJI and bO~ aQQ you b~ugt~ated hLQQbLQQLeg CJhe cpOilltQeg~ cn~o~. eue~y Vue~. charge throughout Buffalo., Rochester, Sy·racuse, Toronto, St . Catharines, Hamilton, Niagara Falls, Lockport and Jamestown. We are subsidized solely through advertising and ask that you support our advertisers. Subscriptions are available at $7/year, paid in advance. recordrDJ .......... hnve n 11ice. CPG.* -A Peaceful Easy Feeling-,. MAIN Sl *CENTRAL PARK GRI 4 PETE CHRISTLIEB / WARNE MARSH QUINTET - APOGEE WARNER BROS. BSK-3236 LEE KONITZ QUINTET - FIGURE & SPIRIT - PROGRESSIVE 7003 Th ese two al bum s have mu ch in comm on . Eac h f eatur es on e of th e main fo rces t o com e out of th e L enn 1e Tr ist ano Schoo l (Mar sh & K onit z) , ea ch fe·a tu r es tw o saxoph oni st s on th e front l1 ve with super b r hyth m acc om pan 1ment , and on neith er wi ll you hear any bul lsh it. APOGEE i s som ewhat of a t urna r ound for Warn er Bros . an all - aco usti c all at raig ht - ahoad pur e Jaz z album . From th e openi ng not es of Magna-Tism you 'l l kn ow wh at li es 1n st or e - v i vac ious t enor saxoph one bl owo uts. from t wo compatibl e player s with contras ting styl es. Mar sh with th e cool , fluid sound thats be en hi s trad em ark sii(C,.:', th e late fort 1e5 , and Chri stl1 eb with hi s hott er, oft en honki,ng "T exas " soun d blow their way thro ugh s i x pi eces, i nc ludin g Trist ano's 317 �E. 32nd and Bird's Donna Lee . Christli eb& Marsh are driven well by Lou L evy/ piano, Jim Hugh art/bass and Ni ck Ce roli / drum s. L evy dese rv es a note of credit for hi s fine soloing on four cuts. Apogee was produced by two m embe rs of the ro c k group Stee ly Dan, Wa lter B ecker & Donal d Fagen, who al so compo se d one t rack - R apunzel . Now w e go t o th e great a lto saxophon ist LEE KONITZ . Progr ess i ve Reco rd s i s a sma l l l abe l ou t of Tifton , Georgia curr ently buil di ng an impress ive ca tal og. FIGURE AND SPIRIT, r eco rd ed i n 1976, was, until r ecent ly, only avail abl e as a Japanese import. L ee Shares th r fr ont I ine he r e with t enor - m an T ed Bt-own, a l so ou t of th e L enni e Trist ano t ra dit iOn . St nce L ee & T ed wro t e 5 of th e 6 th e tunes and Lenni e wrot e t he ot her, Apri l, Tri stano's mark i s clear ly evident on t h1s album. Exce ll ent mu sicia nshi p, lyn c i s m and a bri ght f low of ideas k eep a good groove going fr om start t o f tni sh . L ee & T ed were no doubt in sp ired by t he superb support f rom Al bert Dail ey piano, Ruf us Re i d/ bass and J oe Chamb er s; drums. In su mm ary, th ese t wo record s offet- l op fl tg ht acoustic J d ZZ th at no sax f an sho1Jid m1 ss . - Bill Wahl LEE MORGAN - THE PROCRASTINATOR - BLUE NOTE Rath er th an go through l hr· enttre BLUE NOTE CL ASSI CS ser i es r e l ease, wh i ch inc ludes dependabi P, oft l tmes spectacular num bers by Jacki e M clea n, A rt Bl akey, Stanl ey Turrentine, and Chi ck Cor ea's m ost out s ide numbers with Cir c l e. Th e han ds down w1nn rr i s Lee Morgan . On e's heart aches at thoughts of how vi Ia I th i 5 man was when he was snuffed out by a wayward woman in 1972. Th1 s album i s but a reminder of how tow er ing a t ale nt he was An d what sidem en' Reco rd 1 of th e t wo r ecord set boasts He r bie Hanco ck, Wayn e Short Pr, B obby Hut cherson, Ron Cart er and Bil ly Hi ggins . On t op i s L ee's l arg er t ha n l ife horn . Recor d 2's cas t i s equally ad ept : Georg e Col eman, Jul ta n Pn est er, Harold Mabern, Wa lte r Booke r and Mt cke y Raker everyman·s~ booKstore t<i@ ·books • pel'iodica.ls • t -shlrts · c.a\ende.V'S • pamphlets • ca.Y'ds • :3\02. maln st. bflo. Throughout th e set M organ l ooms as one of the greats, a link in th e lineage that bega n with Buddy B o lden , th e trump et family tree. Hi s t one was superb and h is ideas abundant. B esides his obvious trump et superiority he was an underrat ed co mpo se r as ev iden ce d by "Th e Pro c rastinator", and th e bluesy "Party Tim e". Th e crime of t h1 s r ei ease i s that it t ook so long t o rel ease it. Th e c lin ching aspect of thi s Bl ue Not e Classics series rel eas e i s that all of th ese records we r e never before r el eased. Wh at t ook so l ong ? THE PROCRASTINATOR is on ntY album of t he year ball ot. - Wil lard Jenkins, Jr . HANK JONES- ARIGATO - PROGRESSIVE Th er e was a tim e, pe rhaps fi ve y ea rs ago, wh en th e ardent fan of pzz was bem oa ning th e lack of recorded material with ptani st Hank Jones as th e lea der . Many kn ew of his ex traordinar y tal ent s as an accompanist on the JATP tours The Best Of KEITH JARRETT LOWEST PRICES IN TOWN 1800 MAIN at LAFA YETIE \tmpulsc 7 Days 10 AM- Midnight �1- :c e - I TACOS BURRITOS ENCHILADAS TOASH\DAS and as p ianist with Coleman Hawkins, B enny Goodman, El la Fitzgerald and others. Now Hank is coming out. Hi s recent albums for Galaxy , Muse and Concord Jazz brought him new fans . Jon es' current run on Broadway in "Ain't Misbehavin '" and television appearances on Toronto's " P eter Appl ey ard Present s" have given him well-deserved visability . Thebusi ness at hand , however, is his most rec ent rel ea se for th e Progressive label, Arigato . Alth ough only the titl e selection is written by Hank, his tr eatment of so li d favorites such as Allen's Alley and Ellington' s What Am I Here For are personal and r ea dily identifiabl e as th e styling of Hank Jon es. F or this sessi on Richard Davis is th e bas s ist, about whom many accolades have been said. Jon es adds : "Ri chard Davi s, of course, is one of th e great es t bass player s. Ri chard is th e consummat e artist. Wh en we play ed in my broth er Thad , and M el Lewis ' band he did things on th e bass that you wouldn ' t beli eve. He is a well rounded musi cia n." The drummer is ·Ronnie Bedford who worked with Hank and Don Ell iot some 20 years earlier. Han k said of hi s drummer: "Ronni e is a studied musi c ian . There i sn't anything that he can't play on drums. He has no pee r as a soloist." Angato is a good illus tration of Hank's abiliti es and is well recorded, capturing a good measure of his lyri ci sm and "impeccable" taste . Jones ' philosophy about r ecording is simple: "If you're lucky , it comes out alright. We feel we were pretty lucky and that you'll find this one did come out bett er than 'alright ' ." -John Hunt First with the Best in Buffalo 1247 Hertel Ave. between Colvin & Delaware 873-6606 2114 Seneca St. 2 blocks north of Cazenovia 822 - 7733 JIM HOWARD/ PAT SULLIVAN - NO COMPROMISE - JAP 0001 3355 Bailey <~t w :r: 1- This is th e lat es t addition t o th e impressive li st of Cana dian big bands, Bobby Hal es , Rob M cConnell and Phil Nim mons, whi ch is building Canada into th e position of th e world big band l ea der of the seventies. Th ey play contemporary jazz at it's best and th e album titl e is indi cative of th ei r musi c . Charts are originals thoughtfully arranged and well executed . They have a unique linea r dual l ea ders hip with arranger Pat Sullivan, a Gordon Delamont student and admirer of Duke Ellington and his musi c, and l ea der Jim How ard, former B erklee faculty member . Th e entire fir st side is Gordon's Studio Suite in thr ee movements which passes through minor blues to tw elve ton e and pantanal chord progressions . The third movement is up tempo, driving, with good solos . Shelly B erger is well r epresented on bass and two excellent charts on sid e two . SelectiOns are laced with excellent solos by Jim Recchia. piano ; Leb Sullivan, tenor; Mi ke ,Mal one, trumpet; Darcy Hepner, alto; Brian L egere, guitar and Anth ony Terpstra, drums . - John Brechl er Minnesota 833-4566 . Hours 11 -5 'AM Daily ' Starseed cordially encourages you to drop out, tune in and turn on to a most revolutionary pipe emporium. We are Buffalo 's first Hedonic smoke shop. .S tarseed Enterprise Hertel Avenue, next to MIGHTY TACO Coming November 6 LARRY CORYELL / PHILIP CATHERINE - SPLENDID ELEKTRA 6E-153 Once more, Larry Coryell and Phi I ip Catherine sweep us into the very personal realm of the acoustic guitar . Their first LP , Twin House, was a well - r ece ived tour-de-force, and this album is even more so. Splendid describes the highpower ed romanticism quite well . Jimmy Giuffre's The Train And The River is a stream1 i ned romp down the tracks , as the duo invokes th e hard - rolling "train" motif so known in th e blues/ jazz idi om. Yet th e train smokes with fuel · from blues , r&b, bluegrass. and vari ous ene rgy sources talkin ' thru the drive. Th e troubador air of the guitar strums deep and c l ean in a superb rendition of My Serenade, a mast erpiece by the immortal Dj ango Reinhardt. Walk thru forests and op en plains . or just strike a fine mood for yourself, by listening to thi s one. This should not be heard alone. Coryell's One Plus Two Blues packs powerful Spanish flavorings 'midst th e mean streetwalk. Th ere's a pervasive rainbow mist swirling about thi s tune. On Catherine's Father Christmas, we hear th e composer's fretl es s e lectric guitar. From it he·drawsthemellowsoundofacoustic chimes, pianos , or even a musical saw. Father Christmas, written for Mingus (Pork Pi e Hat revisited) , r eca ll s the first recorded meeting of these guitarists on Mingus' ThreeOr FourShades Of Blues. �W1th guest p1an1st Joachim Kuhn, Deus Xango flings itself between gypsy passion and a raw gut grind -em-up . Excellent! Here is entertaining artistry of the most high . -Michael F . Hopkins SONNY ROLLINS McCOY TYNER RON CARTER Milestone Records has rei eased thr ee new a Ibums by th eir jazz royalty . From SONNY ROLLINS comes DON'T STOP THE CARNIVAL (Milestone M -55005). This is a live recording, done this year at San Fran cisco's Great Am e'rican Music Hall ; Throughout this 2-record set you'll hear some of Roll1n s best improv isations on r ecord in years, but its due in no way, shape or form t o his band. They are adequate at best (including Tony Williams, who shines in only a f ew spots) . Donald Byrd, who play s on half th e record, shouldn't have played at all - if anyone detracts from th e sound it's him. But, th e fact is that Rollin s plays so well th at the r est almost doesn't matter. B eing a Rollins fan myself -I play the record all the time . THE GREETING (Milestone M-9085) from McCOY TYNER is also a live set, done at the same hall . This one suffers from poor sound quality but it contains some of th e most intense Tyner on record -obviously due t o th e fact th at it's his own regular band captured in performance. Buffalo 's Joe Ford offers a hot alto solo on the title track - I'd like to hear more of him. Ex- Mingus re edman George Adams is in his usual energized form through out. Also included is a sweet solo piano version of Naima, and a liv e reworking of Fly With The Wind. Bassist RON CARTER offers a studio recording titled A SONG FOR YOU (M-9086). Ther e's some gorgeous music to be heard here featuring Ron on acoustic bass and the small- Power 100 watt s per channel. Rug ge dly bui It to han dle th e road and easy to service. er piccol o bass. Jazz, classical and Span1sh flavorings are all a part of th e overall sound which is heard o.n this and some previous Carter albums . The program cons1sts of the title track (by L eon Russell), Someday My Prince Will Come and four Carter originals. Perh aps the best from these three is yet to come. The 1 ive 2 - r ecord set from the Jazz stars tour IS due out soon. Until then , try these. - Bill Wahl TOSHIKO AKIYOSHI - FINESSE - CONCORD JAZZ CJ-69 About the I ady and her hands . The pianist, composer, arranger, and co-leader of the brilliant Akiyoshi - Tabackin Orchestra presents her first Am erican release mainly featuring her piano work . With bassist Monty Budwig and drummer Jake Hanna, Toshiko begins th e album with a flourish by sending Count Your Blessings off and spinning! From this we move mto the introspective American Ballad, where one may envision Duke's spirit smiling at Toshiko from above . Lovely. The album's material is well diversified, from the singalong pomp of Wouldn't It Be Lovely to the moody grindem-up of Jelly Roll Morton's Mr. Jelly lord. Uh! Toshiko's fin e finger-popping adaptation of Solvejg's Song (from Grieg's Peer Gynt Suite) reminds us that a classic can be adapted in a way retaining and extending the original virtuosity . What it's all about . Besides the aforementioned Ellington shades, there are slight hints of (Blue Note) Hancock in Toshiko's play, along with the ringing resonance of Charl es Mingus (with whom Toshiko worked in 1962 . Mingus , incidentally, is a fantastic, incisive-pianist). In the crux, however, it's all about the lady, her se lf. Toshiko has a clear, percussive, quick touch expressing highly co lorful taste and surge smoking hard . Above all, there's the deep sensitivity that brings it all together beautifully . Hence , Finesse. About. the lady, her hands, and her piano . Very grand . - Michael F . Hopkins UNI·SYNC Mixing 18 channel stereo with house and echo pan pots, a metered solo sy st em and more. A BSR COMPANY Equalizers, limiters, direct boxes custom designed into systems for the road or recording. Professional quality at a reasonable price. Call or write Unistage, 716-852-6500. INNAlii 330 GENESEE ST., BUFFALO, N.Y. �WIND CHILL FACTOR - CITY STREETS- QCA REDMARK RM372 Th is on e cam e along as a pl easant surpri se. Wind Chill Factor i s a t al ent ed, well v er se d quartet with no self proc lai med l ea der . Th e obvi ous lea d in st r um ent i s th e onl y horn in th e band - th e t r ombone, play ed by Paul Pill er, a m emb er of t he Cin c inn ati Symphon y and th e Symphony Jazz En se mbl e (al so doc um ented on QCA Reco rd s with two r eleases t o dat e) . He an d pi an1 st (a cou sti c an d e lectri c ) Mike Patterson sh ar e th e soloing throughout th e di sc , except f or two spot s fo r bassi st Bil l Gnm es (f eatur ed on "Shepherd's Lament") and on e fo r drumm er Jim Sewar d. In ad diti on t o th e abl e so l oing fro m Pil le r & Patt er so n, t he su cce ss of thi s album i s du e t o th e swee t , fl owing lyri c ism th is band ca rri es on through out th e s i x t r acks , mo st of whi ch are or igin als . F or more fl avor, Pill er ov erdubb ed a seco nd t ro mbone t r ack on u A Second Chance . " HCity Streets" offer s a balan ced set of ballad s , cookers an d Latin f lavo r ings r esulting in a f1 ne r elease deserving of t he hea vy ai r play it's r ece i v ing throughout th e count r y . If you want som e good li st ening , often r elax ing j azz - don't mi ss it. Hope t o hea r m ore from WCF soon . - Bill Wahl 4!rd~s!J sltrlin:J and gold jctAJ61rJ. irnported, rtc~cled ~military 9arb head 9&3r and ~~f~s ~' Alltt7 5t. 882-8200 t-')IOWJ. -t-hru So.t. 12:00- 6:oo JACK DeJOHNETTE - NEW DIRECTIONS- ECM (WARNER) 1-1128 This newest group of the popular A .A .C .M . drumm er / pianist excels in tapping th e lyri cal freedom stri ve d by th e many associates of the Chicago - born movem ent . Thru New Directions, freedom strides l ean and sassy with im ag inat ive soul. The voudou call of Bayou Fever is expl ic it , esp ec ia ll y John Aber c rombi e's guitar iss uing th e who opin g of th e dance calling the loas (sp i rit s ). Th e song s with DeJohnett e's cymbal s sprayi ng th e ce r em oni al message of the Dance, as Eddi e Gomez send s sh aft s of har monic fire from his bass bowed t o open earth an d sk y . An already powerful headt os ser of a rhythm is suddenl y up lifted into a pulse spa c ing all Tim es, erupting truths sp it tin g sharp seeds soaring sweet from th e trump et of L es t er Bow ie. The Bayou Fever breaks out smooth and f ree with it s st re ngth ing magic. Bassist Gomez, a Julliard graduate who's pl ayed with Bill vans, McCoy Tyn er, and Chi ck Corea, can strum as a gui rist would, or bow intense cello impres sioni s m . On th e rut, Gomez is a distan ce runn er . Ab er c rombi e' s elect r ic itar is unique, sounding quite often like a deep Po lynes ian lody . Bowi e (also with Th e Art Ensembl e of Ch ica go) is imply one of the great st oryt ell e r s of th e Musi c. He us es trumpet ' s full range t o impart a combin ed t ale of snari ng sarcasm, bawdy laught er , and unabash ed ball adry th e ikes of whi ch have not been heard sin ce t he day s th at Rex "'"Pw:.n and Cooti e Williams played so boldfo rth e Duke h imDon ' t be surprised t o hear , in Bow ie, th e rin g ingl y raight - shooting draw of Pop s Loui s, t oo ! All united thru DeJohnette ' s splash an d per cu ssi ve sp arkl e, total message goes around . A prime dir ec ti ve. Mi c hae l F . Hopkin s 59 Kenmore Ave. 836-1781 (eorner ol Windemere) behind jewelry ~tore 8 THE DEDICATION SERIES/ VOL . VI - THE EARLY TRIOS - McCOY TYNER THE DEDICATION SERIES/ VOL . X - THE GREAT TENOR ENCOUNTERS- DUKE ELLINGTON THE DEDICATION SERIES/ VOL. II - THREE DIMENSIONS - OLIVER NELSON Th e ABC / Impulse "Dedi cati on Seri es " is presently co m prise d of 17 twof er s with m or e in sight . Mo st of th e musi c is avai I abl e on si ngl e Ips. Th e seri es off er s th e materi al at very low pr i ces al ong with som e prev iousl y un is su ed tun es and other s in th e i r ori gi nal f orm . McCoy Tyner ' s The Early Trios, conta in s th e lp Inception in its entirety and cuts from oth er 1962 - 64 tri o Ip s in addi t ion t o 2 tun es r ei ease d f or th e first time . Most of th e cuts are ori ginal s and standards , (many of Duk es ). A main r eas on for th e suc ces s of this musi c i s that M c Co y' s sid em en, El v in Jones , Jimmy Garri son , Alb ert Heath , and Art Davi s are hi s pee r s. Th e form er two play th e mo st and are more in tun e with h is suph oni c approa ch. Li st en to M cCoy's m e lodi c in vent iveness wh ich i s co mpl i ment ed by hi s gentl e t ec hnique. The Great Tenor Encounters, 1962, portray Duke in 2 differ ent sett ings, th e f1r st i s an oct et f ea turing Coleman Hawkins . Col eman 's big warm t one is complim ented well by Duke's arrangem ent s. Th ey sw ing as if th ey wer e a b ig band , yet th ey are abl e t o communi cate on a more per sonal leve l , esp . on Solitude, r e leas ed for th e fir st time . A sp ec ial t re at i s th e singing of drumm er Sam Woo dyard on Limbo Jazz, he was un aware at th e tim e that th e mi ke pi cke d up his vo ice. Th e secon d enco unt er i s with John Coltrane, thi s i s th e only r eco rdin g in whi ch Co ltran e pl ayed as a s ideman after he l eft M i les. Ea chmanbroughthi s ownbas s ist and drummer . The FeelingofJazzandlnASentimentaiMood capture th e high poi nts of th ese side s , t wo gen i us es withth e h igh es t es t eem and r esp ect for each other pract1 cally al ong leading ea ch other . Co ltran e did not stray and Duke's playin g is a bit more intro sp ect i ve. On e of the i r· f inest hour s. Three Dimensions i s Oliver Nelson th e lat e arranger , compo se r and sa xoph oni st. Blues and the Abstract Truth, an all tim e c lass i c i s given in its ent1rety . J o ining Ol ive r is Freddi e Hubb ard, Bill Evans and Eri c Do lphy t o name a f ew . Thi s lp was Ol i ver ' s t urning point , "h e mir ac ul ously vo iced fo ur horn s t o sound li ke a r ich ch amb er orchestra" . (Mi cha el Cu sc un a) Two song s on s ide s c and d ar e r e l eas ed for th e fi rst t ime. On a r ar e occ as ion we get t o Ol ive r in th e pl ayer format again i n 1966 al ong Ron Cart er , Gr ady Tate and Steve Kuhn . Of th ese two sides my favorite is th e ha ckn eyed, The Shawdow of Your Smile . However Oliver demonstrates that no matter how hack neyed a song might be, he c an c r ea t e int eresting new dimensi ons. Of doubl e bossa nova with a doubl e rhythm undern eath . - J effrey Cylkowsk i �JAZZ IMPORTS romdc scottS PHESENTS ronnie scott~ prun~ts SARAH VAUGHAN 'UVE' -. Clift IIABEI\ IN I'AI\11: ........ ..,.... LlmVI:I.IIAMI'"~.. 'I'!"fON'Mif Jazz Imports have become increasingly more popular, find out why - enjoy music Unavailable on domestic labels as well as the clean sound of superior European pressings. The albums pictured above are just a few of the wide assortment available - distributed by Artistic Music. AVAILABLE AT ALL .CAVAGES SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALl SOUTHGATE PLAZA COMO MAll UNIVERSITY PlAZA SUMMIT PARK MALl �LEW TABACKIN - DUAL NATURE - INNER CITY 1028 Lew Tabackin continues to grow as a master of this most expressive Music. This, his 2nd Inner City album, shows the ex- Tonight Show bandman generating h is own brand of intimacy and musical power. It's quite a tapestry. Side 1 features h1s flute play, which is very fluid and carri es the melodi c currents of varied times to enchant our senses. One can hear Dolphy's fleet wit, Laws' cacao tone, Rahsaan's sass and Rampal's reflection in Tabackin. Tangible, too, is the loving, creative depth he shares with his wife Toshiko Akiyoshi (try the swirl ing sway and uplifted eyebrow of Toshiko's Yellow Is Mellow). Out Of This World abounds with the ritual grace of magic lands in gentle, yet robust, play . This play extends into the rippling fire of his tenor saxophone. The man can roam, and cook by the hearth as well. Irresistible is Tabackin's No Dues Blues, explos ive in romping intensity and steadfast spirit. That h e soothes and commands snapping w1t is shown emphatically in My Ideal and Russian Lullaby. His band (pian1st Don Friedman, bassist Bob Daugherty, drummer Shelly Manne) contributes the proper deftness and highly quaint taste to round this album's fine sound. The Akiyo shi - Tabackin Big Band is among the best in any land. Regard any album by either of the bandleaders as a potential gem. Like this one. -Michael F . Hopkins Technics Professional Series BOBBY HUTCHERSON - HIGHWAY ONE - COLUMBIA JC 35550 The romanti c mists and mystique of Bobby Hutcherson's vibraphone wizardry is fully utilized in this, his first Columbia album. Highway One is a ver sa til e showcase of Hutcherson's ability to lyri cally summon rainbows snapping with full -bodied color. Hutch has most of his regular group her!? (Georges Cables - acoustic and electric piano, James Leary - bass, Eddie M arshall - drums, Kenn eth Nash • percussion), and united thru Hutch's qui cks ilver- ton ed malletwork, they sound more open and together with each coming (not passing) . Listen t o the buttressing blues and chungwa drive of Hutch's titl e tune, and hear . Highway One also f ea tures some excellent guests among the straightahead-on t raff1c. The h1ghly underrated pianist Cedar Walton turns in some fm e arrangements and playing on the album (check th e airy vibrancy of his string stylistics on Bobby's Bouquet). Cables' Sweet Rita Suite/Part 2: Her Soul features Hubert Laws' cacao flavored flute coming in hot with a deep ton e, whil e Fredd1e Hubbard soars darlingly with a quick wit. B eautiful by -play, brought home in a stunn ing brass/flute/v•bes c l1max . Striking! Secrets of Love (Reprise) closes the LP on a mean bumping glide drifting between the bass exchange of Leary and Van Zal.nge, let alone the shimmer concoted between Hutch and Laws . The magic is topped with the smooth, floating voice of Jessica Cleaves. whom many will recall from the Fri ends of Distinction and early Earth, Wind & Fire. Jessica still commands high distinction, and Keystone Korner owner Todd Barkan's simple prose carnes the Musi c's intri cat e strength with special charm. Get on the highway. It's a breathtaker. - Mi chael F . Hopkins Alltronics is proud to announce the addition of Technics Pro to our huge choice of stereo equipment. These components represent the ultimate in modern technology & great soundJust One More Reason To Stop In And Check Us Out! PHONE 834-2266 3417 Sheridan Drive (between Bailey & Millersport) 10 CHUCK WAYNE TRIO AND QUARTET - TRAVELLING PROGRESSIVE 7008 Chuck Wayne was one of the first guitarists to adapt bop to his instrument. He later gained a d0gree of prominence with the early George Shearing quintet. Th1s album features h•m in, for the most part, older- Jazz oncntedstandards. The quartet includes vibist Warren Chiasson, bass ist Jay Leonhart, and drummer Ronn1e Bedford, all of whom r eceive a fair amount of so lo time, inadditiontoprovidingeffective support. There is a h1nt of the Shearing approach in the uni son lines used by the guitar-vibes combination, but it's not dominant in the overall sound of th e group. Generally, there is a nice interaction between soloist and accompaniment. The second side, by the trio (without vibist Chiasson) �sounds by cont rast a b.t emptier at f trst. However, Way ne manages to so lo and accompany h tmsell we ll , espec ia l ly on the ex tended version o f "Sprmg Can Really Hang You Up the Most. " "Stel la by Starltght " a lso rates a sp<'r ial mentron. Th is album present s some very good sma l l g•·oup jazz, w i th the emphas is on th~-< bop approac:h to the gutlar -John Simna WOODY SHAW HOUSTON PERSON DAVE PIKE RICHIE COLE Jazz Music Instruct iona l A ids In Stock: NEW FROM MUSE A mong thr: l atest balch frorn Mus<' Re cord~ you' II ftnd a new r e lt'ase fr·om WOOD Y SHAW t1tl0d Lillie Red's Fant asy (MR 5103). Th ts i s aclu<.~l l y a 1976 r pcordtn<J whi: h hao., br~en wa iti ng palaently in the can for iss ue . At lh,;l ltnw, Woody was a coluadc:r of a quintf'l (along wtlh Louts H<lY"S) whtch inc luded p tantsl Ronn tr: M ath(•ws & ba~s, -, t Stafi ,,t'd Jame<;both ol whom are on hand h•:rP.. Drummer Ecld tP Morw" and the f tne, underratl•d al to saxophun ts l Fran'< Str·oz i,.,,. c omplr: tr· t he qu intet. Rcrncmb L•r" ltstr' ntng tu \l•e Hayr's Shaw Quintet for thr·ee nrgh ts stra tght dunng;) 8'uffu iO bl tzzard II ' ' 7t-,, and thts a lbum comes clo,.,,. to unngiiHJ back lf1nsr.• swc~'t rnemo rt e5 than any of Woody',_, d tsc:s to datr.' Woody ri!Jilliy refr~r-; to it as "good mainstream moda l bop" 11'.., -;tron'), br tght music wtlh colchy, melod t"S that'll st ay tr1 yotw h"ad . A s good as Sh;;tw was at (hP tttnc of 11->t~ r·r' <:O t diiV.J h·~ ·~ st il l come a long way s•nr.P., whtch I noltr·<· d at a l tV '' poor fonn ance 111 Augus t The Nearness Of You ( M R 51 78) co rn0<. f r·orn \r·qr)l' s 'J <o phon tst HOUSTON PERSON . Houston l"ad<> an ctghl fl'''' '' band w i th such people as Chas Ear land/or·qo n, V trgtl .JonPs t rompe\ and Grady Tate , drums . Th t ~ tS il sou l ful, len<.wl organ style dah: n~mtn: <,cent of many p t' f'S t igP sn..,s ton.., of til" early s•~venl t 0S. ThPy covrJr ballads, blue!>, funky p••'V'" and sw i nqer~ . A hoqh l ight is a slow blues, P lease M r. P erson, "lerkclee Series La Porta Books Joseph Viola Hours: 2113 Niagara Fall s Blvd. 1\mh erst , N. Y. 14150 Phon e: 691 - 8032 Sat. 10 - 4 Mon.- Fr i . 12-8 featunng voc crl ts l Ella JonPs. Person and hts big soul ful sound have come up with th(·tt· bost work in some t ime. V1bist D AVE PIKE has come up wtlh On A Gentle Note (MR 5 168). The bes t cut is a hot vor·s ton of Scrapp le From The A pple, The tunes th ::Jt OfWn each stde arc medium paced funky cuts whach run closl' to h·n mullllf.'s each, bu t they wear out thew welcome bdon! halt \heir· t trne has elapsed. You' ll al so ftnd some shut'\ solo ptPCes from members of P ike's Sextet. Another lonq cut, Regards, F rom Roger Hor ow i tz sounds l ike an attempt to sound ltke Gary Burton's Quintet . All in all , you'd be better oft with Pakt•'s prPvious "TimesOut Of M ind" (Muse 5092) as lht~ 1S not Ptke' c. pl'ak perfor·mance. On the otht•r h;md, RIC HIE COL E ts in excellent form on A lt o Madness (MR 5155). Cole 1s a f tn.'y, energetic young a lto p l ay(~r steeped und(Jr th e tnfluence of Phil Woods. Phil's b assi ~ ! Steve Gilrnorp i !'. on hand hPrl', a long with guitari st V ic Juns, who turn<, out sorne excepllona l , fleet so los. The It's BLUE NOTE MONTH I< LUG - PLUS THESE ARTISTS STANLEY TURRENTINE McCOY TYNER THELONIOUS MONK At Super Sale Prices! CAYAGES BOBBY HUTCHERSON HERBIE HANCOCK DEXTER GORDON DONALD BYRD & MORE .... SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MALL EASTERN HILLS MALL SOUTHGATE PLAZA COMO MALL UNIVERSITY PLAZA SUMMIT PARK MALL . �Percy's chamber mus1r: stylr- heard with th r> novv def•mr,t Modf,rn Jazz Quartet i s in ful l b l<>om hr· r ,..· and pianist Stan l ey Cowell and gu.tari st Tony Purron11 offr•r so•ne go'ld solo1ng througho ut. Brothe r A lb"rt Hea th 1s on drums. Whil e thi s is not th e rn ost v1 vacwu5 wor·k frurn Jimmy on r cco t·d, he and h• " br·utlv ·rs <Jnu guc~ t ~ ~1 ilVL' crww up wtlh a good, sol 1d n ·l ease l h<.J t wi II ~w • d up und<' t rr•r'•, rtr• d I <. tent!l9S Wahl -8• '' GARY BURTON - T I MES SQUARE - ECM 1-1 111 Burton , tl·,.-. mos t amaz•nq vtb, .., t 1n Jo~Zz an·: a master of tho 1n:-. t runwnt. has dwnqPd hw sound o f h •s b.tnr! - and i ts fu 1· H11~ bctt1~r·. He ::, rcpl<>cl•d tnr gctilolt- ~lo;t wtlh a f tll• · yo11n •1 Jap'mese tr·umpetor. TtgPr- Oko -.h•; and, for· t•w; alhrtrn h•·'s nllcd or, hi s o rd drummer· Roy Haynr•::, . Bas·, rs t St<'v·· Swal'•·w has been w1lh Gary fo1· yroar <. and h.:ts p i<JyP d on most of h1s album s to dalt· . As a un.t, thr,.,c mr~n cornn up w 1ltt an i'ltcn•s t 1nq, fr esh sound. Cornpos t lt un~ CO IT IC fr orn Swallow, K e ith Jan·ett, Haynl's and J1111 Ha l l and ll'< · r<•'<, a yoo" van r•ty of l•·mpo and styl e> A coupiP ol lr·acf· s 0v ron svnnr; (somc lhrng S'~ldom h· ·<>rd on r ..c.•nl Burton r• conb) . To my '~;:,rs, th ,.., I S somP of Gar·y··- be>st wor ·~ forth<> ECM lab<d. -B il l Wahl prog1·am i s cookc'r::, and ballads , w1tl' a rr·,~ hot v<'r s"m o f L ast Tango In Paris . Vocctl 1st Edd1c JcifPt·!'.on rna•.<>'> a guP.st appearanc e on The Common Touch & Moody's Mood '78. R ich 1c Col e is a ca t' Exp0d to b,. hr- annq a lot f•·orn 1r th o future' and I ' m lookinq fo r·wani to II H• " t'"' onJcd ou tnut I<~ date, th ough still tl1111Hnal, hus all bf'l!n f ors t c lcl'·" A lto fr eaks (espec tally Wood s fans! shou ld d<' f 111 1tPiy ch• c'< h ••n out. -Bill Wahl T HE MASTERY OF JOHN COL TRANE!VOL. 3 - J UPITER VA RI ATION - ABC IMPULSE I A - 9360 Th,• ton r po et of ttw t 1mcs. John Coltrant''s greates t as set was (i s) th<'way he: saw and painted the linws thru Mus1c. Co l tr ane darNi to face h1mself, and hc brought to us slunntng podradt. mak1 ng each of us t aktJ not1 ce of ourso l ves and all around us. Wh at onP h()ars in , Col t•·anc is tlw grea l L•sl honesty and L ove for h•rns.. lf and all, and hi s lyri cts m cnt<:rta111s m or·e than men• noltons. Th(· LP (unre l ro: as ed Mus1c from 1966 -7) bq JinS with Number One, w•th Al1 ce Coltr-an<· on p 1a111J, Rash1rod A l 1on drums, an:.! th e perennoal Jmnny GatTt ~on on bas s The quartet pours a power-ful cssente th nt S•'•·ms to n sf~. fal l, d1sasscmbl e, and con cc i V0., all at oncr:. Onn lt s tr• fl lc' Number One, ar;d you ' l l know what Coltrane i.., about here, as the el cm (!nts swtt-1 an raptd, ynt ttmcl css play . With the psalm PeacE? On Earth, Coltrane's !<>nor- criP.., a son'] wath the r hdpsody of thl' <~g( • l c·s s prorhc>l<., or th ro fo r< dul awar"ness • 1o::,c who know tlw 1wed for Pc<JC '·· On Earth (Any dif,h~c n. Pharoah Sandr,, s on wood fJt1lr· and R<Jy Applr>ton shakers g •vcs tlw Peace· a rattiHH.J h11 tl of alt"rnativ%. ,: h<J t ltc> H<Jden play s thP bclS"> h r~n· Wtltl vibrant in<> ighl Jupdor (Vanal l<>n) and L r, o ar·e s tar- pow 0r ed dnves by the duel of Coltt·anc and A lt. Th'· v•s•onory 1s shown h<>rr- in ful l m tght, jus\ bdor ,, h" lof t 11<; II <>r1t ' r:tHISttll•rs thro newness (<)be foi1n d ht:n• afto·r· a dc<. ude. Coltr·,:mr• rnay be S""n as the Pho•·na x sp1rtl. cve r - t· 1s 1nq wtlh Li1<' , Th at •s a matter to bt~ rc; solved wtlh 111 c' <Kh of us, ow· r;p l vC'~. - M , chae l F . Hopkins T HE HE ATH B ROS. - PASSING THRU - COLUMBIA JC 35573 · Jimmy Hea th has alway:, been 0111• o f rny fcJvor: tl •· mus1 c 1ans. His work on t• •nor and sop1 ano sa-.:es and f iOJt" i s i11 ::ti .... 1~::.;::, <JI•~J ~~I S \lvr-rlln fi :s on ti'P S<'Hnf'l I"VPt Passing Thru is Jimmy, and brother A lbt•r·t Heath'-.. fw s t OIJt •nq f nr Columbt a R eco rd~ and a f•n" orH' tl ,., J~rnrny'c, cx tr,·m e ly lyri ca l wnt1n q is h<•Jtd on f1ve o l lh<· <' lqht t •·acks with the others com 1ng ftnrn Perc y , 811d & KPnny Do•ham. NEW MUSE J AY M cSHANN - A TR IBUTE TO FATS WALLER- SACKVI L L E 3019 Woody Shaw/Littl e Red's Fantasy MR 5103 Houston Person/ The Nearness Of You MR 5178 Clifford Jordan/ Inward Fire MR 5128 Ri chi e Col e/ Alto Madness MR5155 Dave Pike/ On A Gentle Note MR5168 Eddie "Ci eanhead· Vin son/ The Clean Machine MR 5116 a NOW AT SUPER SAVINGS! CAVAGES Fats Wal ler' s name 1::, 111 Ilk Ent0rta1 nrn.-nt nnws recent l y wtlh the sucress of thp mus1ca l "A•n'J M1 s l-h•hav•n'" Thi~ tnbute to Fats , by th at grc"t Kan ~ <J"' City b<•nd leader and paan1st, Jay M cShann, sho 11ld IJ.. wclr orl!f' to <;w tng•ng. pzz fans . Thts i~ so lo date lor M cSh<tnn and I und•·rstand Sac k vi li e has anotllt.r at burn'.., worth of solro M r:Shann lor futur·e n· leas{·. Tunes 111 th• s lnbutt· 111clu de " Hon ..ysucl<l<) Ro r,e " , ''K~:cp­ m' Out of Mascht d ", "Th(~n I 'll Be T11·ed Of You", "Atn't Mi sbehavin' ", "All My Lt fc" , "''m Gonrw Sd R1 qht Down and Wnte M yse lf a Lelt1.• r", "I A1n ' t Got Nobo dy" . "Sque<>ze Me", and "Lulu' s Back 1n Town" A s th <·bn t•i not 1.·~ expla in McShann comes out of a l r adtl 1on very diffp r r>nl from Wall r·r' r, stt· ide. McShann 1s a bluesroolt! d two f1 <; led imprcJ•J tsa tory p1an•st whose styl e: rs c har<J c t '~ ' •zed by a hank·r, rrw1·e pc r•.uss•ve left hand and not as formal1s!l c in adh ering to lhP. song 12 �structure. M y on l y comp l aint is that J ay M cShann d idn't sing at al l as he I S a lmost as wondedul a singer w ith h 1s smokey vo 1ce as a p 1ani sl. A spry and jubi lant celebration of Fats Wa ll er's mus1 c by one of th t' great swwg maste rs , Inc identa l ly, thi s is McShann's th i rd Sackv i ll c album, he has r ecorded h1 s second a lbum fur Atl an!l c ancl Inner Ci ty has plan s to r el eas0 h•s r ecord1ng s fo r B lack and B lu€!. I'd love to hoar an a lbum of McShann leading a b 1g band wilh tho se c l ass ic charts that he wrote for hi s forl i<' s b ig band but nevcH· got to record due to th e success of hi-:; band w i lh blues. - Ron We in.:;tock WEATHER REPORT- M R. GONE - COLUMBIA Thi s most unusua l band manages tu y i\' ld fodh but one prec ious offering per y ear . But oil how sweet tho se off<.'nngs are! Upon sev er al l 1-;l enongs M R GONE JOo ns th r• or long un broken ch ain of i nt ri guc MR . GONE tokes a b 1t of los tr~ning as th er e's no hook tune (al a " Bir·dl and" and befor<dhat "Boog•<' Woogi· • Wa l tz"). That's all for the good as th is album l <'aVC?S on e wond er ing what's next r ang1n9 from the s tn :u ght ahead "Punk Jazz" and h and c lap accompan ied "R i v P.r Peopl e," tu thP mystr r ioso intrigue of "The Elder s" Synthc>si zer s ar·e l h0 dom inant fo n :e here, w i th Zaw1nul 's usua l hun•an1 s\l r: t ouch full y evident The old, 'who' s un drum s' quest1on still l 1nger s Peter Ersk ine , c r stwh i k · Maynard F e rgu son Band dr i ver, Bad Stev e Gadd, and Ton y Wil l 1arns , all get the1 r turns w ith T w1nning by a no'>CJ on "Mr . Gone" an d "Punk" . Weather Report r cma1ns thf· st,.-ong est electron 1c in.,;tr·u mental band. ThPy ev en rnc ludc a r eprise of Wayne' s " Pinnochro" (rc!mc~mbe r Mii \!S' "Nefedrli" J. - W i llard Jenki n'S, Jr. RAY B ROWN /JI MM Y ROWLES - AS GOOD AS IT GE T S CONCORD JAZZ 66 In thr· las t co up le· of y,.ar·s. p1 an1 s t Jr •nmy Ro•,v k• s h:"' bc•gun tu n •t.l ·o vr! sor110 o f It•<.• puhl :r att•·nl1 c>n hr! dcscrv0s He's been arolrnd fo r qw tc a f{;w y ean, as th e favonte accom pani St fo r many s ing<' r s, alway s p l ay ing with 1rnagrnato on and tast e. Lately h0 has b"on hr.· ar d a, h1msel f, r ather than as an accompan 1st. Hor c , lw duc t" with bass 1s t Ray Brown, who plnys as werl as ev,•r . And "duet s" IS tht· opc r at 1vr word. Th e two work as pnrt 1'1»1.:; . Row lr>~ cho11 e of ma t1•n <~ l and hi s tro atment of it somet 1rn es pruv•·'; surpn ~ ong. Y 011 m 1ght exper.t tune s such as "Soph1 s\i r·at ed L ady ,'' " A I<oPt· Toqr> th c> r ," and "Manha de Carn aval, " all of wh H h an ·dune we ii . ButRowl 4?s app lr o:>s a SUr'f) l l slfl(J slr'1d" touch tu " L1 f..e Sorn eone In Love" and Cole Po.-tcr' s " Ros ati,-," . Ro·;·: l es g o ( ·S furtht• r 111 h 1 ~ cho ir!'-, He p lay s "Honey," for on•,tanrc· - not th " pop sonq o f th r• n•<.ent pas t , but th e equally 111110< uous orw f r om tlw b1 q ban•.ll.' l· a Rowl r·<. tn •atrnent swing s , 1n sp1 te of th ,.. son\"l · Son•d<wl y, you m 1qht not expect to se e a Be rt K ampf<- t'l tun ••, bui Rowl ns and Brown p lay " L.O. V .E." an d m ake il a Jazz song . Thl'> 1;. an album that ' " a!> e lc• q<Hlt as ib cove r picture (n otr pun) a b r own Ro ll <. . - John Simna GEORGE BARNES - P L AYS SO GOOD - CONCORD JAZZ CJ-67 • JOE V ENUTI - JAZ Z V IOLIN - V A NGUARD VSD - 79405 T he gn )IIP " '9 of thC!sc• two recor ds fo ll ow from the fact that both B arrH• s an d Venut1 p lay ed stringed ins truments , p layed to qdher· and both pa s sed away rn th e pas t few month s . These po sthumo r ous l'" lcasf'S should add to th ei r r eputation a S So l od SWIOQI IICJ jClZZ mUSICI(lfl S. Like a pn•v 1nus al bum , " Blues Go1ng Up" , Geor ge Barnes 1s hear d l 1ve w1 th a sym path"t• c quart (' \ rounded off by Duncan James on sec on d guita r , B Pnny Barth on bas s and Dean Reilly . S am es was a fl u 1d s1ngle note guitaris t who pfay<! d such s ta ndard s as " N 1ght and Day" and "The Days of W1nf· and Roses" wdh con s1de r'<.~b l e f la1r and spi,.-it. Joe Venut 1· -. r eco ,.-d~nq G<~n · er almost cov er s that of re- Hear Your Music the way it was rec orded. Modell05 We stock a full line of Turntabl es, Phono Cartri dges, Tape Decks, Amps. Pre - Amps, Tuners, Record Care Products. Oi rect- to - Disc Records and Speakers. (Factory Fin ish~d & Kits) 3419 BAILEY AVE. BUFFALO - 837 -1~57 Mon. - Fri. 11 -8 Sat. 11 - 6 �OREGON - OUT OF T HE WOODS - EL EKTRA 6E· 154 Ort•go n: Four gentlemen broug ht togc th E'r by a h •']h in str'unronlal rty and a suq:png, 1rnagrnativf' approach shar<>d through \h err Mu~rr Wrlh an approach com b onrng Eastern and Wcs \N·n World!> of cornpos r\r on and unprovisatron, they show the hrgh dr ~c rplrn!' thai i<. essen\ral (yet S"condary) to lhP op<·n commlmrt·atrvr· ~>xcha ng e that Musrc rs about . I recall Collrn Walc:otl'<. Danc e To The Morning Star wh~n hf' play ...; rl wrth Don Chc·n-"y 111 Toronto. Here, Col lrn begrns thP St err on a buzzbox (r •· thumb prano) plucking moonb<>ams of rhythnuc c:olur. and Paul McCandl<'~'> soon JOrns 1n with a soothrnq cha nt 011 (I be>ltf'vr•l Englr-,h Horn . By th" trme ·Ralph Towner (acoustH. gurlar l and Glen M oore (bass} enter . the Dan•" ~\rop<, rnlo \tor·rarn-. of blu<>qras~. hand- slapprn'J hoedown , anrl frr•r t:r• rumantrc t'>m. OnP lhrnq nolttl'd by most wh o haw• SC'f'n Oregtm lrve I'> th<> ll) t t·n~c mrghl thc>ll vro tuos lty l ak<>s on T hr<> album embraces \hal .1sp•:r t VPr y strongly L rstC>n to Glen's Fall 77, an upswrnq str "l't vamp packed wr th smrlf' and an urge to hand J rvc. Col l1n matchr•o; Gll"n' •, walk WIth a chant lhr11 an lmlian mouth harp, whii L' Pao• l's ba ~s c larono· t f lrt" aboort r vgally 'anrJ can~I I P<'. Ralph, hP,trd on <: lass1rally op0n gurlar and p•ano, dO<''> a \rurnpPI IIOll ~ floqhl on flugPihom 1 Tr·y Witchi - Tai-To, an A m er o<:an lndrdn r oltral f rrm wrlh ltw d<'"P awarr>nes<; of the Spo ro ls and \h e· so ftnc·o;,<, th at s tr"n~Jth must no•vpr los<>, Th<> srtar shon e~ Paul' <; Cane Fields rs rop C>ancJ ta sty, sugar coo~<. rng fr om Co llr n·~ l crh la Ju" t wh<.~l don't lhc-<.c guys do? Go SPP · - Mr chae l F . Hopkin'> A ca.p ltle line of name bnfld drums OSPtC' I tt1 ty ~rC\It\o l on acctssorte! c1t snlnqs l't•t can be- apprt!cl ated, •"<I 4420 SUf)Ot"IOt' ttv&nutt clevelend.oh10 216 ·431 •6482 corded jazz 1tself. Recorde-d wdh a number of fonc ttaltan j,azz artis ts, he p l ays sorr11• sa tiny hoi v1ol in wdh th e pe,- petual youth and en thus i asm that a l way., marked h1 s work. A particular h1 ghpo 1nl IS the Gershwrn Mert l c~y . The m ~?d l ey opens w ith some solo p1an o of "An Am er ican 1n Pans" by Sante Palumbo, beforp Vcnutr JOrns II) a c.Juet of "Rhapsody in Blues" stayrng v er y tlo ~c to th<> rne l t> dy l1nC' . Thr s k1 cks off into a swing1ng '"S Wonde-rful " wllh ~orne fluent tenor by Paolo Tom erlen . The n ' marndcr· of lh<• m cd l 1~y includes "Oh! Lady Be Good" and " I Go\ Rhythm" whet'" Vcnub re appears 1n a v ery hot swrng tng fJ<.h ron A vPry fonc t·<'mtnd"r of what a great musr<" ran and Jazzman Jol' VC'nutt wa s - Ron Wern<. tock RADIO UPDATE Buffalo Philharmonk ~-­ WEBR - 97 .0 AM Jazz In The Nrght wrth AI Wallack s<•v<·n nit]hls a we<>k 8 PM 1 AM wN oc:nrqhl'>, 6 P M 1 AM wer·lcend<. Orchestra Pet er Perret Exxon Arts Endowment Conductor WBFO JAZZ SCHEDULE: Mon . - Fri . 2 5 pm, Jazz 88 wrl h John Hunt 11 pcn 3 am Jazz wrth var ious hosts Fri . 11 pm - 1:30 pm Sat.; (Bcgtnnrng th e frrsl weekend 1n November, "Jazz Contt)Urs" wrth Brll Wahl movcsto Saturday 11 .30 am rmml'dratl"ly followrng Eu Smith's "F re cdom F1tght") Sat. 12 midnight - 6 am Sun . / Opus in M odern Music with Pn~s Fn·0l ano Sun. 11 pm • 8 am Mon ./j <J ZZ wdh Bob Rossb<Jrg (11 pm 12 m1d.) Paul Sm it h ( 12 mid. - 3 am) Paul Dean (3 am - 8 am). Kleinhans Music Hall Pre sent s GEORGE SHEARING NPR programming: JAZZ REVISITED movc·s \o 10:30 pm Monday night (1/2 hr) JAZZ ALIVE Thur'>day nrqht at 9:30 November 2 T d o Puente, Machi to and M ongo Sant amaria NovC'mbcr 9 Carmen M cCrae, Don Menza Sextet, Sam M ost Quartet November 16 J azz Alrvl:'p r c emptedbysp<>cial4 · 1/ 2program on JdZZ voc alr st !> producE'd by Ed Smrth and John Hunt begrn nrng at 6·30 pm November 23 A tnbutP to Lr onel Hampton Novcmtwr 30 Ron Carter Quartet at the Tralfamadore Cafe pr oduccd hy WBFO Thursday, Nov. 9 - 8:30 PM Tickets $6.00 COME TO THE CABARET Featuring MICHEL LEGRAND Saturday, Nov. 11 - 8:30PM Convention Center LIVE BROADCASTS: Egberto Grsmontr and Nana Vasconselos, Sat. , Nov. 11 10 pm start 2 ~ets l rv" " ' s l oreo Elv1n Shepherd QuartPt and Footl oose, Frr, Nov 17, 9 pm s tart. Tiekets $8, $7, $6 & $5 For Ticket lnfonnot lon Call 885- 5000 T lck eta Available ot Kl cinhons Musi c Hall (PcMsylvanio Street Entrance), Festivol Tick e ts, Amherst Tickets, Ham· burg Music, Squire Holt, U. B, Student Union, SUCB, Conisius Colleg e, F r edonlo St at e Bo,.Offi co, Elmwood Village Tickets, Centro! T id.et a. clat;Dified 14 This space i~ avarlable to priva te rndwjduals, o r gan1zation s. m1il - order houses, etc . The cost is 10c per wo r d · mirumum �charge $3 Send copy and p aym ent to B JR - 1335 Main Street , Buffalo , NY . 14209. DRUM LESSONS (IN TORONTO) Prtvcltl' lf'c.sons w1th PE T E MAGADINI p, ofP~SI<Jn als and A dvJn< cd only Ph one (416) 489 9201 ASTONI SH YOUR FRI ENDS wlih maq·c ESP, carr! t ··r. k s you r.un do Htghl" qu.11 dNl S<'r t Pt• usr·d by lnt ·mal•nnallv famouo., M ag tr ocrn -. and h.JV" br ;•ll(jl•t f,,n r<' an·: f••r l•tn" to c1 gtven [Pw. Dr• t c~tl.., Lanq •·n , Bo> 191 GA. Down'->••t••w, Onlarioo, M 3M 3A3 J AZZ P I ANO LESSONS rnlJ.IrC'V ,,j,.,n •"Jdtr•. ~~'"' Shulrnao• 8b..! 65&3 <.~!; 1 ·vt•l • ' " ' lud•"S th r>o •·v. an.• lo •( hn " J"l' Ca ll R td·,ani SOPOTNI CK'S WOODWIND RE PA IR Quality servorc on everythong It om mrnor o<·pao rs lo compiPI<· rropad.., and ov<'r haul s on al l woudwr11d tns t r·umcn t~ G.H y Sopotntrk 69·1-8331 IMPORTS f rom Japan and elsewhere. Sony, East Wind, T r io , BYG. Tim eless and many other l abel s. A lbums by Coltrane. Braxton , M i les, Woody Shaw, etc . F ree ltst s - lnternat tonal Records, B ox 7 17, Dept . 8 , M entone , Cal•fo rnta 92359. CADENCE M onthl y Jazz M agaz tnl.' 100's of revoews p lus oral ht st on es. mtervtews, news. & B lues Fant aslrC"' Samp le $1.25 Subscn pt oon $11. CADENCE. Rt 1 Box 345, Redwood, N.Y . 13679 ST UD Y SAXOPHONE, FLUTE & C LARINET wothDt ck Gn ffo (Woody Her man, Tommy Dorc.cy, Bfl o Phtlharmonot::, Emtl Palame. et c). A lso - Lesson s and o• coac h onq ses s oons on j azz tmprov ts•ng antl sty l"s Call (7 16) 856 89 16. JAZ Z RE CORDS FOR SALE . W'ide .selectton of titl es ... mostly out -of - print. F or f ree catalogs: JAZZ ~OUSE . Box 455 (BJR ), Adel aode St E P 0. T oronto, Ontario( Canada M 5C 1J6. • A UNTIE NAT URE• by Lloyd Garber. New - music iniprovtsalton book. for guitarist s and oth ers . Fragment ed thoughts . f tngerboard patterns. c l ust ers; prepared guit" r ; compos tloons ($37. 00) . •e NERGY PATJERNs• solo gu itarrecor ding($10.00). 1nt. M .O to Lloyd Gar ber , Box 7020 . Stat ion "A., Toronto, Canada M 5W 1X7 . HANDMADE BRAZ ILIAN ROSEWOOD GUI"!' AR fo r sale. Fancy mlays and be auttful tone $950 . Rosewood classi cal wtlh ebony ftngerboard and gold tunmg machines. $600. Also cus tom lutes, m andol tns, dulctmers. guitars; and f ine r e patt s B f' rn<~rd L ehmann, 34 Elton St., Rochester , N .Y. 716-461-2117. DOUBL E B ASSES: Engl•'>h ltclltc~n, Frl.'nch,German Buy , r ent o• sell Some great JIZZ basses on hand. Dr . George Woodall, 4 16 - 494 4846, P 0 Box 426. St atton K, T oronto . WHATS HAPPENING Tr alfdmadore Cafe lllO M..ttrl Jc~zz Th •r.., thou Sun noqhts Sp•·ct ...d PV• nl<. Egbc• to Gtsmonte Nov 10 & 11 , M cCoy Tyner Se xt et Nov l'i & lb WBFO Benetti Elv11r Sh, p.11 d wt!h Ttnney, M anno & Tht<'n, al .,o F-ooli<~O'>•· Nov 17 & 1H .ll T t ,l lf,ml..tdOr(• Tagg' s Music & The Tral f Present McCoy Tyner sextet Wed., Thurs., Nov.15 &.16/Shows at 8=30 &11pm Ttckets at Elmwood Vil lage Tick ets & The Tral f 3' 4- AI McGlaughlin Quintet w/ Juni Booth, James Cla.l<, Harry P inder, J oyce Carol yn 10, II- Egberta Gismonte/Guitar, Nana Vasconcellos; Percussion ECM Star s Brazi l/ Winners Berlin Jazz Festi va l from of 12, 13- Spyro Gyra 24, 25, 26- Jeremy Wall & His Trio (from spvro Gvra) Also Every Sunday Ni ght ~:on . - /\cousti c .•l usi c Tues. - Buffal o Comedy Experiment Wed . - Poetry at 8:30 BAH AI'IA MAMA (Raggage & Jazz) at 10 PM on 1\:ov. 8. 22, 29 tralfamadore cafe 836-9678 2610 main at fillmore �Continental - 212 Franklrn St. - Jaman w/ guPst artrsts Frr & Sat naghts . George Shearing w/ Buffalo Phrlharmonrc Thur s .. Nov 9 at K leanhans - 8:30PM . Danny ··sansune' s - 1066 Abbott Rd. - Joe Brancato / paano and Jack · Norrrs/gurtar Wed & Thurs. naghts , ·9:30 ~ 1·30 Lance & Shield JHollc~no, NY .) Jazz Sun ·aft t-rno·on St. Georqe's Tabl e - 675 Delaware Ave. - Mark Murphy Labrary - Barley & Round s - Taxi - Carl Cedar/ bass. Bobby Prev ite/ drums, Steve Parisi/ k.eyboards, Rick Strauss/ gurtar, Sal And ol i na/s ax and Ron Witherspoon/ percu ssron Sun . nrghts . Vinei -Su - 978 West at Breck.enrrdge - 882-5225 • Moody Street Frr & Sat. nights Sun. afternoons - jam sessions . Bagatelle - Maan & Winspear - Joe BrOI'cato/p aano & Jacl(. Norrr s/guatar - Frr & Sat. 9 - 1. Tara Manor - 5100 Main St. Jack Bacon Morgan Street Stomp.t~ra with Eli Konikoff Frr . & Sat . ni9hts. C.P..G. - Central Park Grall - 2519 Main St. - Jeu J•m M011. nrghts. Bourbon Street TORONTO (416) 698-3020 The Finest in Italian Cuisine .<:..---"..,l.:_r.( 't 1( iz,- SCOTT HAM IL TO ~ November 7 - 12 HERB ELLIS 1\Jovcmber 14 - 26 Bona Vista - 1504 Hertel - Blues & Jazz. LEE KmiiTZ Nov. 28-Doc. 10 TORONTO Phone Ahead for Ornner Rcservatron::. Bourbon St. - 180 Oue('n St. W.- Scott Ham il ton Nov. 7 - 12, Herb Elias Nov 14 26; Lee Konitz Nov . 28 Dec 10 Inn On The Park - 1100 Eglmglon Ave . E . - Saturday attPr · noon Jazz 2.30- 5:30 George' s Spaghetti ~ouse - 290 Dundas St., E.. Th~ bl.'st rn Jazz The Garden Party - 8f Avenue Road - P ianist Joel Shulman Monday t o Saturday from noon - also Sunday evenings from 8:30PM. Nag' s Head - Toronto Eaton Centre - Yonge and Dundas Sts . Jam McHarg's Midnight Speci al every Sunday from 5pm to 8 pm. The Ports - Summerhill Avenue at Yonge Street - Toronto Excelsior Jazz Band Saturd•ys from 3 to 6pm. ~-------- - - --.., NEW AT BOURBON STREET SATURDAY MATINEE from 3 - 5 P. M. Also Sunday Dinners from 5- 10 P.M. Presenting Our feature entertainment at this time. Weekdays- Tuesdays to Saturdays from 9p .m. - 1 a.m. ELMWOOD VILLAGE TICKETS STUDIO ARENA KLEINHANS MUSIC HALL HAMILTON PLACE SHEA'S BUFFALO THEATRE NIAGARA FALLS CONVENTION CENTER SHAW FESTIVAL TORONTO & N.Y. SHOWS FOR OINNER·LUNCH or WEEKEND BRUNCH · THe Tues. · Sat. 9 - 1 Sat . Afternoon 3 - 5 Sunday 6 - 10 No Cover FOOD IS..... SOUL GOOD! • TheUnderground Railroad Tavern ~11118 If~ ~e~~\Uirr.~.17~:,tt Ontarao -T~tlepl\on~ U5KinC Strtltt E. ..et•lbronto lb· All Major Sports & Theatri cal Events 869 1400 fully I icenced by L.L. B.O. 510Y2 ELMWOOD near W. UTI CA. BUFFALO 884 . 0122 just rn town drop around .... and try o ur Late N rght Lite Br te ..... . Mon.- Frr. 9:30-5:00 Sat. 11 :00 · 5:00 '-------- ----------·--~----- .. I PSrliOP!CA!..S & IH:l~~:W LCCK,1..,J :.> •• :::· v.,:nL L :J:1,\:~Y S.U.N. Y. A.!3 • .BUF:':\LO , return postage guaranteed ::y ~ 42l•! SJG � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4260 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 57 Date A point or period of time associated with an event in the lifecycle of the resource 11/1/1978 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Music > Periodicals. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 57 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/386d09da05f0e4270043fc181e6d5319.pdf 91d2f3d848a8bdbf39756aa4a12b0692 PDF Text Text December '78 Issue 58 Free buffalo/toronto II JGZZ t-epoit Lew Tabackin �Great For The Price Of Good ----, ·~1 ~" "'.:."""'~' · ~ \ ) . .. ~ T ~at's * ±!t~~a .. • , Q) 0 0 u; 0 ~ Kevin's motto. You see. Kevin's our accountant as well as a salesperson at Transcendental Audio. And as our accountant he's meticulous about financial matters. As a salesman he's a connoisseur of fine au dio equipment and appreciates a clean, quality sound. That's why Kevin's so enthusiastic about t his moderately priced stereo system. The quality of the sound far exceeds that of lower priced systems and is competitive with much higher priced systems. According to Kevin it's the best sound value around. And that's the bottom line. This Great System Consists Of: GENE SIS I+ Speakers Thchnics SL-200 Turntable Thchnics SA-220 Receiver Audio-Technica 11 E Cartridge $ 499.00 $18.39/mo. $499 00 • $34 93 tax $533.93 Down Payment Sl3.93 Fmance Amount $510.00 Fmance Charge $152.04 Total of payments $662.04 Annual Percentage Rate 17.84°/o Payment $18 39 x 36 mo. VISA �Lew __ av ____ .JIIICir --- -___, Tabackin .__...... ._ !!!!!!!!!!!I !!!!! ......_..... &vl:ftD ----- Lew Taba ckin, t enor sax and flutes will be making a rar e small group appearance here at the Tra lfamadore Cafe on Decembe r 29, 30 and New Years Eve. Known throughout th e world as th e co- l ea der of one of the fin est big bands in jazz - th e Toshiko Ak i yoshi / L ew Tabacki n Band , Lew is cu rren tl y on a short tour of major northeastern and midwestern cities . The group is a trio setting, givi ng Tabackin room to stretch out and put hi s va st creative and technical abilities to good use . The group is a "co-op" band (no r eal leader - all receive the same pay) and includes drummer Bill Goodwin and ba ssis t Michael Moore . Goodwin is currently a member of th e Ph il Woods Quartet (and wa s recently in town with that ban d) and has played with Gary Burton, Bill Evans and others . M oore ca rri es the dist incti on of bei ng one of th e most in-demand bassists in jazz in r ecent years. He's worked with a long li st of bands in various cont exts from duos on up . Since Taback1n, Goodwin & Moore are so busy with thei r r egu lar bands and recording work , th i s trio can on ly get t ogether rare ly for short t ours. Don't m iss +hem. ~· -- ~-- THE PERFECT CHRISTMAS GIFT FOR ANYONE ..... MUSIC. AT THE LOWEST PRICES IN TOWN 2 ·RECOROSET 4 R~fPRD AN EVENING WITH Rt-r uRN ~~i-~~~:: T() FOREVER ·~~~S~~ L1 V E soo'.:;~; II II r I 1\lrl l I I I I 1:-c1 I·R I HERBIE HANCOCK & CHICK COREA Including' Llzo/Button Up/- r Mr Pl1nce w• Como -.var-/l.ofloo.. EDITOR & PUBLISHER - Bi II Wahl CONTRIBUTORS - Bill Besecke r Peter Beuerl ein, Chuck Bra~an, Chris Colbmbi, Jr . , D;l e Funtash , Bill Harri s, Hal Hill , Brad Hunt, John Hunt , Willard J enkins, Jr ., J i m Laniok, Tom Mazzone, Bob Sheperdson , John Simna , Paul Smith, Paula Wahl and Ron Wei nstock. COVER ILLUSTRATOR - Sabrina Mayberry Smith PC2 35663 C4 X 35350" WEATHER REPORT MR. GONE HUBERT LAWS SAY IT WITH SILENCE including: The Baron{False Faces/love Gets Better 1ncludmg: The Pursu1t 011 he Woman With The Feat her~d Hat Ri ver People ' Voung And Fme/Punk Jazz Pmocc h•o It Happens EveryDay/Say It With SMence ADVERTISING Manager - National & Local · - Bob Riley (716) 883 - 3909 Niagara Falls/Lockport- Ed Supple (716) 297-7878 Toronto/Hamilton - Hal Hill (416) 742-4081 (after 6 PM) CORRESPONDENTSRochester , Jim Laniok Syracuse - Bob Shepherdson Toronto- Hal Hill Address correspondence to : Buffalo Jazz Report· 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext . 11 JC 35358 JC 35022 Maynard Ferguson Carnival including: Theme From "BATTLESTAA GALACTICA ' (From The Universal Television Series "BATTLESTAA GALACTICA"" ) Baker Street / Fantasy Birdland /OverThe Rainbow PRINTED IN U .S.A . © 1971 - Buffalo Jezz Report No portion of this publication may be reproduced without written consent from the publisher . The Buffalo Jazz Report, founded in March 1974, is published monthly at Buffalo, N .Y : BJR is distributed free of charge throughout Buffalo, Rochester, Syracuse, Toronto, St. Catharines, Hamilton, Niagara Falls, Lockport and Jamestown . We are subsidized ' solely through advertising and ask that you support our advertisers . Subscriptions are available at $7/year , paid in advance. IF YOU MISSED McCOY - TAKE NOTE A large number of people were turn ed away at the door on McCoy Tyn er's c losi ng night at the Tralf. Th e prob I em is that the turnout on opening night was so weak that the Tralf . barely brok e even over th e two n ights. Support for live music is very important, but its a losing propositi on if everyone avoids opening night causing many t o miss out altogether. If possible, try to support that fi rst night so th ose who can't get to see the group . By th e way - all reports were that M cCoy was best at th e op ening show. 2 · RECORD JC 35480 stanqei;y ll~'WoMJ JG 35513 GIFT CERTIFICATES MAKE A PERFECT GIFT 1800 MAIN at LAFA VETTE 7 Days 10 AM- Midnight 3 �A COftiPlete line of name brand drums and specialty ·percussion accessories at savings that can be apprecia.ted. ('fot dutmmeM who denzand only lite 6e(jl" 4420 superior avenue ·cleveland, ohio 218·431 ·6482 Catalog Avdi !able art farmer ART FARMER COMING TO DOWNTOWN ROOM Fluge lhornist and trumpeter Art Farmer brings his quartet to the Downtown room of the Statler Hilton, Friday and Saturday, December 8 & 9. Farmer's group, whi ch appeared at Sweet Basil in New York City in late November, consists of bassi st Mike Richmond, pianist Fred Hersch and drummer Akira Tana. Born August 21, 1928 in Council Bluffs , Iowa, Farm er's musical education began at age 6 on piano followed by lessons on viol in and tuba before deciding or. trumpet. Farmer and his twin brother, the late Addison Farmer left Phoenix Arizona (the place th ey grew up) for Los An,geles in 1944: From that point, Art worked with Horace Henderson, Floyd Ray, Johnny Otis and for a short whil e with Jay McShann. Later he was a member of groups led by Teddy Edwards, Dexter Gordon, Gera ld Wi I son~ Benny Carter, Lionel Hampton , Horace Silver and .Je rry Mulligan. Hi s own first record date as a leader was in 1952. Farmer's Market, a pi ece he wrote from that sess1on, is often performed both as a vocal with lyr ics written by Annie Ross and as an instrumental. In the mid 1950' s he co-led the popular Jazztet with Benny Golson . Since the mid 1960's Art has played the mellower sounding flugelhorn almost exclusively. Farmer has lived in Vienna, Austria with his Austrian wife and two children since 1968. He is also under contract as a f ea tur ed soloist with new releases from CONCORD JAZZ CaiCollim ·san Francosco Bill Berry SCOTT HAMILTON AND WARREN YACHl •"llt-1 '•COl f"\ nA~o~tt> IN NtW YOQ~ OTY A . \ ,. . ·~ :...... r· :.,~ ~I Available at finer Record Stores everywhere; or write for free catalog: Concord Jazz , P. 0 . Box 845, Concord, CA 94522. Phone (415) 682-6770. ,, _..... ,. ~ ~- .~: <."E �the Vienna radio orchestra. Farmer is a world traveler and spends much of the year touring all over Europe, Japan and the U.S. Referring to Farmer's adventurous spirit Nat Hentoff said (on the liner notes of Farmer's first album for Contemporary Records, Portrait of Art). " ... Art, however, is one of the inner - directed who r efuses to remain in any one safe channel; he goes looking for challenges . " - John H . Hunt November In Review JOHN H. HUNT Last month had its share of note worthy events : McCoy Tyner played his first club date in Buffalo since the mid 1960's bringing his sextet (with Buffalo's Joe Ford on saxophones and flute) to the Tralfamadore Cafe and drawing large crowds both nights (15 & 16) . The crowds on Wedn es day, however, were not quite as large as had been hoped for. None the less, the Tralfamadore' s intimate atmosphere made th e power of Tyner's music come out more than it has been abl e There was a near capacity crowd on hand to witn ess th e performance by pianist/composer George Shearing as he inaugurated the Buffalo Philharmonic Jazz Series at Kleinhans Music Hall November 9 . Th e remainder of the concerts will also be Thursdays at 8:30 pm in Kleinhans with Jackie and Roy, Preservation Hall Jazz Band, Marian McPartland and Dizzy Gillespie. WBFO's two nights of benefitconcertsatth e Tralfamador e with Elvin Shepherd backed by AI Tinney, Lou Marino and Max Thein and Footloose prov ed not only to be successful financially (it was S.R.O. both nights) but also a good crosssection of Buffal o jazz tal ent. WBFO broadcast the first nights music I ive from the Tralf . Other Tralf events in November included a long over due weekend engagement by AI Mclaughlin which showed Mclaughlin's versatility and SUnDAYS ARE SPECIAL AT Various $7.98 & $8.98 LP's at $3.99 All $7.98 LP's & Tapes at $6.17 Specials on Blank 8-Track and Cassette Tapes Many LP's at $4.99 Everyday Open 1\ilon.- Sat. 10- 10 Sun. 12-5 2815 DELAWARE AVE. (corner Euclid) Kenmore, N.Y. • (716) 873-953"his warm and sensit ive t enor pla ying; two nights of authentic Brazi I ian music with Egberto Gismonti and Nan a Vasconcelos; • two nights of Spyro Gyra with their new guitarist and with Tom Schuman hand I ing all keyboards; Jeremy Wall brought his trio in for three night s (Novemb er 24,25,26) with a live broadcast on WEBR Friday . Th e Downtown room cont inu ed 1ts th ree-night per week , jazz policy (Wed., Fri . and Sat .) with appearances by Paul Gresham, Ray Hall Quartet and th e Herb Griffin Quartet. The Library continued to do well on Sundays in the Stacks with Taxi. Of all the Jazz la st month, however, top honors goes to the Buffalo State Loves Jazz weekend festival . The affair was coordinated by long - t ime Jazz enthusiast, WBFO announcer and educator Chuck Mancuso and Buffal o State concert di rector Steve Ralbovsky. Both worke d tire lessly to make the P.M. RECORDS PROUDLY PRESENTS ---IANCEpm STONE STONE ALLIANCE PMR-013 Steve Grossman, Gene Perla, Don Alias STONE ALLIANCE CON AMIGOS PMR-015 Recorded in Argentina STONE ALLIANCE ~ MARCIO MONTARROYOS PMR-014 with Hermeto Pascoal. Recorded in Brazil STEVE GROSSMAN TERRA FIRMA PMR-012 wi th...,.Tan Hamrer, Gene Perla, Don Alias Appearing: Tralfamadore Cafe December 8 &9 SEND FOR CATALOGUE P.M. RECORDS 20 Martha Street Woodcliff lake , N.J . 07G75 201 391- 2486 F. O. Box 103 , Sta . A Toronto, Ont . MSvl 1A2 416 53LL-7951 �TACOS BURRITOS ENCHILADAS TOAST.~DAS weekend a success. Conc erts by Anthony Braxton, Sam Noto, Sonny Rollins, Mark Murphy, Sun Ra, Spyro Gyra and Jeremy Wall plus film showings, a jazz critics symposium and performance workshops gave a balanced and well-organized panorama of the music. Reliable sources say this will become an annual event. St. George's on Delaware Ave. was host to Mark Murphy for much of November but the majority of the jazz audience in Buffalo wasn't even aware he was in town - a reminder that for Jazz events to be well-attended requires communication by the club owners to jazz public through the media well in advance. Jazz jam led by guitarist James Clark continues to do well Monday nights at the Central Park. A welcome back t o the jazz scene is in order for pianist Richard Schulman who performed as part of the Buffalo State Jazz Festival and to bassist Junnieh Booth who performed a solo bass concert in WBFO's Studio A . Drummer Darryl Washington (brother of Grover) is back in Buffalo leading a septet/sextet between tour dates with trumpeter Eddie Henderson . First with the Best in Buffalo 1247 Hertel Ave. Record1 between Colvin & Delaware 873-6606 2114 Seneca St. 2 blocks north of Cazenovia ·822- 7733 3355 Bailey w Cit Minnesota 833-4566 ::z:: t- Hours 11 -5 AM Daily ~ Swinging Place' Anacone's Inn WE HAVE THE BEST SELECTION OF JAZZ RECORDS ON OUR JUKEBOX Our Specialty - Beef on Week Wednesday & Sunday Hot Dog W/Kraut We Serve Food til 3:00 AM No B.S. Compare Our prices EEF EER B ILL lARDS &JUKEBOX OPEN EVERY MORNING TIL 4 AM 3178 BAILEY AVE. - 836-8905 . (across from Capri Art Theatre) 6 FOUR REISSUES FROM SAVOY Ari sta Records is continuing to dig into the Savoy catalogue for reissues by assorted figures in jazz history. Two guitarists and two brass players are featured in this group . As has been the case in the past with these Savoy reissues, the annotation is excellent, putting the performers and the particular sessions into their historical perspective . The quality of the music is generally good . CHARLIE BYRD- MIDNIGHT GUITAR (Savoy 1121) gives us guitarist Byrd, playing the acoust1c instrument, in a 1957 trio setting with Keeter Betts, bass, and Gus Johnson, drums. This is Chari ie Byrd abo.ut five years before th e boss a nova made his name known to non - jazz audiences. Side one gives us a three-part 1'Biues for Night People," while side two has three standards and one original, all handled in a very lowkey manner. KENNY BURRELL WITH FRANK WESS - MONDAY STROLL (Savoy 1120) is a different approach entirely. Burrell of course plays electric guitar, and his style is more outgoing . In this case, he is joined by Frank Wess, who plays flute on six of the seven tracks, and t enor on the other . These cuts were made late in 1956 and early in 1957. Their playing is outstanding throughout. Burrell and Wess react well to each other, each listening and responding, especially in th e ballads. The rhythm section is excellent, due in no small part to the presence of Freddie Green, who supplies his wonderful rhythm guitar work to the quintet . THE INDIVIDUALISM OF WILD BILL DAVISON (Savoy 2229) is a two record set, two live dates from 1951. Davison is a cornetist who came up in the late 1920's, playing in Chicago, Milwaukee and New York. Sides one and two .Jere r ecorded at guitarist Eddie Condon's club in New York City. The sound quality of the recording lea ves something to be desired, and overa .l l, the performances lack a spark. Indi vidual solos are int eresting, but th ey generally seem perfunctory . There is Just a bit too much of th e routine about the whol e date . Sides three and four are a different story. Th 0y also were recorded I ive in 1951, with th e same instrumentation, but different personnel. The date was at , George We 1n ' s Story ville club in Boston, with Wein sitting in at the p1ano The recorded sound is much bett er, and thi s group of players seems t o be more inspired by the material. Th e solos are delivered with more authority and a generally higher level of inventiveness . J.J. JOHNSON - MAD BE-BOP (Savoy 2232) features the father of modern trombon e playingattwostar · is career. Sides one and two of th1s two - disc set 1 1946 and �1949. They find Johnson in company with, at various times saxophonists Cecil Payne and Sonny Roll ins, pianists Bud Powell and John Lewi s, and drummer Max Roa ch, among others. There are eight different tunes here, some offered 1n two or three rl 1fferent take s. It's fascinating to hea r a tun e develop from take to take. Side three has several cuts from a 1947 date with bari tone saxophonist Leo Parker·. The remaind er of the set, eight cuts 1n all, was for m e the best part - two dates made just after Johnson returned to mus1 c on a full-time basi s with fellow trombonist Kai Win ding. John son had held a day JOb for two year s, pn or to these Augu st, 1954 recording~ - Charles M1ngus was th e bassist with the group, and wrote on e of th e tunes; Kenny Clarke was on drums. On th e fir·s t of th e two dates, guitarist Billy Bauer completed the group; on the second, p1an1st Wally Cirillo was added,changingthesound of the group somewhat. Johnson and Winding hav e two different sounds and approaches to bop trombon e, and they contrast n1cely here. Th e playing on all of th e sessions holds up well afte r twenty -five or so years . By th e way , although Johnson has been concentrating on film and tele vi si on writing for the past f ew years, he did VISd Japan last year and recorded with Nat Add erley . According to Leonard F ea th er's not es to th e album, Johnson I iked the results, and may become more ac!1ve on the performing scene again. -John Simna PRESTIGE/MILESTONE TWOFERS The l atest release from P1-est1ge & Mil es ton e's twofer series includes 8 titles, the first of which is an anthology from the early Prestige year s t1tled FIRST SESSIONS/ 1949/50 (P -24081). The very first Pr C>s tig e date, Jan. 11 , 1949, was a session for alto saxophonist Lee Kanitz , with Lennie Tristano . Mo st of that session is here, and it and a Konitz / Warn e Marsh date fill all of side one . Oth er musicians f ea tur ed through ou t the 2 disc s include Ka1 Wi nding, F ats Navarro, J_ J . Johnson, Wardell Gray , Sonny Stitt, BEST WISHES FOR A HAPPY HOLIDAY SEASON. AND MAY THE BEST IN JAZZ BE YOURS IN 1979! Sam the Record Man Square One shopping centre 100 City Centre Drive Mississauga, Ontario Eddi e "LockJaw " Dav1s, Oon Lanph er e, AI Ha1g& Leo Parker . Its a fine, informative set and a good intr·oduction to jazz from that period . ROLAND KIRK is featured on PRE-RAHSAAN (P-24080). wh1 ch off,"rs two dates done 7 years apart. Re cord one places Kirk in a quartet including organist Jack M cDuff. Ni ce stuff, but the real meat comes with record two - a 1968 set with Jaki Byard (who was the l eade r), Richard Davis & Alan Dawson. The band is hot, especially Kirk & Byard, reaching mto the outer limits at tim es . Each song is a highlight . Next comes THE REAL THING from the great COLEMAN HAWKINS (P -24083) . All of the musi c was recorded between Nov. '58 & Jan. '60 . It was a good period for Hawkins and some of the results are heard on these three fine sessions. You' II hear some strong R & B tenor on side one, more of a swinging style on side two, and a m ellow Hawkins on sides A 2- Record Set Recorded Live. From Their Recent Tour. Whether or Not You Saw The Concert The Record. Don't Miss At Super Sale Prices! CAYAGES SENECA MALL MAIN PLACE MALL BOULEVARD MALL THRUWAY MALL LOCKPORT MAll EASTERN HILLS MALL SOUTHGATE PLAZA COMO MALL UNIVERSITY PLAZA SUMMIT PARK MALL • -··- Distnbuted by Fantasy Records. �I 3 & 4. A good buy . Another great tenor saxophonist is heard on TAKING CARE OF BUSINESS (P-24082). Some Circa ' 55 & '56 SONNY ROLLINS has been taken from three Prestige albums, and the tenor madness session (with Coltrane joining Roll ins on the title track) is included in its entirety. Its all good Rollins and one of my own favorit e Rollins albums , Worktime, is represented in part. I 'd prefer, however, to see entire albums r e-issued on all these twofers- such as with the K1rk set. As we move from Prestige to Milestone , we start with a twofer from pianist BARRY HARRIS titled STAY RIGHT WITH IT (M-47050) . Piano lovers should enjoy thi s one, especially record one- a reissue ofpartsofPreminado (Riverside 354). and Listen to Barry Harris (Riverside 392).Sideone is a trio with Joe Benjamin and Elvin Jones, and side 2 is unaccompanied piano. Record two is split between a quintet with Chas . McPherson and a trio with Bob Cranshaw and C I ifford Jarvis . These albums date back to ' 61 & '62 . Two CHARLIE BYRD albums have been rel eased in their complete form on IN GREENWICH VILLAGE (M-47049). Both are I ive dates - at the Vi II age Vanguard and th e Vi II age Gate from ' 60 & '63, and offer some good Byrd from that period. Smooth listening . A pair of NAT ADDERLEY discs from the Riverside years have been r evived on WORK SONGS (M - 47047) . Th ere's some nice stuff scattered about here, but for the most this music doesn't move me - especially when I think of some on Nat's work on some of Cannonball 's albums such as Japanese Concerts (a I so on M i I estone). BLUES ON DOWN (M-47048) is a showcaseforthe playing and composing of BENNY GOLSON . Heard in two sessions from '57 & '58, six of the twelv e tunes are Golsons . The music is good enough, though I' ve got to admit that I much prefer his work with Art Farmer in the Jazztet, whi ch was formed in '59 . All in all, the four Prestige sets and the Barry Harri s are my favorites of the lot. - Bi II Wahl DOLLAR BRAND - SOWETO - CHIAROSCURO CR 2012 Looks I ike the rhythm of Brand prowl s again . Abdullah Ibrahim, Dollar Brand, hit th e West ern World w i th a show-st ooping soul strut call ed Cape Town Fringe last year . Th e album (originally known in Afn ca as Mannenburg) probes the smooth - surf aced t en s ion runn111g thru South Afr ic a, and th e energy such t ensi on c arri es. Th e R & B flavor of th e titl e tun e i s but a part of th e st eady beat of Black li ves in Mann enburg, and how that beat can stcadi ly in c r ease in awareness . Wdh awaren ess com es the power to use on e's own life for ces. Wh en GBM product iOns brought Abdullah here 1n Spnng, I ask ed h1m about Fringe, an d he promptly told me that he recorded 3 albums (I beli eve ) worth of material Abdullah said that the second stag e would be Soweto, saying "Mannen burg was wh f' r e· d's happening ; Sowet o is wh ere it's atl" He said it strai ght . Th e till e tun e is a grinding pulse bump ing t v an i rres istabl e rnel odybeginningandendingwitn a newborn 's f 1r st c r y (re: Banyan a: Th e Children Of Afn ca, per haps?). Th e horns op en upwithf1 er ce , yet smiling, insi st ency , and Abdullah 's honky - t onk high - lifting itupontheh arp s i chord tuned pian o again . AfricanHerbsisari chbroth in which Abdu llah draws a br1ght grospe l organ sound from th e el ectri c piano . Sathima i s th e swe eth eat of th1 s set, in whi ch Ab dullah openly shows the thundering lyri c i sm of his p1an o play . Sath 1ma is a surg1ng tango wh1 ch should have no troubl e f111din g airplay and ear s seeking th e r eal dan ce. Parti c1pant s are r ee dsmen Basil Mannenburg Co ezett e, Duku Makasi, and Barn ey R achaban e; trumpet er Dennis Mpal e; bas s ists Si pho Gum ede and Gilbert Mathews ; drummers P et er Mo r ake and Basil Mos es; and, at th e center , th e Brand of Ibrahim . Wh er e it's at . - Michael F . Hopk ins JAZZ C:llla'f IIAIIIB IN r.&BII IMPORTS Jazz Imports have become increasingly more popular. find out why enjoy music Unavailable on domestic labels as well as the clean sound of superior European pressings. The albums pictured above are just a few of the wide assortment available - distributed by Artistic Music. Boulevard Mall �NOV US The second Nov us release is som ething of a mixed bles s ing, not nea rly as exciting as the fi rs t r ei ease on St eve Backer's gr·e at experiment for Arista . Th e r eason forthemixed revi ew i s that there is re ally only one pu re group rel ease. the uproarous tr io A ir's "Montreaux Suisse Air ." Th e veryes senceof jazz is group dynami cs and intera ct ron bet we en player s. Th e pr·ol rfe rati on of solo al bums is becom ing distressing and seem s at trmes to indicate cheapn es s of budget. . Muhal Richard Abrams' SPIRAL and yet another solo r eleas e by lost sheep Larry Coryell , EUROPEAN IMPRESSIONS, ar ~ case in point . Admitted ly Coryell's last f ew groups haven't been very ef f ecttve but its abouttime he found hims elf a good rhythm section to manrfes t his born - again sense of creativity. Muhal is an outragous pianrst, one who c arr ies multi tradd 10ns in hi s f ingertrps, but plucked string s an d gong s areunlyrn~nimally interest ing. Cory ell plays a f ew ni ce t ouches on a generally pleasant release. but boredo m sets in about 2/3' s of the way through . Mike Manieri and Warren Bernhardt's FREE SMILES i s sort of apoorman' s Cor eaBurton . Man ier·i i s a mu ch more intere sting vibist than hi s pop-ish rec ent A rista re lease indicat es. AIR i s Henry Threadgi II on r eeds and flut e, Fred Hookins on bass :m d Steve McCall on drums. t he gro up of the yea r . Th e i r new album is MONTREAUX SUISSE AIR . As in f ew other groups the spot l rghl is cl ear-ly on Hopkin s. Hi s magnrf icen t bass work anchors M e Call and Thr eadgill' s storms . Hopk ins be au tiful fu ll- bodi ed work hrghl ights "Ab ra" and "Sui sse At r . " Th e treat of thi s Novus release is Ran Blake's RAPPORT. A startlingly origina l technicran from Ma ssachuse tts, Blake 's work is co lor ed with eccen t ricitres and uttlrzatton of the WHOL E keyboard . Th e mo st interesting moment s are pro vided by Bl ake in tan dem with young t enor tr lan Ri cky F ord. Al so included are duet s with Anth ony Braxton , tr ios with F ord and ba ssist Rufus Re id and two vocal s, one by Chrrs Connor . - Will ard Jenk in s, Jr . JOHNNY GRIFFIN LIVE IN TOKYO - INNER CITY IC 6042-2 A whrl e ba ck I came across an old Bl ue Not e LP - an or tgrnill Mr crogroove. no less. Th e album, to this day , has be en one of m y favorrtes A 1957 dat e with th e pro digious lrkes of Le e Mo rgan, John Coltr ane , Hank Mobl ey, Wynt on Kelly, Paul Chamber s and Art Blakey, the l ea der wa s a c lea r, sharped ged t enorman whose c l ar·i ty be ... ame all th e more startlrng when one heard the sho ckin g sp ee ds he could com man d. along with th e depth of hrs narrat ive content . The album, A Blowing Sessi on, rs a c l assic r eason why Johnny GriFf111 should have never gone as un notr ce d as he ha s th es<> many years. Now, Inner Crt y bring s us a double al bu m, doubl e- barrl ed set of I i ve Grifft n. From 1976, in Toky o's r esonant Yuhbrn chok in Hall , th e l egendary Chr cago reedsman gi ves us a frn e display of his powerful artr cul acy. It begins wtlh th e all out rrde of J erome Kern's All The Things You Are, brrngrng th e frr e of A Bl owing Sessr on home wtfh a vengeful pa ss i on . Griffrn rs the s ingrng whrrlwtnd here, and I think of the beau ty hf, and Monk crPat cd t ogether rn the 50' s. f ew ca ught it, th en. Her e, t oo. we ar e r e- acq uainl<' d w i th the resurgent tast e of Horac e Parlan 's prano . Whi le Mad s Oeltalab DIGITAL DELAYNo compromise, sound quality at a surprisingly modest pri~. When we introduced the Deltalab DL-1 DIGITAL DELAY a few months ago we said that its sonic performance would be as good as the most expensive digital delays, at the price of many lesser 1.,1nits. But recording studio engineers across the country who have in$talled and used the DL-1 tell us that it actually sounds better than some of the far more costly units It has replaced! The Oeltulab Dt-1 's soni.c accuracy and freedom from coloration ' come as a welcome surprise to engineers who have grown accustomed to accepting sonic compromises ·· gritty quantizing noise, frequencyresponse abberations, a characteristically "digitized" sound quality ·• il\ ' order to get the benefits of the dela'f. The DL·1 offers: • Three outputs with independ,, , ently seleetabfe delays. • Input and outp.ut levels adjustable from 0 to '+24dBm (balanced). • Internal front·Piinel control by. pass to prevent un~uthorized tampering. • Dynamic range 90dB or better. • Delay limgths from 6 to H50 millseconds. , • Frequency response ~0- 15kHz At All Delay Le~gths. • Suggested retail price: $1200. The Dl· f has many applications ·· unobtrusive speech amplificati.o n 1n Church, theater or hat!~ concert sound reinforcerne'nt;¢yn~rnic disco ' installations; and many delay, echo anc! special e1fects in the ·recotding or broad~ast studio. The mariy features of this new state of the art Digital Delay can be demonstrated at our showroom by appointment. YJrite .Unistage. Inc. I 716-853 - 6500 Caft_i I.NISJA(j( 330 GENESEE ST .. BUFFAlO. N . Y �.-------as a 'vaudeville blues' singer in that she, like the other black women singers, sang a good amount of non - blues material and her act includes a good amount of pop material like "Pennies From Heaven ". Remember My Name i s Alb ert a ' s f ir st a" ,um and the soundtrack for Rob ert Altm an 's new m ovi e . B acke d hy a ban d led by her ac com pa ni st p i a. ist Gerald C ur; a·1 J, J giant Budd Johnson , Alberta has a sw inging set whi ch includes remakes ("Down - Heart ed Blues " ) and new mat eri al Par ticularly ni ce i s the balla d "Th e Love I Have F or You", whil e "My Castl e i s Rock in'" 1s a JUmping number . Th e band which includes Conni e K ay and Doc Ch eath em i s swinging and Alberta throughout i s sa ssy and full of enthu s i asm . An album that will capt ivat e tho s.eo fy ou who haven't had a chan ce to see her live . Tho se wh o have see n her l ive will know what to expect. - Ron We 1nstock COean CCJnteHdg, CUJe 've gone tlvtough n Oot Ob chongw~ nve,1 ttl(~: (}). pogt eew ~e(llr.g, {10WeLieir..t(1e Oi l(' fl~L11g thot [,o~ gt;QQ et1du.~ed ~~ ou .~ CWhen oN tl~ e we e ~end ve go11e ond tl1e gpeCLoOg niq{~tg otr.e ovetr.. we 'tr.e rtr.nucl tr ptr.r~e llt tl1e lrw~ r otr.tr.oy oe toOent we <:CHl (incl . .9e it~ -Acougtic ~ou O;k!c. ltr bentu,~ r; tLvo petr.bO!r.llletr.~ e0el!LJ .~uncia~. rcfhr Co11gr~t ic. ~..:~~;;;;;;..;..;.:;;.;;;:..:,:;;,:,.. 11ning J..QDo JIMMY FORREST - NIGHT TRAIN - DELMARK DL-435 This album cull ed from th e United l abel of th e fifti es f ea tur es the t enor saxophon 1st in a v ari et y of moods. Forrest who played in th e bi g band s of Ba sie , M cSh aan and Ellingt on had a fat, blu esy t one. At t1 mes som e of Charli e Parker ' s influence i s pr esent . A ver y fin e r eading of Ellington's "Sophisticat ed Lady" . i s a I so in c I uded . So m e of th e a I bum f ea tures some har d honki ng r ' n ' b sax 1n c luding th e t1tl e track whi ch was a mon st er r ' n' b h i t in the ear l y fift1 es and some of this r ecord i s archt ypi ca l r' n'b tenor uf th e peri od. A very varied and ent ert aining setth atd1sp l aysh1 so trov erl edmusi cal personality. - Ron Wein stock J.0111 iH t[,p cit~ ~~ '""'Mondo and ~otr. oCO you bllugt~ot rcl {,;QOhtOOu;g uhe croit~tCegg cg,1og. rve11y ':C:J'u r;g_ have a nice holiday. CPG* -A Peaceful Feeling- .,.... Ea~ MAIN Sl *CENTRAL PARK G Vinding strums some beautiful bass , dr ummer Art Taylor locks thunderheads with Griffin for a smashing climax. Among other delights . try Griffin ' s When We Were One, a stri.king bittersweet ai r stirrin g th e pr eservenc e of Love even when yours has gone. It's th ere ...... the qui et intimacy and dignity , together . The Little Giant? Nothing littl e about this Musi c , or this man. - Michael F . Hopkins ALBERTA HUNTER - REMEMBER MY NAME -COLUMBIA Alberta Hunter's reemergen ce intos tardom aft erar etire ment from show business twenty year s ago i s on e of th e mos t pleasant surprises of th e rec ent year s. Alb erta was on e of the so-called 'classic' blues sing ers who r ecor ded in the 1920s . Bessi e Smith's first recording was one of Alberta's songs "Dpwn Hearted Blues". Alberta might be better described )4~0M ONnOS ~ 0>4\f • S3N0Hd0tl81~ CHARLES OWENS - THE TWO QUARTETS- DISCOVERY 787 Charl es Own es i s a Wes t Coast - base d tenor saxophon ist of consider abl e ability . Th e si x on gin al t unes on thi s album di splay him in two r ath er differ·e nt cont ext s. On s ide on e, he play s with a quart et inc l uding T ed Saunders , piano , Carl Burn ett, drum s, and John Heard . bass . Th e approa ch i s main stream - modern , with Owens show ing oc cas i onal fla shes of h i s Dolphy, Coltran e and Roll 1ns inf lu ences. His solo on th e ballad "The K ey t o Life" i s out stan dm g. Th e quart et on s 1de two has Dw1ght Di ckers on on piano , Loui s Spear s on bas s. and Al ex A cuna on drum s . The approach here i s som ewhat fr ee r than that of th e fw st quart et, as i s made quit e clear fr·om the op ening of th e f i r st cut. But whil e fr eedom to explor e I S ther e. th e group neve r l ose s s ight of the structur e of each p1ece . Ba ss i st Sp ear s se rv es as th e rhythmic focus for th e group. Owe ns h1mse lf i s more im passioned here than on th e f1r st s 1de , and th e Roll ins in fluence is mor e promin ent. Owens i s impress i ve 1n both fo rm at s It' s an int er est1 ng album from either d i r ect1on . - John Simna 3tlnHS ~ ANOS 'tl3A38 ' tl3SI3HNN3S O>rv' • ti3M 0 d CIJ ::t ~ JJ m &tecording @oncepls, ~ . :II m " ... offering the discriminating o * 16 Track recording studio ~ *Unique acoustic design 110 *Contemporary surroundings ~ *Competent , creative engineers ~ with musical background !!1 *Studio facilities include: c KAWAI Grand Piano & Stereo ~ Fender Rhodes , T AMA ---i ~ Drums .. CIJ ~ w _\ musician a (j) <t: I 0.. *Independent Record Lab~! I EMANON RECORDS *In-house publishing co . ZEALOT MUSIC (BMI) *Writer Affiliation & cop yright department Jingle production and producer on staff * "" choice w <t: (j) I Support ~ rJJ gs t::: ~ ~ 381-2300 625 Panorama Trail NOISE REDUCTION* STEREO PHASERS & FLANGING* PARAMETRIC & GRAPHIC EOUALIZA TION * I (_) (j) 0.. ::::i :X: ""-' aJ -, Live Music ��BLUES- RON WEINSTOCK Professional and Student Yamaha Instruments in Stock. Also. a Fine Selection of Seasonal Pop, Classical and Jazz Books and Sh eet Music Available. 2113 Niagar? Falls Blvd. Amherst, N.Y. 14150 Phone: 691-8032 Hours: Mon.-Fri. 12-8 Sat. 10-4 TED DUNBAR -OPENING REMARKS- XANADU 155 JACK WILKINS - YOU CAN'T LIVE WITHOUT IT - CHIAROSCURO 185 Here's a pair of albums from a pair of guitarists who aren't all that well known yet . But if justice prevai Is, they will be. Texas guitarist Ted Dunbar offers h is f irst solo venture with Opening Remarks. He's been heard as a sideman on a good many albums in recent years, and hi s tasteful, moody style fares well up-front here . For th e most, this is a lai d back affair and goes well with some wine lat e at night. If you want to tap your feet (fast) instead, try Jack Wilkins second outing You Can't Live Without lt . I first heard Jack with Buddy Ri ch a while back- the guy is qui ck and clean and has to be heard. Th e Br ecker Bros . turn out some excellent straight-ahead work here as well. -Bill Wahl December Jazz Frank 'Son' Seals new live recording Live and Burning (Alligator AL 4712) provides ample evidence why he is the most acclaimed new bluesman to emerge in recent years . Recorded at Chicago's Wise Fool's Pub, this set captures very well the e·xcitement he can generate. This set contains two new originals, his theme "Hot Sauce" and six distinctive remakes of songs written by such blues giants as Ll oyd Glenn and Elmore James . He is heard with his regular band supplement ed by tenor saxophonist A .C. Reed and pianist Alberto Gianquinto (on one tra ck only). Son plays pl enty of hard driv ing guitar which serves astheperfect foilto his raspy singing for what is perhaps his best record yet and the next best thing to seeing him live. Other recent live recordings include Professor Longhair Live on the Queen Mary (Harvest SW-11790) which features a great selection of rocking music as only the legendary New Orl eans pianist and singer can do it, with his heavy rhumba boogie piano and wild off-key singing. Less successful is Roosevelt Sykes, The Original Honeydripper (Blind Pig - 00377). Roo seve lt has made many better sides than this at best entertaining and at worst heavyhanded session from Ann Arbo r 's Blind Pig. Boogie Woogie Red's Red Hot (Blind Pig 003-77) features one side recorded at the Blind Pig, and a studio side with guitarist John Nicolaus . A couple of weak tracks don't detract from good versions of Memphis Slim's " Beer Dri nking Woman", Jay M cShann's "Hooty Blues" and a solid "Red ' s Rhumba ". Not being exactly over recorded Boogi e Woogie Red is well represented here. Blind Pig has three other fine records out. The Silvertones are a tight white band from Ann Arbor that play with tast e and restraint. One More Chance With You (BP-002-77) includes a very tasty helping of rockabilly, Little Walter, Joe Turner, T -Bone Walker, Red Prystock and Jimmy Reed numbers played with considerable flai r. Even better is John Nicolaus' Too Many Bad Habits (BP-004-77) with fri ends I)()W~T()W~ EXISTING REALITY w/ LOUIS MciNTOSH- DEC. 1,2 RAY HALL QUARTET DEC. 6' NEW YEAR'S EVE ART FARMER QUARTET- DECEMBER 8 & 9 COLLABORATION DEC.13, 15,16 AL McLAUGHLIN QUINTET DEc. 20, 22,23 BARBIE RANKIN & FRIENDS DEC. 21,29 30 BUFFALO STATLER HILTON 107 DELAWARE /856 -1000 Presented by Shepard Enterprises �Sansui Super Sale ., CHRISTMAS IS THE BEST TIME TO BUY THAT RECEIVER, AMPLIFIER, TUNER, CASSETTE DECK OR TURNTABLE AT THE SPEAKER SHOP. SANSUI PRICES WILL NEVER BE BETTER AND IT'S JUST IN TIME FOR GIFT GIVING FOR YOU AND YOURS. "The Sansui AU-717 is a superb amplifier. We like it with no ifs,ands,or buts:' (Julian Hirsch) Stereo Review It offers "as much circuitry sophistication and control flexibility as any two-piece . sys.em. ' " (Len Feldman) amplI.fylng Audio Magazine 3419 BAILEY AVE. BUFFALO Phone (716) 837- 1557 Open 11- 9 Mon.- Sat. 'Till Xmas Sunday By Appointment Only �Cucracha" and E II ington' s "Don't Get Around Much Anymore" very fine instrumentals . Not a very strong singer, he brings to his vocals an enthusiasm that comp endates for an occ asional stiffness. John Nicolaus support s Walt er on both s ide s whi ch includes one side with the Rhythm Ro cker s and on th e oth er side Ni colaus (overdubb ing) w i th dr um m er Martin Gross . Ni colaus sees t o it that the album is Wa lter's and t he ba ck ing is tasty . This is an album of just solid swingin g b lues. Wal te r is simply magnifi cent . Even on "Wa lte r 's Swing" a ra mbling instrumental . Hi s t one i s so ful l th at the ra mbl ing m ight get overlooked . A very fine re cord . 4!rd~s!J sltrli~ ond gold jewdrJ. irnportro, rtc~cled ~military <]arb heod 9E<lr and ~~f~s Sonny Rhodes is a SanFranci scoBayareabluesman wh ose initial album I Don't Want My Blues Colored Bright was initially rel eased in Sweden an d now in th e US by Ad vent (2808). I have previ ously r ev iewed th i s reco r d i n Li vi ng Blues and in ads Advent has quot ed m e: "Rhode s is a r ea lly fin e r elaxed singer . .. as a guita r i st, he pl ay s wi t h r hythmi c fluidity and cons i derabl e imaginat ion ." Since thi s r ecording Rhodes has started playing tabl e stee l guitar and it would be interesting to hear his new musi c as we ll as wh at s on th is tasty debut album . s' All&t7 5t. 882-8200 tw)to.,. -thru SAt. 12:00- 6:oo Johnny Shines, Walter Horton and members of Asleep of the Wheel (which Nicolaus is currently a member of). Nicolaus has a fine rocker in "Looks Can Be Deceivin'" where he uses a Jimmy Reed bass line for an underpinning . "Mandolin Boogie" is a rocker with 50s R&B overtones while the Mississippi Sheiks' "Sittin' On Top of the World" is remade tastefully. Shines and Horton each takes vocals and Horton adds harp to a remake of Tommy Johnson's "New Canned Heat Blues" . Nicolaus even successfully interprets Robert Johnson and Son House. He is simply a fine blues performer and has made the question of his race irrelevant. Nicolaus also plays a major role in Walter Horton's Fine Cuts (BP-006-78). Walter Horton is simply the greatest I iv ing blues harmonica player, and perhaps the best of all time (with no apologies to fans of Little Walter and the two Sonny Boys) . Playing with a big fat tone, a wonderful musi cal sen sibility and swing. Horton's tonal embellishments make "La RADIO UPDATE WEBR - 97 .0 AM Jazz In The Night wit h AI Walla ck sev0n n ight s a we ek 8 PM - 1 AM weekni ght s, 6 PM - 1 AM weeke nd" WBFO JAZZ SCHEDULE: Mon . - Fri . / 2-5 pm, Jazz 88 with John Hunt 11 pm - 3 am jazz with vari ous hos t s Fri . 11 pm - 1:30pm Sat./(B eginning th e f i r st weekend in Novemb er . "Jazz Cont ours " with B iII Wahl m oves t o Satur day 11:30 am imm ediately f o ll owing Ed Smith 's " Freedom F I ight" ) Sat. 12 midnight - 6 am Sun. 1 Opus in Modern Musi c with 'r• Pres Freeland Sun . 11 pm - 8 am Mon. / j azz with B ob Rossbe rg ( 11 pm 12 mid . ) Paul Smith (1 2 mi d. - 3a m) Paul Dean (3 am -8 am) . FROM CHICAGO! WADV 106 . 5 FM SON SEALS Jazz n i tel y with Geo r ge B eck M on .- F ri . 11 30 PM 12 :30 AM . cla£i~ified This space is avai I able to private tndividual s, organ•z atoons. mail-order houses, etc . The cost i s 10c per wor d ·· min•mum charge $3 . Send copy and payment to BJR - 1335 Mam Street, Buffalo, N .Y . 14209 . BLUES BAND DEC. 20,21,22,23 DRUM LESSONS (IN TORON1G ) Pnvdt" l0so.;on ... w llh PETE MAGA OINI . Pr·of <''>S oon<>ls and AJvd n• r·d only Phone ALBERT (41 6) 489 920-1 . JAZZ PIANO LESSONS - all l eve l ~ oncludong th 0o ry, i mpro visali on, r eado ng skills and t ec hnoqo 1Eo• Cal l Ri cha rd Shulman - 88 2- 6563. COllinS IMPORTS from Japan and elsewhere . Sony, East Wind . Trio, BYG, Timeless and miny other labels . Albums by Coltrane , BriXton, Miles, Woody Shaw, etc . Free losts - lnternatoonal Records, Box 717, Dept . B. Mentone. Calofornoa 92359 . DEC.1 &2 BONA VISTA 1504 HERTEL 836-8985 CADENCE Monthly Jazz Magazon e lOO's of re vo ews plus oral hi.storoes , interviews. news, & Blues F ant ast or l Sample $1 .25 Subscroptoon $11 . CADENCE . Rt 1 Bo x 345. Redwood . N .Y. 13679 14 STUDY SAXOPHONE, FLUTE & CLARINET wit h Do ck Griffo (Woody Herman . Tommy Dor se y . Bflo Pholharmono <:, Emil �• Palame . etc) . Also - Lesson s and or coachinq sessions on jazz 1mprovis1ng and styl r> s . Call (716) 856 -8916 . JAZZ RECORDS FOR SALE . W1de select1on of titles .. ,ostly out-of - print. For fr ee catalogs : JAZZ ~OUSE . Box lSS (BJR) , Adela1 de St E P .O .. Tor·onto. Ontario . Canada ~K1~ . I DOUBLE BASSES · Engl<sh . l tal<a n. Fr ench , German . Buy, 'e nt or sell Some gr eat Ja zz basses on hand Dr . George Noo dall, 41 6-494 4846. P 0 B ox 426 . Stat 10n K, Toronto . Tralfamadore Cafe - 2610 Main at Fillmore - Jazz Thur s. t hr u Sun . night s. Stone Alliance Dec. 8 & 9; Tabackin, Goodwin & Moore Dec. 29 , 30 & 3 1. Statler Hilton - Downt own Roo m - J azz Wed., Fri . & Sat. Art Farmer Quart et Dec. 8 & 9. TORONTO Danny·'sansune's - 1066 Abbott Rd. - Joe Brancato / p1ano and Jack. · Norris/ guitar Wed . & Thur s. nights . -9 :30 ~ 1:30 Lance & Shield..(Holl dna. N Y) jazz Sun . 'oft c·rno.on . Billy Cobham - at Convocati on Hall, Un ive rsity of TorontoSunday , Dec. 17 - 8 PM . Phone 923 - 5947 . Cafe Soho - 314 Queen St .. West · Shelly Berger's 20 piece band Sunday s 11 PM - 2 AM. Bourbon Street - 180 Qu een St. W. - th e best of inter nat ionally known j azz artist s . See ad . George's - 290 Dundas St .. E . - th e best of local jazz . L1brary - Bailey & Roun ds - Taxi -Carl Cedar / bass . Bobby Previte/ drum s, Steve Parisi / ke yboards , Rick. Strauss/ guitar, Sal An dol ina/ sax and Ron Witherspoon/ percuss ion Sun . nights Vinei-Su - 978 West at Breckenndge - 882-5225 · Moody Street Fri . & Sat . nights Sun . afternoons - jam sessions . Bagatelle· - Mam & Winspear - Joe Broncato/piano & Jacl( Norris/ guitar- Fri & Sat. 9 - 1. The Garden Party - 82 . Avenue Road - Pianist Joel Shulm., Monday to Saturday from noon - al ·so Sunday evenings from 8 :30PM . Nag's Head - Toronto Eaton Centre - Yonge and Dundas Sts. Jim McHarg's Midnight Special every Sunday from Spm to 8 pm. The Ports - Summerhill Avenue at Yonge Street- Toronto Excell;ior Jazz Band Saturdays from 3 to 6pm. Tara Manor - 5100 Main St. Jack. Bacon Morgan Street Stomp,er& with Eli Konikoff Fri. & Sat. niqhts. C.~.G.- Central Park Grill - 2519 Main St . - Juz Jim Mon. n1ghts. Bona Vista- 1504 Hertel - Blues & Jazz. Stone Alliance a. Stopolis John Mooney BLues BAND LewTabackin/siu Goodwin {~Michael Moore DEC. 91 10PM -2 AM Featuring Gene Perla & Don Alias DEC.15, 16 DEC. 22, 23 and Every Thursday DEC.29,30+Newvear'sEve 0 1 PM - 2 AM Tabackin/ Tenor Sax & Flutt: Co-Leader of Toshiko Akiyoshi / Lew Tabackin Orchestra SUN. - JEREMY WALL TRIO TUES. - BUFFALO COMEDY EXPERIMENT MON.- ACOUSTIC MUSIC (FOLK) WED. -BAHAMA MAMA (RAGGAEl Closed Dec. 24 & 25 tralfamadore cafe 836-9678 2610 main at fillmore �Buffalo Philharmonic - Bourbon Street Orchestra TORONTO (416) 598-3020 The Finest in Italian Cuisine Peter Perre\ Exxon Arts En~owment Conductor Kleinhans Music Hall Preaenh MILT JACKSOI\1 l)ec ember 12- 23 Jackie and Roy .JACK SHELDON Oec. 26-Jan. 7 THURS., JANUARY 11/8:30 PM Phone Ahead for D•nner Re~ervatrons TICKETS $6 .00 Tues. ·· Sat. 9- 1 Sat. Afternoon 3- 5 Sunday 6 - 10 No Cover Give The Great Gift Of Music TI1is Holiday Season - A Buffalo Philhannonic Gift Certificate, Available For All Concerts In Any Amount. For More lnfonnation Call 885 -5000. NEW AT BOURBON STREET TICKET OUTL E TS --- Kl ci nhon s Music H all (Penns yl voni a Street Entran ce), Festival Tickets, Amherst Tickets, Homburg Music, Squirr. Hall, UoB. Student Union, SUCB, Canisius CDIIege, Fredonia State Box Office, Record Theatre, Central Tickets. · ~, or Wf'EKEND BRUNCH ·rHIO' FOOD IS ... . . SOUL. GOODI• Underground Railroad Tavern ~\\liD If~ JJ.~~;~ ~~·:-n ·~~. : SATURDAY MATINEE from 3-5 P.M. .<\lso Sunday Dinners from 5 - 10 P.M. Presenting Our feature entertainment at this time. Waekdays- Tuesdays to Saturdays from 9p .m. -1 a.m. fELMWOOD5~~~0L~~: TICKETS KLEINHANS MUSIC HALL HAMIL TOI\l PLACE SHEA'S BUFFALO THEATRE NI AGARA FALLS COf\IVEI\ITION CENTER SHAW FESTIVAL TORONTO & N.Y. SHOWS ·: H51Uftlt Street Eaat. Thronto 2b· Ontario · Todepl-.one 1>69 1400 fully I .ce,H:erl hy L. .L .B.O Management and Staff of the Underground Rai I road wishes all their Customers in Buffalo and Toronto A Very Me•TY Christmas and the Best for 1979. All Ma1or Sports & Th eat ri c al Events 51012 ELMWOOD near W. UTICA. BUFFALO 884- 0122 Mon . - Fri. 9 : 30-5:00 II JJGZZ tepofft 1335 rroin street ··:..::, Wfoo.n!d 1L1209 s • u• ~ .• y • li • J • r.r E~??;'~tc, return postage guaranteed Sat. 1 1:00- 5:00 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Jazz Report Description An account of the resource Founded in Buffalo, New York in March of 1974 by Bill Wahl, the Buffalo Jazz Report was a free newspaper distributed at clubs and record stores in the Buffalo, NY area as a service to the local jazz community. It provided record reviews, articles on jazzmen from the area, interviews with visiting musicians, and new album listings. Later issues broadened its focus beyond Buffalo, NY to include Toronto, ON and Rochester, NY. With the permission of Bill Wahl, the University at Buffalo Libraries host issue 1 (March, 1974) through issue 58 (December, 1978) in Digital Collections. Identifier An unambiguous reference to the resource within a given context LIB-012 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 4261 EAJ7359 Is Part Of A related resource in which the described resource is physically or logically included. 10477/3271 58 Date A point or period of time associated with an event in the lifecycle of the resource 12/1/1978 Language A language of the resource en_US Subject The topic of the resource Jazz musicians. Music > Periodicals. Jazz. Sound recordings > Reviews. Type The nature or genre of the resource Article Creator An entity primarily responsible for making the resource Wahl, Bill Publisher An entity responsible for making the resource available Buffalo, N. Y. : 1974 Title A name given to the resource Buffalo jazz report, no. 58 Rights Information about rights held in and over the resource <a href="">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/0b88e51e472630af1a80bf476aca660b.pdf e55cc32638a3c8a809a15f5ba68c4079 PDF Text Text Punk magazine “the curse of the metaverse” inside: The Seeds I was a teenage floweroid Brian Wilson in Hawaii Fritz von Erich and the dreaded claw hold and more... �Uncle Sam’s 2525 Walden Avenue - 685-3100 sunday "Student Sunday" All students with current college I.D. card admitted Free! monday "History of Rock'n'Roll" tuesday $2.00 Admission All Regular Mixed Drinks $.10 Wednesday "Ladies' Nite" Free Admission to Everyone Ladies' Drinks half Price thursday "Appreciation Night" Free Admission Friday and Saturday "Progressive Admission" 8:30-9:00 $0.50 9:00-9:30 9:30- Page two . punk magazine $100 $1.50 ProperProof is Required �editor’s note: table of contents: —Prusansky The rag you are clutching in your sweaty mitts is punk magazine, devoted mainly to rock 'N' roll, sports and anything else that isn't boring. Wimps take heed! You will find this tabloid boring, offensive, possibly insulting. And that's just the way we want it. The legions are new forming, and soon all us rockers will bury you beneath your pile of James Taylor, Cat Stevens, Grateful Dead and Moody Blues records. 'Cause the time is now and we're seizing it while most of you nod out. I've been working at The Spectrum, UB’s campus newspaper, for four years now, and putting out a magazine of my own has been a long dreamed of goal, but it wouldn't have happened without the help and support of a whole bunch of people: Jo-Ann Armao, The Spectrum's Editor-in-Chief, for giving us the go ahead to do this thing, even though she probably has no idea what any of these stories are about; Jeff Greenwald, Managing Editor, for catching all the improper grammar and spelling mistakes in Fernbacher's opi, which is no mean feat; Larry McNiece, for putting this slop together and making it look like something; the production crew at The Spectrum, for doing the dirty work; and the ad staff, for doing the even dirtier work. I think that there's a lot of neat stuff in here — from Norman Salant's ramblings and rumblings about Archie Shepp to Joe Fernbacher's manic memories of the Seeds. And if you can't handle twenty pages, grab the pull out sports section and take it to the john with you. You won't be disappointed. It is our hope that you will find punk interesting and entertaining. Anything else you get from it is your problem. 4 5 6 8 9 days of blood and peanut butter Joe Fernbacher Don Ho meets telstar Billy Altman vanity rains Norman Salant adventures on the dark side of the bacon Tom Toles steel on ice Billy Altman 10 annals of the lost battalion Terry Bromberg 11 night of the Kowalski Joe Fernbacher punk 14 gardenias of utopia magazine Vol. 1, No. 1 7 May 1973 Joe Fernbacher 16 hey bulldog! Terry Bromberg Editor................................................................................Billy Altman Associate Editor.......................................... Joe Fernbacher Contributing Writers...............................................Terry Bromberg ........................................................................Norman Salant Photography............................................................... Foot Studios Graphics......................................................................... Tom Toles Layout........................................................................ Larry McNiece 17 spinout Joe Fernbacher and Billy Altman © Copyright punk magazine, 83 Sanford St., Buffalo, N.Y. 14214; Tel. (716)837-1077. punk magazine . Page three �-Fernbacher Uhhh. That reminds me when I was in eighth grade and under the protective wing of this chick who was a biker and hung out with this spaced out guy named Jesus, he was a local legend who got his brain splattered when his bike had a head-on with a semi, this chick was super smart, IQ over 170, the whole number, but she didn't give a fuck, cause she was a biker, one of the prototype Angels, she liked me, don't know exactly why, but we were pals, she used to sit across from me in homeroom, which was neat cause nobody was going to mess with me, cause like she was protective ... she also wore alot of leather with silver studs and 'engineer' boots, always wanted a pair of those, and if you don't think that gave me a hard-on even in eighth grade, maybe that's why I like porno flicks and biker movies, never could understand the real reason behind that, 'cept Mona was sheer art and so was Wild Angels — Then there were these other bikers, a rival gang, who used to capture little kids like me and take them inta a field, (it ain't there any more now, it's a Chevy plant) take off all their clothes and hang 'em up in trees, the chicks would laugh at 'em and tickle their balls and the (it was in rock 'N' foil class, yeah a rock 'N' roll class and the guys would scare 'em with switchblades and chains, and they’d leave them there and go away, and that's what the legend said anyway, never happened to me cause I was never inta fields, I spent all my time in the house watching the tube, or listening to the tube, or goin' to the movies, real cultural and all that shit, besides I knew this chick and like I said she was real protective. Anyway, she graduated and split from school, imagine, she didn't even want to have a thing to do with high school, she'dve made a great rock 'N' roll singer, pre-Janis and all, wonder what ever happened to her, can't even remember her name, but does it really matter . . . No, but it does matter that the first time I ever heard the Stooges {it was in roc 'N' roll class, yeah a rock 'N' roll class and the "instructor," a certain Mr. Nesin brought out this album and said that none of us would ever buy it so's he was gonna play a few cuts in class, the cover was this picture of these lea ther jacketed hoods, and after he played 'well, it's 1969 okay, all across the USA/ Another year for me and you, an other year with no thin' ta do,' and Iggy was right, there was nothin to do after 1969, just turn 21 and never have a whole lotta was nothin to do after 1969, just turn 21 and never have a whole lotta was right — who the hell needs education? Frontal knowledge is useless in the long run, when ya could be a biker, or maybe even a rock 'N' roll star, or maybe just a fuckin' punk hangin' out on the streets, gettin' drunk, pukin' or just gettin' laid... The entire concept of punk being one based on the absolute disposal of pure "bored" energy, the waste of violent action, and the will to raw power, rock ’N' roll as the basic nihilistic impulse inherent in all purely physical action. And that sure as hell describes the fascination for someone like Iggy Pop, besides, his favorite group is ? and the Mysterians, a fact which shows his days of blood and peanut butter Page four . punk magazine peace with his own punkhood, very religious to have that particular band as your favorite, if you know what I mean. Although he's refined his initial impulse and prolonged his self-imposed death agonies. How? by becoming a true rock 'N' roll star, and he will, 'cause he's just spent the past two years in England, where the whole concept of the rock 'N' roll star was born and refined, hangin' out with glamor fucks like David Bowie and Louis Reed, and when ya do that ya become a STAR, in England already established and accepted, yes! Perhaps a bit legendary, in the States just biding his time, but stilt mythical ... the days of peanut butter and blood not going by totally unnoticed and sufficiently chronicled to be seeped down through the populace, you know the stuff which let St. George kill the dragon, fairy tales, Paul Bunyon, legends... But being the ultimate punk is a hard-on for the soul, let alone the physical being, so's Iggy's calmed down a bit, so they say. I don't believe a fuckin' word of it and started to ta ke care of his body, no more vicious leaps into the audience, no more cuts and bruised flesh, no more man meat frenzy — but then again what could you ever do for an encore to that kinda conceptualization . . . Nothin' probably, but so what, when you possess the entire essence of a street gang like the Amboy Dukes in your soul, and ya sing and create rock 'N' roll in its purest form, as pure body politic, pure power, ya don't need to rake your balls with a potato peeler every night, ya just haveta be. The complete nullification of environmental boredom by persona, angst man, real fuckin' honest-to-goodness Angst. But that ain't what happened, not yet. What's happened is that the process continues itself, self-perpetuation of the soul, Iggy and the Stooges have resurrected eldritch sparks with an album recorded in the heart of the sun and as energized and metallic as the click swish of a switchblade opening as it's slid from a cracked leather jacket, "You Fucker!!!," in some dark alley, in some sullen neighborhood, in some nameless city. Raw Power, that's what the record's called, and it is, raw searing, flesh tearing, voiding power. It's quite remarkable that a punk group that hasn't had a record out in two years can step back into the studio and come out with an effort that's not only a logical progression from their last IP, Fun House, but a pure extension of their universally created theme. It's all about the new sense of teenhood in America today. Back in the 50's everybody was scared that the BOMB was gonna be dropped any second, so they lived in fear, well, the bomb didn’t drop any second so now nobody's afraid of it, as a matter of fact they live for the fear of it the bomb becoming an object of worship, a substitute for life itself, an object of art: ‘I'm a sidewalkin' cheetah With a heart full a napalm. I'm the runaway son Of a nuclear A-Bomb.' That's Iggy searchin' and destroyin' the truth with a cattle prod in one hand, a whip in the other and a silver mask on his face. 'Fuckin' in the middle of a firefight,' as he says. Yet, Iggy essence comes to real fruition in "Gimme Danger," a Morrison dirge to the unlimitlessness of self-destruction. There's a lot of freedom involved in sheer abandon, try it sometime; do what your soul tells you to do, forget everything else, just Fuckin’ Do It . . .'Gimmie danger little stranger let feel your disease . . .' So throughout Raw Power Iggy gives us audial head and ya just gotta blow your load, especially when he does "Death Trip," a song dedicated to being fucked up, fucked over, fucked in the ass, fucked in the ear, and just plain fucked. Ain't no oatmeal visions of soft birds and little furry animals runnin' round in this Ip and there ain't no visions of being mellow neither. Like Slade, the Pie, the Oysters, its gonna be raw power, or its just not gonna be at all: ‘come on baby let me take you on my death trip,' cause we was all born to lose and Iggy knows it and shows it. �meets telstar Don Ho bargain bins for years. "Anna Lee the Healer” heals people with her hands, and Brian is 'just one of her many fans, love to feel the healin' hands of Anna Lee.' Aha, so he ain't deaf no more after all. Just a sneaky move to make a real excuse for how lousy the last few albums have been. Some yokel at Rolling Stone probably made up the whole deaf thing in the first place. All Summer Long is in real stereo, not duophonic or rechanneled. Someone must be lying, and Brian hasn't said anything in years, so it can't be him. -Billy Altman I'm watching the Best of the Tonight Show one weekend night, mainly 'cause Jaye P. Morgan is on and I never miss Johnny when Jaye P. is on. I remember one night John was talking about her engagement at the Americana: "If you want to go see Jaye in her room, just go up to the tenth floor and look for the suite with the sign on the door saying' "Sailors Welcome." To which Ms. Morgan replied: "Listen, John, don't think we don't know why your hands are always underneath your little table." Anyway, Jaye P.'s always fun when she's on. But this particular night another guest was Don Ho, who "Flew in for today's schedule just to visit." The immortal Mr. Ho came out and did "Waikiki," which is just the Ho chanting: "Waikiki, Waikiki" over and over while a film of the golden isle runs behind his superimposed face. Don comes over to chat a bit, but before he does, this bronze temptress comes out and dances a little. She looks better than the whole cast of Mutiny on the Bounty — y'know, when Marlon and the gang land on the island and fuck everything is sight. She puts leis on Johnny and Ed, and just as Carson's about to finger a little tit, Don says: "This is my daughter, Lei Ho.” Don then approaches Jaye P. and quacks: "Jaye P., I'd like to give you a lei." Morgan replies, but the whole next five minutes is bleeped out by the censors. Ain't TV grand? Don Ho has about 40 albums out and nobody except maybe Jerry Vale outsells him, and that's only because Vale is neighbors with Don Rickles, not just pals like Don is with Don. Don's biggest hit is probably "Tiny Bubbles," which has the choral group singing the English words while he answers in Hawaiian. Y'know — "Tiny Bubbles/ Iki Liki" and so on. Cordoroy and argyle Which brings me to Brian Wilson. Did you ever notice how much they resemble each other? Both are rather large sized, with middle-60's Beatle bang haircuts and slightly slanted eyes. And they even sound alike when they sing. And they both dress terribly. Reflecting a bit more, you can now Need a map? "Busy Doin' Nothin’ " is a day in the life of Brian Wilson. Directions to the B.W. estate, sandbox and all, are included. Obviously, Don forgot his way and Brian is trying to help him. Later, Brian makes a phone call, possibly to Land, Don's other son. Or maybe Tally, Don's wife. "Diamond Head" is a long instrumental on which Don himself guest stars on ukulele, getting a little solo near the end. The waves pictured on the back cover roll into view electronically, while a steel guitar and electric rockichord sweep us along with the surf. approach The Beach Boys' Friends album with the proper frame of mind. It's pretty obvious from listening a few hundred times that this record is Brian's tribute on wax to the king of Honolulu Bay. If you don't believe all this, why doncha flip on the last cut on Side One of Smiley, Smiles, namely "Little Pad," which categorically states that Brian's heart is in the heart of Layland. ‘If I only had a little pad in Hawaii. By a sea that's where I'll build a pad in Hawaii.' End of song. A message tune if ever there was one. We may proceed. "Friends," the title cut, is about the little known boyhood relationship between Brian and Don: 'I talked your folks out of making you cut off your hair." Why this is why both of them have the same hairstyle! As a reminder of hard times as teens, and Brian had lots of 'em. Check out "I'm Bugged at my Old Man." on Summer Days (and Summer Nights). Is this what forced Daddy Murray to give the Beach Boys' family secrets to the Sunrays, whom he produced? Or did they make up and record a Beach Boys album under that name for kicks, like the Four Seasons did when they recorded the best version of a Dylan song ever, "Don’t Think Twice, It's Alright?" And Frankie Valli copped all his falsetto from Brian anyway, right? Next is "Wake the World," and it is only in recent times that that song has resurfaced as part of "All This is That" on the Carl and the Passions IP, neatly packaged with Pet Sounds to divert your attention from Brian's cry for help. The little vocal riff from "Wake the World" slipped right by the rest of the band and comes to us as a clue that you should listen to Friends more than you do. I hear you Brian, loud and clear. "Transcendental Meditation" closes the record, a crafty commercial number probably created by Love and Jardine, who beat Brian till he succumbed to producing the track. Notice at the end how it doesn't fade, it just gets a lot lower all of a sudden? Brian fooled 'em again. If you're still not convinced, take out Holland from the trash can and look on the back. Brian never drives anything but a Good Humor truck, as the cover of Sunflower tells you. I don't know who that guy is, but it ain't Brian. Hold everything! I got it! Brian Wilson And Don Ho Are Twins, just like Cathy and Patty Duke! Maybe they interchange! Maybe that's why Brian does nothing on Beach Boy albums anymore. Maybe he's in Waikiki taking Don's place while Don takes a few years off to try and find some clothes that'll look good on him. Then he'll join the Beach Boys, who won't know the difference, and the next B. Boy single will be "Yaaka Hula Hickey Dula," and it'll be number one in the world. Smart guy, that Brian Wilson. 5+1=5 "Be Here in the Mornin' " doesn't count for anything because all five Beach Boys wrote it (yeah, Bruce Johnston is pictured on the cover, but he never counted anyway), but it's a neat tune, especially when the ukulele comes in and Dennis hums along with it. "When a Man Needs a Woman" is not the Percy Sledge song, rather it's a love song written by Brian for Don on the birth of Gung, Don's eldest. "When a man needs a woman, they make things like you my son.' This proves that Brian is godfather to Don's kids. What a family! "Passing By" is an instrumental, probably denoting Brian's frequent incognito visits to Don's place in Waikiki. Check out the roller rink organ — Brian salutes the Tornadoes of "Telstar" fame. That's what the title of this album should have been — Don Ho Meets Telstar. Would have sold a million instead of rotting in punk magazine . Page five �vanity -Norman Salant Which is more important, the album or the concert? A value judgement, yes, but of value nonetheless. A case in point: The Creative Milkshade, left over from Vanity Rains. The example is proud and conflicted, torn in strife about its last performance, a slipshod happening where everything went wrong, it didn't groove so now they're uptight about their next show. What happened was that they tried to do something new, something different, and it didn't work. The drummer is thinking of splitting for the coast, and the lead guitarist is out back, throwing up in the garbage can. Their manager berates them for being so stupid: ''Stick to the album cuts. None of that fancy stuff." They are confused, their role is not so clear anymore. Are they musicians or entertainers? Of course, if you can't cut it as one, then you may as well try for the other. Somewhere in the middle is suicide. Archie Shepp John McLaughlin Page six . punk magazine For people and gods Clearly, to a musician, the concert is what it's all about. To play, for people and for gods, experiment and work, keep digging. To get together and play whatever you feel like any way you like, just getting deeper and deeper into it. If you're good enough. That's important. Some can do it, some pretend, and some are completely out of it. And if you ever saw the Mahavishnu Orchestra play, if you ever saw Coltrane, then you can understand the difference between a concert and an album. The Inner Mounting Flame is a mere sampler of what the Mahavishnu Orchestra can do. And Coltrane! Not to deprecate the albums in any way, but a Coltrane concert! Back in the 50's, Calvin Massey was walking down the street and passed by a club where Trane was playing. The sound carried to the outside, Trane was on alto, and not since Charlie Parker had he heard anybody play like that. Elvin Jones, on his first hearing, remembers the "incredible phrasing," and what a challenge it was to try to imagine what he would do on the drums to accompany it. "It was so full, so complete, there was very little room for anything else to happen," at which point he cracks up over the implications of his remark. Power is what it is, pure force. Anthony Braxton went down to see this guy everyone was talking about, and after a little while he couldn't stand it any more. "It was too many notes." It practically drove him out of the club. But just as he was leaving, the song ended and Coltrane went into a ballad — Anthony was hooded Live turntables Sure, you can get some idea of what it was like from his records, but you miss the experience, the transcendental experience which has to be felt, not imagined. So it would appear that the concert wins. But not all concerts are like those described above. Very common in rock culture are concerts turning out to be super-amplified turn-tables, with some menial theatrics, eccentrics, and stomach-turning egotisms, not to mention the cult-inspiring cliches and dimwits, the tubercular pseudopods of decadent aprophytes. Yes. they have "sold out to commercialism in order to best exploit the mindless throngs of our youth.” Recoil From Bizarre Traps! Rock concerts invariable end with cries for an encore, but if they really wanted an encore they wouldn't leave, if they really cared, because that's the way it works — you can't be supplicant/ the time's to be militant. .. It's not lovely, and you would do just as well to stay home and put on a record. You could be perfectly comfortable, eat what you want, and control the atmosphere. Bliss. You can lay down, smoke without getting flashlighted, and piss in a familiar bathroom. Of course there's noting to see, but you can keep the lights on and read or watch TV, you get the power. But I'm forgetting the most important thing — the novelty of it, the occasion of going out and getting blasted by sound, or whatever, the excitement of the masses in close quarters, the energy of partaking in something special. It's a festival. It's a grand time. Compared to Queen Oscar's Sweatshop For Dilettantes, it's sweet-show biz. Security and control So it's up in the air. Records areneat. They're secure. They offer you control and music in a package. They also are deceptive with electronic alterings, double-tracking, overdubbing, and most importantly, editing. The other stuff is valid, but editing is a lie. It gives a false impression of the music. It's a song that's been cut up, pieced together, twisted, edited. Shortened, intensified, rearranged, not the way it's played. Maybe it's "Light My Fire" without the organ break, or "Let It Be" with a different guitar solo. Or maybe more subtle like Miles at the Fillmore, the ultimate in tape splicing for a psychedelic yown. Jazz has it worse than most, because of the longer solos, which get "trimmed for marketing," the media-cut. Also left off the finished product would be the more experimental moments. Mr. Producer don't take no chances. A jazz date in a club is totally different than a rock concert in a theatre. There are no event formalities. No lobby, ushers, or turnstiles. No tickets. You pay as you walk in, and find a table. The atmosphere is not to excite you but to relax you. The band is not far away or lit up, with booming sound systems and cavernous echoes. It's a room, not an arena, so wherever you are, you're very close — the whole sense of distance between performers and audience is gone, and you find yourself having a definite effect on the environment. An epileptic in The Fillmore would go practically unnoticed, but not so at the Revilot in Buffalo. �rains Usually there's no emcee or special lighting, Pharoah just walks on and fidgets, then suddenly there's music, nonstop for about an hour as songs are linked together by individual solos, then into the theme song — two years ago it was Karma, then Black Unity: Welcome to the Revilot Welcome to the Revilot Welcome to the Revilot Now Blacks for Unity Blacks for Unity Black Community Now Sung by Pharoah A Sanders in his best Frank Sinatra style, then continuing along the lines of soulful vocals, the current theme song, "Lumkili" — also known to some circles as "Jabol Jabol" — which, by the way, never did make it onto the Live At The East album, there is a distinct latin flavor as Pharoah leans back and howls skyword: 'Aghhhhhh got no TV! Aghhhhhhh got no TV! Aghhhhhhhh got no TV! Aghhhhhhh Lumkili! Aghhhhhhhh Lumkili! woo woo, boop! boop! boop! -yeah yeah yeah Heeeyyyyyy Jabel Heeeyyyyyy Jabol Heeeyyyyyyy Jabol Heeeyyyyyyy Jabol Heeeyyyyyy Jabol woo woo, boop!boop!boop! everybody's moving kind of slow and stiff, and the lights are dimful of shadows like an oldtime movie. The music isn't preceeding too rapidly, either, with a noticable lack of energy and drive. Next you notice the faces — tired and drawn, a blank look. Then, there are great spaces in the music, and you realize it's not too together. An off-night, you speculate, but you can't put your finger on it. There's Jimmy Garrison, totally involved in his bass like there's noone else there, as he acts out each note, constant motion under a troubadour sombrero, drunk out of his mind. And the Beaver, having his troubles at the drums, barely able to keep time, barely able to keep his seat — missing the cymbal, missing the drums, losing his balance. Stoned. Shepp, as the leader, tries to make something out of the set, but it slowly dwindles to noting. Break time. Garrison makes an announcement. "Ladies and gentlemen, you are listening to some of thee greatest musicians in thee world!" Cracks up. "Fuck it. Fuck it all." Walking back to the bar, he sees laughter and says: "If you can't have fun, what's it worth? Cracks up. "Phone call for William Harris." No answer. "Hey Beaver, there's a phone call, long distance." No answer. "Hey Beaver!" "Just a minute, wait a minute." "It's long distance, Beaver." "I'll be right there." So he staggers off with the help of a friend, but five minutes later he still hasn’t made it, stopping to talk with the people he meets on the way, until he forgets all about it. Silent stare — The break last about an hour, and the next set begins, but no sign of Garrison, who's laughing it up at the bar. Shepp stands at the head of the bandstand, looking out to the back, straight at him, but he's ignored. Garrison enjoys his company, a couple of nice-looking women. Shepp, tough, intimidating, immobile, stand silently. Garrison picks up the stare, assumes a mocking pose, breaks into a dance, taunting the solemn figure onstage, cracks up. But the set begins without him, and he mumbles; "Allright, allright," all the way up to the bandstand, picks up and joins in, stopping to pick up Beaver's drumsticks (which he dropped), and the set swings on into the night And now, with apologies or whatever is supposed to be said, here is a quote from Shepp's 'Live In San Francisco album liner notes. — A 10 year old girl timidly inquired of him why he assumed a fiercely distorted visage adorned with tinted yellow glasses and a beret pulled low as he seemingly stalked the matinee audience at a club. "Are you trying to scare somebody? she asked of the handsome, softspoken Shepp. "It's theater!"he proclaimed to her grandly. "You can't go in there without the magic of illusion. You know, when you talk to God, you must come out in your colors. You can't just meet the day any kind of way. You've got to dress up for it. And I like hats. I change them all the time. The illusion of theater... Whenever you see a performer, you're watching the performer. It's visual. It's a happening. Life is a happening, but you must live it!" Rest assured that a show like the one described is a rarity, and chances are that if you ever go to see Archie Shepp you'll be treated to some of the best jazz being played these days. He ranks with Sanders, Rollins, Gato Barbieri, and Frank Wright in what is beginning to look like the last stronghold of the Supertenors. And so goes. You'd never know all this simply b listening to records. You’d never know all this simply by going to concerts. Yes, the inevitable conclusion is that you have to listen to records and go to concerts, and in this way you will not only get educated and enlightened, but the money you spend will go a long way towards supporting the music industry in this world, and, with a little luck, you may help out a few starving musicians in the process. Amazing. Can you mike intensity? There are other things that the records don't catch. The depth of the tone, for one, and there is yet to be built a microphone or tape recorder that can swallow the full frequency and intensity of his screams. The force can knock you off your chair or make mincemeat of your insides. Experience it. In the new Society, when our day comes, everyone will be required to see Pharoah Sanders at least once, also read Sometimes a Great Notion, listen to Transition and the "Rite Of Spring," blow a low note out of a tenor saxophone, fast for two weeks, and get laid at an early age. Watch out for frost heaves and loose marbles, and check out Stanley Clarke if you can. Another thing, Records are purely audio, whereas concerts are audiovisual. This brings another element into the picture — theatrics. Aside from a concert, you get a show. Alice Cooper, Iggy, Hendrix, Al Green, The Who; that's theater. After all, what did you thing rock'n'roll was, music?Sha Na Na without their stage act?Ridiculous. And from the other side of the fence, why do you think Mlles DAvis wears tight whites and spangles? The Art Ensemble Of Chicago makes top-rate records, but it's a different scene onstage with war paint and masks. And Shepp! The first thing you notice is that Roswell Rudd and Pharoh Sanders punk magazine . Page seven �Adventures on the Marc Bolan Was Sitting In His Living Room, Playing With His Curls And Corkscrew. He Was Reading An Old Issue of Why Do I Melody A lways Say Maker. Such Nasty Things About David Bowie Whenever Interviewed I'm ? Dark Side of the Bacon Written By Billy Altman Drawn By Tom Toles Marc Was Puzzled And Depressed. Then Suddenly I Like David, Even If He Is A Wimp. What Inner Voice Makes Me Mad At Him? I've Seen Hat Dreary Old Castle Before, , But where? Wait, I'm Beginning To Remember Something. He Wandered Around The London Suberbs For Hours (In Disguise, Of Course) And Before He Knew It, He Was Lost. He Was Just A Pint Sized Minirocker When Marc Got There One Day, A Bearded Large Man Came To See Him Play. I Am Doing Research On the Chemical Makeup Of Rock Stars. Then With A Hit Or Two, But nothing Big. Something Is Wrong In There, I Can Feel It. Come Over For Dinner Tonight And We Can Discuss Your Work. My Name Is Dr. Antoine DeFriesendorf. who should answer The Shock Of Seeing The Decaying Castle Brought Back The Memories Marc Had Hidden Inside Himself For Over A Year. He Rang The Doorbell, And...... The Door Marc Started To Greet Him, But Before He Could Speak, Sutch Pounced Upon Him, Next Thing He Knew, He Was Strapped to A Table In The Lab. Ah, Mr. Bolan, So Glad You Could Come No one Wears A Top Hat Around Here But Me! Next to him was Someone Covered by a sheet But Lord Sutch! The Doctor Removed The Sheet Perhaps You Know This Man Here. My God It's David Bowie. What Have You Done To Him? You shall see, David, Speak To Mr. Bolan And Tell Him Who You Are. In A Strange, Affected Voice, Bowie Said... I Am Ziggy Stardust , The male Manifestation Of My Boyhood Idol, Gwen Verdon. David's Hair Looked Like It Had Been Dipped In Orange Paint, And His Eyebrows Were Singed Off. �Sports pull-out centerfold steel on ice -Billy Altman The Buffalo Sabres hockey team made the Stanley Cup play-offs this year, and it's only their third year of existence. The Canadians mighta beat 'em four games to two, but it's clear that Punch, Joe and the gang and gonna be right up there for years to come. And the Flyers of Philadelphia, the home of cream cheese, finished second this season in the West. 'Course that ain't sayin' all that much 'cause someone's gotta finish second in back of Chicago every year, so why not the Flyers? God knows Philadelphia needs some team to cheer about, they may have a lot of rock 'N' roll history abounding but all their sports teams reek. Steve Carlton could win 50 games a year and the Phillies would still be fighting the Expos for last place. Just remember that in '69, when the Mets took it all, Carlton was on the Red Birds and struck out 19 Mets and still lost. This super feat led to the trade that put him in a Phillies uniform. Pepsi and pucks Ritchie Allen has had to change his name to Dick, but that's okay 'cause folks in Philly probably are so dumb they don't realize it's the same guy. Cowboy Bill Flett is the Flyer with the beard, and accordingly he was voted sexiest Flyer by the loyal balcony dwellers of the Spectrum. What a town! The Sabres, however, are a different story entirely. Hockey had always been a A-1 sport in the Queen City, especially when the Bisons were the Ranger farm team in their last few years of existence. The Bisons were sponsored by the Pepsi Cola bottling company of Buffalo and Joan Crawford owns Pepsi, so how could they lose? The uniforms had giant Pepsi styled bottle caps on the jerseys, red, white and blue, and the word Buffalo or Bisons, depending on whether the lads were at home or away, was written in the familiar Pepsi logo script, tn fact, the Sabres use these very same uniforms for team scrimmages. (Meltzer better hurry and pick one up for his collection.) The Bisons won the league championship in their last year, so of course the stage was set for the newly formed Sabres to win the town over. Make mine gutsy This they have done in three short years, due in part to the absolute suckiness of the Bills and the Braves. The Bills will have a new stadium next year, but they still have no offensive or defensive line and probably never will and by the time they do, O.J. will be over the hill anyway. But a new stadium can work wonders, you know, and they might win some games in the suburban stadium simply because folks in the suburbs don't relate to anything and they'll cheer them on no matter what happens. The basketball Braves are doomed mainly because this is a steel city and the fans would rather see Roller Derby anyday than some tall goons non-contacting it up. When you wear a helmet all day, you want to see people mangled when it’s sports time. That’s why the minor league baseball team, also creatively named the Bisons never made it, even though they were a Mets farm team and on a given day both Sherman “Roadblock" Jones and Clarence "Choo Choo" Coleman could be playing. Marv Thornberry even played here and more than once struck out with the bases loaded. Choo Choo could catch any pitch thrown in the dirt. It was the ones that came in on a fly that gave him trouble. But like that other famous catcher, Yogi Berra, he could hit more foul home runs than any other ball player, and that's nothing to sneeze at. Speaking of sneezing, how could Ron Hunt play if he was allergic to dust? I bet he was instrumental in bringing Astroturf to the battle fields of sport. When's plastic ice gonna become a reality? But if Bill Flett has a beard, Don Luce has an Afro and that's much better. Don Luce had about 30 breakaways this year and never scored on any of 'em until the fourth playoff game against the Habs. As a matter of fact, in a game against those same Flyers, Darling Don had a breakaway with an empty net (Doug Favell had been removed) and He Still Missed. He was awarded with a goal, however, because half the Flyer team threw their sticks at him from the bench. But They All Missed! But rules are rules, and you can't throw a stick at a guy who has a breakaway with an empty net in front of him. Such is life. Wyrocub or Yroczub Don is the center on the Sabres checking line, ably winged by Larry Mickey and Craig Ramsey, who wears a helmet 'cause he's chicken. Randy Wyrocub wore a helmet and he got sent to the minors, mainly because no one could pronounce his name right, though that hasn’t given the Rangers Walter Tzackuk much of a problem. No matter how you pronounce his name, he's great at feeding any Blueshirt in front of the net. Butch Deadmarsh was traded because he could never make it with a dippy name, and he knew it, too. He almost never scored, and when he did, no one bothered to notice. It was usually on the road, and who wants to score on the road? Surely not Jim Schoenfeld, the rookie defenseman who's a dead ringer for Badfinger's Pete Ham and just loves to hit people. Off the ice, he's a backskates great and can shoot on net from the redline. Gerry Meeham is the soft spoken captain of the Sabres, and he's the best looking guy on the team besides being a good center and a top scorer. He plays with Jim Lorentz, who scored 30 goals this season and will never score that many again, I promise you. A few guys share the left wing on that line, but nobody really fits in cause they're all ugly and Meehan and Lorentz are both snappy dressers. The big line is, of course, the French Connection, with Gil Perrault, Rene Robert and Rick Martin. Though they're all from Quebec, they speak English fairly well. But on the ice, they speak French to try and crossup the opposition. This proved unsuccessful in the Canadian series, 'cau se all the Habs speak French. I learned French in high school just so I could curse out Claude Provost and Henri Richard from in back of the penalty box at the old Garden. I have boycotted the New Garden. Who wants to go to a game and be able to see everything from any seat? You gotta stand up and strain your neck if you want to feel like a part of the action. Roger rooster Perrault and Robert both grew moustaches for the playoffs to act grownup, but the Mahovlich brothers, Frank and Pete, both left their hair short, so it was a stalemate. Rick Martin is a cutie and will never grow a moustache, just like Red Gilbert of New York. It's groom and clean for both men or nuthin'. Eric Severeid, left and Wayne Hillman, Larry's brother, on the right. Notice Wayne's arm around Ralph Backstrom as he apologizes for checking the puck away. No doubt older sibling Larry's influence. recording star, with an album called Schoeny that "has sold over 10,000 copies in the Buffalo area atone," as they say during the play by play. Of course, where else is it gonna sell? Do Bruins fans give a shit about Jim Schoenfeld's singing talents? He beat up Wayne Cashman in Boston. They probably eat his album for breakfast, or maybe at Derek Sanderson's bar, which I hear is a hooker haven. Right on, Derek! Tim Horton is 43, but you'd never know it. He's the Walter Cronkite of the Sabre defense, with over twenty years' experience going. Larry Hillman is Eric Severeid, always stone faced and grim, even when he scores, which ain't often. He's from the old school of defense, never go past the blue line. Tracy Pratt has the neatest name on the team and also had the best plus minus ratio of any Sabre defenseman during the regular season. Mike Robataille often loses the puck when he tries to skate up ice with it, but he Roger Crozier don't bother with hair sprays 'cause he ain't got much hair on his head. Ulcers and injuries have taken their toll on the Dodger, who's so neurotic that he has a neck twitch. Just watch him when play's in the other end. He looks like a rooster. Roger is that Y.A. Tittle of hockey, always great but never a winner. At least he won the Con Smythe trophy for playoff MVP in '66 when he was a wing. But don't forget that Donn Clendennon won the MVP in the '69 World Series and he was through a year later. Crozier just keeps goin’ though, and he was one of the main reasons the Sabres made it to the playoffs. Dave Dryden is the other goalie and he's Ken's brother, so we had the same setup as the Boyer boys, Ken and Clete, in the '64 Series. The Cards won that one, so how could Montreal lose to the Sabres? They didn't but the Sabres will be there again next year, so Scotty Bowman better watch it from now on. punk magazine . Page nine �-Terry Bromberg annals of the lost battalion When I was younger, we used to shoot hoops at the Lost Battalion Recreation Center. It was erected, obviously, as a monument to a battalion of Marines who were missing in action during the Korean War. Sort of an unknown soldier trip. And not only did me and Welu and Lox and B.W. play there, but the Knicks used to practice there also. Every Monday morning, schedule permitting, cabs would pull up and out would step Dollar Bill and Dave the Rave and Bells, plus more unknown hoopsters like Henry Akin and Emmetter Bryant. All except Willis, he lived in Park City, he'd drive over himself. They'd practice for a few hours, maybe run a scrimmage, and then go in and shower while we took over. All except for Howard "Butch" Komives. He always had to stay and shoot 10Q foul shots and not only that, he wouldn’t even do it on a side basket, it had to be the center court. Now anyone who has ever tickled the twines in a gym knows the significance of the center hoop as opposed to the side ones, so here was Komives, a shitty guard at best (he even sits on the bench for Queentown's lowly Braves), tying up one of the two crucial baskets in the gym. I hate him to this day. Now Cazzie was a different story altogether. Golden State Warrior center Nate Thurmond is shown here celebrating his 10,000th rebound. That's Warrior’s owner, Franklin Mieuli, with the beard he grew when Rick Barry jumped to the ABA. He said he wouldn't shave it off till Rick came back, which he did, so why does he still have it? All-American at Michigan (although I knew the Knicks had made a mistake the day they drafted him over Dave Bing) and all that, but he sure treated us nice. He'd come down on his own, mostly on Saturdays, run wind sprints (Caz is one dynamite shooter but quick he's never been) and do some exercises. Then he’d check out the side baskets, see which was least crowded and go over and shoot. It would usually start with him shooting as much as everyone else, but when everyone realized who he was, Cazzie had himself a slew of rebounders. He would shoot for a while, then return the basket to us. We felt big about helping him out, whereas no one ever wanted to rebound for the Butcher. Ticket, what ticket? Recently, I was in San Francisco and caught a Warrior-Laker game. Afterwards, I hung out and caught up with Cazzie (having been traded to the Warriors for Jerry Lucas) in the parking lot. I explained to him that I was an old rebounder of his and we spoke for a while and then Caz promised me a ticket for the next Warrior home game. Well, I went to pick up my ticket the night of the game and sure enough, it wasn't there. I was pissed, but Cazzie was never very long on smarts anyway. I dig him anyway. But when it comes to disliking sports folks I don't Page ten . punk magazine think I ever hated one guy as much as I hate the Celtics. Hate, man I absolutely despise everything about them, from the sound of the rims in Boston Gardens (check it out next time you watch a game from there, the Celtic rims have a distinctively different ring to them than any other's I've every heard) to every last hair on Auerbach's balding pate. Conspiracy Why the hatred? It stems from the fact that the NBA has always been run simply for the betterment and enhancement of the Boston Celtics. Preposterous you say? Watch the evidence pile up: Exhibit A — When the Celtics were is desperate need of a forward a few years ago, the Bullets seemed a little too willing to part with Bailey Howell, an all-pro forward. And who do you think the Celtics gave up for old Bailey Sam Jones? Wrong. K.C.? Wrong again. Not even Don Nelson. It was Mel Counts, in one of the most blatantly underhanded deals ever made. Exhibit B — When Russell's career were nearing its end and the Beantowners needed a backup center, Wayne Embry suddenly, out of nowhere, became available. Getting the picture? Yes, we see. Exhibit C — A more recent example. The Pheonix Suns signed Charlie Scott when he jumped from the ABA, and since the Celtics owned the rights to him, the biggest Celtic lackey of them all, Walter Kennedy, awarded Paul Silas to them in payment for the rights to Scott. Now Silas is a tough, experienced forward and a dynamite rebounder. Exactly what the Celtics needed to make them a first place club. Beginning to make sense? Exhibit D — Bill Russell had led the University of San Francisco to a record 60 straight wins and was drafted by the St. Louis Hawks. The perfect guy to build a team around, right? Think of it, Russell and Pettit together. Then how come the Hawks were willing to part with him for easy Ed McCauley? Agreed, Ed was a solid ballplayer, but to trade away a potential like Russell? Bill Walton for Curtis Rowe? Never, yet somehow the Hawks did it. Cigar Box Politics And who was the man behind all these questionable deals? Red Auerbach of course. He's got to be the most despicable man associated with sports. Just to show you the kind of guy he is, do you remember that after he retired from coaching, the NBA decided to let him coach the East All Stars one year, sort of a tribute to him? Well, during the game Red winds up getting two T's called on him and gets thrown out of the game. And dig this, he refused to leave because after all, he's Red Auerbach. What Balls! In fact, one of my fondest sports memories is seeing the Knicks beat the Celtics in a playoff game a few years ago and when it was over, about 200 of us stood behind the press box where Arnold and Heinsohn were doing a post-game show back to Boston and made so much noise that they couldn't finish the show. A true people's victory 'cause louts like those guys shouldn't be allowed on the airwaves. But maybe Auerbach has mellowed out in his old age you might say. Well, if anything, he's getting nastier, as his order to the cops in Boston Garden to prevent Dancing Harry from doing his act during the first game of the Current Knick-Celtic indicates. I only hope that someday an irate fan shoves Arnold's cigar down his throat. Real class And speaking of shoving things down throats, I remember once Chamberlain going up for a shot, Thurmond jumping also and cleanly swatting the ball away, something not often done to the Dipper. Now that Thurmond, he's a class ballplayer. He's never played for a really great team so he has never gotten all the recognition he deserves, but man is he tough. You think Willis was good, I mean in the old days, well if the Knicks had Nate, they's never lose. Not ever. Just think of it, Debuschere and Thurmond off the boards, Clyde and Pearl breaking and Bradley from the corner. I'd even root for the Knicks then, cause right now no one can take me away from the boys from the Golden State. Now they're an outasite squad, let me tell you. And their uniforms, freaky! They used to have stars and cable cars on the back and a circle on the front with the Golden Gate inside and up above was written, "The City." The First punk hoop team. They even have an Alvin Lee look alike with the same last name, except that he's 6 foot 10 and his name is Clyde. And that is about as close as rock 'N' roll and B-ball have come, except when I saw Gus Johnson walking out of the Bullet's dressing room in 1964 and he was singing "My Girl." But that isn't really rock 'N' roll and dig this, Gus had fillings in his teeth shaped like diamonds, but that's a whole other story. �night of the Kowalski -Joe Fernbacher Did you know that Johnny Valentine's got the best hair in pro sports, at least he did; ain't heard much of 'em lately? Hair's really important; the Cowsills made a fortune on it. Hair made a fortune on Hair also, its style and content like the brush strokes of the old masters, Tammy Wynette's got great hair; Wayne Cochran had great hair, so did Dylan, so does . .. well, beating everybody out is Mad Dog Curry, he's got the best eyebrows ever: they're even better than James Whitmore's, and Mad-Dog drools, man does he drool — in quarts and gallons all over his opponent's back, belly thighs, head, its great. Pampiro Firpo's got great hair, and Carlos Santana's got the best fuckin' teeth in rock 'N' roll. So what's this gotta do with Strangler Lewis? Not a fucking thing, 'cept during his day there weren't things like curfews and Urgaguan Death Matches, just plain hard balls against the mat wrestlin'. He was a lot heavier than Johnny Valentin whose hair just. . . well, I always wanted hair like Johnny Valentine's, like when I was 15 and they approached me and asked if I wanted to go to wrestlin' school and become a Masked Marvel. Yeah, this guy used to be one of those hooded creeps and he wanted me to carry on the tradition — imagine, I could've been like that Masked Marvel in those Mexican flicks, the one who'd kick the shit outa everybody and then go after the villain in this souped up Thunderbird, this jive-ass couldn't even fly or anything, all he could do was wrestle, anyway I got pissed off cause 1 wanted hair like Johnny Valentine's and if I was a Masked Marvel they'd have to cover up my head, so I didn't become a wrestler. Wrestlin's a lot better than Roller Derby and almost as good as rock 'N' roll but nowhere near hockey 'cause kids, hockey's the world's fastest sport (whatta bout car racin' — shuddup!!). Besides, wrestin's a lot phonier, like you gotta at least be able to skate in Roller Derby, and in wrestin' like rock 'N' roll its all in the gimmick and the name, man names is so important. Ah, Hit Me! Haystacks Calhoun is like Haystacks Balboa and May Blitz and maybe even Led Zepplin — its weight, name weight — then there was Happy Humphrey who is like Hubert Humphrey and Brian Humphreys (guess who he is?); Gor geous George and Wayne Cochran had a lot in common; the fey and prissy Ricki Starr (he used to be so arrogant, kids would give him their autographs) is exactly like Gary Glittler — both Bill the Brute, and the author had no talent and both are great; and Johnny Valentine's got hair just like Wayion Jennings 'cept his is blond and alot more aryan ... The Hillbillies were the Everly Bros. of the wrestlin' world; Waldo von Eric's the Blue Oyster Cult equivalent, you know, Tyranny and Mutation, and the Love Brothers come right from the mold of Seals and Croft and Comptom and Beateaux and Mouth and McNeal and Cheech and Chong — dualistic and all that shit, very much into each other and the Fargo Brothers man, they're nothing like Donna Fargo, she's better than Melanie and I bet she eats steak too. Hey, what the fuck, there ain't no midgets in rock 'N' roll, no dwarfs, no little people, oh, there's plenty of 'little people' but no little people; they have little people in wrestlin'. Remember Little Beaver and Fuzzy Cupid? Man they were the best — they always used to kick the shit outa the referee and the fans would go completely nuts 'cause they always hated the referee unless it was somebody like Jersey Joe Wolcott. Little Beaver was a lot heavier than Jesse Ed Davis even if he didn't play guitar for Bob Dylan, oh yeah Paul Williams is kinda small, so's Nils Lofgren, but they ain't no dwarfs — man that sucks . . . For years and years they wouldn't allow women to wrestle in New York State, and now they do and we get to watch the Fabulous Moolah. As a matter of fact they wouldn't let Mad-Dog Curry wrestle for 10 years, 10 fucking years just because ya drool and you’re an animat; go to any rock concert and you see that ail the time, ain't nobody banned an audience for being animals and plenty of 'em sure are. But most wrestlin' audiences outcast them anyway, Happy Humphrey 'cause lots of rock 'N' roll audiences don't rock ’N' roll, and all wrestlin' audiences kick the shit outa each other, before during and after the matches, they come to the games sober, and leave drunk on their ass most of the time. Hercules $ Sons, Inc. There were many strong men in wrestlin', some might even been supermen. George Reeves was Superman (not the original, Kirk Alyn was the original and he's got a book about those early super days called A Job for Superman); and he killed himself by putting a bullet through his head, and Steve Reeves played Hercules which was an okay movies and so was Hercules Unchained but neither were anywhere near as good as those Sons of Hercules Italian films, like the Sons of Hercules meet the Moon Men. Both Reeves were great strong men, but Yukon Eric was a strong man too, but he did't star with anyone, he was just a wrestler and was he good. His chest was so fuckin' big he co uld just about walk, but he was a nice guy. He had that famous match with Killer Kowalski in which he not only wrestled with a 104 degree fever doctors didn't even want him to wrestle that night - but he did anyway and Kowalski bit his ear off, which must have been as gory as the scene in The Brain That Wouldn't Die where the caged mutant escapes and chews up this guys neck and spits a hunk of flesh out onto the floor, it sure wasn't a lucky night for Yukon or that scientist either, matter of fact a few (or maybe it was many) years later Yukon Eric shot himself in the mouth 'cause his wife left him, so they say... And speaking of Eric's what about Fritz von Erich? Little Beaver and Fuzzy Cupid He had this fantastic hold, a nerve clutch, the dreaded Claw, he used to put so much pressure on during this clutch that he sometimes couldn't open his hand for an hour or so, sometimes he even let his fingernails grow and he'd come away from a match with his hand clutched and bleeding, it was really neat. Fritz used to have some of the toughest matches, but the heaviest was when he teamed up with Ricki Starrand went against the Beast and Johnny Valentine, whatta match! Stomp 'em Waldo But now Fritz ain't around, and in the grand tradition of Nazi Germany there's his brother Waldo von Erich, who's a mean bad-ass and really into reminding all thos post-war wrestlin' freaks just who the Germans really were — like he still thinks he's gonna star in the revival of Springtime for Hitler and maybe he will, 'cause if David Bowie can be Michael Valentine Smith in the movie version of Stranger in a Strange Land to be directed by that mad-man Conrad Brooks, remember Chappaqua, well . . . And the Sheik, with the famous 'Camel Clutch' has gotta know about Sam the Sham, and I remember when the Kamikoff Brothers went for 13 straight weeks without losing and when the Beast wrestled the Mongol .. . Wrestlin's sure come a long way and maybe someday it'll become a bigger sport that pro-football. It should 'cause football's gettin' real dull and America needs blood to keep it goin' and so do I, so I'm gonna go out and see the new Vincent Price movie, Theater of Blood . . . A gathering of the big boys at the 1960 Wrestle-a-thon at Buffalo Memorial Auditorium. From left to right: The Shiek, Billy Lyons, Hercules Romero, Fritz von Goering, Frank Valios, Fritz von Erich, Waldo von Erich, Don Leo Jonathan, Duke and Sato Keomuka, The Gallagers, llio DiPalo, and Hans Herman. Photos by Earle F. Yetter punk magazine . Page eleven �No Big Sound w Outdoo Ope r Little Price! Come in and stare with your ears... bring your favorite record for comparison! n Fo 1669 Hertel Ave. Cafe With the opening of a Sidewalk Cafe, the excitement of Mulligan's new brings to Hertel Avenue the sophistication of Champs-Elysee at lunch time. r Lunch Bose 501 Direct/ Reflecting Stereo Speaker System Now Open For Lunch, Cocktail Hour And Dinner, Mulligan's offers anything from a peanut butter, jelly and banana sandwich to a full seven-course dinner. And now you may dine Indoors or Out! $124.80 Each Mirroring the charm of a Paris street, Mulligan’s decorates it's outdoor tables daily with Fresh Flowers. they look different . . . Want big, rich sound...faithful to the deep bass of good rock recordings? Then listen to these Direct/Reflecting Speakers by Bose. Forget about the words you’ve read and rely on your ears. Come and compare the sound of these popularly priced Bose speakers. We’ll demonstrate the difference with your own records. Come in for an earful soon. 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For special group rates call 838-6972 Full Uncut Production Auto & Cycle Insurance No Surcharge Formost Violations Last chance to sec fully authorized national production Immediate ID Forms Fri., June 8, 8:30 P.M. Memorial Auditorium Tickets $6.00-5.00 -4.00 Tickets on sale May 14 The Temptations All Drivers Accepted And The Spinners Low Down Payment - Budget Terms Fri., June 22, 8:00 P.M. Memorial Auditorium All Seats Reserved $6.00 - 5.00 - 4.00 Pink Floyd Tickets for all performances now on sale at Buffalo Festival Ticket Office, Statler Hilton lobby (mail orders accepted with stamped, self-addressed envelope); U.B. Norton Hall; State College Ticket Office; Audrey & Del's Record Store; D'Amico's Music Move 'n Sound, Niagara Fails; Sam the Record Man, St. Catharines, Ont. Get Festival's "Audience Entertainment Guide" Please put my name on your mailing list and send your “Entertainment Guide and Advance Attraction Notices". This will enable me to know early what attractions are coming and secure best seats. I enclose remittance as indicated below. Name Enclosed $1.00 for four months Festival Guides Address Enclosed $2.00 for 12 City_ State_ Zip_ Page twelve . punk magazine months Festival Guides Courteous - Personalized Service Insurance Guidance Center 3800 Harlem Road Near Kensington 837-2278 After 6 P.M. - 839-0566 �Marc, Now You Will See My Latest Creation. I Am So Proud Of It, I Mean Him. Too Many An Eerie, Low Voice Burns and Spoke In Monotones Scars On The Body, I Have To Dress Him In Black All The Time. The Transformer. He Turned To Marc, A Weird Gleam In His Eye. You,My You Will See, My Friend, You Will See. But What Will You Do To Me They Saw The Castle, And On The Doorstep, Marc's Famous Slider Top Hat. Flo And Eddie Walked IN. They Ran Upstairs, And Found Marc On The Table It Just So Happened That The Fluorescent Leech And Eddie Were Taking A Stroll That Day Too, In Search Of Runaway Groupies. Lord Sutch Jumped Them, But Flo And Eddie Bounced Him Off Their Stomachs Till He Was Out Cold. Something's Fishy Here. Maybe Zappa Owns This Place Hey, Maybe Ol'Bolan's In There. Let's See! Hurry, Get Me Out Of This Now Back To Your Closet, Like A Good Humanoid. I... Am... Lou Reed... In Walked A Frankenstein Type, With Blackened Eyes And Dressed All In Black. Little Jewish Friend, You Will Be My Greatest Work. Wonderful, Louis, Wonderful It’s My Chance To Escape! Flo And Eddie Looked At Marc And Laughed. No, This Is For Real! Ok, We'll Save You Hey, Bolan, You're Really Getting Batty These Days. Dr. DeFriesendorf Was In His Study, Arranging Tours By Phone for David and Lou . Marc Had Forgotten All Of This, Mainly Because Flo And Eddie Never Believed Him In The First Place And Had Convinced Him That He Must Have Made It Up. Tell Me, Does She Have Whips? They Untied Marc And Ran Down-stairs And Out. Marc Was Saved. So That's Why I Say Those Things About David. It's My Subconscious Trying To Get To Him Somehow. Bit It's Probably Too Late Now To Help. At That Moment, Inside The Castle, Dr. DeFriesendorf Was Creating An Entire Band, His First Such Attempt. Poor David, Poor Lou. Poor Rock’N'Roll. That Stuff Only Happens On Mothers Albums. You Should Know That! You Will Be Called Moot The Hopple........... punk magazine . Page thirteen �-Joe Fernbacher "Vicious, you hit me with a flower, You do it every hour, Baby you're so vicious." So, I'm a merged fleshoid, big fuckin'deal, right? But like they sez don't knock it until yav eaten it, crackle, fizz, ozone, and all that crap — right there you fuckwad, just walk betwixt those two — my god, I ain't never seed amplifiers that big before, shuddup and keep walkin', he gets to the slightly raised dias with the hologramed X floatin' around it, then he looks up ... my fuckin' god they're BIG, so's he's standin' right in the evershifting monocenter of the universe between god's own mega-amps — suddenly the sky gets kinda weird and this giant black gloved hand appears and flips a switch on the amps — buzzzzzz ..., then the gloved godoid turns all the knobs up to 10 — 'Son, yozz bout to be merged' — then it happens: 'You're pushin too hard, you're pushin on me' — snap - I'm standing there, munching a deathburger, exactly in the center of a new metaverse, just starin', feelin' kinda fucked up, and all around me are these gigantic record racks and a bluish neon sign at least 200 feet tall flashin' on and off, $1.97 $1.97, $1.67, $1.67, $.57 $.57, so there I was in the midst of the ultimate bargain bin, a wax geek on the loose and covered with dust, slowly I turned step by step until — (the last three paragraphs were supposed to be read very fast and at full volume —) "Hi, I'm Sky Saxon, do you remember "The Hump" by the Invictas or maybe even my own "Pushin too Hard?" Well :. . right, it's gotta happen sooner or later. I know cause I went to my Gypsy Twonky Teller and she laid the word on me, anyways. Day of the Triffids Back when everybody was gettin' into being a floweroid — you remember I think they called it the Day of thy Triffids, sorta like now ya call 'em snoids, back then ya called 'em Triffids and everybody was heavily into peace, love and Aldous Huxley, the American Dream, Death of a Salesman and all that stuff: 'Biff, whata ya gonna be, when ya gonna decide where you're at,' 'Eat hot dork pop I'm splittin for LA and I'm gonna be a floweroid and all that.’ Well, in LA there were a lot of floweroid bands gettin' it on with the Triffids and everybody was having a good time and a lot of these bands were really good, I mean they had a lot of rock 'N' roll angst— by the way this was around 1966 and 1967 and there was a lot of rock 'N' roll action all over the country and kids were comin' home from high school and instead of practicing with their new guitars they would go on tour — magical names, punk-ass sounds, the Leaves, ? and the Mysterians, the Music Machine, the Sonics, the Invictas, all those younguns wanting to be rock 'N' roll stars, and most of them were, this was an era of rock 'N' roll when things were busy and every region of the country had its own number one song and its own number one group and that was neat cause now it's all become so goddamn international and everything's gettin' too diversewell, coming out of this regional quagmire of raunch was a group called the Seeds, they were led by songwriter, lead singer Sky Saxon, the absolute personification of the punk floweroid, lead guitarist Jan Savage, drummer Rick Andridge, organist Daryl Hooper and bass player Sky Saxon, no that ain't no mistake, like a certain other group that was to emerge from the ever bloating underground the Seeds relied heavily on the driving power of the organ. Riff 'N' roll The Seeds were responsible for five albums and some great moments in rock 'N' roll. Their first album, The Seeds, is a raunch comglomeration of riff 'N' roll, so stunning and beautiful that it makes you want to go out and kick somebody's face in — I mean Deep Purple are the slickest masters of the riff yet, but their trouble is that they're too inventive for their own good, but on the other hand The Seeds are the idols of the riff rhythm principle primal — five albums based on the same riff — now that's true angst, really basic and true, just listen to all 10 sides of their albums in a row beginning with "Pushin Too Hard" and ending with "Pushin Too Hard," my god that's gotta be the longest recorded jam in history, it's even longer than the "Mountain Jam" and you know how LONG that is, yet the basic difficulty in overcoming the first Seeds album is that you find it hard to stop playing "Pushin Too Hard" and sometimes you get lost in its stun glory and you forget to play the rest of the album, so what you might do is either get hold of the 45 and forget about the album, and if you search real hard you might find a two-sided single on a pink label (Trip) which has as side A "Pushin Too Hard" and side B "I Fought the Law" by the Bobby Fuller Four but if you're an aficionado then you'll not only have the single but you'll also have the album. Some of the other hits on the first album are as good and under certain conditions a lot better than "Pushin Too Hard" — it all depends on the chemicals. Reverie to lust The second best Seeds song ever is "Can't Seem to Make You Mine" simply because it's the best Troggs cop ever and it's about as close to "I Want You” that anybody's ever gonna get, both songs being true hymnals to teenage lust, and teenage lust is a lot better than 'put jelly on your shoulder and do what you feel most' which is okay but it ain't teenage lust, just like Ryan's Daughter ain't no Deep Throat if you know what I mean and if you don't that's too fuckin' bad - (just a little hostility to keep myself honest) "Evil Hoodoo" is an interesting song if you can get into it, it's important because it's the precursor for the Seeds fourth album, Full Page fourteen . punk magazine Spoon of Seedy Blues, which was released in the fall of 1967, and again the song contains the Seeds riff except that "Evil Hoodoo" comes before "Pushin Too Hard" and if you've never heard the record before then it becomes the time warp backlash tongue. Yet, if you think this first album is good, in October 1966, they released their quintessential best, a true masterpiece in an era when there ain't no more masterpieces, the album called Web of Sound. . . Right from the opening organ passage of "The Farmer" you know who the Seeds influenced. In April 1967, the Doors released "Light My Fire," a Robby Kreiger song, and hit the overground after being in the underground with their previous release, a vicious "Break on Through," gardenias �and being from LA themselves they obviously got that Seeds sound; don't forget the Doors were an oddity because they didn't have a bass player and the organ was the mainstay of the sound. And I think had the Seeds been around for a year or so mory they would've broken into the uberground and been as big and as important as the Doors, maybe even the first Superior Session might of happened, can you see Jim Morrison and Sky Saxon on the same stage my god it would've been enough to discorporate a whole nation, besides Sky Saxon was a lot better than Robby Kreiger, maybe not as supersurreal as Morrison but still hanging in there, because "Light My Fire" just absolutely piddles beside the likes of "Pushin Too Hard" and "Up in Her Room." But as of utopia it turns out the Seeds got sucked into the floweroids and died when the gardenias of utopia got heavy into junk and everything was peace, love and hypos. Anyway, back to 1966 and Web of Sound it was one of the first albums to get into the double dope entendres type thing, you know Lucy in the sky with diamonds and their song "Rolling Machine" can you imagine that, a song about a rolling machine. But the Seeds cruncher comes when we first hear "Up in Her Room," a tender teenage love song about what happens when your sister's boyfriend comes over to the house and they disappear into her room for about three hours and you can never figure out what they got so much to talk about anyway: 'Up in her room Smell the perfume there Up in her room I should get my share Up in her room Goin' up in her room Gonna make love in her room' —right, for almost fifteen minutes, primitive a-tonality which eventually turns into "Sister Ray," and by the way do ya gotta dollar, oh no I haven't got the time, time!! Then the Seeds put out Future, an album dedicated totally to floweroids and how they were gonna take over the world. This Ip is weird and I haven't really gotten behind it, yet. But there is an outstanding number, "The Flower Lady and Her Assistant" about earth mothers and ... but like the Doors of later years you really can't understand the dynamics of the group until you've heard the live album. Absolutely Live by the Doors stands as one of the great documents of our time and it was inevitable as their last dying gasp the Seeds would grind out a live album. Actually, Merlin's Music Box, as the live record is called, is highly suspicious 'cause if you listen closely it almost seems as the screaming and yelling you hear might be coming from one of those special effects machines, like the laugh machine they use for those situational comedies— the album has all the greats, "Can't Seem to Make You Mine," "Up in Her Room," and a few new ones like "Nine Million People Making Love at the Same Time" and the "Gypsy's Drums," but Sky fuses it all when he introduces the Seed riff, when he intros "Pushin Too Hard:” 'This is the last song we're gonna do, and we'd like to dedicate it to society cause it still has a message—' You're pushin' too hard You 're pushin' on me You're pushin' too hard What you want me to be You're pushin' too hard The things you say You're pushin' too hard Every night and day You're pushin' too hard You're pushin' too hard You're pushin' on me All I want is just be free Live my life the way I wanna be All that I want is to just have fun Live my life like it just begun But you're pushin' too hard Pushin' too hard On me Well, better listen girl What I'm tellin you You better listen girl Or we are through You better stop all your foolin' around Stop your runnin' all over town Cause you're pushin' too hard Pushin' too hard On me But I know there's lotsa fish in the sea I know some would stay with me So if you don't think I'm gonna try You better ask yourself the Reason why Cause you 're pushin' too hard Pushin' too hard — on me Pushin' too hard Pushin’ too hard Pushin' too hard Pushin' too hard on me you're sure right Sky, it still has a message and god bless you wherever you are. punk magazine . Page fifteen �-Terry Bromberg And then there was one. A concise, but accurate description of the present state of the Rascals. Or should I say Rascal. Because when Dino Danelli left to team up with former Rascal guitarist Gene Cornish and joined Bulldog, and when Buzzy Feiten also split, he to collaborate with some old Butterfield friends and conceive Full Moon, this left Felix Cavaliere, possessor of total spiritual resonance (not to mention one of the finest voices in the annals of rock 'N' roll), all by his lonesome. But let's step back for a moment and sort out some facts for those uninitiated in Rascalism. After doing seven albums, plus a greatest hits collection, for Atlantic, both vocalist Eddie Brigati and Gene Cornish left the band. Upon their switch to Columbia, Felix and Dino added Buzzy Feiten to replace Cornish. The addition of Feiten was a solid move because now Felix had an accomplished instrumentalist to help work his melodic ideas. So this trio, essentially, was now the Rascals, although on their first Columbia recording, the outstanding, but relatively overlooked Peaceful World, the players included a host of New York jazz session men, plus guest stars like Hubert Laws and Alice Coltrane. A cast of thousands. And their followup to Peaceful World, The Island Of Real, again features some of the same musicians, although in not nearly the epic proportions as on its predecessor. But no matter who Felix has playing with him, there’s no doubt whose band the Rascals is. He has always been the creative spirit and energy source for the band, in much the same way McGuinn has been with the Byrds. Now with Dino and Buzzy gone, things are once again in a state of flux, and for my sake at least, I hope it doesn't signal the end of the Rascals, because this band, under whatever guise it's come, has afforded me too much pleasure to see it dissolve. But Felix will probably keep on pushing, and maybe Buzzy, but especially Dino, will wake up and realize that their new work doesn't stand up in light of their previous performances. But that's jumping the gun a bit; first let's deal with The Island Of Real. Peaks and Valleys Initially, it's crucial to see The Island Of Real in its proper context. That being the first release after Peaceful World. Invariably, when a band achieves a musical peak, their next outing disappoints. Stage Fright after The Band,; Nashville Skyline after John Wesley Harding; Magical Mystery Tour after Sgt. Pepper. Clapton was smart — after doing possibly the best rock 'N' roll album ever, he has quit. Sandy Koufax and Jimmy Brown did the same, but look at poor Willie. Well, Peaceful World was the total manifestation of all the changes that had occurred in the Rascals, beginning way back with Groovin'. Once producers of a high voltage mixture of Italian soul and rock 'N' roll, Felix got caught up in Eastern religion and began to look inward. And the end product came four years later, after much struggling on the interim albums, with four sides of exquisite jazz oriented music that is absolutely everything its title says it is. And the feelings of genuine sincerity and the joy of life that have long been a Rascal trademark on record have also been extended into their personal matters. I mean, back in the days when they were way on top, the Rascals were refusing to perform unless the other act on the bill was black. They knew where they came from and it was important to them to make sure we knew also. Suffice it to say that it was one of the class moves in rock 'N' roll history. That The Island Of Real does nothing at all to dispel the rock 'N' roil fact of life proposed earlier is no surprise. In comparison to Peaceful World, it pales. Even judged on its own merits, it’s not an exceedingly strong record; in fact, some of the songs are just plain wimpy ("Echoes," Page sixteen . punk magazine for one). But it does have its moments and on those occasions, the Rascals satisfy tremendously. Like "Lucky Day," a song that spews so much optimism that it couldn't be anyone but Felix: 'Must be my lucky day/Even the trees are bending my way.' Compare it to Marvin's "What's Going On," and it's apparent that these two masters of soul are talking the same language: 'Father, father, we don't need to escalate/War is not the answer, only love can conquer hate.' Right? And that's what the entire album deals with, whether it be on the preachy side, as in "Be On The Real Side," the overly working with a new band. But the best I can say for the album is that it starts off on an encouraging note, even if it only lasts for about 15 seconds. And the only reason it sounds good is because the opening rhythm part to their version of "Rockin' Robin" is a direct cop from Betty Wright's fantastic "Clean Up Woman." From that point on, it's all down the proverbial hill. Bulldog's biggest shortcoming on this debut record is the glaring lack of good, even decent, material. Aside from "Rockin' Robin" and Chuck Berry's "Too Much Monkey Business," the rest are all originals with Billy Hocher, bassist and lead vocalist, doing most of the dirty work. Take the first side for example. After a competent cover of "Rockin' Robin," they follow it on the record is their rendition of "Too Much Monkey Business," and it's no coincidence that keyboard man John Turi is singing this one. They rock on well here and if they stuck to simple straight ahead rock 'N' roll, they might be okay. But the next song, "Parting People Should Be Good Friends," finds Hocher back again, this time doing a song that sounds like a direct Partridge Family steal. As for Gene and Dino, they stay, for the most part, out of this fiasco. A most intelligent decision. They didn't write any songs, and they also stay in the background instrumentally, although they did co-produce it. But when you're working with a bunch of stiffs like these guys, there ain't much a producer can do. I mean, it ain't John Wooden's doing, it's Bill Walton's. My only hope is that the little smirk on Dino's face on the back of the album indicated that he realizes just how bad this record is. Listen Dino, if Felix wasn't rocking enough for you, I understand, but at least join a band that is worthy of your talent. Easy on the ear Full Moon, on the other hand, is an entirely different bag of fish. These guys aren't a bunch of unknowns, four of the five having done stints with Butterfield, while Buzzy Feiten has also put in time with, aside from the Rascals, Stevie Wonder. And since everyone in the band had previously been primarily instrumentalists, the result here is a greater emphasis on the music than the lyrics, with two songs being solely instrumental. The album opens with "The Heavy Scuffles On," and from the beginning, Buzzy makes his presence known as he steps out with a couple of crisp, well placed solos. He has been a consistently excellent guitarist everywhere he's played and this record is the finest showcase of his vast talents to date. He might look like he's seventeen, but his playing shows years of experience. And his songwriting ability is beginning to stand out also (check out "In And Out Of Love" and "Icy Water" on Peaceful World}, as "To Know" indicates. It's very much a Felix influenced song about the fulfillment of love, with mellow accompaniment and Buzzy playing a beautifully flowing solo. The only thing missing is Felix on vocals. Drummer Philip Wilson is adequate, but the subtlety and strength of Felix's voice could have made this song a masterpiece. schmaltzy side ("Brother Tree") or in the music itself, like Felix's "Hummin' Song" or Buzzy's rockin', Sly influenced "Jungle Walk." The title cut seems to exemplify the Rascal sensibility best. With a sprightly Calypso tinged accompaniment, Felix sings about the peace he's found and encourages others to get there also: 'If you've never seen the island that don't mean it’s not there,' and 'They might try to tell you it don’t exist, call me a fool and say it's just a myth.' What it all boils down to is this. Either you embrace Felix for his philosophy or you laugh at his naivety. It's a personal choice, but I'll back him every time. Anyone who can sing like he can is okay by me. The Rascals don't rock much anymore, and a lot of the songs border on easy listening jazz stuff ("Lament"), but I'm a believer and Felix sure does make me feel good. On the other hand, Bulldog makes me fee) awful. It's possibly the worst album I've listened to since Moby Grape's Truly Fine Citizen. It is, as they say, "without redeeming social value.'' What a disappointment, because I had great expectations when I heard that Dino was up with "No," which was a hit as a single (I'm still trying to figure that one out). It's about a girl who won't fuck Billy and contains lines like: 7 stay with you late last night, but you said no, That's a helluva thing to say you ought to know. You told me where to go, I told her she was young and bright, And definitely outasight, but she said no.’ You want more? How about "Juicin' With Lucy?" It's about a ‘Lady whenever seemed to get high,' and what Billy failed to get in the previous song he seems to finally achieve here with Lucy. Insulted enough? "Don't Blame It On Me," has Mr. Hocher singing, or better still, rasping this time: "Good looking gentlemen like me are hard to find, you made a good selection." Billy Hocher, fuck you. And not only can't he write songs, he can't sing either. He's a graduate of the David Clayton-Thomas school for super-macho vocalists and shit, did he learn his lessons well. Hocher is one of the most annoying, grating singers I've ever had the misfortune to hear. In fact, the best song Anything you want "Malibu," an instrumental written by keyboard man Neil Larsen follows. It's simply an easy listening jazz number, perfect background music (Lester Bangs would call it muzak) for doing almost anything, and once agin, you can hear Buzzy riffing away effortlessly. The side ends with Gene Dinwiddle's, "Tke This Winter Out Of My Mind," a lovers lament with a stronger rock 'N' roll beat than most of the album. Nice background vocals on the chorus by the way by Tasha Thomas and Robin Clark. The second side is basically more of the same. Another instrumental, with Ray Barretto helping on percussion this time, another Feiten song ("Need Your Love"), with Buzzy singing lead this time, and "Selfish People," the most extended free form piece that Full Moon does. It probably would have sounded better if they left it without lyrics, although it doesn't much matter one way or the other. That last line pretty much sums up Full Moon. There is nothing on the record that offends me; it's all very pleasant and unobtrusive, and there are snatches of it (basically Buzzy's work) that I really enjoy. It's certainty not the kind of record that hits you between the eyes, but it seems to be doing a fairly good job of creeping up on me while I'm not looking. Full Moon is worth checking out, but for my money, I'd go with the Rascals first, simply because of Felix. He's got class. �Tyranny and Mutation Blue Oyster Cult (Columbia) This is the Cult's second venture into oblivion, and my god, they've done it again. Pearlman.'s marauders have taken all the power and guts of their first album, sharpened it a bit, roughed out some smooth edges, and have come up with the killerriff record of the year. Speed to Side One, lude out on Side Two and you will see everything in shades of black for the rest of your born days. A quick intro stolen from the Yardbirds' "I'm Not Talkin'" and the squadron plows into your skull with "The Red and the Black," an updated version of "I'm on the lamb but I ain't no Sheep," that lovely hymn to the Canadian Mounties and their loyal huskies. Taste that whip at leather's end as lead singer Eric Bloom, chains in hand, surveys the ruins of civilization. Buck Dharma grinds out wave after wave of scorch guitar, Alan Lanier's sci-fi guitar and organ patrol the periphery of the magaverse and the Bouchard brothers, Joe and Al, nail everything to the beat. "OD'd on Life" is an instant classic, chock full of goodies from every corner of the rock world, even the Hollies' "Long Cool Woman." "Hot Rails to Hell" has guitar hooks that start to hurt after awhile, so while you're down, Joe throws in some Ventures "Pipeline" bass and the twin trebles of Buck and Alan whine away long after the song has ended. "Seven Screaming Diz Busters" starts with an Allman Brothers feel, just to sucker in the masses, and then Lucifer delights as fire and brimstone shake the airwaves. This song's way too long, but so what? Side Two begins with Patti Smith's gritty "Baby Ice Dog," and who wouldn't want to make it with her big black dog? All you gotta do is know how to ask. Buck's stop and go solo is chilling. Freeze on, Patti! "Wings Wetted Down" is another Joe song, a bit too self conscious if you ask me, British influence and all that, but it's great background music for reading Vampirella or Famous Monsters of Filmland. Good Black Sabbath steals and better than that, the Zep have stolen this one from the Cult on their new record. One hand washes the other, y'know what I mean? "Teen Archer" is R. Meltzer's latest romantic opus. Starting with the Sab's (there they are again) "Iron Man," Meltz bases an entire song on the middle of "Break On Through" by the Doors, specifically the phrase 'She Gives.' Buck sings this one and he should sing more. If Columbia has released "Last Days of May" as a single, Vicki Lawrence wouldn't be number one on the old hit parade — the Cult would. Then a sceptre could haunt over them. Nice harmony vocals that you can almost hear beneath the din of rakes and spades. What I'm really waiting for is an Oyster Cult/Slade concert. Then Noddy and Eric can do their duel in the sun during "Born to be Wild," and the world will end. Pass the knife. —Billy Altman Billboard and Cashbox. Anyway, "Teen Archer" is my favorite song on the album, and when Buck takes off with the run from "We Ain't Got Nothin' Yet," the one that every young guitar playing punk on the East Coast learned to dazzle his friends with, I'm gone. "Mistress of the Salmon Salt" is a Pearlman classic. "A harvest of life, a harvest of death" as the quicklime girl digs up bodies and performs mysterious rites It’s high time Poor House Poor House east 8200 Main St. Poor House west South Shore Plaza 2-for-l special!! one free admission with every paid admission with this coupon free admission Sundays free admission to every girl escorted by a frog to get your ass to Live Rock'N'Roll Wed., Thurs., Sun. the Poor House (Expires May 31, 1973) House of the Holy Led Zeppelin (Atlantic) Clovis Trouille's asses are fleshy meat asses and they're good asses, full of character and resilience. But the best ass of them all, and when he tells you 'Ain't this a great ass' you know it's a great ass, and you also know it's Ray Davies ass. And when Ray tells you about it he's doing something Jagger's been wanting to do for a long time, but we all know Jagger’s got no balls anyway. But if you're really into the refined art of ass watching, then you'll just jerk and spurt over the sexless young asses lounging all over the cover of Led Zeppelin's House of the Holy. These beautiful blond, baby pink, highly caressable, Eloi-like arse possessers are seen facelessly scampering up a rocky hillside towards a divine, or perhaps sinister, horizon. They possess a passionless grace of movement seldom seen anywhere let alone as an example of two dimensional cover art for a rock 'N' roll record. They would do proud as Trouille's, but they ain't, they's Hipgnosis's. And they sensuously surround the recording of Led Zeppelin's long last new work. Which is a magnificent collection of sexless songs, not that the songs are bad mind you, but they're just neuter, without sex. Like you knew "Stairway to Heaven" was a female song cause it was funky, funky in the classical funky sense, it smelled of female, and "When the Levee Breaks" is as male a song as Bob Seger's "Ramblin Gamblin Man" which in turn blows tha balls out of the Stones' "Tumblin Dice." And "Rock And Roll" is hermaphroditic cause it's a classic and all classics possess both sexes, that's why they're classics — sex appeal — Ultra-Bright visions of purity and madness. But the first thing ya gotta realize about this record is that the Zep are going through a phase of self-parody, the whole album's a goof, a state ment on their positions as super stars, perhaps, or just a vision of rock 'N' roll as it might become. And after the initial shock, "My god, it's not the mythical all acoustic Ip which would merge this universe with the mad dog universe which is always just around the corner," it's just another mish-mosh of Zep pish posh, but it's sure good. Not as good as their first release which is classical as well as epical in proportions, but better than Zep II, and nowhere near the absolute sheerness of Zep III, which stands as the quintessential Led Zeppelin effort, everything that they ever were and or ever will be is contained in that record. But "The Song Remains the Same" for now, this opens the Ip and its a reminder of the Seed's "Pushin Too Hard" plunge riff, it's a rocker, but so is "Rain Song" the first metal folk song resplendent with soft Hawaiian guitars and orchestrations: 'This is the mystery of the quotient — /Upon us all a little rain/must fall.' Right on Jimmy. And "Dancing Days” is a happy hymn to the bygone era of flowerhood and brotherhood and Haight and Asbury and love and fuckin' in the streets. "Igot my flower, I got my power" is as lucid as "The Flower Lady and her Assistant" — hey are Zep the reincarnation of the Seeds, the ultimate flower band? don't know, maybe — well at least you know they're not Dick Shawn doin' "Love Power" on the Springtime for Hitler record (a true classic). Oh Jimmy you're my 'flower, you are my power/You are my woman who knows.' Hey, wait a minute, how come there was never a live Zeppelin album? Oh, there was a bootleg, Led Zeppelin live on Blueberry Hill but that wasn't really Led Zeppelin, it was the Seeds' farewell concert, only they didn't tell the audience it was the Seeds they told 'em it was Led Zeppelin and the schmucks really believed it was. Of course, if you want to you could consider the Yardbirds live at the Anderson Theatre the first real Led Zeppelin IP, cause after all Page was doin' his bow trick and their big number was "Dazed and Confused" and anyway Led Zep I came out about three weeks later so it's the same as if it was the first Zep IP and it was live so maybe they did do a live IP, their first one and that has a lotta class; And when it comes down to it, they're justa buncha wierdo perverts anyway .. .'Now I'm singing all my songs to the girl who won my heart/She is only three years old and it's a real fine way to start...' My god, at least Marie was six years old, besides Bonham wrote that one and he plays the drums with his hands, and that's really obscene . . .but I love 'em all ... —Fernbacher punk magazine . Page seventeen �Then, surprise, another hit in the form of "Love Potion Number Nine," done with respect, then "Sea of Heartbreak," (anybody know who did the original? I forgot.), a little dab of country with barrelly piano. More class points. sp nout to 'actually' use the word 'sonic' was Fred Smith of the Five, Hmmmm "Walk it back 'sonic'!!!" So you know what a whole group named the Sonics does for my groin, which is the epicenter of all rock 'N' roll by the way. I heard a Searchers single recorded last year and it was awful, but at least they're still in there pluggin’ away, and someone should go re-discover them before they give up. Chris, Tony, Mike and John, wherever you are, I'm with ya. —Billy Altman This Is Us The Searchers (Kapp) I think if more people had been into the Searchers, nobody would bother with the Raspberries, because the Raspberries sound a whole lot more like the Searchers than the Beatles. And when you stop and think about it for awhile, the Byrds sound a lot like the Searchers. So how come everyone's forgotten them? The Searchers were eclectic, that's why. This Is Us, which I presume is their second Ip, covers all angles of the British invasion and even has their autographs next to each one's picture. But alas, the Searchers recorded for Kapp records in the U.S. and all they were good for was Kenny Ball and he was worse than Acker Bilk. So you almost never see a Searchers album anywhere except maybe a good friend's record pile, which is where I stole this goodie from. The record starts off with "Don't Throw Your Love Away," their chart topper after "Needles and Pins," and even a dummy can see how much the Byrds ripped off from them. The sparse bass, the military drums, the trebly lead guitar, the chunky rhythm. And the vocals: Absolutely beautiful harmonies, better than Peter and Gordon or Chad and Jeremy, and these guys came from Liverpool besides. "Where Have You Been" has a piano (Nicky Hopkins again?) and, get this, castinets. The intro is a lovely "Under the Boardwalk" type move, and this shoulda been a single. And when the Searchers rock out, they do so with class — "Hi Heel Sneakers" lets the guitar whip out for some nice riffs in the gool ol' Mersey tradition. On Side Two, things get rolling with "It's In Her Kiss" (the Shoop Shoop Song) with neato falsetto backup vocals. And then, the immortal "I Count the Tears," from whence was copped both "Bobby's Girl" and the Grass Roots' "Let's Live For Today," with a bona fide 12-string sloppo solo. "Can't Help Forgiving You" sounds like most of the Raspberries' two albums. Introducing the Sonics The Sonics (Jerden) Listening to the Sonics is like eatin' pussy with lockjaw. Cause ya know ya want more and more but ya can't have it, you're in terminal stasis, no power, no pleasure, no spirit. But the Sonics sure had spirit, a lot of it all in the right places. They had a big followin' in the Pacific Northwest back in '64, their hit "The Witch" was their steppin stone to fame and punkdom, they actually made it to the Billboard "Bubbling under the top 100" in '66 with a song called "You Got Your Head on Backwards” which is about as good as Lou Reed did until recently. When the Top Ten list of punk guitarists is compiled (and it is, cause I have it, simply because I wrote it) Larry Parypas hasta top it, this guy is fast and raw, like when he takes a break you know he doesn't have the faintest idea of what he's doin', but he’s sure doin' it. Real basic metallic pearls like this guy are seldom seen in these days of complication and sophistication. Real rock 'N' roll comes when ya get a group whose been together for a week and throw 'em into a recording studio. The Sonics, whatta rush, and I thought the only rock 'N' roller with balls enough Take "I'm a Man," the Yardbirds’ classic, when the Sonics do it it's better in intent than the whole Count Five Ip. "Psychotic Reaction" may be a Yardbirds cop but the Sonics are so absolute to the spirit they’re not even stealin', its just all they know. . .except for Larry Parypa whose break in this song is better than the original, a lot more crunge-rot, if you know what I mean. And "Love Lights," the soft song, almost rivals the Beach Boys doin' "Diamond Head" or "Transcendental Meditation" that is if the Beach Boys were all encased in metal. The group consisted of leader Andy Parypa (bass guitar); Gerry Roslie (writer, organ piano, and singer) Rob Lind (sax and vocals); Larry Parypa (lead guitar) and Bob Bennett, the drummer. All in all, quite a group during quite a time, and ya can buy the record for $.57 if you're lucky. —Fernbacher May Record Sale Paul McCartney & Wings Red Rose Speedway paul McCartney And Wings Red Rose Speedway Big Barn Bed; My Love; Get On The Right Thing; One More Kiss; Little Lamb Dragonfly; Single Pigeon; When The Night; Loup (1st Indian On The Moon); Medley: Hold Me Tight/ Lazy Dynamite/Hands Of Love/ Power Cut. Super Special 2.89 Cheap? Cheaper? Cheapest! PINK FLOYD The Dark Side Of The Moon Speak To Me; Breathe; On The Run; Time; The Great Gig In The Sky; Money; Us And Them; Any Colour You Like; Brain Damage; Eclipse. 3.69 2 - Record Sets Sale Every double and triple record set has been drastically reduced for this special event. You won't believe your eyes! Items include: Beatles Uriah Heep Rolling Stones Chuch Mangione Jethro Tull Grateful Dead Deep Purple Bob Dylan Humble Pie Jimi Hendrix Derek & Dominoes Edgar Winter Allman Bros Joe Cocker The Who Elvis Neil Diamond Focus There Are More And More Albums On Sale The Price Is Lower Than Right Sale Cavage’s Page eighteen . punk magazine Chicago David Bowie Plaza Only University �Psychedelic (Columbia) Psoul The Freak Scene I first heard this record under the influence of evil stimuli. That was five years ago, and I've only seen two copies of it since. The first was three years ago and it was in mono so I didn't buy it. The second was this year, and it was in stereo. A long search ended, and not in vain. It sounds better now then it did back then. The Freak Scene was led by Rusty Evans (?) and they made this one album and quickly died a fast death. Why Lenny Kaye left this gang out of Nuggets I'll never know. They probably never released a single, you know how psychedelic bands are. But this record has every technical stoned out — oh my god it's coming from both speakers — move necessary to make any trip a memorable and enjoyable one. Bongos, sitars, phased vocals, finger cymbals, you name it, it's here. And it's arty too, and if you don't believe me, here are the lyrics from just one speaker of "Mindbender.'': 'Mindbender / Carfender / Bartender / Remember / September / November / Mindbender / Mailsender / Dogblender / Befriender / Soullender / Coinvender / Ascender / Defender / Surrender / Sock blender / Bigspender / Juiceblender / Apprehender /Mindbender /Shocksender.' and then, from out of nowhere comes a droning voice: 'Rock and roll / Oysters Rockefeller / Ragatime Cowboy Joe / Raga Ages / Raga My Soul / Oh Raga You Got Me / Raga Gibraltar / I Am A Raga / A Raga Saga / Maha Raga / If I were A Raga / A Hand Woven Raga / A Maple Leaf Raga / A Raga's Progress / Don't Knoga the Raga / Mindbender.' And you though Lou Reed's "Murder Mystery" was the answer to the answer? "Grok" is the last track and it's all guitars played three times as fast as they were recorded. When you put your box back to 16 you can hear what they were really playing, and it stinks, but not at 33 1/3! it's sheer dynamite. Whatta record! —Billy Altman A Gathering of Promises The Bubble Puppy (International Artists) One of the true gems that surfaces only in the back rows of ill stocked bargain bins. I paid $1.50 for it, admittedly too much, but it's worth at least a buck anyway. Course I opened it first 'cause you can't read anything on the back cover. It's a multicolored maze and every cut is listed somewhere. In four months I've found the names of two guys in the band written back there. But how was I gonna know if the Bubble Puppy's only hit, the immortal "Hot Smoke and Sasafrass," was on here? Simple, I opened it up and looked on the label. It was there alright, in all its two minute and thirty second glory, so I bought it. Little did I anticipate what I've heard on this one record. "Hot Smoke" is the first cut, and it's got more rock cliches than any other tune ever, "OD'd on Life" included. Years ahead of its time with twin leads that incorporate every riff of the last 10 years. The lyrics are your average late 60's psychedelia: "If you're happy where you are, then you need not go too far." There's time changes every four seconds, and the drummer keeps speeding up without telling the rest of the band. Feedback too! The next cut is about peace and love so I always skip it to get to the classic, "I've Got to Reach You," all eight minutes of it. Tongue champion of the country, a little jazz solo, then a middle minute or so of solid Deep Purple before the Deeps even know how to do it. I swear they stole "Lazy" from here, bless their hearts. "Lonely" is the same riff as "Hot Smoke," 'cause one of the guitarists only knows one solo, but there's fuzz tone and a speeded up break and even a Who crescendo, in the middle of the song! This one's 2:48. The Puppy shuttles those times damn good. The title track is a flower ballad in real old Airplane fashion, but ten times better. I'm gonna listen to Side Two next year. -Billy Altman Theme from 'Mr. Novak' and other High School Themes (MGM) It's like buying the Blow-Up soundtrack just to get the Yardbirds doing "Stroll On" — the rest of the record sucks, but you'd pay just to have that one specific cut, but I didn't even wanta hear "Theme from Mr. Novak" cause I hated the show as much as I hate Room 222; ain't no high school I ever been to like that. Me I was raised on the "Blackboard Jungle" concept of high school cause that's what high school is really all about. Shit, at the school I graduated from the kids useta keep rifles in their lockers — fuck dope — they was inta booze, blood and broads. But I hadta get this record, you see. It's got the best titles ever created for a non-record record. The titles alone captu re the essence of the entire Evan Hunter book, take for instance "Detention Class Blues" whatta title, whatta song: 'Well, I've got those de-ten-tion class blues, Cause I don't care for none of their rules. Got caught walkin' the halls, Spiffin'on the walls, Shiftin'all over the stalls: and, and, and, and, I Went ta the john for smoke Weren't no joke! Hada smoke! I got caught by Teach Got in a fight Now the Teach, don't Teach He won't preach. Cause he ain't feelin' right. You know I've got those detention class blues Nothin to care about, nothin to lose Cause I just 'gotta,' I just 'gotta,' be in School. Well, ya know I wear my jeans Real sloppy, And my hair ain't neat, But when I jump inta my jalopy 'Yeah, its gotta rumble seat' Ya know, Ya know, Ya know, I feel real mean Don't care 'bout makin' the scene Cause I just know, come Monday mornin' I'm gonna have those De-ten-tion class blues.' Common, even Kim Fowley ain't this mucha punk. This song is the essence, the pure spirit of the high school troublemaker, the high school punk. Man, this kid would eat Mr. Novak alive if he had a chance, and Dean Jagger, he wouldn't even make it through lunch period. Yet, when ya come down to it, I mean when ya really come down to IT, assemblies gotta be the best time ya ever had in high school. If ya was a smart ass ya'd get a pass and be one of the flag carriers, or maybe the one who says the prayer or the Pledge of Allegiance, cause then ya'd be sure to miss your first two classes and if ya were a good staller (and all high school kids are) ya just might be able to cut three classes, then it'd be time for lunch. But assemblies where it would all happen, where the masses of punkoids would gather and destroy. Most of the time the programs for the assembly were boring, ya know a trampoline artist, or a blind baseball player or somethin' like that so's ya'd fuck off. Like if the Head, or the Principal, was talkin' you'd burp real loud, or just plain fall asleep, or if there was a silent moment there was always someone who could fart, real loud and real long, on cue. Anyway, on this record there's this song called the "Assembly Stomp" how anybody ever was able to capture the essence of the whole concept of assembly is beyond me, but whatta song: 'Well, I'll Pledge my Allegiance And, I'll hear your grievance Miss, History, Miss Math, Miss Gym, Cause its time ta do the Assembly Stomp. (Spoken) Criss, cross your flags, Say your prayers. It's all so fuckin’ boring, Ya know nobody cares. Cause its time ta do the Assembly Stomp. Ain't no bebop, rebop, or soul, Its just plain 'ole rock 'N'roll When ya get down and do the Assembly Stomp. Stomp, stomp, stomp Chomp, chomp, chomp Hit 'em harder, hit 'em again, hit 'em again Harder, harder, Harder!!!!' That sure as hell tells it like it is, was, and forever shall be. And ya never saw any of this on the Mr. Novak show, or that poor excuse for a high school in Room 222. My god, Walt Whitman High School, the name even sucks, where I come from its East High, Seneca Vocational, Riverside High, South Park High, ain't no literary Theme From Mr. Novak And Other High School Themes Mr. Novak Part 1 First Dance Talkin Surf Skiing Holiday-B.M.O.C. Assembly Stomp Mr. Novak Back Strap Summer Memories Senior Shuffle, Class Ring, Detention Class Blues names or shit like that, its rock 'N' roll schools what it is. Besides these songs/titles there's the "Senior Shuffle": 'Gonna boogie in the gym/Gonna boogie with that slim/waisted, wasted chick, slick/Sure, but who ain't when ya/Go do the Senior Shuffle." This song's okay, 'cept ya don't Boogie when you're in high school, that comes when you're in college and smokin dope and all that. When you're in high school, YA Fuckin Dance, and nobody should ever forget that. The boogie sucks, as a word and as a concept. Also included are "Class Rings," "Talkin' Surf," "Back Strap," and "B.M.O.C." And ya know when ya come down to it, just the titles alone are worth the price of admission. Let's hear it for high school, I wanna go back, I wanna go back . .. —Fernbacher 'Copyright: Fuck You All Music, 1969 punk magazine . Page nineteen �New Lower Permanent Prices ... on the top selling Billboard records Everyone Else’s "Sale Prices" Are Now Our Regular Prices! Plus Weekly Label Sales! Isaac Hayes 2 LP Set Loggins And Messina 1st 20 different labels - then Warner Bros. - Now 7.98 List 3.97 Columbia Records Herbie Hancock King Crimson Eagles Malo T.Rex Fleetwood 3.77 Record of the Week Dozens More 'Sittin' In’ Loggins-Messina 77 Jeff Beck Beatle Double Sets EdgarWinter “62-66” "67 - 70" Johnny Winter MahavishnuOrch. 2.47 5.87 Lowest Price In Buffalo For those few still interested in selection and service.... We Have Over 50,000 Other Records And Tapes In Stock Virtually the Complete Schwann Catalogue Plus We're Expanding June 1st! More: Space Merchandise Organization 50% increase 25,000 more Boy, we need this! University Plaza (Bailey side) 7 days a week 837-2322 Record Runner A Bitchin'Time!! Parts Sunday-50 cents Mixed Drinks Monday-$1.25 Pitcher of Beer! Tuesday-25cents Tequila Night! Wednesday-3 Buds/$1 Thursday- $1.25 Pitcher of Beer 1065 Main Street, Buffalo, N.Y. 14209 for Imported Cars 716-885-7005 Removable Luggage Racks Classic II Universal 1985 Fits All Cars, Domestic & Foreign $19.95 Free 1285HertelAve. (near Colvin) Page twenty . punk magazine Sound System Volkswagen Bug VCW 50 $14.95 A Division of Mica East. INC � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource punk magazine Subject The topic of the resource Student life Student publications Description An account of the resource "The rag you are clutching in your sweaty mitts is punk magazine, devoted mainly to rock 'n' roll, sports and anything else that isn't boring." Date A point or period of time associated with an event in the lifecycle of the resource 1973 Contributor An entity responsible for making contributions to the resource Altman, Billy Type The nature or genre of the resource Periodicals Identifier An unambiguous reference to the resource within a given context LIB-UA023 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource punk magazine Subject The topic of the resource Student publications Popular culture Description An account of the resource "The rag you are clutching in your sweaty mitts is punk magazine, devoted mainly to rock 'n' roll, sports and anything else that isn't boring." A rock-and-roll zine from the early 1970s, predating the advent of the punk rock music genre. Vol. 1, No. 1, 7 May 1973. Date A point or period of time associated with an event in the lifecycle of the resource 1973-05-07 Contributor An entity responsible for making contributions to the resource Altman, Billy Fernbacher, Joe Bromberg, Terry Salant, Norman Foot Studios Toles, Tom McNiece, Larry Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. 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University Libraries Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng https://digital.lib.buffalo.edu/files/original/ee5e8d3b6b9ff523bfe1f4571eb12af9.pdf 04890a918fb38dd65039f0bd48b2e44c PDF Text Text Buffalo's own Punk magazine “regress is our most important product” inside: Blue Cheer - Hoyt Wilhelm - a dream date an American tragedy man or myth with Wild Man Fischer and more ... �Grant City Top-Ten Album Sale University Plaza $3.67 Sale runs from August 1 - Aug. 31 252 685-3100 Uncle Sam's & WGRQ present 6 Walde n Avenue 3180 Sheridan Drive (across from Northtown Plaza) Monday July 30 Wednesday Any two drinks in the house for the price of one/ Tuesday & ThursdayTN ’ T -Nites — Tickets on Sale at Uncle Sam's 10 cents Beer Nites Looking Glass Hits "Brandy'' "Jimmy Loves Maryanne". and all Man Two & Fantastic stores. i s required Proper Proof page two . punk magazine August 8th & 9th Recording Artist "Charlie Starr" $2.50 advance - $3.00 at door. A Harvey & corkey Prod. Coming Events AUGUST 20th RCA Recording Stars “Jukin Bones” �editor’s note: Well, folks, they said it couldn't be done, and they were right. Nevertheless issue number 2 of Punk Magazine is now history. A lot has happened since we decided to enter the mag maze of Rockdome, I went to Memphis, Tenn. for a rock critic's convention and caught a cold, got a few mosquito bites here and there (ain't summer grand?), and found God in the Vanilla Fudge's second album, the story of which is documented in these pages. A lot of nice people said a lot of nice things about Punk number 1, and a lot of not so nice people and a lot of not so nice things about it, and I guess that's the main reason why we're putting out another installment of the never ending "regression through media." Besides, if everybody thinks we're for real, who are we to argue? The aforementioned Memphis excursion afforded me the opportunity to meet most of the other losers that write about rock, hence the appearances by Lester Bangs, Mike Saunders, Scott Fischer and R. Meltzer (recently voted "critic most likely to get drunk") in addition to the usual brilliant social commentary by our small, useless staff. You will note that our sports section this issue is all about baseball, not only our very own national pastime but the most boring team sport next to dodge ball. Just this week I found out that GNP Crescendo is re-releasing "Pushing Too Hard" by our cover kids from last issue the Seeds. So here's hoping that Blue Cheer's "Summertime Blues" gets the nod for another crack at the top ten. I mean if "Knights In White Satin" can make a comeback, why not Leigh Stephens? table of contents: 4 fun and games 5 6 8 9 Hempstead on a sitar-a-day Billy Altman the alcohol crisis and what you can do about it Lester Bangs knife in a knothole Norman Salant knock on wood Billy Altman 10 I left my glove in Son Francisco 11 Terry Bromberg ballad in plain D train Gary Cinnamon 12 travels with my pud Richard Weltzer punk magazine Vol. 1, No. 2 30 July 1973 Editor..................... Billy Altman Associate Editor.....................................................Joe Fernbacher Surf Editor............................................................. Mike Saunders Contributing Writers...................... Lester Bangs, Terry Bromberg ............................................. Gary Cinnamon, Jim Fernbacher ...............................Scott Fischer, R. Meltzer, Norman Salant Layout......................................................... Larry McNiece, Midge Graphics................................ Foot Studios C. Copyright punk magazine Inc., 83 Sanford St., Buffalo, N.Y. 14214; Tel. (716)837-1077. All correspondence should be sent to the editor at the above address. 14 more pumice than lava Mike Saunders 16 springtime for Golda Meir Joe Fernbacher 17 spinout punk magazine . page three �Wrong Right 5 Errors Contest Cast your orbs on this conglomeration of talent! They call themselves the Grateful Dead and they all hail from San Francisco. If you'd like to give their sound a listen, you'll find their hit Warner Brothers single, "The Golden Road (To Unlimited Devotion" and their LP The Grateful Dead at your local record store. But wait a minute! Do you see what we see? The left drawing is fine, but the right drawing contains five errors. Can you spot them? If you can, just draw a circle around each error with a pen or pencil, fill in the coupon on the left, tear along the dotted line and mail the coupon to: Five Errors Contest Punk magazine, 83 Sanford St., Buffalo, New York 14214. To each of the first five readers who can correctly identify all five errors, punk will award a copy of Joni Mitchell's "Turn Me On, I'm a Radio". All coupons will be dropped inside a revolving barrel and the Son of El Mono, blindfolded, will pick the winners — so everybody has a chance! Go to work right away — and good luck! 5 Errors Contest OCT 1967 Name...........................................My Age Is........................ Street..................................................................................... City..............................................................Zip Code. Are You A Subscriber? ........... State....................................................... Mail to. Punk, 83 Sanford St., Buffalo, New York 14214 SA-GSA Speakers Bureau 20S Norton Hall State University of New York at Buffalo 3435 Main Street Buffalo, New York, 14214 Student Association Speakers' Bureau presents for 1973 1974 WKBW & Purchase Radio & Harvey & Corky Present Focus In Concert An Incredible, Mind Blowing Experience from Holland Added Attraction: “Rush” FRI., AUG. 3, 1973 at 8:00 PM Century Theatre, Buffalo, N.Y. All Seats Reserved: $5.50, $4.50 Tickets Now on Sale at: All 4 Purchase Radio Stores, Central Ticket Office, U.B. Ticket Office, Buffalo State Ticket Office, National Record Mart—Eastern Hills Mall, Explosion—North Tonawanda, D'Amico Music— Niagara Falls, Sam the Record Man—St. Catharines, Ont. September 12 — jack Anderson September 17 - Rod Serling “Absurdities of the 20th Century” October 2 - Walt Frazier of the N.Y. Knicks October 10 - Jeb Stuart Magruder October 24 — Jean Westwood, former chairman of the Democratic Party October 31 — Leonard Nimoy November 1 — Governor Lester Maddox of Georgia November 6 — Supreme Court Justice William O. Douglas December 3 Senator Charles H. Percy January 23 - Moe Howard and a “Three Stooges Film Festival” February 25 — Robert Ardrey, author and anthropologist will speak on “The Student—Evolution’s Missing Link” March 6 - Richard Bach, author of Jonathan Livingston Seagull. Other speakers not yet finalized with dates include: Senator Sam Ervin;Chairman of the Senate Watergate Committee Congresswoman Bella Abzug Senator Hubert H. Humphrey Author Alvin Toffler Senator Edward Kennedy Senator James Buckley Senator Jacob Javits SUNY Chancellor Ernest Boyer Area Congressman and Legislators and candidates for Governor and Senator for Election ’74. Funded by Student Activities Fees For more information, please contact Bob Burrick (716) 831-5507. page four punk magazine �In 1968 I went to summer camp as a counselor and my co-child molester (you'd be amazed how much pleasure can come from making the lives of little brats miserable), name of Roger, brought his Farfisa organ and Custom amp to camp with him. We hooked a turntable up to the amp and spent most of July and August playin' the hits for all the folks in camp. I was in my psychedelic phase then, paisley all over the place, Byrds records playing continually in my head. Rog, on the other hand, was friends with a lot of Long Island creeps, so it was all Tommy James and the Vanilla Fudge for him. In fact he used to play "You Keep Me Hangin' On" right after revelle full blast to wake the kids up. And at night, he'd lull the little farts to sleep with "Bang Bang." Rest hour was my alotted DJ time, and I made all my 10 year olds learn the entire libretto from We're Only in it for the MOney so we could sing "Who Needs the Peace Corps" for the parents on visiting day. Didn't net me too many tips, but I sure got my rocks off. The owners liked me so much that they wouldn't let me sleep over for a night just before the Woodstock festival (the camp was 10 miles away). Course the only thing I enjoyed about Woodstock was when I went to Monticello and washed my sleeping bag in the big 24 lb. washer at the laundromat. Also, the mayor of Monticello gave me a hard boiled egg that gave me gas, but how often do mayors give out hard boiled eggs to total strangers? Oh yeah, I also ate at Kaplan's the Monday afterwards and got filmed for the ABC Evening News who were there to do a story on how the Kaplan folks had rented 50 pairs of shoes so's the barefooted hippies could eat there without violating health code laws. I had my Cons so I didn't need 'em, but they filmed me anyway chowing down a pastrami sandwich. Anyway, Roger (remember him) was trying all summer to get me to like the Fudge, but in 1968 I was into MUSIC, and I thought the Fudge were completely tasteless, boring and obnoxious. And now, in 1973, I love 'em for exactly those reasons. That’s what's called growin' up. Roger went so far as to give me his copy of The Beat Goes On, which he thought was the greatest musical venture ever conce ived and executed by modern man. I listened to the album for the first time two years ago, put it in the closet to age, and have begun listening regularly for the last month. And boy, was Roger ever right! I've since managed to pick up all the Fudge's albums at bargain prices, and I was gonna write a magnum opus on all their records, but that would take all of -Billy Altman this issue and come, I'm concentrate on which is the Fudge album. the next two to just going to The Beat Goes On definitive Vanilla realize that at least three notes from every cut on this album have been deftly integrated into the overture, a combination of no less than 24 separate and diverse musical emotions blended Only pennies a Serving Shadow Morton directed the Fudge's sound on their first few albums, and the man that brought you all the Shangri La's classics ("Out in the Street" being the archetypal "if Spector can get away with it, why not me" move) reached his greatest heights of achievement with The Beat Goes On. They even put his picture on the album cover, and he had great sideburns in '68, so you can imagine how advanced he was, maybe he was Col. Morton's son or something exotic like that and that's why he was so cool. In any event, Shadow is credited as producer And Director, and that's HEAVY. The Fudge are listed as starring in this Ip, and star they do folks. Mark Stein, master of the sweeping hand gestures, plays his heart out on the album and that's probably why he went bald and freaked out into the oblivion that was Boomerang, 'cause he knew deep down that he could never really follow this thing up. It's really Mark's album from the opening cord of "sketches," the opening track that puts deadheads like George Gershwin in their places. Mark kind of overtures the album in under three minutes, better than Blood Sweat and Tears' first album! When you listen a few hundred times, you nitudinal exploration of indeed all of Western civilization. Mark hovers over his Hammond, Tim Bogert parlays incredible runs from his Fender bass, Carmine Appice (who by the way studied drums formally for three years, hell even the liner notes here are historic) crashes his cymbals, and little Vinnie Martell, the shortest band member at 5'6", scorches his electric sitar like he was as tall as the rest of them. From here, the boys plow through the greatest moments of the last three hundred years, starting with "Variations on a theme by Mozart: Divertimento No. 13 in F Major," and Mark shows that you don't have to come from Vienna to play those arpeggios if your heart's in the right place. From there to the 19th Century (it was a slow 100 from 1700-1800 if you think about it) and an acoustic rendition of "Old Black Joe," visions of Carmine returning to his loving mama's arms in Brooklyn dancing in your mind. together brilliantly. After "Sketches," Shadow calls out in tremelo tones "Phase One." The band launches into Sonny Bono's national anthem and we're swept into the mag Into Luddie's void Time IS of the essence and since most of us were born in this century, the rest of Phase One centers on the 1900's, and what a se lection! "Don't Fence Me In," "Twelfth Street Rag,” "In the Mood" (Mark doing a clarinet solo on his organ), "Hound Dog," and a Beatles medley of "I Want to Hold your Hand," "I Feel Fine," "Day Tripper," and "She Loves You." And all this in less than five minutes - who needs school when Hempstead on a sitar-a-day sages like these walk the earth, I ask you. Shadow comes back with "Phase Two" and believe me, you have not heard nothin' till you get a taste of Beethoven's "Fur Elise and Moonlight Sonata" done up Fudge style. Keith Emerson and those foreigners from Focus can go suck moose tits if they think they play the classics rock style. Mark Stein makes you shudder, whimper, smile, cry and moan as he gets to the root of Luddie's psyche with his flying fingers. More energy rises and falls than eighteen hours of Jerry Gracia or John McLockloo. "The Beat" comes back for a minute, and side one is over (Where is my Mind!!??!) God, side two's even heavier, if you can imagine that. Phase Three is a a melange of "Voices in Time" with cameos by Neville Chamberlain, Winnie Churchill (Chick's great uncle), FDR, JFK, Harry Truman, and many, many more, all great men only too happy to help the Fudge make history. It makes the Beatle's "Revolution No. 9” sound like a John Cage outake. Phase Four: Mother Mary, I can see the sky opening in the final moments of this record. Backed by a cocktail cover of the theme from Jane Fonda's immortal film "The Game is Over," each of the four Fudgicles does his thing before the microphones of posterity. Vinnie plays sitar and speaks of love and flowers (bless his heart), Tim gets interviewed by Shadow (S: "How about trips?" T: "Well, for 15 cents you can take one on the subway, I think it's 20 cents now." S: "Ice Cream?" T: "I like ice cream") Such Insights, Such Revelations on a simple piece of plastic! Carmine tells Shadow to keep the tape rolling on the instrumental track: "I don't talk too good, I'll play my drum" and that he does, Mr. Rich and Mr. Baker. Mark is given the last spot and do you know what this god fearing man does? He Reads From The Fuckin Bible! and what passages does he read? Moses going up on the mountain to join God, that's what. Sacrifice, piety, loyalty. That's what it's all about, Mark is saying, and only a man with a heart of granite will not succumb to this plea for love among all men. I find myself on the verge of tears when Mark says "and Moses was 120 years ole when he died" in his quivering falsetto. "The Beat" theme enters for a few seconds and in a glorious crescendo, it's all over. I feel drained, sweaty, excited, uplifted, sad, exuberant, invigorated, alive. I am one with the universe. And every night before I go to bed, I bow towards Hempstead, where all this went down, in my humble lifetime. punk magazine . page five �-Lester Bangs Ever since Allen Ginsberg first went to India way back in 1961 and brought home some ghee for his village cronies to take up their gullets, every pluguglie proto-Bohemian and high school hiplet tn what some nameless wretch who oughta be shot later called the Counter Culture has known that one of the passgo tenets of slanteye &/or rupee religiobfuscation is that the whole clot-ridded Universal Pie is just one big circle that spins round 'N' round like a squirrel cage for infinity, at least till the more tenderfooted thumbtrippers get motion sickness and have to fall outa the elektrik kool—pop bus at 43rd and Lexington for some Dramamine or at least a park-bench respite from all this endless little wheel —turn—turn — turnin'—round—in— the—circle—game, of seasons and phases and styles and fads and fashions and fandoms and fuckmodes and fondues and fondles and which slatepate oracle knows what else? Get me? You don't have to smoke very much boo (as us bongo-boppin' beret-hoppin' Holy Barbarian beatnix used to hiss whenever Lawrence Lipton was around) or be Jerry Garcia to know that the earth ain't flat, that linear thinking was dead as a mange—dog's dug with or without Salaam the Sham McLuhan, that, as the liner notes to the first Thirteenth Floor Elevators album said in 1967, mankind has awakened to the fact that knowledge should be stored and organized, not vertically (which tends to pile up, pressing down on the poor beleaguered brain cells which are already overworked and insulted past all Neal Cassidy records, creating cranial cramps among other distempters), but horizontally (which actually doesn't mean anything but mottled mucous as plain verbiage but suggests a whole lotta easy riding openended capacity for infinite conceptual rolling and tumbling straight out to Aldebaran or at least Tokyo as the gull flies). The whole fucking broth and brouhaha is round as your head as a pill as a spare change quarter as the sun and/or moon as a viper with its ass in its mouth, so 'stead gettin' het up and tryin' to steer the fucker (history, that is) all Appolonian and uncalled-for you might as well kick back and cruise with the cosmic beelbouy bobble, 'cause Your Time Is Gonna Come! No matter what kinda declasse cretin nebbish loser you are. In fact, it's gonna come and come and come again, around and around in swooning paradiddles of gutquese for your whole fucking life till you can't stand it no more and beg for an End to thy day in the sun! When that fryingpan day arrives, of course, there are various avenues open to friends come 'round and tell you with snickers the next day! Booze is the Champagne (see, even the lingua franca vernacular reflects its supremacy) of drugtrips because all of the others predicated on total deadassed boredom (smack, downs) or compulsive inhuman nofun hysteria (ups) or just plain waxy-walled stilt-tilting confusion and getlost dragginess (acid and all that gunk), whereas as any luch can and will tell you till you're blue in the balls from hieing yr hide all over town to escape the creep, booze is first and foremost about Conviviality, about Good Cheer. About friendly strangers ’steada strange friends. But lotsa poor folk got sidetracked and sold a bill o' goods somewhere along the page six . punk magazine scuppernong. What happened, see, is that the government knew that if all the kids started drinking as much as their parents did, they'd explode from umteen years of permissive instant breakfast wah-wah coddling and get so far outa hand there'd be no constraining 'em and the empire'd fall. So craftily them pigs in the power structure broadcast this big double reverse hype about how far out and right on and righteous and cool and outlawlike it was to sit around honking on that ugly weed, and just like the stupedupes they all and sundry kinder bought it lock stock and roachclip ultimately eventuating in such vast plasoid pinktoes Disneylands of the New Zilchdom as Rolling STone Cheech & Chong, The Nicholas Johnson Show, etc. And while all this brainwashing was going down, the brothers and sisters were so far zombatized by Oink Central they were actually going round running down the true Sacrament, saying things like "No man, I Don't Drink." In 1967, at least. They were preety adamantly conspicuous about their weed and pill consumption then, and some of them highdyed heydey melee hippie holdovers are still honking on the same wrung out line. Like John Sinclair's Rainbow People's Party (nee Trans/Love and White Panthers) of Ann Arbor, Michigan ain't officially anti-booze (fact once when I stayed there I went out and bought a six pack of Hamms, stuck it in the fridge And Damned It Every Can Wasn't Copped And Glugged Away By Them Fork Geuin' Hippies When I Came Back Just 15 Minutes Later!), but they require everybody in the org to take down at regular intervals daily and all day, and one day when I laid the hootch gospel on Big Brother John S. himself, he just wistled: "Welllll, I like to drink a little wine once in awhile . .." As just some incidental minor sup garnish, you see, side dish to his to kin' staple which's with acid seemingly the only fuel that keeps him and his brudders 'N' sistahs yippin’ in their particular brand of the Revolution. Like there's even this jazzbo album ny Gary Bartz and the NTU Troupe, where after fiddefugling around with the usual avantso-blats for an hour or so, these hip radical Harlem jazz vangarters all citizens of this great national by which you may relieve yourself of the existcilled psychopasetic ague mottling our times. You can get a blunderbuss and blow your fool head off. You can slit your wrists with a steak knife. You can gobble a whole vial o' reds or some other "Duuhhh" potion and pretend you're in Valley of the Dolls while you ooze out the door on a kleenex pyre. You can shoot somebody else and go to the chair or the bughouse where they’ll give you elektrashock and none of it'll matter anyway. You can jump in front of a speeding TAC squad oinkmobile. You can start hanging out with all the Junior Woodchuck William Burroughses on your block, pick up a jones and sift yer bones anway. You could even try setting your hair on fire. Or, you could drink. It's All Dental Floss Drinking's probably the best tack to tramp for instant oblivion too, becuz' it's safer’n any o' those other woolies I rostered. You can combe back — head hammering and tics akickin' maybe, but back for shore — to suffer and woof and drink again. You may even find a whole new lease in life style in this simple little infantile sucky ducky expedient. But all that's dental floss. You already know the yous and medicinal lifelines to be found in the jug, because the creako roundelay of that big ol' asshole circle previously mentioned that's still grinning smug as a smile button cross all your horizons, that bozo’s done turned the old mill cycle full suckle from the alcohol culture favored by our daddies, to the dope (boo!) culture of the last half of the sixties which sidetracked everybody into whole snotvats of wastrel bullshit for awhile there, Finally rerouting us all back to The Renaissance Of Booze! Marijuana's just a scam invented by the government to distract the youth culture from its true goal and destiny: the trashing of all logic and recognised authority by unruly boozebubs bibin' back Busch Bavarian beer (which has just now finally hit the Midwest, thank Gawd) and bugalooin’ on the bopskop bonlo beanies of all the old brownosin' deadwood still cluttering up the planet waiting to die! Booze is the true revolution, because on booze you'll do anything! Booze makes mincing milktoast minnies into rasty lay out the whole depressing retrograde sadly benighted message in the lyrics: "Fight the Revolution first/ Drink the wine later!" Seesh! How ya ever gonna get the wine drunk! The Revolution just seems to maltomeal on and on, and the harder a hogoid pushes 'N' grunts in pursuit of dat New Jerusalem, seem like the less peisure time protocol and procoIharum parleys allow him to jest easy back and rock off for a juglug break. So fuck all the movement masticata (gives ya warts anway) mediatin' marjoe mugwamp shit, and fuck the big MJ that stands for bugchewed leafs too, it's time to Get Down To It!! Grab your fave grape or hop or gutrocker redeye and let's hit the Andromeda locomotiviking highway! Let’s get drunk! And BE somebody! Could by anybody! James Taylor! Muhammed Ali! Malcolm Muggeridge! Arthur Kleps! Arthur Bremer! Arthur Treacher! Jay North! Whatever's your pleasure! But don't forget your history, the alcohol crisis and what you can do about it roaring rauncho honchos! They get thei asses tomped in the end just the same anyway, but at least it gives 'em a few seconds of holiday in birdland afore the knocks come dizbustin’ in! Booze destroys all standards, pieties, respect, social mores. ft cuts across all social boundaries (just tie a buncha hardhats to a buncha college creeps, hand 'em all a coupla cases of beer and see which wins out: their prejudicial pissantsinthepants grunge or their thirst!), it don't care about nothin' but gooseloose moosejawin', no-beg leg and tit snatchin', bongo Congo prongo bedspring boxcar broaching, or if all else fails plowing the old hammock porterhouse hunky fistix into the nearest weasel's pasty mug! Booze is the apotheosis of the avantgarde, because booze is totally random! Booze is the last word in fun and entertainment because you never know what kind of fool you're going to make out of yourself until your discipolios. Don't forget the oppression endured by the juice favorin' brethren back in the dark days before mass enlightenment hit Ill Camps. Never sniff or snicker at the plight of the poor brother browbeaten into utter bozo buffoondom by his highstruttin’ cocksure jiveass dopesmokin' "pals" who'd been sold The Big Lie and were gullible enough to take it on down! And mark, 0 my toothless vinvarnished blackpupiled snakeeyed tictwitchin skidrow brethren, what changes have befallen the surrounding environs since last you may have raised your bromo buzzing head from the gutter or your ranksleeved arms long enough to take a look around you for anything but the nearest potable goblet of succor and sine qua nons exurbo infinitum. What you will see has happened right under our very snoots is that damned if the mange-grazin' mungbung hippies hain’t �come a—pilgrimin' en mastoid outa their murky candleflicker dope dens to tromp down our Ponderesa fences and start approriatin' our sacrament and stengin as iffen it was always their rightful preserve from BC on! All of a sudden It's Cool Fool's Aid De Riegeur Fashion Apex To Make A Special Point Of Getting Juiced Outa Your Skull Or At Least Brag About It A lot! Exhibit A: In the past year, I have attended 337 press parties held by various record companies to hype rockritix on their latest multifigure signee crock of garbanzo scunge, and At Every One Of These Parties Alcohol Was Served! They even tried to softsoap con—cop us into a submissive lull by seeing that the bars were well stocked with every major type of lush that gushes and even encouraging us as if they could possible have a vital interest in our enlightenment! "Go ahead," they'd croon, "aren: tcha gonna have another drink? After all, it's all free, all on Daddy Elektra/AtlanticZ Columbia/RCA/Double Shirt, heh heh heh ... boy, am i blasted tonight myself, I gotta cool it or go back to something safe like cocaine, Ha Ha Ha Ha Ha .. .! Exhibit B: The heroes, leadersand style setters of thecounter culture have all changed from druggies like Timothy Leary, Jerry Rubin and even William Burroughts, to Alcoholics! What else are we to make of such phenomena as Alice Cooper (who claims to drink a case of beer a day), Rod Stewart (who has created a minor fad for guzzling brandy and cognac among obviously unappreciative pubes on both sides of the Atlantic), even yesterday's drugbustees, the venerable spped—and—weed abusin' Rolling Stones (fuck all this Tequila Sunrise shit, the next one of my friends who tries to bluff cool when he's with me by walking into some fuckin airport bar and humming "Oh, I think a Tequila Sunrise, please" is no longer my friend! Most of the dipshits don't even know what goes in the damn things, in spite of the fact that they always insist on giving their recipe to the barmaid! Bah!)! Yeah, it's a conspiracy all right, and I hate to think who must really be behind it. Not even Nixon, somebody much more sinister... like Jac Holzman maybe . . . Exhibit C: Lissen, when's the last time you attended a pot party? That's right, you're strainin' your branin becuz they just don't give 'em any more! Anachronism! Same goes for acid bashes, speed runs, smack—ins (real big when I was in college), glue—gropes, Romilar powwows ... all gone the way of the dodo: kfweet! And do you wanna know why? Because people are too busy gettin' drunk! Everybody! Even Charles Reich and Baba Ram Dass! Every last schnozzball left over from the Raising of the Pentagon! Ed Sander's an old alkie, been one for years: everybody thinks he's the king of the potsmoking hippies, kak, that's sen—sen, he got such a juicer monkey on the only reason he even wrote The Family was to pick up some quick easy cash to help support his family while he tips up one bottle after another year in and day out! That's the literal true fax! I once ran into Ed Sanders at a party in New York, it was like the collision of two alkie cultures in an atmosphere of resonant anticongeniality as befits some terminal feedback sixties countercultural sundown such as obtained than and fore and aft at the Village apt of John Wilcock, he of Other Scenes and divers scams. It was late last year, I was on my way back from England where I'd been drunk the whole week I was there becuz that country's so boring there's nothing else for those limeys to do but beat it down to the pub and plow their prefrontals under. So now I'd been drinking for three days in New York, starting with Scotch on the plane, then three days of Scotch and beer at Nick Tosches' and Richard Meltzer's capped by my ingestion for no reason whatsoever of some acid Tosches had laying around. So now here I was uninvited and disruptive at this party, stoned on acid and drunker than that even. When I walked in I knew something was funny becuz I saw these two chicks I was sure was hookers (later Meltzer told me one of 'em was Wilcock's wife); I don't know why I thought that, but I was positive of it. I kept ogling their legs and trendy decolletege till I swiveled skull and saw Wilcock curled up on a couch in the corner like a fishworm with the voice of Truman Caponte squeezing out his yap like Pepsodent. He was talking about Timothy Leary, so I said, "Ahh, Timothy Leary's an asshole. He's a idiot. He blew his brains out with acid a long time ago.” So Wilcock cocks his finger metronoming in the air: "You know, people were sayingthat in 1966." Yeah, It Was True Then And It's True Now!" Since I had offended everybody in that room by that time, I walked into the kitchen, where I began yanking beers outa the icebox and tossing 'em down fast as wrist and elbow cogs could spin. That's where I ran into Ed Sanders, and the first thing I said to him, without even introducting myself, was "How does it feel to be an alkie in the counter culture?!! I meant it entirely friendly, brother to brother, but he took it all wrong. He bristled and huffed: "I'm not an alkie and I'm not in the counter-culture!" And his wife or girlfriend or whatever is standing there, and she siz: "You said the wrong thing!" Bullshit! I did not! It's just all these Sixties drug culture holdovers got no real sense of humor! Not like a good real live alcohockey pucher! They're all washed up arth-ripoff barnacles! Society's Goin To Orange County And what bothers me the most is that the purity and goodtimes of our yipup boozo culture is being sullied and eviscerated by this type of individual. They come traipsing in, dragging all their standards and meanings and moral concerns with 'em, and destroy what was best in no man's land. I.E., that even though the potso whatso culture was jest as rife as the Straight Cultuh it pretended to uproot with pieties of every stripe — just try to talk to one o' these fuckin granola — grunchin' Mr. Green Jeans bogus Buzby's about fuckin' ecology sometime, and check out how seriously the fool takes it, how solemnly he intones some fuckin rote writ he got outa one of Jann Wenner's submerged tentacular rags! You won't believe it! I mean who in the livid world possibly gives a fuckin shit!! — in spite of the Hip Dips' miredom in all such dinosaur proclivities and prosthesis, the once and seemed-forever blessing of the booze kultah was that Nobody Had Any Pieties Whatsoever. At least not on my block. We all just wanted to get juiced and be obnoxious. We didn't care if society was going to Orange County in a hackensack, so long's we could finagle another buck for another fifth of Gallo Port! TV was all the world reality we craved! But now it's all ruined! Gettin to where you can't tell a brother from a nark doper posing shifty as a true juicehead! Like just take a look at this phenomenon of, yech, "yough bars." If you can stand to, that is. They're all designed to grab the frats 'N' footloose fillies, as well as a goodly pawfulla hupmobile halfhitch hippies weekending in their headbands. They suck rat mung, and even though they're better'n most places to pick up a bab or even lay 'er up gainst the wall if the join'ts loose as some I've been to in CAnada, in spite of the sexual proximity and prodigeous pairing—off, these places are mere chancres on the bongo bung of the real American skullblast scene. Because it's all institutionalised, y'see, with phony nameless (or better off unmasked) rock bands to do the post—acidative Frug to, pizzas and burgers at outrageous prices, beer watered down to the level of baby albino piss cuz the bald fat old bastards what run'em figger these kids won't knowthe diff anyway, And The Tragedy Is Most Of 'Em Don't. Maybe they pander to some passe pimple pockets by throwing a few posters of Dylan and Racquet Welch up on the walls, they get some speedfreak to paint the place up all garish shockin dayglo ugliness orange and purple like some 1966 nitemare, then they sprinkle glitter shit all over that, then they open the doors and pack in the punks and poons, punctuating the whole sorry shebang with occasional dope raids just to keep things interesting. They cater to the "youth market" by stocking penny o' Boone's Farm Apple Wine, and believe it or not I've even heard tell of some of these places where they actually serve cotton candy! But anyway they all roll over and gum the scurftwat, and you'd do better to head out to the junction and drink with the farmers. At least they weren't Born Yesterday! Meanwhile, ever poor sap and his brother thinks he's Alice Cooper. Alice has a nice boozy image, so ever party ya go to there's some longhair there slouching around with a good nature smirk on his mug, pretending he's casual cool ol' Alice. Blah! I have also met dozens too many washed up wastedome broads hanging out in the dressing rooms of clubs like Funky Quarters, coming on to swinebands like Dr. Hook and boring you for hours with drool drawl about how they're the Next Janis Joplin. Every goddam one's gotta bottle fulla 15 different kinda pills in her purse that she hands out to everybody, and a big bottle of Southern Comfort in her mitt that she keeps swigging away in bold lust pirate devil-may-care goodbye-janis flourishes of flamboyant selfdecadodestruction. Boo! It ain't just that us real drinkers used to have something to be smug about, a clut like the Pretty Things, but that people are putting booze to the same bouge—ass uses they subjected marijuana and all that other stuff. It's a sin and a shame, and I really see neither answer nor end in sight. Therefore, I will deal with the crisis directly and in the most expeditious manner possible, according to all the ancient traditions: I Will Get Flatass Drunk On My Bulbnose And Go Out Looking For Trouble! I trust things in general and specific and inbetween as well as all the ships at sea should be vastly improved in no time. P.S. I forgot to mention that if W.C. Fields were alive today, he'd Turn over in his grave not only at all those jiveass commercials they've got him festered in, but shed tears big as golfballs to see the shambles that has been made of the joy that was drinking, the glory that was coma, the grandeur that was puking up a quart of Tequila on your copy of Transformer at three o'clock in the morning and riving your girlfriend home 30 miles on the wrong side of the street all the way. punk magazine . page seven �The Bronx High School Of Science Teacher's Signature 75 West 205th Street S Bronx, N, Y. 10468 T R R [Blank] [Blank] [Blank] E E K T [Blank] Report Card [illegible] Pupil's Family Name, Given Name Official Class Teacher 2/13 Off. Class Room 205 Rating Mid-Year Or Final Marks Regents Mark Subject Class Subject [Blank 93 [Blank] 314 [Blank] 80 [Blank] 316 [Blank] 75 [Blank] 392 [Blank] 80 [Blank] 318 [Blank] [Blank] [Blank] [Bl [Blank] 75 [Blank] 551 [Blank] 85 [Blank] 393 [Blank] 47 [Blank] [Bl [Blank] [Blank] 80.6 [Blank] [Bl [Blank] [Blank] [Blank] [Blank] [Bl [Blank] 90 [Blank] 307 Health Eduction [Blank] [Blank] [Blank] 213 English Social Studies Subject class 414 [illegible] 416 E. [illegible] Biological Science 492 Mathematics 418 Chemistry Physics Teacher's Signature [illegible] D. [illegible] [Blank] [Blank] Language [FR.] [crossed out/il egible]— M. D. Music Official Class 651 C. Ambierce Alan [illegible] 493 [Blank] [Blank] [Blank] [Blank] [Blank] [Blank] 407 [Blank] [Blank] Year Ending 6/69 Grade Guide Dr. Alexander Taffel Principal Subject Ratings First Report and Third Report ratings are designated by the notations below. Their numerical equivalents are given in parenthesis. Excellent ....... (90—100) Very Good... (80- 89) Good .............. (70— 79) Passing ......... (65 - 69) Failing ........... (Below 65) Absent .......... (Insufficient Attendance) Mid-year and Final ratings are given in numerical marks. "D" or below 65 Indicates failure. -Norman Salant Ahhhh grease. There's a good synonym. Take the grease out of punk and you've got pink Cadillacs. Soap? Nevuh hoid a de woid. Lasso? Got nothing to do with the buccaneers so screw it. Where is Freezeville? Backdoor to a sewage plant and I always liked the bottle better than the soda inside. Has somethin ta do wit phylactics - Rampant Sexism (parochial catechism) Burger King and Dairy Queen is never Burger Queen and Dairy King cause dairy ain't fruit and they can have all the dairies' long as they leave the journals to the machismo-machos. Only trouble is machos can't write in pencil cause they keep breakin the points even with a number one, and if they use a three or even a four and maybe a five (graphite melodica) the lines come out too thick and with crayons they make too much noise everytime they lift it up cause the wax sticks to the paper and an "O" will never fit between the lines and crayons always break on the periods which leaves pens but they always rip the paper so machos grow up to be pyromaniacs cause they gotta do something cause cause cause they make good studs and highway patrolmen — that's why it always takes so long to write out the tickets. They're not trying to hassle ya, they just have a little trouble with their hands once they take them outta the pocket. So keep off the roads. The danger is that they go out in the woods to practice karate on the trees though you never have to worry about firewood, just Smokey the Bear friend of the Machiavellian Choppers and if it wasn't for forest fires they'd have been married by now — they dig marriages almost as much as funerals but not nearly as much as second-rate boxers and public schools always scare them to death........ I don't know. Why they hardly ever kill teachers, they deserve it, only place they get killed is NYC and that's because of poverty programs and authoritarianism: autonomous fascism, never from machismo benefits and it's too fuckin bad cause if there's one thing everybody needs it's a corps of macho teacher-killers to balance the power, man would I have loved to direct that outfit, right to P.S. Fascism and blow the whole fuckin place to page eight . punk magazine Smithereens! just to show them to come out to show them to come out to show dem t'showdem yeah. It's a system In high school the parents were so scared for security they not only put guards at all the doors but a system of identification was set up. Everybody had to have ID cards and carry them around with their pictures on them and show them every time some prick teacher got uptight or felt like flexing a magic bureaucratic muscle. There used to be just program cards but everybody forged fake names and fake schedules so it would always look like you had a free period if you got asked, so when I saw that everyone was going along with the ID card thing me and my friends got pissed. When they took by picture I kept giving them the finger so they wouldn't take it and then everyone on line got annoyed that I was taking so long so I let them take it and when they weren't looking I ripped it up (it was a crummy picture) and snuck out — ain't nobody gonna make me prove who I am cause I don't need no help at it, specially from you. And then we took our program cards and wrote big Fuck You's and Eat Shit's in red right on top of the schedules and the teachers were never fast enough to grab it out of our hands when we showed it to them — a word or two is worth a thousand pictures sometimes. There were machos around but not too many cause it was the Bronx High School Of Science and no manomachismo is gonna go to a school where there's thousands of faggots and hippies and they usually got their way anyway 'cause the teachers were faggots too, just grown up, you can't change your nature, so the teacher-killer corps never saw any action and the burden was left to terrorists of the Muhammed Ali style, float like a butterfly sting like a bee, hit and run away to fight again some other day like the swamp fox. I remember once in junior high I hit a teacher right in the face and made him lose his cool completely. I was playing punchball in the gym and I was hitting them out when the period ended and the teacher, Larizza was his name, a real big Italian job, he came over to get the ball and I wanted to take a last shot so I did it fast and he was standing right in front of me but I hit it anyway and it was the solidest shot of my life, it would have gone over both fences, and it hit him right in the eye point blank and he yelled You Idiot and threw his newspaper at me but he couldn't see with his hands over his face and it was only a newspaper so it missed and I tore into the locker room and put on my dark glasses and when he strode down the aisle looking for me I sort of turned to the wall and my heart was giving my chest a real beating but he didn't see me and I escaped to the glen and listened to Simon & Garfunkel. Everybody knew me for a week after that, but I didn't calm down until I graduated two years later and I still haven't told my parents cause my mother's- a teacher and my father used to be one and even though I'm for killing teachers I'm not for killing mom and dad ("let's hope so," my father would say) so if they stop being teachers let em live. Plastic Fantastic Uppercuts Yeah, right to life. I have a friend David and he has a funny body — it would go out in all directions at once and he was real skinny and it the old strength test so he put on his big gloves and let fly a short so when he did a handclap it would go BOOM BOOM like that and dense, it was in the cafeteria where there were these pictures hanging up with a protective shield of plastic so kids couldn't touch them and they'd last forever, like they had in the halls too, and the auditorium. So one day as we were lined up against the wall right by one of those pictures and David decided to give it the old strength test so he put on his big glove and let fly a short jab to the farmhouse and nothing happened so we all agreed that it would never break, then he tried an uppercut which is more powerful knife in a knothole M. Elkin Ruling E/5 G/5 VG/5 Final Mark Regents Mark [Blank] 905 805 [Blank] 905 96 E/5 955 [Blank] [Blank] [Bl [Blank] G/5 918 82 [il [Blank] 855 [Blank] -4 [Blank] [Blank] 89.2 [Blank] [Blank] [Bl [Blank] G/5 85 [Blank] 5 5 [Blank] Character Ratings Character ratings are noted by all subject teachers and the official class teacher. These ratings, when given, are added to the subject ratings using the following code: E — Excellent S — Satisfactory N — Needs Improvement 3-13 New Off. Class 005 New Off.. Room than a jab — no one ever got knocked out by a jab, but an uppercut is like an underhand hook — and when he threw it there was a big tremendous explosion and all the plastic fell on the floor just like glass but it was still plastic and he never got caught cause there were too many people per square foot in the area and he mingled with the crowd and had a good time at the party until it was time to go home and new he goes around selling flannel shirts at Neil Young concerts. Another time he went up to the microphone where they make announcements like "throw out your garbage.........NOW" and before anyone could stop him he sang a song he made up: Half a year of reform school Then she marries the guy Then they live in the country In the house that he built He built it cause he's an architect And before that He threw a knife in a knothole. And then everybody would put their plastic forks in the suggestion box. And once we put a stink bomb with a time delay ... in the garbage can and the whole place smelled so bad that everybody left and went outside even though you're not allowed to leave the building and there was nothing they could do about it. And and and and there were these letters hung up on the wall abcdefghijklmnopqrstuvwxyz I still don't know why, but we played anagrams and rearranged them so it read abdefuckghijlmnopqrstvwxyz and that lasted a few weeks so we took away all the other letters so it was just fuck on the wall for a week until they finally got hip and saw the writing on the wall. Then we put up hairycunt but a girl took it down and called us sexist and that was that. The trouble was there were no maniamachos around or there would have been hairycunt and titass all over the place and there'd be a big dick and suck mine too but they were all too busy mooning Smokey the Bear and drinking beer out the bottom of the can and jumping on each other's stomachs to inflict any morality on the burger king peasants and dairy queen fags and besides they're all at Nathan's playing electronic ping pong for a quarter. �knock on wood -Billy Altman In the immortal Abbott and Costello classic Cornin' Round the Mountain Lou plays Squeezebox McCoy, the Charlie McCoy of the concertina. He's the only member of the McCoy clan to come from the big city and he and Bud inevitably wind up in the middle of a typical Hatfield-McCoy battle royal. Glenn Strange, perenial bad guy (so mean he played the villain in the very first Lone Ranger), is the leader of the Hatfields and he can't stand little Louie and calls him by his Christian name throughout the movie. All 6'5" of Stange peers down at the roily polly 5'6" frame below him and utters the magica word: "Willlllllbbbbuuurrrrrrrr." By the end of the film everybody makes friends and the feud ends and Costello escapes the clutches of Emmy Lou or Peggy Sue or whatever the name of the pig tailed tomboy usually is. But whenever I scan the day's baseball box scores, I get caught at the White Sox one 'cause every three days that incredible name pops up: "Wilbur Wood." Besides the great first name, Wilbur Wood has a great last name. As Curt Gowdy said a few weeks ago on the game of the week: "The hitters just can't get any good wood off Wood." Curt's sense of humor on the old broadcasting circuit is very underrated. I mean Mel Allen was on the other night and Curt didn't even ask him where he'd been for the last ten years. So mel Really had to be on his guard, just in case the question did arise. And when Tony Perez hit a home run in the bottom of the tenth to beat the Dodgers, Gowdy didn't let Mel do his famous "Going, going, gone!" either 'cause it wasn't his game to announce, he was just there as a guest commentator. What a card! Speaking of cards, Wilbur Wood's has always been fun to collect since he's a fat slob. He has to face the camera when they take his picture because if he turns sideways, he won't fit on the allotted room. Also his triple chin is harder to spot front ways than sideways. But Wilbur has what’s called in the trade a rubber arm, which means that he can pitch nine innings or more twice a week and not get tired. Mister Wood throws the ever dangerous knucklebail which is as hard to catch as it is to hit, and it’s mighty hard to hit. Ya Can't Hit Hoyt The first great knuckler I remember is Hoyt Wilhelm, the ageless wonder that made the pitch what it is today. Hoyt developed it early in life as a member of the New York Giants, but it was at Baltimore that he got real famous for it. Hoyt was a relief pitcher, and one night in 1959 he was forced to start a game against the Yankees because the regular starter got sick. All through batting practice the Yanks are yukkin' it up because everybody knows that catchers can't catch knuckleballs. So when el National Anthem is played, even old patriots like Casey Stengel find themselves cracking a smile and chuckling under their wads of tobacco. So all of a sudden, little Clint Courtney, able backstop for the Birds of Baltimore, former catcher for the hapless Washington Senators, described by scouts across the nation as "small but wiry," the only catcher in the league to wear glasses, therefore fooling the oppostion into thinking that he couldn't even see second base too well, let alone throw to it (and he couldn't either), comes out of the dugout with, of all things, an oversized catcher's mitt!! Looks like a cross between a catchers' and a first basemans'. When he puts it in front of his head, you can't even see his face! Yogi Berra gasps, Elston Howard plotzes, and Johnny Blanchard looks the other way with a smile on his face "cause he isn't in the line up tonight so he don't care one way or another. There's nuthin' in the rule books against it so codgy Casey can't complain. He doesn't and the game begins. When it's over there have been no passed balls, no wild pitches, and get this sports fans, No Hits!! Hoyt has pitched a no hitter against the Bronx Bombers. The Orioles run out to congratulate Wilhelm, Paul Richards decides to make him a regular starter and Hoyt requests that Courtney always catch when he pitches. Gus Triandos, the regular catcher, didn't like that one bit, but then again, he was a real stupid athlete and though Courtney tried, he couldn't teach Gus how to use the oversized mitt. Triandos did catch Wilhelm once in a while, but he kept missing the ball and getting all paranoid about pitches in the dirt and it just wasn't the same. Hoyt headed for the Chisox after awhile, where he taught Eddie Fisher how to throw the butterfly ball, and Fisher helped Wilbur Wood. How's that for history? Fatsos I've Known and Loved But like I was saying, W.W., in the great tradition of Babe Ruth and Galen Cisco, is a real fatty. Obesity is frowned upon in baseball circles except if you're somebody like Smokey Burgess 'cause he was a catcher (exception No. 1) and he was used mostly as a pinch hitter (exception No. 2). In Smokey's day a pinch hitter was an artiste, not some dingbat designated hitter like Orland Cepeda who is a complete waste if he doesn't hit a homer since he can't even run to first base on his dying legs. Now Smokey never worried about things like that because he'd always pinch hit with men on and he would always hit it in the alley in right center and walk to first base laughin' like his look alike Walter Brennan (who was the real McCoy after all was said and done). Smokey would call time at first and then roll off the field in favor of a pinch runner (usually Joe Christopher) with another notch in his ever expanding belt. Could you just imagine him in one of those dippy terry cloth uniforms? Smokey probably foresaw the changing fashions and that's why he gracefully retired a while back with the best pinch hitting record ever. So no matter what Jim Ray Hart does, it'll have to have an asterisk next to his name in the record book 'cause it just ain't real pinch hitting. Bob Cerv holds the major league pinch hit homer honors and he was fat too. His number was 17 and he hit more homers in a ph role than his number, which means he was damn good, and almost half of 'em were grand slammers to boot. The best thing I ever saw Cerv do was bunt once as a pincher and he walked to first base just like Smokey ’cause the opposition was so flabbergasted at this move that they didn't even try to field the ball. Now the two greatest grandslams I ever saw both happened with the Mets. The first was in 1963 at the Polo Grounds. Roger Craig had lost something like twenty games in a row and was going for the major league record for consecutive losses. Craig had a great comedic mind, so he insisted on wearing number 13 on his back for this particular game. He was facing the Cubs and though he pitched courageously, he was losing 3 - 0 in the bottom of the ninth. Somehow the Mets got the bases loaded with two outs and ace strikeout victim Jim Hickman was Roger's last hope. With a two strike count against him, Hickman hit a line drive to left field. Billy Williams drifted back and got ready to make the catch when he realized he was standing in front of the wall. See the wall was only about two hundred fifty feet away down the line, and Billy jumped, but the fans in the left field stands reached over his outstretched mitt and grabbed the ball and it was a Grand Slammer! The Mets Win 4 — 3! And who should be standing at home plate waiting for Hickman as he trots around the bases but number 13 himself Roger Craig, tears of joy running down his chubby cheeks. Two Jacks and a Tug The other memorable one was when Fat Jack Hamilton joined the Mets from the Tigers. It was his first start and he allowed two runs in the first inning. It looked like a sad day at Shea (to quote Bob Murphy), and when Jack came up to hit with the bases loaded in the bottom of the third and two out everybody stopped cheering 'cause even Roy McMillan had a better chance to get a hit with men on than the pitcher, and Roy didn't even hit .250 all of his umpteen years in the big leagues. So here's Hamilton with his gut hanging over the plate and for a minute I dreamed that he would get hit in the stomach by a pitch and gee, Casey really is a genius, but on the first pitch Jack sent one into orbit (to quote Ralph Kiner) and the thing is, it was his first at bat in the National League! So his batting average was a thousand for two innings. Course he lost the game anywhay, but I'll never forget it. With the old Mets you had to count your blessings while you had 'em. Jack Fisher was also fat and lost twenty games every year for three years but it wasn't his fault half the time. He'd throw and throw and throw and lose at least fifteen pounds every game but he still lost. One time has duelling Jan Marichal and it was 1 - 1 in the ninth. Willie Mays walked, was sacrificed to second, moved to third on an infield out and appeared to be stranded there. Jack was nervous but with the crowd behind him, he seemed to be well in control. So what do you think happens? Willie keeps fakin' like he's gonna steal home which anyone in his right mind knows will never happen because Willie in 1965 was old already. Anyone except Jerry Grote, that is. Grote tries to pick Mays off, the throw goes into left field, Mays races home laughing all the way and the Mets lose 2 -1. Poor Jack. It had been the only game in three years that he had allowed less than four runs except when he beat the Cubs 19-1 but that didn't count 'cause Dick Smith went 4 for 6 with four doubles that day so something had to be wrong with the cosmos: Jack experimented with a knuckler for a spell, but noting came of it. Wilbur Wood, on the other hand, had the distinction of losing last year's All Star game to Tug McGraw, who throws a screwball and was the first Met pitcher to beat Sandy Koufax. Wilbur might win thirty games this year and that's better than Steve Carlton did last year so hold on to your hat Jack Chesbro 'cause Wilbur's out to get ya. Long live Fat! Here's the famous foolproof knuckleball catcher's mask designed by Clint Courtney. That's former Met great Butterball Botts showing off the latest in home plate fashions. punk magazine . page nine �I left my glove in San Francisco -Terry Bromberg The Roosevelt Hotel. You ever been down to the Roosevelt? Madison and 46th. Or maybe 47th. Or even 48th. Ah, what the fuck is the difference anyway. The only thing that matters is that the Roosevelt Hotel was the scene of some of my finest moments as an autograph collector. Ya know, Meltzer collects bottlecaps and I collected handwriting samples. Anyway, I started out by going down to see my boys, the $ men. But once I got hooked, I was on my way every time a squad came to town. I mean, I even went to get John Hancock's from the Minnesota Twins, and can you Possibly think of a more boring team than the Twins? Well, maybe the Phillies, but they're a different story entirely. So there I was, in the same hotel as my Bay Area bombers and who do I see coming my way? No, not the slum goddess of the lower east side, but Jim Ray hart. So I clear my throat, get ready to ask away and when I do, old Jimmy $. hands me a postcard with a pitcure of him in action on the front and his autograph on the back. But it wasn't even really his autograph, it was more like a stamped replica or something. Now, I had heard rumors that J.R. wasn't too bright (He's the only guy I If the right one don't get ya........... know of who ever flunked the Army mental exam!), but this was a bit much. But despite his obvious mental shortcomings, he was always real obliging to me, always answering my queries about Strech's knees and Juan's back and all that. And not only was a decent guy, but for a while there, he was one heavy hitter. I mean before his four year shoulder injury of course, which, by the way, has miraculously healed as these days Jim Ray has become the best D.H. in the American League. Although in my mind, I think the page ten . punk magazine only cure he needed was a good dose of That Junior circuit pitching, if you know what I mean. He came up the same year as Ritchie, excuse me, Dick Allen did and in his first game Bullet Bob Gibson hit him and broke his shoulder blade. That didn't stop him though and he went on to have five solid years Who Needs Gloves But for all his slugging prowess, J.R. couldn't field at all. Just horrible. And for that matter, neither could Chuck Hiller; even if he did hit that grand slam in the '62 series, I never dug him. Recollecting now, as us old timers are wont to do now and again, that Giant team couldn't field worth shit. Bailey and Haller hit, that’s for sure, but behind the plate they moved about as well as Jerry Garcia does on stage. Stretch, bless his heart, and Orlando split first base and left field and between 'em they got the worst knees this side of Broadway Joe. Jose Pagan? Well, he was just Jose Pagan, mild mannered reporter disguised as mediocre shortstop for a great metropolitan baseball team, although in that series against the Yanks he did lead the team in hitting. That leaves us third, center and right. Davenport, Mays and Felipe. Willie, well lets just say that before he decided to make a clown out of himself, he was the finest ballplayer I've ever seen. And if you were one of those nonbelievers who sided with the Mick during those raging schoolyard debates, let me tell you something, the Duke of Flatbush was closer to Mantle then that Oklahoma hick was to Say Hey. Nuff said. Davenport and Alou were both real consistent and them three sorta held everything together, in the field that is. On the mound, rolly-polly Jack Sanford racked up 24 wins (16 in a row), the Dominican Dandy had 18, and the last of the old timers, Billy's O'Dell and Pierce had 15 and 12 respectively. And with Stu Miller out of the pen, we sure had some tough arms. Should've won the series, and would've too if Tom Tresh didn't happen to make the greatest play of his life off Mays in the game. Willie smashed one into the left field corner in the sixth inning (or maybe the seventh) and Tresh, a rookie then who now frequents the Old Timers circuit, made an unbelievable, running, across the body stab. McCovey followed with a triple and that would've been the end of Ralph Terry's shutout. Oh well. But the classiest guy to wear a Giant uniform in the past ten years has to be Tito Fuentes. I remember his first game like it was yesterday. Summer of '65, late July, afternoon game against the Mets in Candlestick. Bub Murphy informs us that the G. men have brought up a new second sacker and Tito promptly went ahead and got four hits, which was not quite as good as McCovey going four for four in '59 against the Phillies cause Tito was into singles while Stretch was richochet ing the ball all around the damn place. Who Needs Bats But after that dynamite opening, Fuentes really died. Couldn't field, couldn’t bunt (a crucial asset for a second batter to have, lord knows how many sacrifices he fucked up), and couldn't hit. A real zero. But man was he cool! He'd come up to bat, golf glove and all, go through his little ritual (tug at both shoulders and then tap the skinny end of his bat against the plate and flip it over and catch it. To this day, I've never seen him miss.), and then pop out to short or tap back to the box or whatever. I remember this one game against Cincy four years ago. It was Mc. Covey against the Reds. He had about four hits and seven R.B.l.'s The Reds would score, the Giants would get men on base and up would step Ttto and, of course, he'd choke. He must've left ten men on base that day. But Stretch kept coming through, and wouldn't you know it, Tito was always the first one in the dugout to give skin to Mac. No pat on the ass, nice going bullshit for Fuentes, no sirree, strictly hand up above the shoulder type skin. He looked so happy that you'd think he had gotten all those hits. But Tito never got hits (until the past two years), usually made the wrong play, but he sure did look good doing it. And you should see him off the field. My God! He's really into jewelry and its said that Tito wears at least six rings whenever he's in civvies. A real star that Fuentes and the fans know it also. At a Giant-Met game two years ago, a woman friend of mine immediately picked up on Tito as her favoritest Giant, ahead of Willie's M. and Mc., B. Bonds (who is, by ........... then the left one will. the way, both a wizard and a true star on the diamond), etc. She knew and you best believe Tito does also. And one more thing about Fuentes. He spans the generation gap on the Giants. I mean, he was there through the heavy slugging years, through the transitional period and on into 1973. And it sure does look like its gonna be a good year for them too. No choke this year (I hope), cause me and Molk have rooted too hard all these years not to deserve our just rewards. Long live Gary Maddox! �ballad in plain D train -Gary Cinnamon While all of you suckers used to pinch your pimples worrying about late Giant and Dodger scores from the coast, when you shelled out your last bits of change for the Daily Mirror to see the probable pitchers, I was sleeping like a pennand-bound baby, secure in the knowledge that the inevitable was to surface come September. And you cursed me, calling me everything from "you root for all the winners" to a "pin-stripe pussy." Alas, people, the Bronx Bombers always had the last laugh, driving enemies of the State into frenzied fits of folditis. The New York Yankees of 1960-64 provide fond memories of baseball unexcitement yet consistent success and satisfaction. In 1959, the Yankees took a leave of absence from the American League, allowing the gnats of the Chicago White Sox to be swatted by the Dodgers in six. Do you really think a team with Gerry Staley, Turk Lown, and a host of non-hitters could have won the pennant without some fancy play by the Yankees? Well, to start making things normal again, the Yanks took on the Kansas City Athletics as a farm system and acquired a bunch of A's that would make their marks in the Bronx. Beside the golden-fingered Roger Maris came Hector Lopez (he of the golden glove) with his Jewish wife (he wore a crucifix and a Jewish star on one chain. Whate a man!); Bob Cerv, who never really did get a chance to arm-wrestle Ted Klusiewski, also arrived from the farm. A year before, Art (Goegeous Hunk) Ditmar brought his enormous talents to the Yanks. Joe Demaestri also made his impact on baseball history in pinstripes after coming from Kansas City. Alas, sure-eyed Norm Siebern and Jerry Lumpe had to be the unlucky ones to leave, and the others who received a living-death sentence to Kansas City or parts unknown were the promising young Gary Blaylock, the Johnson boys, Deron and Darell, and Johnny Kucks. Even dental enthusiast Don Larsen, who after his cosmic mastery of the Dodgers in 1956 said that the first thing he was going to do after he reached immortality was to get his teeth fixed, and Bob Turley were soon to fall by the wayside. Dragging the Fences The basic 1960-64 victory machine is well-known: Skowron at first, the Moose, later replaced by Mr. Joe (Pepitone). Little Bobby Richardson at second, who set a premier example for all us kids out there. Tony Kubeck (succeeding Gil Mcdougald) at short, for whom Tom Tresh and Phil Linz shed so much blood in 1962. After Andy Carey, letis (Orgasm) Boyer at third, providing many thrills at the keystone with his diving stops and from-the-knee throws. Maris was in right, where he could be seen dragging the right field stands in a couple of inches during nocturnal visits to the Stadium. The Mick in center, who was always staunchly defended from Mays freaks with the simple phrase, "Yeah, but if he had good legs . ." Left field was inhabited by many. Cerv was there, Yogi would climb up the left-field foul pole every now and then screaming "Me-hee for Yoo-Hoo, Fudge Bars too-hoo." Lopez was the best though, making constant late inning errors under orders to make things a bit more tense, then coming up with late inning hits to keep his stock up, topped with a ninth-inning "lot of white showing" game-ending catch. John Blanchard, who in 1961 hit four consecutive homers (two pinch-hit and two in one game) shuffled, and I do mean slowly, between outfield chores and catching duties. Berra and the courageous Elston Howard were usually behind the plate. The best moundsmen were Whitey ("thanks Luis") Ford and a flock of crazies: Bill Stafford, who resembled Buffalo girls so much with his ass and chest stuck way out for everyone to see; Roland Sheldon, who made everybody forget Tom Sturdivant; Jim Coates, who in 1960 had the best winning percentage on the staff and an over 4.00 ERA; Bud Daley, another KC tradee whose deformed elbow baffled enemy hitters for quite some time; Ralph Terry (or Ralph Cherry as Phil Rizzuto called him) still another KC product who, despite all his heroics in the following years will be marked for the death for the rest of his days for serving up that balloon to Mazeroski in 1960. Luis (that's OK Whitey) Arroyo headed the relief corps, succeeding Bobby Shantz, then passing on the torch to Marshall (Stolen Kisses) Bridges, shot by his wife in a bar during the off-season. What class!! It's the not-so-famous men who send chills up and down the spine. For instance, Mickey Mantle's legs, Jack Reed and Ross Mosschitto. Reed finally got to bat in 1961, and hit a homer in the top of the 22nd inning to defeat the Tigers. Eli Grba, who not only had a great name but an amazing set of ears. Al Downing and Jim Bouton arrived in the early sixties. Pete Mikklesen was around for a time. But the best man was Mr. Laffs himself, Phil Linz, the Wayne and Schuster of the Yankees, whose wicked harmonica won a pennant in 1964. Dale Long, the Johnny Mize of his time was around too. Animals on Parade The American League opposition was intriguing. In 1960, the Baby Birds of Baltimore made a run at the 'The Moose' Yankees, featuring an infield of Robinson, Hansen, Breeding, and Gentile, a pitching staff of Estrada, Pappas, Wilhelm, and Fat Jack Fisher, the catching of Gus Triandos, and an outfield headlined by Gene Woodling and Bob Boyd. In 1961, it was the Tigers. They always gave the Yanks the most trouble because of "Yankee killers" Frank Lary and Don (Handsome Don) Mossi. The hitters were good, too. Kaline and Colavito, Norm Cash and Steve Boros, Eddie (the Walk) Yost and Chico Fernandez. Of course there was Charley Maxwell, who did all his hitting on Sunday. But the Yanks were never in serious trouble, and in a big series in July featuring the best July 4th doubleheader in history, Kaline was thrown out at second by Yogi Berra who was played by the carom off the wall perfectly. Kaline then went on the break his collarbone and the Tigers were licked. The cellar-dwellers had great players. The original Senators featured Julio Becquer, Jose Valdelvioso, Reno Bertoia, Camilio Pascual, and the tobacco-chomping Pedro (I am the Fastest) Ramos. I'll never forget when Pedro came to the Yankees in '64 to help in the pennant drive. The next year, he really stunk, but had the best moment when he swallowed his tobacco on the mound and Red Barber couldn't believe it. Other famous enemies were Pete Runnels and Frank Malzone of Boston, Lenny and Pumpsie Green, Bill Tuttle, Jim Rivera, At Smith, Albie Pearson, Wayne Terwillinger, Sherm Lollar, Paul Foytack, Bob Rodgers, Manny Jimenez, a reincarnated Ryne Duren and Jerry Lumpe, Harry Chiti, Steve Bilko, Clint Courtney, Earl Torgeson (later a fallen Yankee), Paul Foytack, Wes Stock, Vic Power, Mudcat Grant (as an Indian), Gary Bell, Dick Stigman, DAve Stenhouse, Tracy Stallard, the schizophrenics Gene Conley and Dave DeBusschere, old Clem Labine, and Rocky Bridges. The flashes come hot and heavy: Art Ditmar starting a two-out ninth-inning rally with a pinch-hit double against KC in '60, Mickey Mantle's gaping hole in his thigh bleeding crimson, Joe Pepitone losing Clete Boyer's throw in the sun in the '63 series, Tom Tresh's catch off Willie Mays in '62, Maris' golden finger, Bobby Richardson hitting a grand slam in the '60 series, Mel Stottlemyre coming up in 1964, Casey Stengel, a young Marv Throneberry, an aging Enos Slaughter, Steve Hamilton, McCovey lining out to Richardson, Julio Cecquer breaking up Bob Turley's no-hitter, not summer nights of arguing Mantle-Mays in front of Halsey Junior High and going down to Zingy's for a lime rickey. But the most avid flash of all is going to Yankee Stadium for the first time and seeing the Mick hit a homer to beat the Indians. That beats sex and revolution by a lot of fuckin' miles. What is a National League, anyway? "... so the farmer tells the daughter 'if he kisses you, yell strawberries'..." punk magazine . page eleven �-Richard Meltzer '72, man, fuckin Traveled in '72, fuckin traveled my ass off and as you all know there's but 4 ways to travel. No I mean there's but 4 Reasons for travel in and they are 1. to make money; 2. to spend someone else's money; 3. ?; 4. to get laid. That's if you are a writer. If you are an editor or if you're lucky enuff to be Mr. Johnny Kosmic Himself, Jonathan Eisen, well then you got trillions of reasons to travel, all of them kosmic. I ain't kosmic so alt I got is 4. and No. 4 is the most important one cause how could it not be? In January of '72 I got myself a free trip to LA the land of pussy off of MCA Records & Tapes. They set about 40 of us NY writers up in the Sheraton Universal and we ordered up a storm on room service cause it was all free. All of it including the tip so one meal that we got outta my room was 55 dollars and I wrote down a 40 dollar tip for the gentleman. He was real happy and the next time he delivered Blue Nun wine to my room (2 bottles) he was real quick and efficient. I only got laid once in the SU and it was a certain Miss S. who used to write for Circus. She spotted me downstairs in my flashy name tag and sooner or later it was makeout city. Jon Tiven of New Haven Connecticut (the 37th largest city on the continent) was there to steal wine for us from other dodo's tables and steal he did and we kept em under our table and the table included: John Morthland, Mr. Ed Ward, Tiven, me, Miss S., Anne Moore!, whatever her name is who always edits Flip magazine and maybe one or two others who time has forgot. That was the first night of makin out (hands up her coozy and she had her hand on my pecker after the wine and the music and she swore it'd be her in my fuckin bed the next nite (1st nite was somewhere obscure but the 2nd nite was supposed to be in the hotel itself so she could of cuss expose her loins there). 2nd nite came and she was kinda recalcitrant if ya know what I mean so it took some coaxing to get her up to my room (we went to Disneyland that day — she didn't go but the contingent from the East Coast plus Lester Bangs & Co. went there and it was shit except there was a store where snuff was available) and she had this ride back to where she was going so he hadda come upstairs too and he did (he hid in the closet). First off we did some 69 but I don't really remember comin in her mouth altho I sure do remember lickin her honey of an asshole and she sure liked that (They Like It A Lot More On The West Coast Than They Do On The East Coast And That's Why You Go There For Christ Sake.) Moanin and pantin and I think I stuck the old pongo in her lovepit a couple of times and then turned on the TV. Can't remember what was on but it was starring Victor Mature. She left and gave me her phone number. Called it once and she didn't wanna come over. 73 with a Bullet Saw her few days later (in between I was at the Troubadour and Alan Rinde comes over to me with some honey — hadn't seem him in 6 months and can't figure out why he's bein so nice — and we go out for some eggs benedict, then we go to his place and he gets to escort his babe to the sheets but I'm stuck with my cunny in the living room and she ain't so hot to trot so I take out a copy of Esquire and show her I was one of the Heavy 89 that year so she finally lets me feel her up from underneath what she's wearing, she gets tired and then she wants to sleep but she page twelve . punk magazine wants to take off whatever she's wearing and put on something of mine so I give her my Stony Brook college jacket and while we're lyin down with her wearin that I stick my hand up her snatchola and after about 7 minutes of that she lets me take off her pants and eat her pussy, she's panting and huffin & puffin and finally I get to stick my pepperoni up her quim and we're goin at a good gate until finally I come and she's not comin so she's pissed off and she leaves: calls a fuckin taxi but the address she gave that we got off the Esquire — How'm I supposed to know the address? — was wrong so she’s gotta call again before he gets there and she leaves, can't remember her name for the love of Mike) and I was with Miss S.R. after comin back from a wrasslin match that Pete Senoff took 17 people to. 27 man battle royal and we got back to the hotel and I wanna ferk her but she's hung up on her Old Man who's far away doing publicity for Elton John. Took about half a week before I got into her pants and they were the best pants I got into that trip. Ran into her at the Nitty Gritty Dirt Band at the Troub and I sez to her why don’t you stay for the 2nd set cause I have a tab and I will buy you a bottle of champagne so she does. Suddenly I'm in her automobile (red?) and on the way to Beverly Hills her home. We're up there gettin it on and the light’s blarin so I sez please turn it down a bit but we do most of our hanky pank while it's hurtin mu orbs. First thing I knew she was sittin on my sausage and it was real Hard, could of been the hardest it ever was and she was undulating on it real good. Ate her pussy too while stickin my finger up her asshole (middle finger, right hand) and finally we got to sleep and in the morning I wanted to stick it up her from the rear (not in the bunghole bit in the box from the famous doggie position but I didn't get to do that for about 4-5 months — the next time I visited LA). She was a sweety and the 2nd person I ever fucked who also fucked Jim Morrison — in fact she was the one who drove him to the airport when he left for Paris forever and Miss S. was the one who he was going to marry in Vegas but she said no cause how could she possibly return to LA married? Also got to phug somebody in SF that trip (flew up there for a side trip — cheap enuff — and stayed at D.G.'s abode in Sausalito but couldn't stand the deprivation of not being able to plunge it into her hole so I went up to Greg Shaw's house in Fairfax and got into the drawers of his next door neighbor who was pregnant from some black guy and said that I was the angel of mercy or something like that cause — modesty aside — I was real nice to her and we went to some bar for some hot brandies which are the custom in may a West Coast drinkery) and down again to LA where S.R.'s coozy was a-waitin for after I got back from the basketball game between LA and Phoenix that Gary Kenton got us tickets for (me, him and Liza Williams) and when I talked to her on the phone she told me she would be eating a garlic-laden meal for sup and her cunt would be bleeding but if I didn't mind it was Ok with her. Sure was o'kay with me for crying out loud and she had some friends of hers over when I got there, a married couple as a matter of fact. While they were there I took a shit in her bathroom which had a wide open wall so they could hear everything but big shit so they heard it, big deal. Ate her for about 4 minutes (not nearly long enuff) and then stuck in the third leg, next day she drove me to the airport and our parting was real swell despite the fact that Elton's promo person had returned in the interim. On the plane (free again) I ran into the daughter of J.W. of A..... C Records and while the flicker was flicking we got to kiss & hug & fondle. Next day while my NY old lady (everybody's got one so why not me?) was busy at work for Natural Gardening magazoon she came over (cheatin on her old man who was incidentally Afro-American) and we did the “do" for hours at least. But it so happened that just before she came over I was puttin crab medicine on my crotch just to play it safe ca use you never know what you'll pick up in LA so when she got there the crab med taste was still on my gonad area. First I ate her cunn, then I stuck it up her vagina with her on her back. She Sure Could Dance (she was a dancer LA, this time to interview the boring-as-all-getout Jackson Browne for Rolling Stone. He was fuckin boring but this time I finally got to fuck both L.E. and her roommate Liza Williams (she don't mind if I mention her name, you can even check with her for libel first if you want). L.E. was — no wait a second I don't think I got to actually stick it up L.E.'s poozle till the next time but I did get to eat Liza for about half an hour and she blew me after that and I put my jumbo in her jellypit too. Also on that trip I got to renew my friendship with S.R. but she didn't go for my drunken antics so it wasn't so hot except for the morning where I woke her up by licking her clitty to kingdom come (NYC babes really don’t get as off on being eaten, they usually even tell travels with my pud —Roni Hoffman with Dr. John) and after coming I stuck my tung & lips & etc. on her puss which had just made contact with my dingus so it tasted like crab medicine. But shit so I kept on eatin while of course stickin the old reliable fugfinger up her keester and she danced up a storm for that one. Then we fugged again in I don't remember what position (her on top?) and then we settled down for a 3rd go-around and for this one she shoved her butt in my direction for some cuntal penetration by yours truly: Doggie Style!!!! in NYC to be exact (didn't expect it). After that she started suckin on my doodle and I told her it was gonna be a long time before creamin this time around cause I had jacked off earlier in the day (I had) but she didn't care, she just wanted to french me for a while and I reciprocated her too (no ejaculation for anybody). Months went by before another trip to you their clit is so sensitive and you're too harsh with it) before she went out to teach her class of ghetto youths (subject that day was Morrison's longest lizard poem). To Finland? Next Big Travel Was Kim Fowley. Kim's of course the king of travel (he's even been to Finland) so it was indeed an honor hittin the road with him (Mars Bonfire Too and also Jeffrey Cheen — hey jeff I hope you still wanna take me to lunch the next time I' in town). Me and Kim were in a nookie competition from the word go. I wasn't so hot to compete but after I go laid be fore him he was pissed off so compete it was. Didn't get to dip my wick until Washington, D.C., the nation's capital and it was K.W. who was amenable. Real fuckin pretty gal altho my Polaroid of her don't look so hot when I show it around bit she �was A Good One. Loved her to death that one nite we shared and told her I'd dedicate my next book to her (it's still in the works), even licked her poon & shitter on the radio studio floor before they kicked us out and we hadda retreat to the Holiday In.. Took a bath with her too and did some splashing. 2 nites later it was Philadelphia and Mrs. M.T., also known as C.T. in her own right (but she's no C.T. if you know what I mean!), the nite of Philadelphia all I could do was stick my hand down her pants while hubby was watchin but she followed up to Cleveland (worst city in North America) and there I came on her neck while under the influence of bad eardrums from air travel. She was a real honey and I still correspond with her to this day, she's delicious and I know in my heart that she'll be sitting on may face again someday. Third on the Fowley tour was F.M. of Evanston (this was Chicago, the horniest town in the world), her first name was Faith and she had lots of Hope and Charity to boot. My nite with her eas the best mite I ever had production-wise: came Eight (8) Times (X) cause she kept fellating my dangle every time I came so I could get it up agin. She was short and had a fake third eye drawn on her forehead and did not like to have her fishpot eaten but liked licking my dagger more than anybody ever had. It was a whole ene of physical activities for me and her and after the 5th orgasm of mine (it was almost every time the one with her on bottom cause she refused to do it any other way) she shot some shaving cream up her cho-cho for a lubie (I didn't have any Jergen's Lotion like Kim had next door over where he was entertaining not one but TWO lovelies from the hog butcher of the world) and then we went to dreamland. Morning came and she opened the blinds to see the sunrise over Lake Michigan (she was a psychotic from the loony bin who had previously been in love with Buzzy Feiten of the Butterfield Band) and then we fuqued somemore. She told me I was the only person who ever made her come (if you don't believe it go ask her yourself, I'll supply you with her address and phone number if you write me c/o this paper) and when she left in the elevator I could swear she had her eye on Mr. Kim. She calls me collect at least twice a month and went on to fuck Eric Bloom of the Blue Oyster Cult. Then later in the month of July I got to visit LA again for the wonderful exciting Signpost Records party at Ciro's which no longer exists. Lovely A.M. was there and I knew right away I needn't look no further for my evening's jollies. She was with Terry Aktinson of the LA Staff and I was on my 3rd rum & coke. By the 13th they were out of coke so I settled for a rum & 7up. She walked me back to the Sunset Marquis and we had a debate over which direction it was in but finally found it nonetheless and I grabbed her belly flesh cause it was nice. First thing I knew I was thrustin away inside her real slow havin a great time. Her head was almost bumpin into the headboard so I had my right hand there to keep her head from gettin injured but then I stuck my hands in her anal region and spread those cheeks apart. Next thing I know she's doin ditto to me (wotta honey! I still love her to this day even tho she was non-committal to me on the phone later in the week implying that — yes — once again I was getting the famous old LA Woman treatment: NYC sweeties don't do shit, wherea LA sweeties do it once or twice and then it's "bye bye Johnny") and finally I came which meant the bedorama was over cause she hadda go to work the following morn (how was / supposed to know?) but I went down on her goulash one last time to try to hold back the dawn (I Loved Her) but it got me nowhere, sigh, shucks, sadness, cryin, tears, boo hoo. Then was the nite I fucked L.E., we were sleepin up in her flea-ridden room from her dog T. and she sucked on it to get it stiff enuff to burrow her swamp and then she planted same right down on it and I musta came in about 21 seconds and we laughed our asses off (I'd fuck you again, L.E., I really would). She sent me a tin of Tiger Balm just the other week. Thick as a Seagrams bottle Speaking of tigers next thing I knew I was in India writin a piece for Oui (they don't show enough beaver in Oui but what can you do?) and this creep photog person was with me (a real scumbag). He was a 4-eyes with specs as thick as a bottle of Seagram's (twice as thick actually) and his girlfriend back in the states was some real rich bitch of a blonde. He spoke of her as a real bounty for some day in the future when her old man would croak (if you're readin this, Daddy Warbucks, you oughta disinherit her right away!) and he was the biggest fuckin stick-in-the-mud every day we were there. He refused to take candid photos which meant anything that wasn't posed, all he wanted to take was the ladyhippies of Goa's nippies against the sunset (what a worm). Nobody would pose so day after day he'd have these conversations with women from Germany and etc. and they'd all say No cause why the fuck would they wanna pose for this fuckin drip? Met this cat named Joe in Goa who said he was gonna get me some local poontang so he takes me to this house of one of his sister's older friends (sis is about 37, friend is about 49) and he tells me she'll fuck me. Ho ho ho. No way she was gonna googie with me nohow, this guy was bats in his belfry and I didn't get my ass in India. Only other place I went in '72 was Montreal to see some hockey with Juan Rodriguez (I could not hustle a free trip) who's better Canadian rock writer than Ritchie Yorke'll ever be and we saw some hockey. I did not get to handle a single fluid ounce of French-Canadian smegma. Later in the year I went back with my old lady R.H. and we saw some Canadian pro football (ha ha ha ha ha) and Team Cana da get whupped by the Ruskies. Juan's old I. was around name of Elizabeth and she sure was a fuckin Honey (had a dream about her later in the annum but I guess I'll never get her alone and wouldn’t wanna hurt my old buddy Juan anyway), she's a refugee (word I missed in the 1957 spelling bee) cunt from Poland now residing in Quebec. Quebec's real good, better than Canada, better than USA, better than Paris, France, better than NYC (better than Boston). A lot like LA cause of all the stray twat walkin around with their asscelfts hangin outa the back of their trousers, sure got my eyes on their tighs! Also got to reap the whirlwind of rock and roll ecstasy in '72 by making it up to the Bronx for my birthday party given to me by the staff of Teenage Wasteland Gazette. They threw me a bash and while my o.l. was caressin R.B.'s dork I was allowin B.A. to lightly seat her crotch on my mug in the crapper. Licked it all up and luvved every bit of it (altho she had used one of them hygiene products which ain't exactly the bee's knees) and I was wearin girl's panties on cause mine ran out and I was gonna hafta take em off for when if was time to ball her but that moment never came cause my o.l. opened the door on my head and said it was time to go (a lift back to Manhattan so we wouldn’t hafta take the fuckin subway — infested with mean muthafuckas at that hour) but I still got her phone number and she's still only sweet sexteen! Coffee House UUAB present; a Summer Program at the University Of Buffalo Mondays July 30 8:00 P.M. Bluegrass with Breakfast Special Aug. 1 From Toronto! The Friends Of Fiddler's Green Aug. 6 Wednesdays Aug. 8 Buffalo's Charlie Starr John Miller ragtime with A one-man band presenting blues ballads blues Aug. 13 jay and Aug. 15 Henry Townsend Lyn Ungar with of the Putnam String Conty Band Aug. 20 Backwards Sam Firk Billy Hamilton Aug. 22 Adelphi recording artist Roy Bookbinder and the Bluegrass Band During the regular school year, the Coffeehouse operates every weekend with traditional and popular music & culture. Mostly live music — but we'll be including some films. A smalt charge is required to support the weekend program. All Welcome Wishbone Ash In Concert On The Beach at Hardrock Quarry 12200 Main Street (8 miles east of Transit Rd.) Friday, August 17th at 7:00 P.M. Rain or Shine - Come early, beach open All day! Music starts at 5:00 P.M. Tickets $4.00 advance, $5.00 at Gate Now on sale at: Festival Ticket Office, Statler Hilton Hotel; Hardrock Quarry; U.B. Norton Hall; Buffalo State; D'Amico's and Movin Sound in the Falls; Sam's in St. Catharines. punk magazine . page thirteen �-Mike Saunders Until its unfortunate demise and Mark Shipper's degeneration into an acid-wrecked vegetable, Flash Magazine was an important clearing house of ideas. Information on rare Chocolate Watchband out takes, Dee Robb's sex life, and (the truth behind those) Sonics socks could be exchanged without fear of co-option by East Coast sociologists. All the finest minds of the rock world were there: Wayne DAvis, Hot Scott Fischer, Vincent Price Ken Barnes, Killer Kowalski, Lemmy the Lurch. Yours truly pressed Adny Shernoff (a great kid), in fact, for comment on the old Flash at the National Rock Writers Convention (hence to be known as the National Rock And Roll Fan Club), and Adny's snappy reply said it all: "Yeah well, my group's better......... but it's ace!" Undoubtedly, Flash's most important contribution to pop culture was in its uniting of all 27 remaining Blue Cheer fans. There had been previous instances of crazed fandom, true, like the nuts who bought the recordings of all 267 Fairport Convention offshoots. But nothing like the devotion of these Blue Cheer fans. The mystery, of course, is how a group so popular and so critically acclaimed in its heyday could have fallen in favor so badly as to be disowned by nearly every one of its original fans. Dickie Peterson's knifing of Bill Graham on stage during the Fillmore's closing night in 1969 was part of the reason, sure, but that couldn't be the whole story. Nor could Blue Cheer's unfortunate appearance at the infamous Summer Bummer festival at Candlestick Park/Golden State Speedway, 1969. No other groups showed up. Blue Cheer did. 765,289 fans died of drug poisoning that day. Rolling Stone declared it "the death of rock." They were wrong. It was the death of rock fans. So what? Less than a fraction of the 16 million listeners who had bought Blue Cheer's first album were at that festival, leaving the question of why did the Cheer's remaining 14,214,711 fans fink out on the group that had been acclaimed as one of the most brilliant in 20th century music. After painstaking interviews with everyone connected with the original group — from Stanley Owsley to Gump Worsley — I have unearthed the true reason behind BC's inexplicable fall from stardom: Blue Cheer sold out. The true tale behind Blue Cheer, never before revealed, is about to be told for the first time. The Story Of Blue Cheer In the beginning, Blue Cheer was a motorcycle gang of fifteen strong. They hung out around the outskirts of San Francisco, cruising places like Vallejo and El Cajon because they simply weren't tough enough to hack it in the inner-core of the city. Truth is, Blue Cheer was one of the worst motorcycle gangs of all time. Toddlers down the block used to regularly deflate their tires, kids from the local junior high school would beat them up after school, and on one particularly humiliating day Blue Cheer had their asses kicked and Silly Putty smeared all over their faces by a roving band of 12 year-old droogs. One day Blue Cheer's leader came up with a great idea: they would paly the blues and get rich. "Hey, I've got a great idea. Let's play the blues and get rich!" were his exact words.Unanimous agreement among the members of the gang was easily obtained, and all fifteen members immediately zoomed into the nearest city in search of the music store that would undoubtedly launch their catapult to stardom. Unfortunately, it was a tiny burg and the sole music store (Fred's Music)2 had nowhere near the equipment to equip a 15-piece Latin-rock blues band. The members of Blue Cheer squared off, knives flashing. As they began their bestial descent into the ghastly denouement so familiar to rock fans everywhere, screams could be heard for a radius of 500 miles. When the smoke cleared four hours later, Dickie, Leigh, and Paul stood proudly fingering their shiny new instruments, trying to forget about the twelve dead bodies that lay around them. The fittest had survived. Taking their cue from the inspiration that was to surround everything they did for the next two years, they wasted no time in more pumice than lava deciding upon the name for their group: Blue Cheer! "Bluecuz that's what we were gonna play, blues, and Cheer because it, uh, rhymed," grinned Dickie a year later. The very next day, Dickie, Liegh, and Paul moved into an abandoned house on the beach — a disguised efficiency apartment, actually - and began to practice furiously. After four days of non-stop rehersal, they were ready. Blue Cheer made its third-billed debut at the Fillmore Auditorium that weekend, blowing Sam the Sham and the Mojo Men off the stage completely. Rock critics from far afield as Fairfax, Sausalito, and San Jose wandered in after overhearing the noise that was to wake the world, and were without exception stunned by the brilliance of this unheralded new group. Two days later, the Oct. 24, 1967 cover story by Ralph Cramden in Rolling Stone said it all: page fourteen . punk magazine "Blue Cheer: The Biggest Supergroup Yet?" In his Perspectives column that issue, Cramden also wrote, "This is it, this is what we've been waiting for. Blue Cheer is obviously the sound of tomorrow, as evidenced by the countless blatant imitators that have sprung up the last four days, such as Cream and Jimi Hendricks." In six days, Blue Cheer had gone from an incompetent bike gang into the world's treatest rock ’N' roll band. Riding the Underground Wasting no time, Dickie, Leigh, and Paul set about capturing the sound of Blue Cheer on vinyl. The group’s first album, Vincebus Eruptum, was recorded 500 miles underground beneath Santa Clara. Three minor earthquakes were caused by the unleashing of the Cheer's sonic arsenal, but that wasn't the big question. Was the world ready for Blue Cheer? That was the big question. The answer was yes. Vincebus Eruptum marked the pinnacle of rock as an art form. One song, "A Day In The Life Of A Frogman," changed the course of an entire generation, inspiring millions to drink cough syrup and see God Other cuts like "Blues For Owlsley," "Bull Frog Blues," and "Let's Turkey Trot" were almost as magnificent, marking the high point of spontaneous improvisation withing the jazz tradition. "Summertime Blues," "Doctor Please," and "Paul Goes Apeshit" rounded out the album. To follow up the biggest selling album in rock history, Blue Cheer then embarked upon the largest grossing rock and roll tour ever. Dickie, Leigh, and Paul staged a whirlwind tour of 56 cities in 16 days, this amazing figure made possible because they (and only they) could play three cities at one time. A movie was made {Getting Crazy with Blue Cheer}, and the tour's $56 million gross has been subsequently topped only by Grand Funk (featuring ex-Buckingham leader Mark Farner, Dickie on Bass, and Hal Blaine on drums) and their intergalactic tour of the Milky Way. They were the power trio to end all power trios, so it was okay. Whether or not they ever came back has been a topic of extreme controversy, compounded by Neil Marxus' baffling book Grand Funk In Argentina. With such incredible success behind them, Blue Cheer took a fishing trip. It lasted nine months, DL&P overhauling the U.S. Enterprise and taking it around the world. Along the way they kept touch with their roots by stopping off at Jamaica (home of the blues) and later at Peru (where they visited the grave of their idol Blind Boy Bazooka). The next October, Blue Cheer arrived home to a cheering crowd of 50,000 in the middle of the Staten Island Channel. Leery of the long train ride back to SF, they recorded their second album right there in New York, outdoors on the Brooklyn Wharf. Inside/Outside was the. title. "I mean, what th' fuck, it was a good place. One wharf’s as good as any! Just listen to the whale on 'Babylon.’ Couldn't do that in Frisco, no way." The album was a success almost equal to the first. Songs like "Feathers In My Tree," "Satisfaction," and "Gypsy Ball" continued the Blue Cheer formula of a tasteful mixture of rock, jazz, country, raga, and Tibetan church music, but with major emphasis on modern music's common denominator: the blues. The Fall Of Blue Cheer Then it happened, almost as suddenly as the group's meteoric rise to fame. Blue Cheer lost touch with their roots. Fat, lazy, and complacent, they moved from their shack into a mansion overlooking the Bay. Most incredulous of all, they turned their back on the blues. True, other groups have been guilty of the same crime, like Savoy Brown and Ten Years After, but neither of these were anywhere the brilliant unit that marked Blue Cheer at its peak. Hodad bluesmen from the Delta, TYA and Savoy Brown understandably let money and big city women go to their head. The post-quaalude genre of alcoholic rock was the result. Blue Cheer had seemed to be above all that. As 1969 began, internal strife erupted within Blue Cheer. Leigh Stephens wanted to get into heavy metal, while Dickie favored country blues moans. Paul Whaley wanted more drum solos. The three-way conflict was irreconcilable, and Leigh finally split to England where he formed his own group, Led Zeppelin. The infamous Whaley left for Jamaica, where he bagan to circulate rumors that Paul was dead. Left with a bad case of the clap, his complete Yazoo Records collection, and scars on his head where Leigh had clobbered him with his Gibson, Dickid Peterson attempted to keep the name of Blue Cheer going. Cruising down Telegraph Avenue trying to score some STP early one February morning, Dickie ran into Randy Holden (brother of Stephen Holden), a guitarist who had fronted one of the better SF acid-punk albums of the era. The Other Half No rehearsals were needed. It took but one question: "Hey! I'm Dickie Peterson. Wanna play the blues and get rich?" Blue Cheer 2 was set. Unfortunately, the resulting album was a washout. Dickie's blues yodels were as rusty as Amon Duul 2 left out in the rain, Holden had no feel for the genre, and they forgot to hire a drummer for the date. New Improved Blue Cheer was dire. �So Randy Holden was out. At this point, Bruce Stephens — Leigh's precocious 15 year-old kid brother — saw his big move and made it. Bruce brought in his ex-Mint Tattoo keyboards man Burns Kellogg, tied Dickie Peterson down and hired a maid to feed him sedatives every 24 hours, and Bruce and Burns proceeded to play every note on Blue Cheer IV themselves. Unlike the mediocre, unlamented Mint Tattoo, Blue Cheer IV was by far the best effort of the post-Leigh Stephens era. "Saturday Freedom" rocked, "The Same Old Story" rolled, and "Lovin You’s Easy" scorched with its extension of the current acid-rock sound. Although the album received enthusiastic reviews, Blue Cheer's downward commercial spiral continued. When Dickie Peterson finally awoke from his coma three months later, he realized that the present setup would not do. Bruce Stephens had to go. Looking around for a replacement, Dickie remembered his ex schoolmate Gary Yoder. Gary had just gotten out an album Kak by his group of the same name, an uneven LP but superb in places, and all the more remarkable for the fact that Gary's sidement in Kak consisted of a yak, two goats, and Muff Winwood on drums. Kak had also cut one of the year's most exciting singles, "Everything's Changin'." Always appreciative of the importance of the singles market, Dickie knew that Yoder was the best man for the job. Blue Cheer IV (not to be confused with Blue Cheer 3) made two albums with Gary Yoder as leader: The Original Human Being and Oh Pleasant Hope. Unfortunately, the extramusical factor had not been taken into consideration. Gary spent most of the time lovesick for his yak, and his songwriting suffered considerably, each album only having three or four good cuts. It was too late to call back Bruce Stephens, as Bruce had sailed to England to join his brother Leigh for a disappointing supersession album, Pilot. Dickie's heart sank even deeper as he heard new albums come out utilizing the same ideas Blue Cheer could have pulled of with ease had they stayed together - Master Of Reality, Fireball, Grand Funk Live At The Beach House — and he realized that he, and not Leigh, had been right all along: the blues was where it was at. In August, 1971, Blue Cheer finally disbanded. Discography: Vincent Erectrum - Blue Cheer (Double Shot DS 101) Blue Cheer Number Two (Double Shot DS 102) Wheels Afire — Blue Cheer Live At The Fillmore (Philips PHS 600-273) New Improved Blue Cheer (Philips PHS 600-297) Androids On Mars - Blue Cheer (Philips PHS 600-893) Leaving The Solar System - Blue Cheer (Philips PHS 600-894) Blue Cheer Memorial Album (Vista 603-S) punk magazine . page fifteen �springtim e for G olda M eir -Joe Fernbacher So now we got Kinky Friedman, and he write a song 'bout Charles Whitman (Whitman was only second-class as far as mad-dorks went, Richard Speck was a true mad-genius, he even out did the Boston Strangler, maybe he didn't have the same kinda class as the flash of the slash, Jack The Ripper, but he was just a punk with a hard-on for white uniforms what bulged in the right places, like he wouldn't of been that infamous had he sliced up eight Good Humor Men — or maybe he would have . . . "What the heck Richard Speck/ Got a notion, made a little commotion/ Now there's eight on the floor, ain't no more/ But Dick why'd you haveta be so messy/ But at least you were classy ... I mean what the heck Richard Speck..." maybe not as good as Friedman's Ballad of)... but them agin I'm not Jewish — yeah and what's all this noise mit da Jews anyhow, they got David Bromberg who thinks he can play his guitar better than the Nazi's could build V-2's, and there's Dylan, jeez, there's no real sense even talkin' bout him, and then there's - Sheeet, and did ya ever notice they all have those 'Boya, I wish I could be a rabbi too' bears — And Then There's the ultimate Jew punk ... a man whose soul is possessed of the supreme heavyness, angst (that's for the critics what like big words) of Moses, He's even heavier than Charlton Heston (so's who ain't — Editor), and he's got just as muc h rock 'N' roll nuts as does Kim Fowley - whose the rock star of all times — and he's more important than anything "Hey, ya wanna buy an original song for a dime, swear ta god its concept of ESP records, and he's Wild Man Fischer. Larry’s fame came when ace fart-wart Frank Zappa picked him up offa the Sunset Strip where he's been selling songs on the corner for a dime "Hey, ya wanna buy an original song for a dime, swear da god its original" — never see those rich decadent rock bastards like Harrison, Gracia, or Zappa ever doin' that — plunked him in the crusty Bizarre Studios and compiled a two record set which literally laided Larry's life and soul onto wax and called it An Evening With Wild Man Fischer. "My name is Larry and I'm not shy anymore, wanna be friends" "Shit man, all those other guys need guitars. I don't need anything!" And that's where most of Wild Man's importance lies, (as far as rock 'N' roll is concerned) its all a matter of body music, when ya fart ya make a musical note, when ya burp, when ya sneez, when ya piss, when ya scream, and what Larry's done is found his own personal 0 mind and crawled inside and made music, Larry's voice is his soul, and his madness and his beauty .. . Even the illustrious Grand Viler hisself is on Wild Man's record, Kim Fowled and Rod eny Bingen heimer lay out an introduction and prophesy as to Wild Man Fischer's place in it All which reeks of envy and jealousy as to Larry's purity: "Ladies and gentlemen, and those who aren't sure. The glorious day in pop music has thusly arrived. It has been decreed that a Jewish mother shall give birth, shall have given birth too, well, anyway a Jewish kid is gonna make it big, man. It is now time for the beautiful people like Donovan, Mickey Rooney and one of the Beatles, to set aside because a growling savage has hurled himself from the precipice of the lavistine ledges of the Sunset Strip leaping out of the eating affair, a Jackass King storming through the petrols of the lanetary galaxy, at last we have an idol, we have Wild Man Fischer, who is gonna take us from the darkness and out of the fog and dampness, he's gonna take us into bruises and cuts and bandages, baby, and iodine. Wild Man Fischer is gonna get us back in the parking lot, hitting each other where we belong, no more love and flowers, because Wild Man Fischer is standing naked leading us up the ant hill of greatness after all, we teenagers need an idol, we pseudo-intellectuals of the high schools and Jr. colleges need an idol, we record producers need a new artist to imitate with our groups: WILD MAN Fischer. Somewhere a girl has cut her throat and slit her ankles and the reason for her love death is: Wild Man Fischer . . . Lester Bangs once said in a review of Deep Purple's Machine Head that "Lazy" was a great song because the lyrics were probably written in ten minutes and that most rock 'N' roll songs should be written that fast, so's I guess Lester must love Wild Man cause he creates his songs right on the spot, spontaneous and all that, but Fischer songs possess one quality which Deep Purple's don't, they make ya wanna laugh, they make ya happy, and there sure ain't much of that goin' round these days — especially in rock 'N' roll . . . Proctor, Bergman excluded and Cheech and Chong included, and I sure do miss Abbott and Costello) and that's why Fischer sells his songs for a dime, and he's even got one that's an underground classic thats so underground the Mole People are the only ones what boogie to it (just before they come up the tunnels to destroy page sixteen . punk magazine humans . ..) and its a great song 'cause it breaches all generational, musical, and intellectual gaps — and I'm talkin' 'bout his song "Merry Go Round" a song with more spirit to it than the Invictas doin' "The Hump" ., . "Come on let's go Merry Go- Merry Go- Merry Go Round Boop, Boop, Boop Merry Go, Merry Go, Merry Go Round Boop, Boop, Boop Merry Go, Merry Go, Merry Go Round Boop, Boop, Boop Me and you can go Merry Go Round Its very easy, just go up and down . . ." While "Merry Go Round" quickly became Larry's theme song, Larry's obvious talent for spontaneous songwriting is excellently shown on Side two of his record which is completely Larry and voice singing sans and idiotic Zappa overdub, pseudo-Varese nonsense, its just plain Wild Man Fischer. And this side displays all of Larry fischer — the rock 'N' roll star, the first song adroitly enough begins with Larry explaining to Frank (who's in the control booth) that his first song will be "Which Way Did the Freaks Go" an anti-Zappa Mothers song, of course . . . "Which way did my girl go Which way did she go Which way did my girl go Which way did she go Correction Which way did the Freaks go Which way did they go I ask you Mr. Zappa I ask you very clear You didn't state it in you in your Freak Out album. Which way the Freaks went." Then Larry gives up his semi-classic "I'm Working for the Federal Bureau of Narcotics": "I'm work in' for the Federal Bueau of Narcotics Dum, Dun, Dum, Dun, Dum, Dun My mother hates me My sister despises me My brother-in-law like to throw darts at me . .. Federal Bureau of Narcotics Federal Bureau of Narcotics Johnson loves me Regan adores me Sandy Koufax's likes to throw fast balls at me..." But the piece de resistance comes with his song/story "Jennifer Jones" and not since the Velvets "Murder Mystery" has anything like this been heard. A totally unaccompanied story of ultimate mass murder, this makes Kinky Friedman look like a pansified edition of Mickey Spillane, and it's proof positive that Larry is the best new rock 'N' roller around .. . wherever he is today. 'Jennifer Jones' is a surreal vision of 'the behind the scenes' action involved in and during blood and murder : "Miss Jennifer Jone is lyin' dead on my porch Miss Jennifer Jones - 'the story of this song starts out in Nebraska, I had a farm, a cow, a penguin and a negro slave. "Miss Jennifer Jones is lyin' dead on my porch Miss Jennifer Jones — 'The next day a kid 'bout three foot five came around my house started throwin' avocado's at my cow, carrots at my penguin, he threw a rotten tomato at my penguin - it was terrible, so I killed him, blood was coming out of his nose, it was coming out of everywhere, ooh, it was terrible...' "Miss Jennifer Jones is lyin' dead on my porch Miss Jennifer Jones —" 'So the very next day the Grandfather came, the Grandmother came, the Gandchildren came, aah they tried to kill me, so I started to shoot them, of they were lyin dead all over the place, so I told my slave to put them in the garage ..." "Miss Jennifer Jones is lyin dead on my porch Miss Jennifer Jones —" 'Ooh, it was becomin' a terrible thing, the sherriff was coming around all all his deputies. I was killing everybody, oh, my garage looked like Hitler's Nazi camps, it was terrible, I killed everybody in the territory..." "Miss Jennifer Jones is lyin' dead on my porch Miss Jennifer Jones -" 'So, lets get to the other half of the story — we talk about Jennifer Jones ...' So Larry goes on to describe Jennifer Jones a hooker who gets jilted, kills a guy, hates men, kills a lot of men, finally heads off into Larry's territoy, she gets there, can't find no people, finds Larry, finds the garage and ... well you'll have to find out the ending for yourself, but its fantastic . . . this song could've been the classic of all time, but . .. Larry's songs are varied and numerous, with intentions and retentions enough to satisfy any abnormal — subnormal person. His first song, written at the teenage of 16 was The Taster' a supposed follow up to the 'Twist" by Chubby Checkers, but nobody like it even after Larry changed its name to "The Twister" ... Larry's favorite singer was Paul Anka. He like Elvis and Johnny Tillitson and Ricky Nelson, but Paul Anka was his favorite! "I had a better voice when I was 16. But I've been singin' songs every fuckin' day of my life for a dime, so my voice is hoarse, so I can't sing ballads anymore. And I'm Sorry!!!!!!" So if you really want to hear the true story of America's only native son rock 'N' roll star like no interviewer could ever get, try and find An Evening With Wild Man Fischer and learn how Larry's mother (she's pictured on the front cover with Larry, who's holding a very mean looking knife) had him committed twice because she didn't like the way he always sang in his room. Besides you just gotta hear 'Jennifer Jones"... Wild Man Fischer's the seventies answer to the eighties, or maybe the sixties answer to the twenties, or maybe five'll get ya ten. Buy him, love him, cause he ain't shy anymore . . . �Aladdin Sane David Bowie (RCA) So what's this noise about glam-rock, glit-rock, Little Rock, Papa said yeah, Mama said who the hells been stealin' my makeup — "Son!" "Yes, Mother." "I want to kill you —" so come on, what's all this Dodo due about David Bowie anyhow? Liberace's been into glitter for years, and what about Little Richard, so's just because the like of Slade (ever see their picture on the cover of the first album, punks, skinhead punks, now they dress funny and make a lot of money, just like all those jokes about Vic Tanny, yuk, yuk) and Alice, and now D. Bowie, personally I think Bowie was a lot cuter during his Hunky Dory period, that Lauren Bacall look can't be beat. But Liberace was into mirror suits, mirror balls, and real honest to goodness threatre long before Bowie and his grease paint, (which is okay if you wanta see real makeup get a book from the library on Japanese theater, now that's makeup and stacked heels so high that if you farted on him he'd fall over, he also uses cages solo in the middle of all the raucousness is like the guitar break in Elvis's "Burning Love", that is, if Phil Spector had produced it while under the influence of Puma shit. This is the Stones song which was never recorded, too bad it hada be Bowie, but— 'Cracked Actor' comes next and reminds me of every movie I've ever seen with George Sanders in it. Which must mean it's okay cause I really liked George Sanders, along with Clifton Webb and Ronald Coleman. And 'Jean Genie" is about Iggy and that's all you gotta know about it. Bubbling under the hot three is 'Drive-In Saturday' which is far too intellectual for its own good, would let your son go to the drive-in with David, hmmmm 'His name was always Buddy.' And honorable mention goes to the song 'Aladdin Sane,' not that its a good song, as a matter of fact as a song it's embarassing, but 'cause its a good poem with one really fine line: 'Battlecries and Champagne just in time for sunrise.' Besides if you really wanta know the truth Kim Fowley is really David Bowie, just get International Heroes 'cause its that Ip Bowie should've made instead of 'Ziggy Stardust' and if you really want to be convinced listen to Kim's Love is Alive and Well... —El Mono The Golden Hits of Leslie Gore (Mercury) like maybe he was in the audience when Arthur Brown was famous and thought that when Brown was lowered from the rafters with his head on fire it was kinda neat, 'Geez maybe someday I can be a rock N roll star and make like I'm from another planet too!!' I mean Liberace was there so long ago and he was good too, saw him in a tent once and he did "Impossible Dream" with his mirror suit and just when he was getting' into it all these mirror balls started flashin' and it was orgasmvision for the first time. I mean Bowie might be okay as minor poet, with the likes of Jim Morrison and Patti Smith as major poets, but Mick Ronson's the only balls in this outfit. He's mean lookin' and knows how to do nasty things with his guitar. Bowie doesn't look mean (not anywhere near the mean-ness of Alan Ladd in The Iron Mistres the story of Jim Bowie, but that guy never wore makeup and he fought at the Alamo with John Wayne, 'bout the only thing David's had to fight is his way outa Max's) these days he looks like Marlene Dietrich after a long and unsuccessful bout with su per speed . .. Aladdin Sane, shissh, its enough to make you want to puke. And when he does "Let's Spend the Night Togeth er" I almost hadta eat the record just so's I could pass it and send the whole gooey chunky mess 'Melts in your mouth, not in your hands' back to RCA where it belongs, along side Lou Reed's last pile of Yak dreck. Now I'm almost ready to perform this perversity 'cept it just so happens that there are at least three cuts on the album which could possibly pass as adequate rock 'N' roll songs... 'Panic in Detroit' isn't such a panic lyrically, a vacuous example of American Jungen politico a la late sixties. Real relevant lines like ‘He looked a lot like Che Guevera. Drove a diesel van.' Bullshit! Nowadays everybody looks a lot like Jerry Gracia, and probably only remembers the smell of tear gas when he's going through some ole copies of his campus newspaper. . . But musically it comes on like Elliot Ness gettin' the hots for Frank Nitti. And Mick Ronson's overdubbed one note guitar My good pal the Lonely Dragster laid this platter on me in one of his fits of demetia along with some ranting and raving about how Lesley was really the precursor and formulator of heavy metal thinking and spirit. I had kinda forgotten all about Miss G., but this record, along with the Dragster's theory is certainly a viable one. I mean Lesley Gore was a real sickie! Lesley's appearance in the TAMI show was really weird because she was on as long or longer than anybody else on the show, even the Stones, and everything from her stiletto heels to her slanteye makeup and blue eyeliner screams neuroses. Never had thought much about her songs when they came out and my contacts with rock 'N' rollin' females was about nil in '63 and '64, but Jesus, the attitudes that come across in her tunes are just about ten times as potentially psychotic as Iggy or Ozzie or anybody. Lesley's Golden Hits has 'em all, ten golden gassers and only two throwaways which cover every single one of her hits, from "It's My Party" right through "Sunshine, Lollipopsand Roses," and it's a real document. "It's My Party" establishes the Gore personality as Johnny walks off with Judy in the middle of Lesley's birthday shebang. "Why was he holding her hand when he's supposed to be mine?" Possession, ok, that's cool. "Judy's Turn to Cry" turns this right around with Lesley's other fave American pasttime, vengeance. Johnny gets up and smashes some guy in the face 'cause Lesley's kissing him, Even It's my party The Golden Hey now Just Hits of Lesley let me cry Gore Sunshine Lollipops and Rainbows I don't want to be a loser that's the way boys are you don't own me Judy's turn to cry Maby I know all of my life look of love she's a fool or hang herself. "She's a Fool." Another good one, this time some gal is cheatin' on a real nice guy that L. wishes were hers. Admittedly, the other girl is a creep, and Lesley is right in hating her, but didja ever catch the last line in the song? "I know there is gonna come a day, he will tell her: 'Girl be on your way.' Maybe then he'll turn to me, then how happy I will be That she's a fool." Right on Lesley! "That's the Way Boys Are" is a Spectory song that finds Lesley being beat up (what would mama say if she knew?); "Sometimes he treats me rough and acts as though he doesn't care. Well I never tell him that he is bein' so unfair "Cause that's the way boys are." Get those whips out gang. Sado masochism is given another shot in the arm by "Maybe I know that he's been cheatin', maybe I know he's been untrue, but what can I do?" And the grand institution of self-delusion is on display here as well' "Deep down inside he loves me. Someday he'll settle down." Sure. On "You Don't Own Me" Lesley turns around and tells Mister fancy pants to fuck off: "You don't own me/ don't say I can't go out with the other boys." The famous P.F. Sloan docto ring so well expressed by the Turtles in "Let Me Be" (and who wouldn’t let two fat turds like Volman and Kaylan let themselves be? Who would want 'em anyway?) is done up one better here 'cause it's a lot more fun hearing the girl telling the guy to fuck off on wax than the other way around. "Look of Love" has Judy winning Johnny back again, and Lesley is crying again off in a corner, sufferin' away as well as ever while her old boyfriend gives that look of love to his new gal. Inferiority and all that. It all comes to a head in "I don't Wanna Be a Loser," a non hit that shoulda been a single 'cause it coulda been an anthem for the whole teenage nation in '64. "I'll fight with all my might; kiss you and hold you tight until you say I'm right." Yeah, but if he don't want you, break his arm or bite him in the lips. That'll teach him. Now as to why Lesley Gore faded into the netherworld, one only has to turn to her last two hits "Sunshine, Lollipops and Roses" and "All of my Life" to understand why. For gosh sake's, they're both normal dippity do smile songs with no undercurrent of violence or paranoia and Lesley couldn't hold her audience singing about how happy she was with her guy after she'd built up this incredible following of typical American psychos. And that's why Iggy and Black Sabbath and the rest of the down gang had to be born. To take care of all of these poor kids. Let’s hear it for psychorock! —Billy Altman Beck, Bogert, Appice (Epic) If anyone ever told me to go to hell I'd tell them, "If you like me so much, why don't you ask me for a beer and we could play Yoko Ono records at 78rpm?" Fine! Then your mom can clean up the puke and we could chew Alka Seltzer and dance around in circles to drive away the evil spirits, which would be there in lyrics to these hits inside anycase. Right! But then again we could also listen to Though Johnny and Judy were kissing the new Beck Ip. I'm not saying you won't and that's what prompted Lesley to win like this record, it probably won't like you, her guy back. Nice happy melody and now and it really wouldn’t make you puke, Lesley is smilin' that mean smile 'cause maybe gag a little, but not blow your maybe Judy'll go home and slit her wrists cookies completely. I'm just saying that the record won't like you. Cause Beck probably wouldn't like you either, but so what! But beware, Beck might eat you, as might the record, if you got lucky and got that close to it. It's funny to think that while other artists at least go up or down, Beck still remains a solid example of mediocrity. Still hanging onto the same notes, as always, still keeping rich the legend of being an ex-Yardbird, now who ain’t been an ex-Yardbird at one time or another, and good old Epic records, lets not forget them, and where's Mickey Most? My initial response to the record was that Beck, Bogert and Appice should merge with West, Bruce and Laing and go on a benefit tour for death... And 'sheet,' is they're gonna do "I'm So Proud" they could've asked Todd Rundgren along for the ride (now A Wizard, a True Star is really a record to listen to late at night, early in the morning, druck, stoned or sober). Bogert and Appice possess the soul of a Freddy and the Dreamers version of Frankie Laine’s (remember him, he's great when you're gettin' drunk with your folks) 'I Understand.' Still they do bring out the possibilities of a whole new genre, which is actually upon us, just listen to a really bad AM station sometime, boring sold music done by boring honkies who always try 'To' hard. And for a little color they should listen to the Searchers or the McCoys doin' "Mother Don't Worry." As far as being superstitious, well, is a bowl of Wheaties superstitious? (you know the Breakfast of Champions, come on name me one champion that's gonna eat Wheaties, his trainer would shit mini-bricks) No!! In "Lady" and "Black Cat Moan" they sound like the old Cream records where everybody comes off so doped up that they probably couldn't even lift their instruments let alone actually try and 'Play' them. Actually a better title for this album could've been Someday Never Comes except that it was done by Creedance already, and they deserve it, after all they did think it up ... Geez, out of all this I just wish I could get a hold of those Beck, Bogert and Appice T-shirts, I'd only want one, cause then I could go to bars and impress everybody. But I guess most people would come up to me and ask me who Beck, Bogert and Appice were, and then I would have to fake it. "You never heard of Jeff Beck!! Wow!!!? But I'd probably be a lot happier if I could get a Foghat T-shirt, at least it would be for a group I like ... -Jim Fernbacher punk magazine . page seventeen �Wild One The Guess Who (Pickwick) I'd been thinking of buying this album for years. It looked lame, though. I wasn't about to pay $1.47 for it, or even $0.87, because you know that sinking feeling when you get home and find out you've been had. Then I got an airmail special delivery postcard from our editor here at Punk Magazine. "Can you give me 300 words on that Guess Who album. Need it fast — Altman." I dashed out, made it over to the neighborhood record shop, and began to plow through the junk bin. Holy moly . . . I found it! Ten cents! Was I had? No! The first cut sucks, yeah. But the very next track, "Baby Feelin'," sounds like an honest to god outtake from the "Shakin' All Over" session! It's another Johnny Kidd song, too! Heavy echoed guitar, a genuinely neurotic vocal, and relentless rimshot drumming all make this one of the Guess Who's greatest songs ever. The rest of the album proceeds about on par for these cheap packages — one good cut, two ok, and three terrible ones — until the last cut. "If You Don't Want Me." An ace fuzz riff leads into a breathy lead vocal, the singer informing us how he's been crying, trying to forget you, and it sounds just like uh, uh, ah ... Mark Lindsay!!!! Wait. No, it can't be. One look at the label reveals that this song was written by none other than Burton Cummings! This cut isn't the early (Chad Allen) Guess Who, but the pre—RCA Guess Who fronted by Cummings! Pure 1966 fuzzrock with Raiders consciousness to spare, this is a good one. So what if it's all ancient archeology? I got two killer tracks for a dime, $1.27 from Punk for this review, and I'm satisfied. — Wayne Davis The Guess Who (MGM) Wayne's right, of course. The Guess Who have numerous great obscurities on record all over the place (Pickwikk, MGM, Golden Host, to name but a few). Having been personal friends with the group's manager Burt (no relation) Grossman for many years, I've had the opportunity to hear some of the unreleased ones as well: a brilliant 1964 surf jam with the High Numbers, the Big Sur acid-rock tapes with Woody ("King of the Surf") Guthrie, and their legendary raga duel with Hapshash & the Coloured Coat recorded live in Bombay, India. The Guess Who has its share as well. While the first side has the best cuts from their Shakin' All Over album, Side Two focuses on the early Burton Cummings period. Starving, scoffling has-beens throughout 1966—68, they broght a fringhtening level of commitment to their recordings. Buried among four pretty, Buffalo Springfield—ish numbers, two of these classics are here. The first is "Believe Me." An incredible song with spring guitar straight out of Mouse & The Traps, it shows that the Guess Who strongly influenced by their one gig with Mouse and the 13th Floor Elevators. And second is "Clock On The Wall." The bass guitar riffs remind strongly of the 1965 Animals, but the song has a consciousness al its own. Burton Cummings stares at the clock. He stares some more. And some more. In a move stright out of "Lost My Mind" by the legendary L.A. Escalators ("See that clock/Look at Me/See that clock/Look at you"), he goes berserk! "Watching it every day, the hours and minutes ticking away. I'm not getting younger. It keeps on and on and on! I Cant Stand It! It Never Stops For Anything!" Indeed, the Guess Who have always possessed a unique consciousness. At times it can be unnerving. I saw the group live at the Cow Palace last week, and after the closing number Burton Cummings whirled around and screamed at the audience: "Fuck off, all you hippies! You think you're cool cause you got long hair and smoke pot. Well, We Smoke Dope Too! And we don't care! We don't care if you buy our records! We're not ashamed that we had hits! And we don't care that we haven't had a hit in two years! Godammit, I hope you all die in an earthquake on the way home tonight!" It was a shocking display. Shocking in its arrogance towards the Guess Who's audience, and shocking in that this man, who I consider one of the truest artists in rock today, could use such poor grammar. The Guess Who are at a critical juncture in their career. They need some hits, and they need to redefine their audience. It will be a difficult task for the simple reason that they don't have an audience. No one cares. Still, the Guess Who are true artists, and artists are nothing if not resourceful. They may come up with their followup to "Shakin' All Over" yet. — Neil Marxus *This album has been recently re—released in somewhat altered form as The History of the Guess Who. Mr. Marxus, author of Grand Funk In Argentian is currently working on a book on the history of pop music. The Dave Clark Five Instrumental Album (Capitol) Here's one that even the most avid DC5 fan probably missed. I'm not sure, but I don't think this record ever came out in the States. I picked it up in Canada for a buck. Buying imports in Canada is a great way to beat the system 'cause you don't have to pay six dollars and the bargain bins have lotsa imports lyin' around too. But a Dave Clark Instrumental album? I just had to check it out. Side one of this record has, as the liner notes say, "the type of arrangements you would expect to hear on the best FM radio programmes." You said it brother. Muzak, muzak, muzak. But it's sheer dynamite of restrained musicianship as Dave and Mike and Dennis and Lenny and whatever the hell the other guy's name was get you into a super relaxed mood with some laid back understated classics like the opening track "Theme Without a Name." It's ten times as good as David Crosby's "Song With No Words" ("Tree with No Leaves... Car With No Muffler"), and it even has a girl chorus oooing and aahhing in the backround. The rest of the side sounds like Duane Eddy on downs, especially Lenny Davidson's "Sweet Memories," which is followed by Mike Smith's "When I'm Alone," and though they're both the same exact song, it's a great song! The side ends with "Dum Dee Dee Dum," a little more uptempo than the other selections on side one, just to kind of prepare your ears for the onslaught on side two. Back to the liner notes for guidance: "For your Go Go parties at home, just flip the record over and listen to the wild, rip roaring teen dance oriented compositions." What an understatement! Starting with "Ol' Sol," and rambling through such titles as "Dumping", "No Stopping," and "On the Move," the band shows it's stuff probably better than on all of their vocalized albums. A drag strip feel grips you like a hearst shifter as you wind down the pike with your six pack of beer, Dennis Payton and Lenny Davidson whipping out on sax and guitar and Mike Smith banging those 88’s with a jazz oriented flair that'll make you think twice before you dismiss him again as a simple Farfisa fag. And his harmonica playing here is as good as any Stevie Wonder tune you could counter with. Dave, of course, is not to be denied either. He has co-authored every track here except "Rumble” even though you can’t tell there are drums on side one. But stomp out he does on "Dumping" and "No Stopping," and there sure ain't none as Dave's manic staccato beats and rolls push the band to a fever pitch that is simply unrelenting in its range and scope. And when Dave shouts out "Move On," on his big solo number, one can only control oneself for so long until you play it over and wait to hear the silver throat again. "On the Move" ends it all in a flourish that the Ventures probably dreamed they could have mustered when they needed it. Play side one for your parents. They might even recognize some of the songs from their bank or restaurant muzak tape. And side two, well, what more can I say? You'll just have to take my word for it. Talk about the great Kinks album! This one the The Dave Clark record. Take that Wayne Davis! -Billy Altman A Look Inside Joe South (Capital) I always get Joe South confused with Tony Joe White, but not Joe Namath cause he wears white tennis shoes during the game, and why hasn't anyone noticed that beside all those songs about travelin' and cars, that one of the most important aspects about rock music and musicians is that its all directional. Come on there's Leslie West, Linda East-man, and what about Jay North (he was okay but I really liked Luke Halprin — he was almost as good as Flipper) (and Sajid was better than Sabu who was actually Andy Kim) and what about 'Idlewild South' on Fillmore East and of course there's Joe South which is where we started out . . . But confusin' Tony Joe White with Joe South ain't easy, but I do it anyhow, just like confusing French Dressing with Blue Cheese, 'cept I like Blue Cheese especially if its got a lot of chunks in it, and Tony Joe White's gotta a lot of chunks cause he did 'Poke Salad Anny' — or is that 'Annie' — but Joe South's like McDonalds French Dressing, watery diarrhea on leaves. Yeah, and who the hell does he thing he is anyway, Dylan, jeez his picture on the back cover show him off as 'yes I'm a Whimp, but ain't it neet', compared to Dylan (who's an ace wart - bird) anyway as he had hisself pictured on the back of New Morings you know that evil look sayin' 'I'm gonna grow up and be in a Sam Peckinpah movie' or Lennon's sibling snot shot, or maybe even Yoko’s picture . . . There he is on the back cover, all blown—up and grainy, wearin' his cowboy Dan country suit, holdin' a Goldstone acoustic guitar as tall as he is and he's lookin' out at ya with this 'Geez someday I'm gonna grow up and be Kris Kristofferson, or maybe even Rita Collidge ...' kinda look! And on the front cover it turns out he's grown up into a bad plastic surgeons nightmare vision of Bobby Sherman, with this picture of orange and red skies, purple clouds, all implanted very artistically in his forehead, could this mean that thats what he's got for brains. Listen to the record and you'll find out!!!! Lyrically he’s about as spherically obtuse as Bullwinkle and Rocky rappin' with Larry Lipfart ('Ahhh, your muther!!!!') ... "If I made one mistake, you'll hear it on the news/Well I'm only human, and God knows I really paid my dues" I wonder just how many times how many people have have paid those all important dues, and I also wonder how much they are! If you join the American Legion you gotta pay dues, if you join the Masons you gotta pay dues so's ya can wear those neat rings, and if you're Catholic you gotta plunk a buck in the plate as it passes by, either that or throw—up in it depending on just how drunk you might be from last linght's party. Then he's got this song that's like Super - Stud vs. The Pussy What Ate Des Moines — real pansy Macho business — "If everyone who wants you tonight/Should, all of a sudden, drive by/They'd have too stop and form a line on the right/And me I wouldn't bother to try/But if you ever need yourself a good man/On whom you can depend/Then, if I can't be your all night lover/l want to be your all day friend" - well it sure ain't no Amboy Dukes (the gang, not the group) gang bangin' a whore and then tryin' to get their money back, then again Joe South ain't noting' like Ted Nugent, as a matter of fact Joe South’s only kinda excitement must be watching Mac Davis's kid Scotty grow, Joe South's isjust plain ( ).,..!!! — Son of El Mono punk magazine . page nineteen �spinout Strictly Prima Louis Prima (Capital) I turned on the tube last week to watch The Oscar with Stephen Boyd for the twentieth time, it being one of my three all time favorite bad movies, the other two being Ada with Susan Hayward and the inevitable Valley of the Dolls, when who should pop up in an ad but fuckin' Louis Prima, in the tape flesh: "Hey, you wanna hear a Italian love song?" We gotta big a three recud set with sixtie of you favorites." Well, my blood ran cold, and The Very Next Day I found this tasty bit of pastafazool at a flea market and I bartered till I got it for a quarter, and I couldn't be happier, even though this record doesn't have "Pizza and Beer" or "Banana Split for My Baby (a glass of cold water for me)" or the definitive "Ole Black Magic" that had me in a spell when I was knee high to a manicotti. What it does have though is Louis and his band the Witnesses, led by ace tenor man Sam Butera. Recorded at the Sahara in Las Vegal, Prima races through a set that features a lot more trumpet than most other records and sure, he can only aboot four notes but who cares 'cause Keely the Dyke ain't nowhere on this Ip so Louis gets to sing every song and the man is a Saint, lemme tell ya. After breezing through standards "If You Were the Only Girl in the World" and "Judy", Louis hits paydirt with "Five Months, Two Weeks, Two Days" that his baby's been gone and as Butera and the boys spread that swing fever, Louis yells "I'm Iosin' my mind" and goes into an Italiano scat chorus of ooo's, aahh’s and grunts that easily surpass Mick Jadestone and the Rolling Boulders doin' "Monkey Man" (just caught 'em on the Flintstones Comedy Hour. Did you know that Pebbles is a teen now and I get up every Saturday morning just to watch her strut her stuff with Bamm-Bamm. What a honey!). Side one ends with Louis's most noteworthy contribution to the jazz field, "Sing Sing Sing (with a swing)" that you might remember in the Benny Goodman Story with Harry James doin' Louie's trumpet part 'cause Louie wouldn't be in the movie on account of the fact that Donna Reed was in it and who wants to be in a movie with her? If you don't know it from there, you're sure to have heard it being hummed by Bugs Bunny many a The more musical minded will find pleasure in Prima's primo renditions of such classics as "Moonglow" ("musta been Munglo") and "Bourbon Street Blues" ("The girls are the spiciest, the red beans the riceiest"), not to mention "Fee Fie Foo It's You, It's You It's You." So do Louis a favor and buy his collection of Enzo Stuarti and Jimmy Roselli and Mario Lanza and the rest of the Ezio Pinza fan club gang singing "That's Amore" and help a former king get back on his throne of tomatoes and olive oil. And if you don't like the records, you can rub 'em with garlic and eat them. That'll give ya some culture. —Billy Altman Irrlicht Klaus Schulze (OHR) time in alternate cartoons with "Singin’ in the Bathtub," which Prima didn't write, but he coulda if he'd have wanted to. Now side two has the big hit "Felicia No Capicia," here's my story/ she spent the whole week eating chicken cacciatore/ but when I said 'I'd like ta kiss ya — Felicia no capicia." Felicia, "half Sicialiano, half va-va-voom" spends all of Louie's money, but won't put out. "I tried to make her feel relaxee, it cost me $97 for the taxi." Then the famous Prima punchline: "She say Luigi, let's get married, and Luigi no capicie." The question arose in 1967-68 on a universal level and has risen adain on a more regional and much more evolved level. Just how far out can it go? You might recall the lead guitar for James Taylor saying in the Sweet Baby's cover story in Time a few years ago that the next stop would have been sacrificed on stage by fire but that's typical American regressive thinking. Through a combination of commercial brainwashing and drug overdosing the American public and in most instances, the performers alike, have displayed about as much creativity the last 5 years as Jerry Gracia has inventiveness, IDE. naught. Let the deck rest. There's better things elsewhere fortunately. Like in Germany. A few of the better known groups like Amon Duel and Can have received minimal exposure over here on United Artists record, but what about those strange HR imports? They're not cheap ($6 a throw) but the lit off attained makes up for any pocketbook deficiencies. Far and away the two foremost advanced groups (not to mention consistency — 4 albums apiece) are Ash Ra Tempi and Tangerine Dream. And even more to the point, one name in particular, Klaus Schulze, has appeared on the albums of both. Although a distinct talent in a space band, it took his solo album Irrlicht to really prove what he was capable of accomplishing. Backed by a 27 piece orchestra that is primarily inaudible, Klaus controls things out front tackling a variety of keyboard instruments, most notably organ and synthesizer, and expanding upon the electronic possibilities of guitar, zitter and percussion. Side one is the most interesting of the two, the twenty nine minutes intergalactic funeral sounding dirge, "Energy Rise — Energy Collapse." Beginning with an inoffensive orchestral flow that soon disappears into oblivion while the electronics gradually ascend into a fifteen minute space organ that eventually drones into a modulated carefully arranged and produced freakout that unfortunately comes to a close. This is the perfect number to take a nap by 'cause in all likelihood (especially if you use headphones) you'll wake up before the side's over and be in good shape to flip the record over and space out to the not as long yet much more subtle a — tonalities of side two which is written in German so I can't translate it. Klaus Schulze's Irrlicht subtitled Quadraphonic Symphony for Orchestra and Electronic Machinery is a haunting probe into the dark tunnels of the subconscious perhaps most effective at 3 in the morning with all the lights doused. It's a trip you might well fear taking but won't regret after experiencing. It's a submergence of the self into the space of one's own now expanding imagination. The extraterrestial audio is provided. The visual aspect of it is yours as you envision it. Existence is elsewhere. —Scott Fischer Columbia Summer Sale includes entire stock of Columbia popular and Classical Stereo Long plays. • Rock • Folk • Classical • • Rhythm And Blues • Pa ul Simon There Goes Rhymin'Simon Janis Joplin Chicago Including These Artists Including These Artists Simon and Garfunkel Earth, Wind, and Fire Byrds Johnny Winter Weather Report Mike Davis Al Kooper Boz Scaggs Bob Dylan Paul Simon All 4.98 List 2.99 All 5.98 List 3.69 Cavage's page eighteen . punk magazine University Plaza across from main-Bailey Parking Lot Laura Nyro Santana Chicago Firesign Theatre Leonard Cohen Miahavishua Orchestra Loggins & Messina Maynard Ferguson 7 A nd Other Locations �guaranteed lowest average price in buffalo - illboards top LPs 397 year-round B -Fifteen LPs each week 247—287 -Hundreds of budgets down to 197 Plus Expanded Facilities — Knocking Down Walls!! 100,000 Piece Inventory Here By December 1st! Worth The Trip Over? Check Out Our Prices!! ★ Edgar Winter ★ Byrds ★ New Birth ★ Alice Cooper 267 ★ Jethro Tull ★ Curtis Mayfield ★ Janis Joplin ★ Wishbone Ash ★ Rod Stewart • All Hot Tuna 197 • Kinks • Procol Harum •Papa John Creach •Live Cream • Nilsson Incredible Selection! 287 Take your last 10 records purchased and we guarantee the average price paid to be the lowest in town .... to say nothing of your time, frustration and gas running around to save 32' on one out of ten LPs lower somewhere else. That's it in a nutshell! ! The Record Runner University Plaza 7 days a week All Charges 83723222 N.Y. State Keyston e 90's Citadel Of “Rock” Music 6104 South Transit Rd., Lockport Monday And Wednesday are Old TymeDimey Beer Nites Consumer Reports Rates The EPI 100-NO. 1 Cheapest too! Thursday Acceptable Free Admission Sunday Party Nite — Buy any drink in the Super Attractions August 7th - Charlie Starr August 8th to 13th - Bobby Comstock “King of Rock ‘N’ Roll’ August 21st - Jukin Bones - RCA Recording Artists Dimensions weight Impedance EPI 100 (Epicure Prod., Inc., Newbury, Mass.) $94 21x11x9 in. 23.5 lb. 5 ohms Fairfax FX300 (Fairfax Industries, Inc., East Newark, N.J.) no 22x14x10% 31.5 8 99 23x12x10.25 26 6 115 23.5 X 11.75 X 9 25.25 6 ADVENT (Advent Corp., Cambridge, Mass.) 116 25.75 X 14.25 X 11.5 38.5 6 REALISTIC OPTIMUS 5 (Radio Shack Co., Fort Worth) 100 25x14x11.5 32.25 8 Dynaco A35 (Dynaco, Inc., Philadelphia) 120 22.5 X l2.5 X 10 21.75 7 Marantz Imperial 5G (Marantz Co., Sun Valley, Calif.) Sun Valley, Calif.) house and get a second as a gift. - • 2 for the price of one • Price scott $15 (H. H. Scott. Inc., Maynard, Mass.) available only at Transcendental Audio, LTD. 1214 Walden Avenue - Buffalo, N.Y. 897-3984 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource punk magazine Subject The topic of the resource Student life Student publications Description An account of the resource "The rag you are clutching in your sweaty mitts is punk magazine, devoted mainly to rock 'n' roll, sports and anything else that isn't boring." Date A point or period of time associated with an event in the lifecycle of the resource 1973 Contributor An entity responsible for making contributions to the resource Altman, Billy Type The nature or genre of the resource Periodicals Identifier An unambiguous reference to the resource within a given context LIB-UA023 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource punk magazine Subject The topic of the resource Student publications Popular culture Date A point or period of time associated with an event in the lifecycle of the resource 1973-07-30 Contributor An entity responsible for making contributions to the resource Altman, Billy Fernbacher, Joe Saunders, Mike Bangs, Lester Bromberg, Terry Cinnamon, Gary Fischer, Scott Meltzer, R. Salant, Norman Foot Studios Midge McNiece, Larry Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Identifier An unambiguous reference to the resource within a given context LIB-UA023-19730730 Is Part Of A related resource in which the described resource is physically or logically included. punk magazine. LIB-UA023 punk magazine. University Archives Periodical Collection Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Type The nature or genre of the resource Text Description An account of the resource A rock-and-roll zine from the early 1970s, predating the advent of the punk rock music genre. Vol. 1, No. 2, 30 July 1973. https://digital.lib.buffalo.edu/files/original/efbf55453aff9ff0ea9486252217c598.jpg 7a861cb0672157e2117f3b13e19d51ef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A sepia-toned studio portrait shows a group of people posed together in period costumes, some seated and others standing, against a painted backdrop with architectural details. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Group studio portrait of the Silver Creek Shakespeare Club members dressed in period and character costumes, circa 1890. Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Sepia-toned group studio portrait of the members of the Silver Creek Shakespeare Club posed together in period costumes, some as men and some as women, against a painted backdrop with elaborate architectural details, circa 1890. Founded in 1889, the membership of the Silver Creek Shakespeare Club was composed exclusively of women by 1895 and thereafter but, prior to that year, included both women and men, The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1890-1900 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context MS53_2_1_006 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/98e2141e8e4e17a5bdd7ee18ee38a90c.jpg bb670ec868aed04f7dff9aaaed95cfaf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A sepia-toned vintage photograph of a large group of people gathered indoors, some seated and others standing, wearing formal and costume-like clothing, posed closely together. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Group portrait of the members of the Silver Creek Shakespeare Club with many dressed in period costumes in 1904. Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Sepia-toned vintage group portrait of the all-female members of the Silver Creek Shakespeare Club in 1904 gathered indoors. Some members are seated and others standing, wearing formal and costume-like period clothing, posed closely together. Founded in 1889, the membership of the Silver Creek Shakespeare Club was composed exclusively of women by 1895 and thereafter. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1904 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context MS53_2_1_007 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/f4ddf6168373eab44d94a79e1a77be68.jpg 0af9f870a48d76df10e8bf60b2a26af9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A vintage black-and-white photograph shows a large group of people seated at long, neatly set tables inside a café or dining hall, many looking toward the camera, with curtained windows and floral centerpieces in the background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Group portrait of the Silver Creek Shakespeare Club members at their 50th Anniversary celebration. in 1939. Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.)--Anniversaries, etc. Shakespeare, William, 1564-1616-- Criticism and interpretation Shakespeare, William, 1564-1616--Appreciation--United States Description An account of the resource Group portrait photograph of the all-female members of the Silver Creek Shakespeare Club celebrating its 50th anniversary in 1939. Members are seated at long, neatly set tables inside a café or dining hall, many looking toward the camera, with curtained windows and floral centerpieces in the background. Founded in 1889, the membership of the Silver Creek Shakespeare Club was composed exclusively of women by 1895 and thereafter. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context MS53_2_1_008 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/0df9ead832ff3ffbe0856b7291ecb7c2.jpg b98058bc85b2e7e9243866a0ed0ef159 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A large group of people posed indoors for a vintage black-and-white photograph, seated and standing in rows, with one person centered in front holding papers and a framed painting on the wall behind them. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Group portrait of the members of the Silver Creek Shakespeare Club, Silver Creek, New York, circa 1930. Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Portrait photograph of the all-female members of the Silver Creek Shakespeare Club, circa the 1930s. Members are seated and standing in rows, with one person centered in front holding folded papers or a pamphlet with a framed painting on the wall behind.them. Founded in 1889, the membership of the Silver Creek Shakespeare Club was composed exclusively of women by 1895 and thereafter. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1930-1940 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context MS53_6_1_001 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/9bc6a81f3e8075ed478d682117b37ccf.jpg 5482a9639f576e6911881d10a3e407d7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A vintage black-and-white photograph of five people standing indoors, with two wearing large white hats while the others smile and pose together. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Group portrait of the Silver Creek Shakespeare Club members with two wearing Medieval-style headdresses, circa 1930. Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Group portrait of the all-female members of the Silver Creek Shakespeare Club with with two wearing Medieval-style headdresses, circa 1930s The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1930-1940 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context MS53_6_1_002 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/6fb2d115f06e593aab8fef325ce2a456.pdf 5b9a80076038a5a7def3145750a9b12c PDF Text Text Literary Union, Silver Creek, N. Y. Programme For Season, 1891-92. “Whether books be meadows fresh and green, Or whether they but cultured gardens be, Whoever rambles through them, still must glean Only such flowers as he has eyes to see.” William Cullen Bryant. �Programme. Oct. 5—Reminisences of the summer by Members; Election of Officers. Oct, 12—Geo. McDonald, Mrs. Chas. Sterling. “19—Gen. Lew. Wallace, Mrs. Geo. Towne. “26—Edward Eggleston, Mrs. Ralph Quale. Nov. 2—Tennyson, Ella Egbert. “9—John Habberton, Mrs. T. S. Scoville. “16—Edwin Arnold, Wm. Erb. “23—Evening with the Magazines, Mrs. Bishop. “30— “ “ Modern Poets, Mrs. Bacon. Dec. 7—Joel Chandler Harris, - Bert. Douglas. “14—Amelia Barr, - Mrs Brown Woodbury “21—Evening with Humorists, Mrs. Snow. “28—Francis Hodgson Burnett, - Mrs. Cranson. Jan. 4— "Midsummer Nights Dream,” -- Harry Hill. “11—Constance Fennimore Woolson, - Mrs. C. Howes. “18—Evening with Musicians, Etta Montgomery. “25—Darwin, Mrs. Howe. Feb. 1—Chas. Dickens, - Mrs. Babcock. �Feb. 8—Helen Hunt Jackson, Mrs. Kelloway. "15—Evening with the Beechers, - Mrs. Morrison. "22—Nathaniel Hawthorne, - Laura Fairchild. “29—Chas. Dudley Warner, Mrs. Weeks. Mch. 7—Evening with Hymns, Mrs. Fairchild. “14—Thomas Bailey Aldrich, - Fred. Burdette. “21—Literary Budget, Mrs. Wm. Erb. “28—Mrs. Alden, - Misses Babcock, Day, Talcott, and Knight. Apr. 4—Thomas Carlyle, Mrs. Randall. “11—Elizabeth Barrett Browning, - Mrs. Gaston. Note—Fifteen minutes each evening will be given to Current Topics. Roll call responded to by quotations. “May blessings be upon Cadmus, the Phoenicians, or who ever it was that first invented boohs.” Carlyle. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1891 season program for the Silver Creek Literary Union Subject The topic of the resource Silver Creek Literary Union (Silver Creek, N.Y.) Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Calendar of events for the 1891-1892 season of the Silver Creek Literary Union, Silver Creek, New York The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1891 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context MS53_1_3_001 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/25f768a5059df76f69d595df24bea259.pdf 780141c6f9272759102ba8925b24e63e PDF Text Text Shakespeare Club Silver Creek, N. Y. 1914 1915 �Shakespeare Club Silver Creek, N. Y. Organized 1889 Federated 1913 Officers President.........Mrs. MacCarthy Vice President................................. Mrs. Bacon Recording Secretary..............Mrs. Williams Corresponding Secretary.......... Mrs. Howes Treasurer.............. . ...........................Mrs. Foote Club Color Green and White “What stronger breast plate than a heart untainted?” �Repertoire Twelfth Night, Henry 8, A Doll's House, (Ibsen), Macbeth. For each play there will be a Director General; a Director for each act; one paper and discussion of ten minutes following the reading of each act. Members are request ed to respond to roll call with a quotation from memory. �Calender 1914—1915 "Defer no time, delays have dangerous ends” October 6—Opening Evening. Roll Call—Current Topics Committee—Mrs. Thomas, Mrs. Stewart, Mrs. Brand. Life of Shakespeare......................... Mrs. Hunt Hostess—Mrs. Williams �Twelfth Night “Some are born great, some achieve greatness and some have greatness thrust upon them” October 13—Act 1. Director General—Miss Montgomery. Hostess—Mrs. Thomas. October 20—Act 2. Director—Miss Thomas. Hostess—Mrs. Foote. October 27—Act 3. Director—Mrs. Beebe. Hostess—Mrs. Stewart. November 3—Act 4. Director—Mrs. Fox. Paper—The Humor of the Play. Mrs. Thomas Hostess—Mrs. Anderson. November 10—Act 5. Director—Mrs. Williams. Hostess—Mrs. Beebe. Critic — Miss Montgomery. �Henry 8. “Let all the ends thou aims’t at be thy Country’s Thy God’s and truth’s” November 17—Act 1. Director General—Mrs. Scoville. Hostess—Mrs. Brand. November 24—Act 2. Director—Mrs. Bacon. Hostess—Mrs. Kelloway. December 1—Act 3. Director—Mrs. Barbeau. Hostess—Mrs. Foster. December 8—Act 4. Director—Mrs. Kelloway. Paper.................................................. Mrs. Bacon Hostess—Mrs. Erb. December 15—Act 5. Director—Mrs. Foster. Hostess—Mrs. Barbeau. Critic—Mrs. Scoville. “And I do hope food day and long to see” �Modern Drama "A wild dedication of yourselves, To unpathed waters—undreamed shores” January 12—Modern Plays, Players and Playwrights..................... Mrs. Lipsey “The Movies”............................. Mrs. Fox Reading, Selection from Maeterlinck... Mrs. Brand Reading, Selection from “The Servant in the House”............... Mrs. Stewart Federation Topics.................. Mrs. Lanphere Hostess—Mrs. Bacon. A Doll’s House, (Henrik Ibsen) January 19—Act 1. Director General—Mrs. Dawley. Hostess—Mrs. Sterling. January 26—Act 2. Director—Mrs. Lanphere. Hostess—Mrs. Dawley. February 2—Act 3. Director—Mrs. Stewart. Hostess—Mrs. Lanphere. February 9—Reciprocity Day. Luncheon. Hostess—Mrs. MacCarthy. �Macbeth “Tis safer to be that which we destroy Than by destruction dwell in doubtful joy” February 16—Act 1. Director General—Mrs. Hunt. Hostess—Mrs. Gaston February 23—Act 2. Director—Mrs. Foote. [MacCarthy] Paper, Macbeth........................... Mrs. Sterling Hostess—Mrs. Hunt. March 2—Act 3. Director—Miss Woodbury. Hostess—Mrs. Fox. [illegible] March 9—Act 4. Director—Mrs. Erb. Paper—Witches and Witchcraft............ Miss Woodbury Hostess—Mrs. Lipsey. March 16—Act 5. Director—Mrs. Gaston. Sleep Walking Scene................... Mrs. Foster Hostess—Mrs. Scoville. Critic—Mrs. Hunt. �Social Sessions. October 6—Open Evening. Committee—Mrs. Thomas, Mrs. Stewart, Mrs. Brand. Hostess—Mrs. Williams. January 5—Reception of Officers. Hostess—Mrs. Howes. February 9—Reciprocity Day. Luncheon. Hostess—Mrs. MacCarthy. March 23—Scenes from Twelfth Night. Committee—Mrs. Bacon, Miss Montgomery Mrs. Foster. March 30—Annual Tea. Committee—Mrs. Howes, Mrs. Anderson, Mrs. Scoville, Mrs. Kelloway. Hostess—Mrs. Howes. April 23—Shakespeare’s Birthday. Committee—Mrs. Foote, Miss Woodbury, Mrs. Erb, Mrs. Brand July—Annual Outing. Committee—Mrs. Dawley, Mrs. Lanphere, Mrs. Lipsey, Mrs. Barbeau. “All Hail Great Master, Grave Sir, Hail!” Discussion—Ten minutes. �Active Members “Come sit down every mother’s son and rehearse your parts” Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Anderson Mrs. Hunt Barbeau Mrs. Kelloway Bacon Mrs. Lanphere Beebe [illegible] Mrs. Lipsey Brand Mrs. MacCarthy Dawley Miss Montgomery Erb Mrs. Scoville Foote Mrs. Sterling Fox Mrs. Stewart Foster Mrs. Thomas Gaston Miss Thomas Howes Mrs. Williams Miss Woodbury Honorary Members Rev. R. N. Stubbs Miss Julia Burgess Mrs. E. J. Howe Mrs. Nettie Howe Mrs. Harriet D. Babcock["Mrs. Guest"] In Memoriam “Pluck out from memory a rooted sorrow" Mrs. Bishop Mrs. Babcock Mrs. Morrison Mrs. Snow Mrs. Eddelblute �Introduction of Poetry – Hospitality of the [illegible] [illegible] Reynolds Reading from [illegible] – [illegible] Mr.[ilegible][ilegible]ground ancing and[ilegible]away–W.Lang �Press of Dunkirk Printing Company � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1914-1915 season program of the Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Calendar of events for the 1914-1915 season of the Silver Creek Shakespeare Club, Silver Creek, New York. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1914 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context MS53_1_3_024 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/8ec511311a5c1eea68a0b0b437ab4f0c.pdf ac5e680829b39f8aeea19b311ec6b89d PDF Text Text Silver Creek Shakespeare Club 1889-1939 Program 1939-1940 �Silver Creek Shakespeare Club Organized 1889 Founder Rev. R. N. Stubbs Club Colors---- Green and White �Officers President .......................................... Beatrice Hilliker Vice-President ................................................ Alta Fox Recording Secretary.......................... Edena Sallberg Corresponding Secretary........................ Helen Krestic Treasurer ..................................... Wilhelmina Bradley Custodian ......................................... Esther Woodbury �Active Members Verna Babbitt Marianne Blawat Wilhelmina Bradley Helen Clothier Lucy Cook Laura de la Porte + [guest] Ima Elliott Alta Fox Jean Fuller Helen Gaude Katherine Glasford Katherine Goodell Philena Williams Beatrice Hilliker Helen Krestic Ethel Lucas Marian Mead Virginia Newton Edena Sallberg Olive Schlender Margaret Smith Marion Thomas Alice Ward Lydia Warner Libbie Williams Associate Members Cora Barbeau Lillie Settzo Nellie Hamacher Mabel Schifferli Frances Watson Mrs. Montgomery and [?Pettago?] Honorary Members Etta Montgomery Esther Woodbury Nellie Stewart �Work For The Year 1939-1940 Measure for Measure ............................... Hamlet ..................................................... Henry 4—Part 1 ................................... The Winter’s Tale ................................... Shakespeare Shakespeare Shakespeare Shakespeare Selected Literature “In the civilization of to-day it is undeniable that, over all the arts, literature dominates, serves beyond all.” —W. Whitman Specials October 3 ..................................... Organization Night November 14 ............... 50th Anniversary Celebration January 2 ........................... Twelfth Night March 26 ....................................... Shakespeare Night July ....................................................... Annual Picnic �Organization Night October 3— “Saying is one thing, and doing is another.” —M. Montaigne Hostess ......................................................... Lucy Cook Refreshment Committee Edena Sallberg Lucy Cook Review by Ethel Lucas “Inside Europe” by John Gunther A Vacation Review— Please respond to roll call by giving a few remarks about your vacation. Special Travelogue �Measure For Measure Director and Critic ...................... Katherine Glasford “Truth is truth To the end of reckoning.” October 10—Act 1 Introduction ................................. Katherine Glasford October 17—Act 2 “Philosopher’s Holiday” by Irwin Edman Margaret Smith October 24—Act 3 Parlimentary Drill ..................... Wilhelmina Bradley October 31—Act 4 A Visit to Folger Library, Washington, D. C. Verna Babbitt November 7—Act 5 “The Patriot” by Pearl Buck ............ Helen Krestic �Fiftieth Anniversary Celebration November 14— “The holiest of all holidays are those Kept by ourselves in silence and apart, The secret anniversaries of the heart!” —H. W. Longfellow Refreshment Committee. The Officers Entertainment Committee ..................... The Officers Assisted by: Helen Gaude, Esther Woodbury �Hamlet Director and Critic ................................... Alice Ward “Report me and my cause aright.” November 21—Act 1 Introduction ...................................... Alice Ward November 28—Act 2 “My Husband, Gabrilowitsch” by Clara Clemens Lucy Cook December 5—Act 3 Selected Musical Topic........................ Helen Clothier December 12—Act 4 Review of a Selected Play................... Marion Thomas December 19—Act 5 A Selected Reading............................ Olive Schlender �Christmas Recess “My best of wishes for your Merry Christmases and your happy New Years, your long lives and your true prosperities.” —Charles Dickens Twelfth Night January 2— “Christmas is over and Business is Business.” —Franklin P. Adams Hostess ................................................. Helen Krestic Election of Officers Committee for the Tea ............................ The Officers Entertainment Committee .... W. Bradley, M. Blawat �Henry 4—Part 1 Director and Critic ............... Alta Fox “The better part of valour is discretion.” January 9—Act 1 Introduction .................................................. Alta Fox January 16—Act 2 “Musical Instruments through the Ages” Katherine Goodell January 23—Act 3 “A Peculiar Treasure” by Edna Ferber Virginia Newton January 30—Act 4 Selected Poetry................................ Philena Williams February 6—Act 5 “The Great American Novel” by C. B. Davis Libbie Williams February 13— Distinctive Novels of 1939 ..............Laura de la Porte �The Winter’s Tale Director and Critic ........................ Marianne Blawat “What you do Still betters what is done.” February 20—Act 1 Introduction ..................................... Marianne Blawat February 27—Act 2 “The Hudson” by Carl Carmer................. Ima Elliott March 5—Act 3 “I Wanted to be an Actress” by Katherine Cornell Marian Mead March 12—Act 4 “Chautauqua Caravan” by Marian Scott Lydia Warner March 19—Act 5 “Five and Ten” by John K. Winkler.....Jean Fuller �Shakespeare Night March 26 “I loved the man (Shakespeare) and do honor his memory, on this side idolatry, as much as any.” —Ben Jonson Refreshment Committee Helen Gaude Lydia Warner Entertainment Committee Verna Babbitt Virginia Newton July —Annual Picnic “As merry as the day is long.” —Shakespeare Committee Marian Mead Philena Williams �Constitution of the Silver Creek Shakespeare Club Adopted March 26, 1918 Revised March 30, 1930 Constitution Article 1 Name The name of this club shall be—The Silver Creek Shakes peare Club. Article 2 Object The object shall be the study of Shakespeare and other subjects of general literature. Article 3 Membership The membership shall be limited to twenty-five members. Amendment The membership shall be limited to twenty-five active members. Associate members shall be limited to ten. Any member who is unavoidably prevented from actively participating in the meetings and programs of the club, may apply for associate membership. This application shall be voted upon by written ballot, at the meeting following that upon which the application is presented to the club. Any member who has been an active member and who is unable to continue as an active or associate member, may at the discretion of the club be voted an honorary member. �The name of an associate member shall have precedence over the name of any new applicant for membership. Section 1 Application for membership shall be presented to the president of the club. Before being acted upon, it must be submitted to a committee of three (besides the president). This committee shall be appointed by the president and shall not be known to the club. The proceedings of this commit tee shall be confidential concerning the business of mem bership. If the application be approved by the committee, the name of applicant shall be presented to the club. The name shall be voted upon, by written ballot, at the next regular meeting. Three negative votes shall exclude applicant from membership. This name cannot again be presented within the club year. Article 4 Officers The officers of the club shall be—president, vice-presi dent, recording secretary, corresponding secretary, treasurer and custodian. Section 1 These officers shall be elected annually at the first meet ing in January with the exception of the custodian, (See By-Laws, Article 1, No. 6). These officers shall be nominated by a committee of three and elected by written ballot of the club. The officers shall begin their duties at the first meeting in October. The president shall appoint the nominating committee. �Section 2 No officer shall be eligible to serve more than two con secutive terms in the same office. Section 3 The officers shall constitute a committee on preparation of the calendar and work for the ensuing year. Article 5 Meetings This club shall hold its regular meetings on Tuesday evenings from October 1 to April 1, unless otherwise voted by the club. The annual meeting shall be the last meeting in March. Annual reports shall be rendered and final busi ness transacted. (See Standing Rules 1.) Article 6 Amendments This constitution may be amended at any regular meeting by a two-thirds vote of those present and voting, provided the amendment has been submitted in writing at the previous regular meeting. 88 By-Laws Article 1 Duties Of Officers 1 It shall be the duty of the president to preside at all meet ings and to perform all other duties pertaining to the office. �2 In the absence of the president, the vice-president shall perform all duties of the president. In case the office of president becomes vacant, the vice-president shall succeed to that office and continue therein until the regular expira tion of that term.3 The recording secretary shall keep a record of the pro ceedings of all meetings of the club. She shall also keep a correct list of the members. In the absence of the president and vice-president, she shall call the meeting to order and preside until a chairman pro tem is elected. She shall render a written report of the year’s club activities at the annual meeting. At the expiration of her term of office she shall turn over to the custodian all papers pertaining to her office except such as are to be used the ensuing year. These must be turned over to her successor. 4 The corresponding secretary shall issue notices of all meet ings, and conduct all correspondence of the club. She shall read all letters directed to the club and shall have custody of same unless instructed by the president or club. 5 The treasurer shall receive all moneys of the club, collect all dues, and keep an account of all receipts and disburse ments. She shall pay out the funds only upon an order of the club. She shall render a written report at the annual meeting. She shall notify any member who has failed to pay dues or assessments. �6 The custodian shall be appointed by the president. She Shall hold the office until she resigns, or until in the judg ment of the club, a successor should be appointed. She shall have the custody of all books and records of the club except the minutes of the current year. She shall keep on file the calendars of each and every year. Members may have access to the records and materials of the club. Article 2 Dues The dues of active members shall be two dollars per year. The dues shall be paid at the time of the annual picnic. (See Standing Rules No. 5.) Amendment Associate members shall pay double dues. Article 3 Duties Of Members Section 1 Each member shall be present at every regular meeting Unless she has an adequate excuse. Excuses for such ab sences must be reported to the club after the second absence. (See By-Laws Article 4.) Section 2 Each member of the club shall be responsible for work assigned, and shall furnish a substitute if unable to prepare, or present her work. Section 3 Members intending to resign at the end of the club year shall notify the secretary on, or before, the annual meeting in March. Any member wishing to resign during the year shall send a written resignation to the secretary. �Article 4 Forfeiture Of Membership An absence from three consecutive meetings without ex cuse to the club shall be reason for loss of membership. (See By-Laws Article 3, Section 1.) Article 5 Privileges Of Members Section 1 Members may invite to the regular meetings of the club, out-of-town guests but not residents of Silver Creek. By a vote of the club, members may invite resident guests to social and “open” meetings. Amendment Associate members have all privileges of active members except voting. Section 2 For reasons approved by the vote of the club, members may obtain a leave of absence. Article 6 Quorum Ten members shall constitute a quorum. Article 7 Amendments The By-Laws may be amended by the same method by which the Constitution is to be changed. (See Constitution, Article 6.) �Standing Rules 1 The annual meeting in March shall be known as Shakes peare Night and shall be suitably observed. (See Consti tution, Article 5.) 2 Absent members shall pay all dues and assessments. 3 When a member has been absent two consecutive meetings without excuse, the secretary shall call the attention of such member to the By-Laws, Article 3, Section 1, also Article 4. 4 The first meeting in January shall be known as Twelfth Night and shall be suitably observed. 5 The annual picnic shall be on the first Tuesday after the Fourth of July unless changed by a vote of the club. 6 The calendar committee shall have the calendars ready for the ensuing year and shall present them to members at the time of the annual picnic. (See Rule V above.) 7 Roberts Rules of Order Revised shall be the authority on all questions of Parlimentary Law. 8 Standing Rules may be amended by the same method by which the Constitution is to be changed. (See Constitution, Article 6.) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1939-1940 season program of the Silver Creek Shakespeare Club, 1889-1939 Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Calendar of events for the 1939-1940 season of the Silver Creek Shakespeare Club, Silver Creek, New York The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context MS53_1_5_002 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/d457a360792061f0506de36273ca8853.pdf ae86023eb2e409b321d408208f1dae94 PDF Text Text Silver Creek Shakespeare Club Program 1964-1965 �Silver Creek Shakespeare Club Organized 1889 Founder The Rev. R, N. Stubbs Club Colors - Green and White �Games & quiet act 12 – nov 9 [illegible] Winter’s Tale, nov 16 – dec 14 [illegible] Richard 3 Jan 18 – Feb 18 D. [illegible] March 8th [illegible] 15 – [illegible] 22nd 29th �Active Members Laura Bartlett Lucy Cook Eugenie Ehmke[Grace Ehmke] Alta Fox Betty Galloway Janet M. Gaude Katherine Goodell Xenia McGowan Marion Mead Margaret Munn [Eva Munzesheheimer] Virginia Newton Edena Sallberg Alice Ward [D.] [?Guewold?] �[illegible] Mary M. �Honorary Members Helen Gaude Ethel Lucas Lillie Settsp Marion Thomas Frances Watson Philena Williams �Officers President...... Janet M. Gaude Vice-President...... Edena Salberg Recording Secretary. Virginia Newton Corresponding Secretary........................... Xenia McGowan Treasurer- Marion Mead Custodian.......................... Virginia Newton �- Calendar - Seventy-fifth Anniversary Banquet.. October 6 Henry 8................................. October 13 to November 10 Measure for Measure- November 17 to December 15 Christmas Recess.........December 22 to January 5 Twelfth Night.......... ..................... January 5 Macbeth............................................January 12 to February 9 Historical Significance of the Jew in Shakespeare's Time- February 16 Shakespeare's Home Town- February 23 Old Vic vs. Theatre 1965- March 1 Taverns and Inns in Shakespeare's Towns..................... March 8 Ballads of Shakespeare's DayMarch 15 Shakespeare NightMarch 22 Birthday TeaApril 22 Annual PicnicJuly 6 �Seventy-Fifth Anniversary and Organization Night October 6 "A good digestion to you all; And one more, I shower a welcome on ye; Welcome all." �Henry 8 Director and Critic.......... Marion Head "Heaven is above all yet; There sits a judge that no king can corrupt." October 13................................................. Act 1 October 20......................................... Act 2 October 27............................ November 3........................... Act 3 Act 4 November 10......................................... Act 5 �Measure For Measure Director and Critic- Betty Galloway "I have seen corruption boil and bubble, 'Till it o'er-run the stew." November 17.......................................... Act 1 November 24......................................... Act 2 December 1............................. Act 3 December 8............................................Act 4 December 15................Act 5 �Christmas Recess December 22, 1964 - January 5, 1965 Twelfth Night January 5, 1965 "Christmas in Shakespeare's Day" "Go call him hither - I am as mad as he If sad and merry madness equal be." Committee............... The Officers �MacBeth Director and Critic- Xenia McGowan "Nothing in his life became him like the leaving it." January 12................ Act 1 January 19........................................... Act 2 January 26.......................................... Act 3 February 2..............Act 4 February 9............................................... Act 5 �Historical Significance Of The Jew In Shakespeare's Time February 16............... Katherine Goodell Shakespeare's Home Town February 23........................... Edena Salberg Old Vic' vs. Theatre 1965 March [12]................. Virginia Newton �Taverns And Inns In Shakespeare’s Town March 9- [D. Guewold] Ballads Of Shakespeare’s Day March [16]- Eugenie Ehmke �Shakespeare Night March 23, 1965 "Mine host is full of ale and history." Committee Alta Fox Laura Bartlett Shakespeare Birthday Tea April 25 (Sunday) 1965 The Officers Committee: Annual Picnic July 6, 1965 Margaret Munn Lucy Cook Eva Munzesheimer Grace Ehmke �7/7/64 Reid of Virgina Newton 4.00 [?Mauiar?] and Mead � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1964-1965 season program of the Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Calendar of events for the 1964-1965 season of the Silver Creek Shakespeare Club, Silver Creek, New York. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1964 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context MS53_1_6_006 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/83f679e5095bb8ae2aa56c35d19d7686.pdf b2d0e538e3471436920853ba88b7cbfc PDF Text Text Constitution of the Silver Creek Shakespeare Club �Constitution Of The Silver Creek Shakespeare Club The By-Law Adopted March 26, 1918 Revised March 30, 1930 Revised March 30, 1935 Constitution Article 1 Name The name of this club shall be—-The -Silver Creek Shakespeare Club. Article 2 [illegible] The object shall be the study of Shakespeare and other subjects of general literature. Article 3 Membership The membership shall be limited to twenty-five members. Section 1 Application for membership shall be presented to the president of the club. Before being acted upon, it must be sub mitted to a committee of three (besides the president). This committee shall be appointed by the president and shall not �be known to the club. The proceedings of this committee shall be confidential concerning the business of membership. If the application be approved by the committee, the name of applicant shall be presented to the club. The name shall be vote upon, by written ballot, at the next regular meeting. Three negative votes shall exclude applicant from membership. This name cannot again be presented within the club year. Amendment Membership shall be limited to twentyfive active members. Any member who has been an active member and who is unable to continue as an active or as associate member, may at the discretion of the club be voted as honorary member. Article 4 Officers The officers of the club shall be— president, vice-president, recording secretary, corresponding secretary,treasurer and cus todian. Section 1 These officers shall bo elected annually at the first meeting in January with the ex ception of the custodian. (See By-Laws, Article 1, No. 6). �These officers shall he nominated by a committee of three and elected by written ballot of the club. The officers shall be gin their duties at the first meeting in October. The president shall appoint the nominating com mittee. Section 2 No officer shall be eligible to serve more than two consecutive terms in the same office. Section 3 The officers shall constitute a com mittee on preparation of the calendar and work for the ensuing year. Article 5 Meetings This club shall hold its regular meet ings on Tuesday evenings from October 1 to April 1, unless otherwise voted by the club. The annual meeting shall be the last meeting in March. Annual reports shall be rendered and final business transacted. (Seo Stand ing Rules. 1) Article, 6 Amendments This constitution may be amended at any regular meeting by a two-thirds vote of those present and voting, provided the amendment has been submitted in writing at the previous re gular meeting. �By-Laws Article 1 Duties Of Officers 1 It shall be the duty of the president to preside at all meetings and to perform all other duties pertaining to the office. 2 In the absence of the president, the vicepresident shall perform all duties of the pres In case the office of president becomes ident. vacant, the vice-president shall succeed to that office and continue therein until the re gular expiration of. that term. 3 The recording secretary shall keep a re cord of the proceedings of all meetings of the club. She shall also keep a correct list of the members. In the absence of the president and vice-president, sho shall call the meeting to order and preside until a chairman pro tom is elected. She shall render a written re port of the year's club activities at the an nual meeting, it the expiration of her term of office sho shall turn over to the custodian all papers pertaining to her office except such as are to be used the ensuing year. These must be turned over to her successor. 4 The corresponding secretary shall issue �notices of all mootings, and conduct all correspondence of the club. Sho shall road all letters directed to the club and shall have custody of same letters unless in structed by the president or club. 5 The treasurer shall receive all moneys of the club, collect allduos, and keep an ac count of all receipts and disbursements. She shall pay out the funds only upon an order of the club. She shall render a written report at the annual meeting. She shall notify any member who has failed to pay dues or assess ments. 6 The custodian shall be appointed by the president. She shall hold the office until she resigns, of until in the judgment of the She club, a successor should be appointed. shall have the custody of all books and records of the club except the minutes of the current year. She shall keep on file the cale ndars of each and every year. Members may have acccss to the records and materials of the club. Article 2 Dues The dues of active members shall bo two dollars per year. The dues shall be paid at the time of the annual picnic. (See Standing Rules No. 5.) �Amendment Associate members shall pay double dues. Article 3 Duties Of Members Section 1 Each member shall be present at every reg meeting unless she has an adequate excuse. ular Excuses for such absences must bo, reported to to the club after the second absence. (See ByLaws Article 4.) Section 2 Each member of the club shall be respons ible for work assigned, and shall furnish a substitute if unable to prepare, or present her work. Section 3 Members intending to resign at the end of the club year shall notify the secretary on, or before, the annual mooting in March. Any member wishing to resign during the year shall send a written resignation to the secretary. Article 4 An without loss of Section Forfeiture Of Membership absence from three consecutive meetings excuse to the club shall bo reason for membership. (See By-Laws Article 3, 1.) Article 5 Privileges of Members �Section 1 Members may invite to the regular meet ings of the club, out-of-town guests but not residents of Silver Crook. By a vote of the club, members may invite resident gue sts to social and "open" meetings. Amendment Associate members have all privileges of active members except voting. Any member who is unavoidably prevented from actively participating in the mootings and programs of the club, may apply for assoc iate membership. This application shall be voted upon by written ballot at the mooting following that upon which the application is presented to the club. Associate members shall be limited to ten. The name of an associate member shall have precedence over the name of any now ap plicant for membership. Section 2 For reasons approved by a vote of the club, members may obtain a leave of absence. Article 6 Quorum Ten members shall constituted a quorum. �Article 7 [illegible] The By-Laws may be amended by the same method by which the Constitution is to be changed. (See Constitution, Article 6.) Standing Rules 1 The annual meeting in March shall be known as Shakespeare Night and shall be suit ably observed. (Sec Constitution, Article 5.) 2 Absent members shall pay all dues and assessments. 3 When a member has been absent two consec utive meetings without excuse, the secretary shall call the attention of such member to the By-Laws, Article 3, Section 1, also Art icle 4.)4 The first mooting in January shall be known as Twelfth Night and shall be suitably observed. 5 The annual picnic shall be on the First �Tuesday after the Fourth of July unless changed by a vote of the club. 6 The calendar committee shall have the cal endar ready for the ensuing year and shall present then to members at the time of the an nual picnic. (See Rule 5 above.) 7 Roberts Rules of Order Revised shall bo the authority on all questions of Parlia mentary law. 8 Standing Rules may bo amended by the same method by which the Constitution is to be changed. (See Constitution, Article 6.) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Constitution Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Full text of the constitution of the Silver Creek Shakespeare Club, Silver Creek, New York founded in 1889 by Methodist minister the Rev. Robert Newton Stubbs. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context MS53_2_4_001 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/0e28947627caeac3237b2f1574713cbd.pdf d3c4883b9cf6958d03252bb8a2769383 PDF Text Text The Hanover Historical Published For The Resident Of Hanover, Chautauqua County, N.Y. Vol. 4 September 1, 1989 A Quarterly Newsletter No. 3 Editor: Vincent P. Martonis Hanover Historian 35 Monroe St. Silver Creek, N.Y. 14136 (716) 934-5576 Special fall greetings to you! Special because on September 29 at 2:00 P. M. the new Hanover Town Hall will be officially dedicated and with it the Hanover Historical Center. All Hanover residents are cordially invited to the grand opening. Come and see the small beginning of a great endeavor, where all town residents can donate historical items and see them safely preserved. The Silver Creek Shakespeare Club How can one even begin to list the magic -ingredients required for a small village club to last 100 years? More than the right subject or idea. More than the time and place. More than even the dedicated people involved. What the secret is is hard to say. But hasn’t it indeed been found by all those wondrous folk who have called themselves the Silver Creek Shakespeare Club all these years? Through war and peace, through depression and prosperity, though death’s long arm touched friend and member dear, on and on they have met. They have heartily laughed along with the raucous and witty Falstaff. They have scanned the windy heath with the crazed eyes of a Lear. They have pondered deep and dark the subtle secrets of Richard III. And surely haven’t they, like Macbeth, questioned their own "tomorrows” as they stared out over the battlements of Dunsinane, watching Birnam Wood march their doom? What times! What history! What memories! Meetings have been usually held in members’ homes, so often in one in fact that it, 51 Main St., became known as The Shakespeare House. But they have also met in the Village Hall, Wright’s Tea Room in Hanford Bay, Silver Creek Central School, and the Presbyterian Church (1st United). Special yearly meetings called Twelfth Night (the opening meeting) and Shakespeare Night (the closing meeting) have been held at such places as Chautauqua Institution, the Powers Hotel, and the Van Buren Lodge. And outside speakers from the Dunkirk Literary Club, Buffalo State, the University of Buffalo, and many more added unique perspectives on plays from Euripi Members Of Shakespeare Club, Silver Creek, N. Y. des to Shakespeare. Myriad writers have Rev. R. N. Stubbs, Pres. Mrs. A. M. Preston, Vice-President. been studied. Sopho Hattie Dalrymple, Sec. and Treas. cles, Dickens, Keats, Cora Briggs. Mrs. C. G. Talcott. Thackery, Coleridge, Mrs. C. Shumaker. Mrs. F. Morrison. Tennyson, Sheridan, Mrs. F. Gifford. Mrs. Julia Scott. Mrs. Geo. Gaston. Mrs. G. B. Douglas. and Shaw comprise a Miss Abbie Thompson. Theo. Stewart. An Hour with Mrs. Theo. Stewart. Wm. Fuller. small part of the list. Helen Abell. Miss Gaylord. Shakespeare April 28, 1891. Being concerned memembers Mrs. W. Fuller. Miss Hartwell. Mrs. E. M. Bishop. Mrs. L. Snow. Mrs. E. Horton. Ella Egbert. H. W. Allen. Ina Mereness. M rs. H. W. Allen. Mrs. Wm. Talcott. Mrs. C. Sterling. Agnes McAndrew. Mrs. Fred. Thomas. Mrs. N. Babcock. W. Erb. Chas. VanSchoonhoven. Mrs. W. Erb. Helen Christy. A. M. Preston. Miss Morrison. Frank Potter. Mrs. J. H. Howe. Agnes Ford. "Ararer spirit never Did steer Humanity." Here you see the front and back pages(reduced in size) of the Club’s April 25, 1891, program "An Hour With Shakes peare."The membership list of 40 contains familiar local names. �of the community, they have even managed frequent contributions to the village library, the Red Cross, and the Newton Memorial Hospital (Silver Creek). So how did this all start you may wonder? Marion Thomas, who wrote a 51 page history of the club in 1964, tells us: "In 1889 the Reverend Robin Newton Stubbs was the minister of the Methodist Church, a man of marked intellectual "Be bright and jovial among your guests to-night.” Violin Solo................................................................. Miss Briggs. Programme. Instrumental Duet, Mrs. C. G. Talcott and Miss Allie Morrison. Portia's Plea for Antonio.........................................Miss Mereness. Music,......................................................................................... Selected. Synopsis of Romeo and Juliet, .... Mrs. Gaston. Illustration, ............................................ From Romeo and Juliet. Miss Gaylord, Miss Ford, Messrs. Preston, Stewart, Fuller, and others. Vocal Solo, Illustration, ............................................................. Mrs. Erb. ...............................................................From Othello. Messrs. Stewart, Potter, VanSchoonhoven, Fuller, Mrs. Douglas, Mrs. Fuller, and others. Instrumental Solo..................................................... Miss Talcott. Selected. From Othello. Illustration, Mrs. Douglas and Mrs. Fuller. ............................................................................. Selected. Mr. F. W. Thomas. Illustration.................................................... From Romeo and Juliet. Miss Gaylord, Messrs. Stubbs and Preston. Synopsis of Macbeth,................................... Illustration....................................................................... Front Macbeth. Misses Hartwell, Mereness, Dalrymple, Mrs. Thomas, and Mr. Allen. Synopsis of Othello, Roll Call with Quotations. Selected. Our Shakespeare Cub, 1890-1891. Mrs. Babcock. Vocal Duet, Selected. Mrs. Fuller and Miss McAndrew. Mrs. Howe. Illustration..................................................................... From Macb eth. Banquet. Mr. and Mrs. Allen. interests as well as "Our purse is empty already, religious and spiritual. Our golden words are spent— 'Tis time to part—Good night He gathered around him a group of congenial And. here are the inside pages of that 1891 program. Quite a full hour spirits who began I’d say. Ten play and musical selections, followed by a fine feast! to read Shakespeare together from time to time. From these pleasant informal evening get-togethers with their read ings and discussions grew the idea of a club with the purpose of furthering their knowledge of Shakespeare and their literary appreciations, a serious study club. . . , Silver Creek’s first culture club." Our Shakespeare Club — one of the oldest in the United States today. Our Shakespeare Club — the only one in the United States which has read Shakespeare every year of its existence. Our Shakespeare Club — to all the members past and present we shout a hearty Congratulations! And perhaps it is fitting to let the words of the immortal bard they've so long honored end this piece, “So long as men can breathe or eyes can see, So long lives this and this gives life to thee.” Sonnet 18 Irving in Yester Years Birthday -Party. Given By The Ladies Aid Society For The Benefit Of The M. E. Church. Of all queer things is the one I ween, That conies on the night of July fourteenth. Just for a pleasing variety, The ladies of the Aid Society, Of the little church M. E. Will serve cake and ice cream free. We cordially invite you then Between the hours of seven and ten; Mrs Geo. P. Brand will entertain — If it be fair—or, if it rain. What you say, it beats my recollection! Can it be there is no collection? If then you fear your interest may lag, We send to you this silken bag. Please put in a penny for each year The Lord has let you linger here. As wine with age is said to be the best, So may the eldest one, out-do the rest. This 1890’s party notice of the Ladies Aid Society of the Metho dist Church is a fine example of the fun found in the typical club or society. Two hundred copies of the above book by Mrs. Dorothy Donahue were available in August but sold out quickly. Another one hun dred copies will be available about October 1st. If you’d like a copy of this delightful little book, fifty will be for sale at the Foliage House. After those are gone, copies may be pur chased from Vince Martonis, with proceeds to benefit the Hanover Historical Center. The Clubs of Hanover Pondering the long history of the Shakespeare Club prompted me to consider other social, intellectual, and fraternal groups in Hanover’s long history. Here is a "partial" list that may surprise you: The Methodist Episcopal Revival League of Silver Creek, The Balltown Intellectual and Literary Society, The Sil ver Creek Base Ball Club, Ten Virtuous Boys Club (S.C.). The Presbyterian Society (S.C.), Silver Creek Cornet Band, Young Folks’ Christian Literary Society (S.C.), The Equitable Aid Union of Nashville, Hanover Temperance Union, The "399" Glee Club of Silver Creek, Bicycle Club (S.C.), Forestville Shriners, The Young Men’s Hancock and English Club, Motor Boat Club, The Farmer’s Club of Hanover, Susan B. Anthony Club (S.C.), Women’s Literary Club (Forest.), Current Events Club, .... � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hanover historical, September 1, 1989 issue. Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Description An account of the resource Copy of the Hanover historical newsletter featuring news and events of the Silver Creek Shakespeare Club, Silver Creek, New York dated September 1, 1989. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1989-09-01 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context MS53_2_8B_022 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/ca2c8f881331e6c526349c05126e96e4.pdf 444a23342a3b32c016b479bfaf2cb4b7 PDF Text Text The Cuckoo daisies pied, and violets blue, and lady smocks all silver white, shepgerds pipe on oaten straws, and merry larks are ploughmen's clocks, icicles hang by the wall, and Dick the shepherd blows his nail, all aloud the wind doth blow, and coughing drowns the parson's saw, 1. 3. 3. 4. When When When When 1. 2. 3. 4. And cuckoo-buds of yellow hue, do paint the meadows with delight, smocks, When turtles tread, and rooks and daws, and maidens bleach their summer And Tom bears logs into the hall, and milk comes frozen home in pail, And birds sit broo&ing in the snow, and Marian's nose looks red and raw, 1. 2. 3. 4. The cuckoo then on every tree, mocks married men; for thus sings he,Cuckoo; " (3 times) Tu-whit; When blood is nipt and ways be foul, then nightly sings the staring owl, When roasted crabs hiss in the bowl, " " " " " " 1. 2. 3. 4. (4 times) (twice) Cuckoo, cuckoo; O word of fear, unpleasing to a married ear! (twice) " " Tu-who, a merry note, While greasy Joan doth keel the pot. " " � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Creek Shakespeare Club Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.); Shakespeare, William, 1564-1616 -- Appreciation -- United States; Shakespeare, William, 1564-1616 -- Criticism and interpretation Description An account of the resource The Silver Creek Shakespeare Club collection, held by the University Archives of the State University of New York at Buffalo, contains a variety materials relating to the Silver Creek Shakespeare Club from their inception in 1889 to the time of the donation in 1991. Founded by Rev. Robert Newton Stubbs, membership in the club became exclusively female after 1895 and focused on the scholarly study of Shakespeare and other literary cultural concepts. It became an important aspect of the Silver Creek community and survived despite the difficulties of changing times and events in the outside world. This digital collection is a small compilation of select materials from the Silver Creek Shakespeare Club collection. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cuckoo sheet music Subject The topic of the resource Shakespeare Club (Silver Creek, N.Y.) Shakespeare, William, 1564-1616--Appreciation--United States Shakespeare, William, 1564-1616--Criticism and interpretation Sheet music--New York (State)--Silver Creek Description An account of the resource Copy of the sheet music for The Cuckoo, the club song of the Silver Creek Shakespeare Club, Silver Creek, New York. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Shakespeare Club (Silver Creek, N.Y.) Source A related resource from which the described resource is derived MS 53 Silver Creek Shakespeare Club Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context MS53_2_14_001 Is Part Of A related resource in which the described resource is physically or logically included. Silver Creek Shakespeare Club collection. LIB-UA022 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/733d3a4c2bd04ebc7fa14cba3fa0bb0b.jpg 0539f959aa9696b2ae0dcb61231f110a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Group of people walking in a line past a columned building with a person standing nearby. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans and the Armed Forces Collection Description An account of the resource This collection features select materials from the University Archives relating to UB, student veterans, the Reserve Officers’ Training Corps, and efforts undertaken by the University in response to wars and conflicts of the 20th and 21st centuries. Documentation includes photographs, manuscripts, posters and brochures chosen from various manuscript collections donated to the Archives by members of the Western New York and campus community, faculty, academic departments and the Office of the President. Creator An entity primarily responsible for making the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact <a href="http://library.buffalo.edu/archives/">University Archives</a> to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Students in uniform marching in front of Abbott Hall Subject The topic of the resource University of Buffalo World War, 1939-1945 Description An account of the resource A black-and-white photograph showing a group of people walking in a line across a paved area in front of Abbott Hall, a large neoclassical building with tall columns. The individuals appear to be dressed in light-colored clothing and are moving from left to right. In the background, the building’s façade features multiple columns and large windows. A person stands off to the right side, facing the group, possibly observing or directing them. Partial text reading “V Ne” is visible at the top of the image. This photograph was featured on the cover of the "V News" School of Pharmacy, Class of 1941 newsletter, Issue 2, August 1943 The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Date A point or period of time associated with an event in the lifecycle of the resource circa 1940s Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context RG36-5-452_08_10_001 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Is Part Of A related resource in which the described resource is physically or logically included. Veterans and the Armed Forces. LIB-UA019 School of Pharmacy Alumni Association records. RG 36-5-452 https://digital.lib.buffalo.edu/files/original/91dfffe7d9025e1b280c390c8737b305.jpg 331b47973f02912f2c128c8d7df5d803 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Man in military uniform and cap smiling in a faded black-and-white portrait. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans and the Armed Forces Collection Description An account of the resource This collection features select materials from the University Archives relating to UB, student veterans, the Reserve Officers’ Training Corps, and efforts undertaken by the University in response to wars and conflicts of the 20th and 21st centuries. Documentation includes photographs, manuscripts, posters and brochures chosen from various manuscript collections donated to the Archives by members of the Western New York and campus community, faculty, academic departments and the Office of the President. Creator An entity primarily responsible for making the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact <a href="http://library.buffalo.edu/archives/">University Archives</a> to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fred Szklarz, University of Buffalo School of Pharmacy alumnus Subject The topic of the resource University of Buffalo World War, 1939-1945 Szklarz, Fred United States. Army Description An account of the resource This black-and-white photograph, featured on the cover of the "V News" School of Pharmacy, Class of 1941 newsletter, Issue 4, October 1943, is a portrait of Fred Szklarz wearing a military uniform and cap. He is facing forward and smiling slightly. The uniform includes visible buttons, a tie, and insignia on the lapels. The background is blurred, and the image has a slightly faded or overlaid appearance. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Date A point or period of time associated with an event in the lifecycle of the resource circa 1940s Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context RG36-5-452_08_10_002 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Is Part Of A related resource in which the described resource is physically or logically included. Veterans and the Armed Forces. LIB-UA019 School of Pharmacy Alumni Association records. RG 36-5-452 https://digital.lib.buffalo.edu/files/original/edfdc43e41b06e21567f0ddf9ccf6c7b.jpg c28f0fa8cea468eb3ad11aa6939ed8e7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Man crouching and smiling in front of a block wall with a visible shadow. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans and the Armed Forces Collection Description An account of the resource This collection features select materials from the University Archives relating to UB, student veterans, the Reserve Officers’ Training Corps, and efforts undertaken by the University in response to wars and conflicts of the 20th and 21st centuries. Documentation includes photographs, manuscripts, posters and brochures chosen from various manuscript collections donated to the Archives by members of the Western New York and campus community, faculty, academic departments and the Office of the President. Creator An entity primarily responsible for making the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact <a href="http://library.buffalo.edu/archives/">University Archives</a> to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ens. Clifford L. Schmitt, University of Buffalo School of Pharmacy alumnus Subject The topic of the resource University of Buffalo World War, 1939-1945 Schmitt, Clifford L. United States. Navy Description An account of the resource This black-and-white photograph, featured on the cover of the "V News" School of Pharmacy, Class of 1941 newsletter, Issue 5, November 1943, features Ens. Clifford L. Schmitt crouching outdoors against a plain block wall. He is smiling and facing the camera, with one knee bent and one hand resting on the ground. He wears a long-sleeved button-up shirt, trousers, and dark shoes. Strong sunlight casts a distinct shadow of his figure on the wall behind him. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Date A point or period of time associated with an event in the lifecycle of the resource circa 1940s Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context RG36-5-452_08_10_003 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Is Part Of A related resource in which the described resource is physically or logically included. Veterans and the Armed Forces. LIB-UA019 School of Pharmacy Alumni Association records. RG 36-5-452 https://digital.lib.buffalo.edu/files/original/af9f540e8813f915976e2abf61a71e9b.pdf 3f4ea3e62be650e841eeeb8b5003e44d PDF Text Text October 1943 V - News 4th Issue Reed Takes The First Page Editorial The biggest news this month is about me and mine. At least it seems big to me because I was very personally concerned in it. I am very proud to tell you that I am now the father of a baby girl, both September 27th, with a weight of 8 pounds and 14 ounces. We have named her Louise Ardell, and Leona and the baby are doing very well, thank you. There, I wanted to get that off my chest first of all. Another little item of interest which I must brag about concerns my movie work. As you remember I took quite a few movies while we were at school, and nw this experience is standing me in good stead.I have been hired to take a school movie for DeVeaux School here in Niagara Falls. The movie is to picture the students in the various phases of their work and play. It will be used to gain the interest of parents in the school, which is a military type prep school. I have had several requests to carry out the suggestion for a picture on the back cover of a pin-up girl. In view of the fact that so many things have been happening this last month I have been unable to do any work on this project, but promise to have one in the next issue. What the heck, if you want a pin-up picture, put up the page of snapshots which graces the back cover. Not many snapshots came in this month. Hurry up and send me one of yourselves so that I can put yours in the next issue. Last of all I make my monthly request to you fellows to write me as soon as you get through reading this issue. Don’t put it off till later as we only forget. Come on now! New Products Section Tuamine Sulfate - Lilly (2-Aminoheptane sulfate,2% SOL.) An isotonic solution used to shrink the nasal turbinates, with out raising blood pressure, affecting the heart, or dying off in its action as quickly as ephedrine solutions. Vi-Magna Tablets - Lederle Due to the fact that the Detroit capsule firm that makes Unicaps,Gelseals, Vitakaps, etc. for the major companies has labor trouble and can’t supply, the outfits are bringing out their own type of vitamin medication, namely the gelatin tablet. Vi-Magna of Ledelle is the first to appear, but the others will follow soon. Special Preparation No. 300 The Elixir Phenobarbital situat ion in the past few months has been rather bad, due to the lack of alcohol and glycerin.Several of the companies are working on a new vehicle,but S and D is the first to come out with one, called Spec. Prep. No. 300. Sulfamerazine S and D A new addition to the long list of Sulfa drugs, which Sharpe and Dohme claims to be less toxic to the kidneys and longer in evidence in the blood stream. �What The Boys Are Doing Bob Cooney The nows this month is all about Bob’s horse. We are sorry to hear that she didn't win her first race, neither did she lose though, as she developed a bad cold at the last minute and Bob scratched her as her breathing was rather difficult. We are all disapp ointed about this as we were looking forward to seeing Bob's nag show the others down in Panama what a race horse can really do. We can wait tho. Bob mentions that Cliff Schmitt is that way about a certain girl. We won't mention any names. This is some of the personal news that Cliff asked for, tho we bet he didn't expect it to be so damned personal. Bob also says that he has been elected president of the NCO club, and has been working like mad ever since. He started off by refinishing the furniture and will complete the work shortly. Don Hubbard Don has acquired a new job and dropped the old one. He has been made PX officer and has taken over the operation of the Post Exchange. He says it was a big relief to get out of the Mass Officer’s job. The PX is small but seems to do a whale of a business. Most of the sales are small ones, but the first day he tells us that they took in over $700.00, so it means plenty of hustling and money handling. They have no cash register,(Shades of the O'Malley cigar box!) The allowance of margin of error is 1% so he really has to watch things to keep them straight. Don had three men from the pharmacy with him, all good men, which is a help/ Maynard Dutcher Dutch has just sent us work that he has been accepted for OCS training and is know Cadet Dutcher! A past history of Dutcher will cover Tony Spadaro his going to work for Fiero after With the help of Doc Lemon, who promised graduation as a detail man for his Tony he would kich his 'tuther ehd if he special products. In the fall of the didn’t write, We managed to get a letter year he went to work for Upjohn in from Spider finally. Detroit, where he lived at an apart Right at present Tony is up to his neck ment with other young folks who had in work. The new year is started, and come to Detroit to work. He really the labs have to be put in order, text liked his job and living place. books selected, notes to be studied,etc. Early this year Dutch volunteered for etc. This makes Tony's 7th year at U B VOC, but later withdrew when he found and he says he still gets excited over there were no openings that interested it. him. Then he enlisted in the Navy, in He had quite a strenuous" Summer Holiday the PT branch, but it was only a few as during the summer he taught the AAF days before they discovered his bad Cadets a course in Physics. Also he knee, which you will remember he got put in the hours at O'Mallets Store, playing football for old U. B. Tony tells us he has the reading Bug. Consequently Dutch holds a medical He is trying to amass a library, and discharge from the Navy. already has quite a few books on the Dutch was not drafted into the Army, shelves. He has quite a few of the but volunteered induction, and was sent books on Psychology and Philosophy, to Camp Upton. 30 days later they but is in a dither on the selection shipped him out toCamp Grabt. of the classics. One vow he made was not to buy another book while he still had two unread ones. Along with Cooney, Tony also has a horse, although he has had his for some time, and uses it for riding, not racing.For speed Spider uses his ’42 DeSoto. �Fred Szklarz Freddy was home on leave this month on leave for several days, and honored us with a visit. He had quite a full schedule.He did manage to see me, and also visited Tony, one evening over a few glasses of Burgundy. He went horseback riding with Tony, and showed him a few tricks in Indian wrestling. Tony said that after a few tries Fred beat him.The Army had done Fred a lot of good Physically, and he has developed into quite a fellow. Really good looking too. Addresses Lyle Van Gorder, [*UCSS*] U.S. Naval Air Facility, Marthas Vineyard, Mass. Sgt. Robert Cooney, Med Det Serv Unit 2110, [*illegible*] A.P. O. 833, C/O Postmaster New Orleans, La. Sgt Alfred Szklar, 32136020, 184th Gen. Hosp. Fort Devens, Mass. Tony Spadaro School of Pharmacy University of Buffalo, Buffalo N. Y. Pierre Smith, 620 Murdock Road Baltimore, Maryland Cliff Schmitt Just a short V*Mail letter from Cliff this month. He must be still out on the ocean somewhere. From what he says, he likes it. Take a look at his picture with his officer's cap on the picture page. Van Gorder, Lyle We have a change of address this month for Lyle. He has been moving this month. He has his wife with him. Fishing is his favorite sport and he likes it very much. The excellence and buety of this issue, as compered to the last three impressions, is due to the fact that Dr. Lemon invited me down to school to try to find out what was my trouble. This issue was made on the school machine. ENS. Clifford L. Schmitt, U.S.S. Selfridge, Fleet Post Office, San Francisco, Cal. Corp Virgil T. Gianni, A[il egible]S.N. 32581408 Med Det., Goodfellow Field, San Angele, Texas. Lt. Donald M. Hubbard, 181st STA. Hospital, A.P.O. 185, C/O P.M. Los Angeles, Cal. Betty O’Malley, 190 Stevenson St Buffalo, N.Y. Howard Grotzinger, c/o Harvey and Carey, Elmwood and Patomac, Buffalo, N.Y. Arthur M. Lamb PHM 2/C (620-013) U.S.Coast Guard Patrol Base, Pier 18, Staten Island 4, New York N.Y. Pvt. Maynard Dutcher 32936705 Co A, 35th Med TR. BN, 2nd Platoon This space was reserved for news about Camp Grant, Ill. you, but you didn’t write so I have Everett F Reed 2411 South Avenue to leave it blank. I’ll be looking for Niagara Falls, N.Y. a letter soon. The addresses on Gitin and Kaplan are still unknown. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans and the Armed Forces Collection Description An account of the resource This collection features select materials from the University Archives relating to UB, student veterans, the Reserve Officers’ Training Corps, and efforts undertaken by the University in response to wars and conflicts of the 20th and 21st centuries. Documentation includes photographs, manuscripts, posters and brochures chosen from various manuscript collections donated to the Archives by members of the Western New York and campus community, faculty, academic departments and the Office of the President. Creator An entity primarily responsible for making the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact <a href="http://library.buffalo.edu/archives/">University Archives</a> to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource V-News, Issue 4, October 1943 Subject The topic of the resource University of Buffalo World War, 1939-1945 School of Pharmacy, State University of New York at Buffalo -- Alumni and alumnae Reed, Everett F, Jr. Description An account of the resource V-News, the School of Pharmacy Class of 1941 newsletter edited by Everett F. Reed, Jr. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Reed, Everett F, Jr. Date A point or period of time associated with an event in the lifecycle of the resource 1943-10-01 Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context RG36-5-452_08_10_004 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Is Part Of A related resource in which the described resource is physically or logically included. Veterans and the Armed Forces. LIB-UA019 School of Pharmacy Alumni Association records. RG 36-5-452 https://digital.lib.buffalo.edu/files/original/427859aa91a2fea56ab199dd0dab4545.pdf 6390909a5a073994bead79ccb3f8a488 PDF Text Text Addresses PVT. Leonard Gitin, 1306 ENG. REGT., CO.C, Camp Ellis, ILL. Lyle Van Gorder, U.S. Naval Air Facility, Marthas Vineyard, Mass. Sgt, Robert B. Cooney, Med. Del. Serv. Unit., 2110, A.P.O. 833, c/o Postmaster, New Orleans, La. Sgt. Alfred Szklarz, 32136020, 184th Gen. Hosp., Fort Devens, Mass. Tony Spadaro-enroute to induction center. Pierre Smith, 620. Murdock Road, Baltimore, Md. ENS. Clifford L. Schmitt, U.S.S. Selfridge, Fleet Post Office, San Francisco Cal. Corp. Virgil T. Gianni, A.S.N. 32581408, Med. Det., Goodfellow Field, San Angelo, Texas Lt. Donald M. Hubbard, 181st STA. Hosp., A.P.O. 185. C/O P.M., Los Angeles, Cal. Betty O’Malley, 190 Stevenson St., Buffalo, N.Y. Howard Grotzinger- enroute to Florida [Gulf Vien Inn Captiva Island, Florida Arthur M. Lamb, PHM 2/C, (620-013), U.S.Coast Guard Patrol Base, Pier 18, Staten Island 4,N.Y., N.Y. Pvt. Maynard Dutcher, 32936705 ,Co. A, 35th Med. TR. BN., 2nd PL. Camp Grant, Ill. Ben Kaplan ????????? Printed dyEverett F.Reed Jr.,2411 South Ave., Niagara Falls, N.Y. �V News November 1943 Editorial This Is the news-sheet in its new dress. I now have access to a printing press so goodby mimeograph. The smaller type allows for a smaller page size, cutting down the cost of the covers. Incidentally, I make no apologies for last month’s picture page as I didn’t do it myself. Those In the service will find their long awaited pin up girl.If you like it we can have one every month. Well, THE excitement of last month is over now, and my family is home. Home is a lot different with little Louise Ardell. You can be sure that I manage to take quite a few pictures. If You wonder to whom the We refers to in the writ eups, it is only yours truly, Ev Reed. Students of Journalism have told me that the "I" form is never used, except in editorials, and that We is the accepted form. So we, or I, am we, when I write. Some mess. I Would like your comments on the new get up of VNews, on the pin up,(if you are eligible for one), and the new size. Drop a line now,and include some News. The Front cover last month was graced by Szklarz, this time by Schmitt.If you would see your puss on the front cover, send me a negative,or a photo large enough to be copied. �Cooney’s Horse Left At Post Bob’s news on his horse is all bad this month. She appeared at the post but the jockey went to sleep and let her stand there. A week later on Oct. 9th he got her away but had to pull her up when the saddle slipped. So it seems that Bob is having a run of bed luck this month.He is not discouraged as both defeats were due to bad breaks rather than any fault of the filly’s. We’re looking for better news next month. NCO Club Opens The NCO club we told you about last month opened on the 18th of Oct. with a free chicken dinner and beer party. Cooney must have had quite a time that night. Grotzinger Leaves Soon Howard leaves around the middle of Nov. for warmer parts.So tells our mutual friend, English, salesman for Winthrop. C.L. On Destroyer Gliff abandoned the V-Mail and wrote two Air Mail letters. He can tell us that he is on a destroyer,and has charge of the he studied for in Florida. That tells us very little but we understand the censorship. He mingles with the doctor and the two Pharmacists Mates on board. He also complains that the fellows haven't deen writing him. Remainder that Cliff’s answers take longer due to his deing at sea. "Midget" Being the smallest officer on board has earned him the title of Midget. As an Ensign he still gets as much Pharmacy and medicine as who he was a P.M. but it is all on the side now. Gianni Engaged Virgil was home on furlough in Sep tember but didn’t get down to see us. Regretable but excusable under the circumstances. It seems he has gotten himself engaged to,(quote)" Dorothea, the sweetest little girl".We remember her as the girl he had to the last three school dances . Congratulations, old man, and let us know when they are going to bring in the hitching post.He adds that he is still at work in the Pharmacy. Szklarz At Lowell General Fred has been working at the hospital pharmacy at the Lowell General Hosp ital. Most of the patients are over seas casualties,keeping him pretty busy.His hours are from 8:30A.M. to 4:30 P.M. with a couple hours for meals.The officer in charge is afor mer Lilly salesman, Capt. K. Pearce from New York City. Brother Graduates Fred’s brother Norbert finished his schooling at Michigan U. end signed up to go to work for Douglas in Cal ifornia. Saw Boston Fred made a trip to Boston Oct 12th. Saw a couple of plays and says the town offers anything from honkytonk to the classics. Wonder which Szklarz prefers? Spadaro In Limited Service We visited Tony the first of the month, later getting a card from him saying he has deen accepted for limited service, and leaves Nov. 3rd for Camp Upton as Pvt. A. Spadaro, ASN 42029008.He hopes he can get overseas.We will publish his new address as soon as it comes through. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans and the Armed Forces Collection Description An account of the resource This collection features select materials from the University Archives relating to UB, student veterans, the Reserve Officers’ Training Corps, and efforts undertaken by the University in response to wars and conflicts of the 20th and 21st centuries. Documentation includes photographs, manuscripts, posters and brochures chosen from various manuscript collections donated to the Archives by members of the Western New York and campus community, faculty, academic departments and the Office of the President. Creator An entity primarily responsible for making the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact <a href="http://library.buffalo.edu/archives/">University Archives</a> to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource V-News, Issue 5, November 1943 Subject The topic of the resource University of Buffalo World War, 1939-1945 School of Pharmacy, State University of New York at Buffalo -- Alumni and alumnae Reed, Everett F, Jr. Description An account of the resource V-News, the School of Pharmacy Class of 1941 newsletter edited by Everett F. Reed, Jr. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Reed, Everett F, Jr. Date A point or period of time associated with an event in the lifecycle of the resource 1943-11-01 Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context RG36-5-452_08_10_005 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Is Part Of A related resource in which the described resource is physically or logically included. Veterans and the Armed Forces. LIB-UA019 School of Pharmacy Alumni Association records. RG 36-5-452 https://digital.lib.buffalo.edu/files/original/a8d0a63e4ec677af3eb060f7d3ab5fa4.pdf 64a328e62e1a99e64e370cc66978cfce PDF Text Text Addresses Star (*) Denotes Change *Arthur M. Lamb, PHM 2/C, (620-013), Special Service Battalion,USCG, Room 10, Barge Office, New York, N.Y. *Private.A.A.Spadaro, Co. A, Barr. G, Camp Upton, N.Y. SGT. Alfred Szklarz, 32136020, 184th Gen. Hosp., Fort Devens, Mass. Corp. Virgil T. Gianni, A.S.N.32581408, Med. Det., Goodfellow Field, San Angelo, Texas ENS. Clifford L. Schmitt, U.S.S. Selfridge, Fleet Post Office, San Francisco Cal. Sgt, Robert B. Cooney, Med. Del. Serv. Unit., 2110, A.P.O. 833, C/O Postmaster, New Orleans, La. Pvt. Maynard Dutcher, 32936705 ,Co. A, 35th Med. TR. BN., 2nd PL. Camp Grant, Ill. LT. Donald M. Hubbard, 181st STA. Hosp., A.P.O. 185, C/O P.M., Los Angeles, Cal. Ben Kaplan ????????? Howard Grotzinger- somewhere in Florida. Betty O’Malley, 190 Stevenson St., Buffalo, N.Y Pierre Smith, 610 Murdock Road, Baltimore, Md. Lyle Van Gorder, U.S. Naval Air Facility, Marthas Vineyard, Mass. PVT. Leonard Gitin, 1306 Eng. Regt., Co. C, Camp Ellis, Ill. V-News is printed by and for the U.B. Pharmacy class of 1941. Editor- Everett F. Reed Jr., 2411 South Avenue, Niagara Falls, N.Y. �V News December 1943 Christmas Greetings Your Editor, Leona, And The Baby Join In Wishing You The Happiest Of Christmases Baby Reed graces our front coyer this month. Comments on last month’s Pin-Up-Girl: "....must complement you on selecting a very nice pin up girl. She is really attractive and brightens up my room considerably, so send more." "The pin up girl is hot stuff!" "....attracted considerable attention. Yesterday at inspection every officer stopped for a few minutes to admire it."" ....good, and I do mean g-o-o-o-o-d." "....and what a sensation it caused among the boys!Everyone insisted on looking at it,and finally we all agreed on a convenient place for it, and now everyone is happy." �Lamb Has New Address Art Lamb is now stationed at Bayonne, N.J., on a"special detail".He is actually a couple miles from his former station. When he arrived there they didn't have even a first aid kit so he had to start from scratch. He likes the new V-News and promises to send a picture soon. Hubbard Cooling Off From Art Lamb we learn that Don is still in California, and that the climate is hot but getting cooler. He said he had been to Los Vegas. Can it be the gambling fever? Don tells Art that he managed to get a ride in one of the Flying Fortresses. Gitin Too Darn Silent Len has gotten 3 issues so far counting this one, and if he doesn’t write soon we will have to make up some news about him for the next issue.Ask Gianni, Len, he had it happen to him! Cooney Back On Alley S. Bob’s NCO club is finished and is much better than the rest in spite of the local beer they have to serve. He is doing some League bowling for the club, and expects a good season. The best news is that Cooney’s filly is showing her colors. She has run three races this past month andplaced each time, third twice and second once. It is expected that she will win her next race. As it is Bob is getting some of his money back. News From Schmitt In an early letter this month Cooney told us that he had not heard from Cliff and sugg ested we put initials after his name. In a later he stated that he had heard from him, that he was in good spirits. We believe he has seen plenty of action. Oh, Oh, O’Malley Betty wrote several months ago and apolo gized for deing so quiet, and promised to write frequently, then promptly lapsed in to her former lassitude. Spadaro At Upton Tont seems to be firmly entrenched at Camp Upton. He is trying to get assigned to a permanent post. He was selected as substitute for two men who were being sent to Greensboro,N. C. , but as luck would have it, they were taken and Tooy re turn ed to camp.He says that the work is easy, the only hard thing being the bed. He has been working in the HDQ. Co. buil ding,as a stenographer and secretary for the CO.There is a two way speaker system connected to the barracks and Tony does the announcing. The boys tell him he has a pretty tough voice over the speaker. He exp-ects to meet Szklarz soon in New York, and ought to do the town up right between the two of them. "Spider" prom ises to send a picture as soon as he looks like asolbier and not a yardbird. Smith Nears His PH.D. Pierre says any news from him is a rep etition of the students perpetual wail.He is in the midst of exams which put him closer to his goal. He still manages to find time to work in a Baltimore pharm acy. He promised to send pictures soon. Another Stripe For Fred News this month is that Szklarz has an extra stripe on his sleeve. He must be getting interested in the ponies as he has been to Rockingham Park.Seven races left him financially the loser but morally the victor. Proving he can get around, Fred also went to the Holy Cross-Temple U game. His date was a Holy Cross fan, throwing her arms around him and kissing him each time her team made a score.We gather Freddyen joyed the "game", as H. C. piled up quite a score. How about the poor poet who decided that rhyme doesn’t pay? Pierre Smith Lets Beat Toho For A ’41 Class Reunion Cliff Schmitt � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans and the Armed Forces Collection Description An account of the resource This collection features select materials from the University Archives relating to UB, student veterans, the Reserve Officers’ Training Corps, and efforts undertaken by the University in response to wars and conflicts of the 20th and 21st centuries. Documentation includes photographs, manuscripts, posters and brochures chosen from various manuscript collections donated to the Archives by members of the Western New York and campus community, faculty, academic departments and the Office of the President. Creator An entity primarily responsible for making the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact <a href="http://library.buffalo.edu/archives/">University Archives</a> to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource V-News, Issue 6, December 1943 Subject The topic of the resource University of Buffalo World War, 1939-1945 School of Pharmacy, State University of New York at Buffalo -- Alumni and alumnae Reed, Everett F, Jr. Description An account of the resource V-News, the School of Pharmacy Class of 1941 newsletter edited by Everett F. Reed, Jr. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Reed, Everett F, Jr. Date A point or period of time associated with an event in the lifecycle of the resource 1943-12-01 Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context RG36-5-452_08_10_006 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Is Part Of A related resource in which the described resource is physically or logically included. Veterans and the Armed Forces. LIB-UA019 School of Pharmacy Alumni Association records. RG 36-5-452 https://digital.lib.buffalo.edu/files/original/860c0f03b32040e3f5b3c9c0e7beb5f5.pdf b0abc0f6dbb913c8ed9a58806b6c9d58 PDF Text Text V January 1944 News 7th Issue Looking Back Before getting the copy ready for the first issue of the new year, I thumbed through past issues. It gave quite a review of the past year’s happenings. Let’s see — when ’44 opened Spadaro was busy teaching Air Cadets at U.B. Smith was at the Univ. of Maryland;Gitin and Kaplan at Fort Niagara; Booth and Szklarz at Camp Upton; Lamb in New York; Van Gorder at Quonset Point; Cooney down in Panama; Gianni in Texas; Hubbard at OCS in Car lisle, Pa.; myself doing a little of everything in the Falls; O’Malley and Grotzsinger ditto in Buffalo; Dutcher in Detroit; and Schmitt in Florida. Our bad news of the year came with word that Ed Booth had landed in North Africa dying a few days later of meningitis. Along in the middle of the year, July to be exact, yours truly sent out your first issue of V-News. In the meantime Hubbard had been bounced from Pa. to Camp Breckenbridge, Ky., and then to Camp Crowder, Mo. Dutcher had enlisted and was at Camp Up ton. Grotz was still working for H & C. Reed was experimenting with sound movie projection. As fall began to set in we heard that Cooney had purch ased a horse and was training her for the local track. Tony Spad aro was back at work in U.B. Hubbard was PX officer. Gitin was in the engineers at Camp Ellis, and Dutch was at Camp Grant, both in Ill. Ens. Schmitt had finished his training and was on the U.S.S. Selfridge in the Pacific. Van Gorder and his wife were in Mass. It was big time for your editor after he became the father of a baby girl. (continued on next page) �page 2 November found the V-News a smaller size. Cooney’s horse was running, and after two bad starts, finished 3rd. Grotz left for Florida to regain his health. Schmitt had gained the nickname of "Midget” among his shipmates. Gianni had announced his engagement. Szklarz was stationed at Lowell General Hospital at Fort Devens, Mass. Spadaro had been inducted for limited ser vice and was at Camp Upton. The pin up girl became a V-News feature. As the year ended Art Lamb and his wife were still living in New York, he being stationed a short distance away in New Jersey. Hubbard was in California on desert training. Szklarz hud another stripe on his sleeve. We were finding that it took a devil of a long time for Cliff’s letters to come through. Now to wind up the year we get snaps from Van Gorder, one of himself and wife, and one of he and Schmitt. The Vans have a four room cottage in Vineyard Haven, and often have the other pharmacist mates in for dinner. He manages to get in a little hunting and fishing. His station has a local paper, Van writing a column called "Hypo Packin’ Medics”. Cooney’s horse hit the line in December, won, and good record. Here is her write-up for 1943: 10-11-43 left 11-13-43 2nd 11-20-43 First 10-17-43 5th 12- 4-43 2nd 10-23-43 3rd 11-3-43 3rd As Bob says, ”How about that?". has a Virgil Gianni is still in Texas making up GI RXS but says he gets one occasionally which remind him of the old days. He intends to bring the girl friend down to visit us on his next furlough. �page 3 Dr. Lemon, who has many ideas, writes that Gitin is out of the infirmary at St. Bonaventure. that Len is back home and working times given news and helpful the Army, and that Kaplan is in Further investigation revealed for Walgreen’s in Rochester. Tony Spadaro is a loyal letter writer , as well as a good news source. We also heard about Gitin and Kaplan from him. He is now on a tough 17 weeks training course, including an infiltra tion course under live machine gun fire and strategically planted dynamite. He has the school spirit already, telling us that Camp Barckley is the largest medical training replacement center in the world. He promised to send a picture, so we can look for him on the front cover next month. And believe it or not, he is gaining weights. Howard Grotzinger is now basking in sunny Florida. This he writes on the back of a Christmas Card, and promises important news soon. We held this issue up as long as possible in the hope that we could make an important announcement but expect to publish it next month. The Front Cover For want of anything better your editor presents an example of what goes on in setting up this paper. The Back Cover Need we say more? �Addresses Star (*) Denotes Change *Private. A.A.Spadaro, 42029008. Company . C, 59th Med. Training Bn., Camp Barkeley, Texas Sgt, Robert B. Cooney, Med. Division. Serv. Unit., 2110, A.P.O. 833, c/o Postmaster. New Orleans, La. *Leonard Gitin, C/O Walgreen’s Drug Store, Rochester, N. Y. Everett F.Reed Jr.,2411 South Ave., Niagara Falls. N.Y. Sgt. Alfred Szklarz, 32136020, 184th Gen. Hosp., Fort Devens, Mass. *Private. Ben Kaplan, C/O Infirmary, St. Bonaventure College, St. Bonaventure, N.Y. *Howard Grotzinger, The Gulf View Inn, Captiva Island, Florida Private. Maynard Dutcher, 32936705 ,Co. A, 35th Med. Tr. Bn., 2nd Pl. Camp Grant, Ill. LT. Donald M. Hubbard, 181st Sta. Hosp., A.P.O. 185, C/O P.M., Los Angeles, Cal. Arthur M. Lamb, PHM 2/C, (620-013), Special Service Battalion, USCG, Room 10, Barge Office, New York, N.Y. Betty O’Malley, 190 Stevenson St., Buffalo, N.Y. Pierre Smith, 610 Murdock Road, Baltimore, Md. Corp. Virgil T. Gianni, A. S .N. 32581408, Med. Det., Goodfellow Field, San Angelo, Texas Lyle Van Gorder, U.S. Naval Air Facility, Marthas Vineyard, Mass. Ens. Clifford L. Schmitt, U.S.S. Selfridge, Fleet Post Office, San Francisco Cal. V-News is printed by and for the U.B. Pharmacy class of 1941. Editor- Everett F. Reed Jr., 2411 South Avenue, Niagara Falls � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans and the Armed Forces Collection Description An account of the resource This collection features select materials from the University Archives relating to UB, student veterans, the Reserve Officers’ Training Corps, and efforts undertaken by the University in response to wars and conflicts of the 20th and 21st centuries. Documentation includes photographs, manuscripts, posters and brochures chosen from various manuscript collections donated to the Archives by members of the Western New York and campus community, faculty, academic departments and the Office of the President. Creator An entity primarily responsible for making the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact <a href="http://library.buffalo.edu/archives/">University Archives</a> to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource V-News, Issue 7, January 1944 Subject The topic of the resource University of Buffalo World War, 1939-1945 School of Pharmacy, State University of New York at Buffalo -- Alumni and alumnae Reed, Everett F, Jr. Description An account of the resource V-News, the School of Pharmacy Class of 1941 newsletter edited by Everett F. Reed, Jr. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Reed, Everett F, Jr. Date A point or period of time associated with an event in the lifecycle of the resource 1944-01-01 Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context RG36-5-452_08_10_007 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Is Part Of A related resource in which the described resource is physically or logically included. School of Pharmacy Alumni Association records. RG 36-5-452 Veterans and the Armed Forces. LIB-UA019 https://digital.lib.buffalo.edu/files/original/893caddb2f870071e753da7c8c35d95b.jpg 73c106b6f6adc572281c7d725180d040 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Black-and-white crest with “UB VETS,” an animal head, and a graduation cap inside a shield. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans and the Armed Forces Collection Description An account of the resource This collection features select materials from the University Archives relating to UB, student veterans, the Reserve Officers’ Training Corps, and efforts undertaken by the University in response to wars and conflicts of the 20th and 21st centuries. Documentation includes photographs, manuscripts, posters and brochures chosen from various manuscript collections donated to the Archives by members of the Western New York and campus community, faculty, academic departments and the Office of the President. Creator An entity primarily responsible for making the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact <a href="http://library.buffalo.edu/archives/">University Archives</a> to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veteran's Club Patch Subject The topic of the resource University of Buffalo World War, 1939-1945 Description An account of the resource A black-and-white patch for the University of Buffalo's Veteran's Club featuring a shield-shaped crest with a stylized buffalo head at the top. The letters “U” and “B” appear on either side of the head. Below, the shield is divided into sections containing various symbols, including a graduation cap in the center and small illustrated objects in the surrounding quadrants. The letters “VETS” are displayed along the bottom of the crest. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Date A point or period of time associated with an event in the lifecycle of the resource 1948 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context RG9-6-00-2_1948_p71 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Is Part Of A related resource in which the described resource is physically or logically included. Veterans and the Armed Forces. LIB-UA019 Buffalonian. RG 9-6-00-2 Language A language of the resource eng https://digital.lib.buffalo.edu/files/original/6c49ccb25d9b2aca0b839cdd6c4bc08b.jpg e1eebea0c46308d729933a9938698b4a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marching Band Collection Contributor An entity responsible for making contributions to the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA021 Description An account of the resource Musical organizations at the University of Buffalo date to 1898 with the organization of the Mandolin and Glee Club. After World War II, a student organized a band that would be the predecessor to the Marching Band. In 1956 Dr. Robert Mols replaced former band director John Krestic as the Director of Concert and Marching Bands. University President Clifford Furnas named Frank J. Cipolla as Director of Bands in 1961 and the Marching Band became known as “Pride of the East.” The survival of the Marching Band was associated with the existence of UB Football, and when football dropped from the Division IA league in 1971, funding for the Marching Band was cut. The football team entered Division III in 1981 and the UB Pep Band was organized shortly thereafter. When UB football returned to Division IA, the Marching Band was formed again and named “Thunder of the East.” This collection chronicles the history of the UB Marching Band and Pep Band from 1950 to present. The collection features photographs, programs, marching band memorabilia and instrumental accessories. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bass drum head Subject The topic of the resource Marching bands -- New York (State) -- Buffalo State University of New York at Buffalo Source A related resource from which the described resource is derived 31/11/1076 UB Marching Band Collection Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource undated Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource Bass drums Type The nature or genre of the resource Physical Object Identifier An unambiguous reference to the resource within a given context MB_1076_29 Is Part Of A related resource in which the described resource is physically or logically included. Marching Band Collection (LIB-UA021) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/1be13d213072bebe07d0618a132a9e38.jpg fef122a7b4fe8c53b0d1a5cc40c07759 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marching Band Collection Contributor An entity responsible for making contributions to the resource University at Buffalo. University Archives. Rights Information about rights held in and over the resource Researchers must contact University Archives to obtain reproductions of images and to request permission to use any image. Persons who publish or use this material in any manner assume all responsibility for identifying copyright holders and meeting any requisites for use. Identifier An unambiguous reference to the resource within a given context LIB-UA021 Description An account of the resource Musical organizations at the University of Buffalo date to 1898 with the organization of the Mandolin and Glee Club. After World War II, a student organized a band that would be the predecessor to the Marching Band. In 1956 Dr. Robert Mols replaced former band director John Krestic as the Director of Concert and Marching Bands. University President Clifford Furnas named Frank J. Cipolla as Director of Bands in 1961 and the Marching Band became known as “Pride of the East.” The survival of the Marching Band was associated with the existence of UB Football, and when football dropped from the Division IA league in 1971, funding for the Marching Band was cut. The football team entered Division III in 1981 and the UB Pep Band was organized shortly thereafter. When UB football returned to Division IA, the Marching Band was formed again and named “Thunder of the East.” This collection chronicles the history of the UB Marching Band and Pep Band from 1950 to present. The collection features photographs, programs, marching band memorabilia and instrumental accessories. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bass drum head stencil Subject The topic of the resource Marching bands -- New York (State) -- Buffalo State University of New York at Buffalo Source A related resource from which the described resource is derived 31/11/1076 UB Marching Band Collection Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Archives Date A point or period of time associated with an event in the lifecycle of the resource undated Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. University Archives Format The file format, physical medium, or dimensions of the resource stencils (tools) Type The nature or genre of the resource Physical Object Identifier An unambiguous reference to the resource within a given context MB_1076_30 Is Part Of A related resource in which the described resource is physically or logically included. Marching Band Collection (LIB-UA021) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/CNE/1.0/">COPYRIGHT NOT EVALUATED</a>. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the <a href="http://library.buffalo.edu/archives/">University Archives</a>. If you believe material in our digital collections infringes copyright or other rights, please review our <a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html">Notice and Takedown Policy</a> for information on how to report your concern. https://digital.lib.buffalo.edu/files/original/69051d35b341e4e0c93fdf170d39c11b.jpg 5c49ddaf3c479ff3e938f215b7106669 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Person in a long white Victorian-era dress standing beside an ornate carved chair. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_001 ubmu0071_2_001.jpg LIB-MUS023 Title A name given to the resource Portrait of an unidentified woman, possibly the mother or grandmother of Joseph Chouinard Date A point or period of time associated with an event in the lifecycle of the resource undated Creator An entity primarily responsible for making the resource Welker Studio (Middletown, Conn.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Middletown (Conn.) Connecticut United States Description An account of the resource Black and white A sepia-toned studio portrait shows an individual wearing a high-waisted, puff-sleeved white dress with a gathered bodice and a layered floor-length skirt. A necklace with a circular pendant rests at the neckline. The subject stands beside an elaborately carved chair. Type The nature or genre of the resource Black & white photographs Portrait photographs Subject The topic of the resource Women--Photographs Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/807af64a3bf07e43e79e5a845372e1ba.jpg 349b0095ad81ebea04d2abfcb697539c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Two children in vintage clothing posed in a studio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_002 ubmu0071_2_002.jpg LIB-MUS023 Title A name given to the resource Portrait of Joseph Chouinard and brother Thomas as young children Date A point or period of time associated with an event in the lifecycle of the resource circa 1930 Creator An entity primarily responsible for making the resource Turner Studio (Middletown, Conn.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Middletown (Conn.) Connecticut United States Description An account of the resource Black and white A sepia-toned studio portrait shows one child seated on a small chair wearing a light dress with long sleeves and knee-high socks, and another child standing beside them in a sailor-style outfit with a striped collar. The standing child places a hand on the seated child's shoulder. A staircase railing and a softly patterned backdrop are visible behind them. Type The nature or genre of the resource Black & white photographs Portrait photographs Subject The topic of the resource Children--Photographs Chouinard, Joseph Jerod, 1926-2014 - Chouinard, Thomas J. - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/36accbedd06fa8cff4b65c73c042538d.jpg 102f70ab07269ce0fb054e29d8766d80 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Vintage sepia portrait of a person with hands cupping their face. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_003 ubmu0071_2_003.jpg LIB-MUS023 Title A name given to the resource Portrait of an unidentified woman, possibly Elizabeth Bradley, Joseph Chouinard's adoptive mother Date A point or period of time associated with an event in the lifecycle of the resource circa 1930 Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Unknown location Unknown state United States Description An account of the resource Color A sepia-toned portrait shows a person with short, wavy hair resting their cheeks on their hands. They wear a light garment with lace details and a bracelet on one wrist. The background is soft and neutral, drawing focus to the face. Type The nature or genre of the resource Color photographs Portrait photographs Subject The topic of the resource Women--Photographs Bradley, Elizabeth T. - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/127818e90b3c04748498b73a9738b2fb.jpg ab564e66178bd18ef593872a7403ca08 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Choir in white robes stands along the ornate church altar. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_004 ubmu0071_2_004.jpg LIB-MUS023 Title A name given to the resource Boys' choir of Holy Trinity Church in Middletown, Connecticut Date A point or period of time associated with an event in the lifecycle of the resource circa 1936 Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Church of the Holy Trinity (Middletown, Conn.) Middletown (Conn.) Connecticut United States Description An account of the resource Black and white A large group of people in white robes with dark collars lines both sides of a central aisle inside a church. They face an ornate Gothic altar featuring arches, statues, and a central crucifix. Flags sit at the sides of the altar, and decorative pinnacles and carved details fill the background. The scene is monochrome with pews visible in the foreground. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Boys' choirs--Connecticut--Middletown Church of the Holy Trinity (Middletown, Conn.). Boys' Choir - Choir Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/0cd9822bd7d20fcc047fb3cdf5145bbc.jpg 806cff241b97637f0386b42858a3ba92 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Portrait of a person with short, neatly combed hair wearing glasses, a collared shirt, tie, and a knit cardigan. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_005 ubmu0071_2_005.jpg LIB-MUS023 Title A name given to the resource Portrait of Joseph Chouinard during his high school years Date A point or period of time associated with an event in the lifecycle of the resource circa 1942 Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Unknown location Unknown state United States Description An account of the resource Color A sepia-toned studio portrait of the upper torso and head. The person has short, dark hair combed to the side and wears rectangular glasses. They are dressed in a white collared shirt, a patterned tie, and a knit cardigan, with a softly blurred background. Type The nature or genre of the resource Color photographs Portrait photographs Subject The topic of the resource Students--Connecticut--Middletown--Photographs Chouinard, Joseph Jerod, 1926-2014 - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/55ea71b78562b7a967f43ee3f6c74243.jpg d30ee11b8560ae5b9c919d800d5566b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Young person in a suit with glasses, posed portrait. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_006 ubmu0071_2_006.jpg LIB-MUS023 Title A name given to the resource Portrait of Joseph Chouinard during his high school years Date A point or period of time associated with an event in the lifecycle of the resource circa 1942 Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Unknown location Unknown state United States Description An account of the resource Color A sepia-toned studio portrait of a young person wearing a blazer, shirt, and striped tie. They are seated and slightly turned to the side, with hands resting on a surface. The background is plain and softly lit. Type The nature or genre of the resource Color photographs Portrait photographs Subject The topic of the resource Students--Connecticut--Middletown--Photographs Chouinard, Joseph Jerod, 1926-2014 - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/d2d73b5adad1b8459558813ef27dd977.jpg 291a2f437a75bf8101264594f30e4d9d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Portrait of a person in a sailor uniform and glasses. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_007 ubmu0071_2_007.jpg LIB-MUS023 Title A name given to the resource Portrait of Joseph Chouinard in his Navy uniform Date A point or period of time associated with an event in the lifecycle of the resource circa 1944 Creator An entity primarily responsible for making the resource Loring Studio Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Unknown location Unknown state United States Description An account of the resource Color A sepia-toned studio portrait of a person wearing a dark sailor suit with a striped collar and round glasses. The head is turned slightly to the side, with neatly styled short hair. The background is plain and light. Type The nature or genre of the resource Color photographs Portrait photographs Subject The topic of the resource Sailors--United States--Photographs Chouinard, Joseph Jerod, 1926-2014 - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/0d5d7fb01a134ae26ea56105c0b0f03e.jpg d2f7a3a0a09d1b3e6c15599a1987e4c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Group portrait with a young person in a sailor uniform standing behind an elderly couple. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_008 ubmu0071_2_008.jpg LIB-MUS023 Title A name given to the resource Portrait of Joseph Chouinard in his Navy uniform with his adoptive parents, George and Elizabeth Bradley Date A point or period of time associated with an event in the lifecycle of the resource circa 1944 Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Unknown location Unknown state United States Description An account of the resource Color A sepia-toned studio portrait shows three people; the central figure wears a sailor-style uniform and round glasses and stands behind the others; the left figure has short, curly white hair and glasses; the right figure wears a suit and tie and also has glasses. They face the camera and are posed closely together. Type The nature or genre of the resource Color photographs Portrait photographs Subject The topic of the resource Sailors--United States--Photographs Chouinard, Joseph Jerod, 1926-2014 - Bradley, Elizabeth T. - Bradley, George W. - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/45d843c7362bb650f4c798d4af63a7e0.jpg f05c84b8080c42e453c8c255abdeeeb0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Sketch of a person's head and shoulders on beige paper. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_009 ubmu0071_2_009.jpg LIB-MUS023 Title A name given to the resource Drawing of Joseph Chouinard by Annis Martin Date A point or period of time associated with an event in the lifecycle of the resource 1945 Creator An entity primarily responsible for making the resource Martin, Annis Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Unknown location Unknown state United States Description An account of the resource Color A pencil and light watercolor drawing shows the upper portion of a face and neck. The subject has short, wavy hair and blue eyes. The clothing suggests a V-shaped neckline, and there are faint inscriptions near the neck area. Type The nature or genre of the resource Drawings Portrait drawings Subject The topic of the resource Chouinard, Joseph Jerod, 1926-2014 - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/d651e9704b062e68a7b0a933a9c14633.jpg dc9bb43858bb99226a47bc1371adb9cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Person wearing a checkered blazer and glasses Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_010 ubmu0071_2_010.jpg LIB-MUS023 Title A name given to the resource Portrait of Joseph Chouinard during his college years Date A point or period of time associated with an event in the lifecycle of the resource circa 1950 Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Unknown location Unknown state United States Description An account of the resource Black and white A sepia-toned studio portrait of a person from the chest up, wearing a light checkered blazer, white shirt, and a geometric-pattern tie. The subject has short, neatly styled hair and rectangular glasses. Type The nature or genre of the resource Black & white photographs Portrait photographs Subject The topic of the resource Students--Connecticut--Storrs--Photographs Chouinard, Joseph Jerod, 1926-2014 - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/355b7a097c5aba22b0903509507d429e.jpg 7efb774ff0ab22804604c60e105b0af7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Dancing couple in formal attire on stage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_011 ubmu0071_2_011.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard on stage as the character Frank Butler and Celeste Maggiore as Annie Oakley in the Arundel Opera production of Annie get your gun Date A point or period of time associated with an event in the lifecycle of the resource 1959 July 1 Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Arundel Opera Theatre (Kennebunkport, Me.) Kennebunkport (Me.) Maine United States Description An account of the resource Black and white Two people stand facing each other and hold each other in a dance pose on a stage with a curtain backdrop. One wears a long gown with gloves, and the other wears a suit with a bow tie. The scene is in black and white. Type The nature or genre of the resource Black & white photographs Photographic prints Subject The topic of the resource Singers--Photographs Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Maggiore, Celeste - Voice (Mezzo-soprano) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/476a5fe6ce9b08332a7dd4cba33cfc98.jpg 0906d983dee9c99cb79d783fb090bda8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Line of performers in formal attire under hanging lanterns. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_012 ubmu0071_2_012.jpg LIB-MUS023 Title A name given to the resource Celeste Maggiore as Annie Oakley in Arundel Opera production of Annie get your gun Date A point or period of time associated with an event in the lifecycle of the resource 1959 July 1 Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Arundel Opera Theatre (Kennebunkport, Me.) Kennebunkport (Me.) Maine United States Description An account of the resource Black and white A row of people on a stage, wearing long gowns and formal suits, with arms extended in a line. The dark background is punctuated by a string of lanterns overhead, some featuring Chinese characters. On the far right, one person wears a feathered headdress and a patterned outfit. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Maggiore, Celeste - Voice (Mezzo-soprano) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/53c038417082e3bca44b1cc02000563e.jpg 77e425971733fa4a3720aca1c705d9ce Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Performer in historical costume on stage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_013 ubmu0071_2_013.jpg LIB-MUS023 Title A name given to the resource Unidentified female character in Arundel Opera's production of Die Fledermaus Date A point or period of time associated with an event in the lifecycle of the resource 1959 August Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Arundel Opera Theatre (Kennebunkport, Me.) Kennebunkport (Me.) Maine United States Description An account of the resource Black and white A person wearing a voluminous, layered gown and a large bonnet stands on a stage, raising a flower-adorned prop above their head. The backdrop features ornate wallpaper, draped curtains, and a framed painting to the left. The scene is in black and white and resembles an old theater or film production. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Female singers--Photographs - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/6ca6c370c461af7ce248392cf0b78d79.jpg da1ae7056cf9956eaca9727ea5c08d5e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Ballet dancers on a lit, ornate theater stage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_014 ubmu0071_2_014.jpg LIB-MUS023 Title A name given to the resource Ballet scene from Arundel Opera's production of Die Fledermaus Date A point or period of time associated with an event in the lifecycle of the resource 1959 August Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Arundel Opera Theatre (Kennebunkport, Me.) Kennebunkport (Me.) Maine United States Description An account of the resource Black and white A group of dancers in white tutus perform on a large stage with decorative scenery and drapery. The composition shows dancers in various poses, some on pointe, arranged in a symmetrical formation beneath a chandelier. The scene captures a classical ballet performance in progress. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Ballet dancers--Photographs - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/8d0bba353550b210fd5532c43344db2f.jpg a5cf0bf89bfcacffa2053f9a983d40ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Two people in traditional Japanese clothing with a fan and floral hair accessory, beside a decorative screen. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_015 ubmu0071_2_015.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard with unidentified female singer, both in costume, possibly as characters in The Mikado Date A point or period of time associated with an event in the lifecycle of the resource 1959 September Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Binghamton (N.Y.) New York (State) United States Description An account of the resource Black and white On verso: Opera Guild party, Binghamton, N.Y. during Butterfly run, Sept. 59. Two people wearing traditional Japanese clothing face each other across a table. The left person leans toward the right, while the right person holds a large folding fan and wears a floral hair accessory. A painted screen with a figure and a vase with branches is visible behind them, contributing to the staged scene. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Male singers--Photographs Women singers--Photographs Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/83f6f9aea888d93807f757737740d59c.jpg 3bd6877d9cd67266abdfb08c1094decf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Crowd in traditional dress at a festival with hanging lanterns and a torii gate backdrop. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_016 ubmu0071_2_016.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard (center) in costume in the role of Bonze in Puccini's Madame Butterfly, presented by the Tri-Cities Opera Company Date A point or period of time associated with an event in the lifecycle of the resource 1959 October Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Masonic Temple (Binghamton, N.Y.) Binghamton (N.Y.) New York (State) United States Description An account of the resource Black and white A large group of people wearing patterned robes or kimonos gathers on a performance space. Lanterns hang overhead, and a torii-style gate is visible on the right with a painted mountain backdrop behind. Floral branches and blossoms decorate the foreground as attendees mingle. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/9129e3fbaa8fcd36557124c9ece260e6.jpg eb9b45636146e05914e3a216995376a9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Four performers in ornate period costumes stand in a line on a dimly lit stage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_017 ubmu0071_2_017.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard (left), Gene Talley-Schmidt (3rd from left) and two unidentified males in costume in a production of Romberg's The student prince at Chastain Park, Atlanta Date A point or period of time associated with an event in the lifecycle of the resource 1961 Creator An entity primarily responsible for making the resource Miller, Marc Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Chastain Memorial Park (Atlanta, Ga.) Atlanta (Ga.) Georgia United States Description An account of the resource Black and white They wear matching striped coats with white lace cravats and white stockings, facing forward. A piano or organ is visible on the left, and a dark backdrop fills the background. The image is in black and white. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Male singers--Photographs Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Talley-Schmidt, Gene - Voice (Tenor) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/6968868ba707a0c4ddfbb691c9a32b69.jpg 9af9da655ec6141520c0207af77b747d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A person with glasses in profile, pointing with their right hand. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_018 ubmu0071_2_018.jpg LIB-MUS023 Title A name given to the resource Prompter of the Tri-Cities Opera Company (probably John Sportelli) Date A point or period of time associated with an event in the lifecycle of the resource undated Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Masonic Temple (Binghamton, N.Y.) Binghamton (N.Y.) New York (State) United States Description An account of the resource Black and white The black-and-white image shows a person wearing a textured knit sweater and a white-collared shirt, seen from the side with mouth open as if speaking. Their right arm is extended, with the index finger raised. A wooden structure or cabinet to the right and dark surroundings form the background. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Prompters--Photographs - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/5739f3831f09400ba62ae47f99d8bb9f.jpg 0bef1c47466d5b75bc24618ced314d32 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Group of four people standing in a grainy black-and-white scene. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_019 ubmu0071_2_019.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard (3rd from left) in costume as the character Talpa in Tri-Cities Opera production of Puccini's Il Tabarro Date A point or period of time associated with an event in the lifecycle of the resource 1961 March Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Masonic Temple (Binghamton, N.Y.) Binghamton (N.Y.) New York (State) United States Description An account of the resource Black and white From left to right, four individuals stand in front of a dark background. The first wears a striped short-sleeve shirt; the second wears dark clothing; the third wears a head covering; the fourth wears a checkered garment. The image is grainy and black-and-white. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Singers--Photographs Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/f222811883b0688c5de20cf4a0a65ca2.jpg 77ae7c87acb3a35567aae81720689986 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Ornate carved bed with heavy drapes on a stage, with musicians seated nearby. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_020 ubmu0071_2_020.jpg LIB-MUS023 Title A name given to the resource The character Violetta Valery (either Rosalie DeFelice or Lois Crane) in a Tri-Cities Opera production Puccini's La Traviata Date A point or period of time associated with an event in the lifecycle of the resource 1961 October Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Masonic Temple (Binghamton, N.Y.) Binghamton (N.Y.) New York (State) United States Description An account of the resource Black and white A large ornate bed with an elaborate headboard sits on a stage, framed by striped curtains. A round table with a candelabrum is beside the bed. Several people are seated or reclining around the bed on white bedding, some wearing glasses as they face forward. The scene is captured in black and white and appears to be a theater or studio set. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Female singers--Photographs - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/a4d25e89d3dbd9bd16d518cf9465cb0a.jpg 3fd8f31b8e6bc4546c7b69e078da2db1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Person leaning over a person on a bed in an ornate room. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_021 ubmu0071_2_021.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard (2nd from left) as Dr. Grenvil in the Tri-Cities Opera production of Verdi's La Traviata Date A point or period of time associated with an event in the lifecycle of the resource 1961 October Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Masonic Temple (Binghamton, N.Y.) Binghamton (N.Y.) New York (State) United States Description An account of the resource Black and white A black-and-white interior features striped walls, a marble mantel, and an oval mirror. A person bends toward another person lying on a bed, while two other figures stand nearby in formal attire. The scene appears staged with vintage furnishings and subdued lighting. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Singers--Photographs Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/2ce19fdbf26a97329b5a725a6052b077.jpg 1926e94208ab4881b81084d591c6f958 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Portrait of a person wearing glasses and a suit. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_022 ubmu0071_2_022.jpg LIB-MUS023 Title A name given to the resource Portrait of Joseph Chouinard Date A point or period of time associated with an event in the lifecycle of the resource 1964 December Creator An entity primarily responsible for making the resource Delmar Studio (Binghamton, N.Y.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Binghamton (N.Y.) New York (State) United States Description An account of the resource Black and white A black-and-white portrait showing a person from the shoulders up wearing a suit, tie, and round glasses. The image is mounted on a light mat, with a handwritten note visible beneath the photograph. Type The nature or genre of the resource Portrait photographs Black & white photographs Subject The topic of the resource Male singers--Photographs Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/acd3ad23ad6d17cdbacc5c145899cec7.jpg 04425415a63898a6a2c3fb9bbd5e25ae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Two performers on a stage with a rocky backdrop. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_023 ubmu0071_2_023.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard (left) as the character Polyphemus and Lawrence Bennett as Acis in a production of Handel's Acis and Galatea Date A point or period of time associated with an event in the lifecycle of the resource 1967 January Creator An entity primarily responsible for making the resource Sladin, V. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Minor Latham Playhouse New York (N.Y.) New York (State) United States Description An account of the resource Black and white One wears a patterned tunic and has short hair; the other is in a dark, flowing garment. They stand close together and seem to handle a prop. A musician sits in the foreground playing a string instrument with sheets of music visible. The backdrop features large painted rock formations. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Bennett, Lawrence, 1940- - Voice (Tenor) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/24472699e0be683bbb1e666f19d5e7a0.jpg b715da1186c3d89a3809e80c005bc89f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Two performers raise their arms in a high-five on stage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_024 ubmu0071_2_024.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard (left) as the character Polyphemus and Lawrence Bennett as Acis in a production of Handel's Acis and Galatea Date A point or period of time associated with an event in the lifecycle of the resource 1967 January Creator An entity primarily responsible for making the resource Sladin, V. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Minor Latham Playhouse New York (N.Y.) New York (State) United States Description An account of the resource Black and white Two performers stand on a stage facing each other and raise one arm in a high-five gesture against a textured, sculpted backdrop. The left performer wears a striped, loose-fitting tunic, while the right performer wears a dark, elaborate outfit with a feathered headdress and cape. The image is in black and white, giving a vintage theater feel. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/2ce5e57a86abd1a3e756479fd0e36bc6.jpg fc608904b94c8579e277410490f0ea63 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A performer in a dark, elaborate costume with a tall feathered headpiece dancing on a stage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_025 ubmu0071_2_025.jpg LIB-MUS023 Title A name given to the resource Lawrence Bennett as the character Acis in a production of Handel's Acis and Galatea Date A point or period of time associated with an event in the lifecycle of the resource 1967 January Creator An entity primarily responsible for making the resource Sladin, V. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Minor Latham Playhouse New York (N.Y.) New York (State) United States Description An account of the resource Black and white The performer wears a dark, layered costume and a tall feathered headpiece. They are captured mid-dance with one leg lifted. The painted backdrop resembles a rocky landscape. The image has a grainy black-and-white appearance. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Bennett, Lawrence, 1940- - Voice (Tenor) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/ac722efcced0e33cb7b317f24c9384f3.jpg 8f91e872e1654d7673089c50189d83a5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Performer in armor-like costume with a feathered headdress on stage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_026 ubmu0071_2_026.jpg LIB-MUS023 Title A name given to the resource Lawrence Bennett as the character Acis in a production of Handel's Acis and Galatea Date A point or period of time associated with an event in the lifecycle of the resource 1967 January Creator An entity primarily responsible for making the resource Sladin, V. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Minor Latham Playhouse New York (N.Y.) New York (State) United States Description An account of the resource Black and white A person stands with hands on hips, wearing a metallic chest piece, layered tunic, cape, tall boots, and a large plume-feather headdress. The face is painted white and the backdrop features swirling abstract patterns; photo credit at the bottom reads "PHOTO by V. SLADON." Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Bennett, Lawrence, 1940- - Voice (Tenor) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/215982186ca6e0555fe1e02f67d673e2.jpg 86cdcadeb04fec79bfa352f283710f34 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A performer in a feathered headdress and flowing cloak on stage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_027 ubmu0071_2_027.jpg LIB-MUS023 Title A name given to the resource Lawrence Bennett as the character Acis in a production of Handel's Acis and Galatea Date A point or period of time associated with an event in the lifecycle of the resource 1967 January Creator An entity primarily responsible for making the resource Sladin, V. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Minor Latham Playhouse New York (N.Y.) New York (State) United States Description An account of the resource Black and white On a stage, a performer wears a long, flowing cloak and a feathered headdress. They have one hand on their hip and the other resting on their chest area. The background features a painted, abstract backdrop with swirling lines. The image is black and white and includes a photographer credit in the lower-right corner. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Bennett, Lawrence, 1940- - Voice (Tenor) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/3fe10a7bcbedffdcd4947a81a4a03b23.jpg c773ca2f2706befa039a86f8414bce95 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Performer in historical costume on stage, holding a tall staff with a large feather. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_028 ubmu0071_2_028.jpg LIB-MUS023 Title A name given to the resource Lawrence Bennett as the character Acis in a production of Handel's Acis and Galatea Date A point or period of time associated with an event in the lifecycle of the resource 1967 January Creator An entity primarily responsible for making the resource Sladin, V. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Minor Latham Playhouse New York (N.Y.) New York (State) United States Description An account of the resource Black and white A person stands center stage wearing a medieval-style outfit with a cloak and boots. They grip a long staff topped with a large feather. The background features a painted backdrop with curved, abstract patterns, and the bottom edge shows the credit "PHOTO by V. SLADON". Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Bennett, Lawrence, 1940- - Voice (Tenor) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/97835f3a5fdb0f040493f17c28739252.jpg 1cfcc305ea4e3cb985e7af8ea42458a5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Partial portrait of a person with light hair wearing a geometric-patterned shirt and dark cardigan against a dark background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_029 ubmu0071_2_029.jpg LIB-MUS023 Title A name given to the resource Portrait of Joseph Chouinard Date A point or period of time associated with an event in the lifecycle of the resource 1974 October Creator An entity primarily responsible for making the resource Unidentified Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) New Rork (State) United States Description An account of the resource Black and white A black-and-white close-up focuses on the upper face and neck. The person wears a patterned shirt with circular and square shapes under a dark cardigan. The solid dark background emphasizes the clothing and hair. Type The nature or genre of the resource Portrait photographs Black & white photographs Subject The topic of the resource Male singers--Photographs Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/f6cd6126d67068c2159ea6144d9fddcc.jpg b8937d224b46dd9e6fab163255839500 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Two costumed people on a dim stage with a diagonal wooden prop Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_030 ubmu0071_2_030.jpg LIB-MUS023 Title A name given to the resource In Soo Park as the character Rodolfo and Rachel Lewis as Mimi in Act 1 of a University at Buffalo production of Puccini's La Boheme Date A point or period of time associated with an event in the lifecycle of the resource 1974 November Creator An entity primarily responsible for making the resource Willoughby, Robert Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Williamsville North High School (Williamsville, N.Y.) Williamsville (N.Y.) New York (State) United States Description An account of the resource Black and white Two people wearing period costumes stand on a raised stage next to a large diagonal beam. A painting on an easel is visible between them. The set features wooden walls, scattered chairs, and various props in a mostly dark, theatrical space. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Park, In Soo (Tenor) - Voice (Tenor) Lewis, Rachel (Soprano) - Voice (Soprano) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/98ef9406a0f572c1a7f9fcc625e47b5f.jpg 3447739274a94a0f493606eac38c1cfd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Two people in period clothing on a rustic stage with a table and props. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_031 ubmu0071_2_031.jpg LIB-MUS023 Title A name given to the resource In Soo Park as the character Rodolfo and Rachel Lewis as Mimi in Act 1 of a University at Buffalo production of Puccini's La Boheme Date A point or period of time associated with an event in the lifecycle of the resource 1974 November Creator An entity primarily responsible for making the resource Willoughby, Robert Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Williamsville North High School (Williamsville, N.Y.) Williamsville (N.Y.) New York (State) United States Description An account of the resource Black and white Someone wearing a patterned, long garment sits on a low stool while another person in a light shirt and plaid fabric kneels beside them. The backdrop features tall wooden boards and a doorway, with a table beside them holding wine glasses and a bottle. The setting appears to be a stage production on a simple, rustic set. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Park, In Soo (Tenor) - Voice (Tenor) Lewis, Rachel (Soprano) - Voice (Soprano) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/a1c307b92cc3c8581a642caa78984449.jpg 5e5b24f192c9bfe7b6a1e2ada9e2b145 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Black-and-white crowd in period dress gathered indoors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_032 ubmu0071_2_032.jpg LIB-MUS023 Title A name given to the resource Opening of Act 2 of University at Buffalo production of Puccini's La Boheme Date A point or period of time associated with an event in the lifecycle of the resource 1974 November Creator An entity primarily responsible for making the resource Willoughby, Robert Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Williamsville North High School (Williamsville, N.Y.) Williamsville (N.Y.) New York (State) United States Description An account of the resource Black and white A monochrome indoor scene shows a large group of people in vintage clothing gathered along a wall. Many wear long dresses, skirts, hats, and suits, suggesting a formal event. A person on the left holds a long object resembling a baton while others stand nearby. A tall glass-framed panel rests against the wall, and wooden paneling lines the background. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/d723442e2553a79aba71c1fb2cb867da.jpg 9438d0db037b1ab49613ef1c82318c7d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Crowds of people gathered in a vintage indoor reception with checkered tablecloths. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_033 ubmu0071_2_033.jpg LIB-MUS023 Title A name given to the resource Scene from Act 2 of University at Buffalo production of Puccini's La Boheme Date A point or period of time associated with an event in the lifecycle of the resource 1974 November Creator An entity primarily responsible for making the resource Willoughby, Robert Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Williamsville North High School (Williamsville, N.Y.) Williamsville (N.Y.) New York (State) United States Description An account of the resource Black and white People in formal clothing fill a large interior. Some stand and converse while others sit at small tables covered with checkered cloths. Large grid-pattern windows line the walls and a bar-like counter appears on the right, giving the space a theatre or reception ambiance. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery - Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/e35fd7e9d90ce5011611c44e9dfe36ad.jpg 7ffc876a1e74e79d5798fb3898ec4fd4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Crowded indoor scene with many people gathered in a hall. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_034 ubmu0071_2_034.jpg LIB-MUS023 Title A name given to the resource Joseph Chouinard (far right) as the character Colline in Act 2 of University at Buffalo production of Puccini's La Boheme Date A point or period of time associated with an event in the lifecycle of the resource 1974 November Creator An entity primarily responsible for making the resource Willoughby, Robert Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Williamsville North High School (Williamsville, N.Y.) Williamsville (N.Y.) New York (State) United States Description An account of the resource Black and white A black-and-white scene depicts a large group of people in period clothing gathered in a spacious hall. People wear long dresses, coats, and hats, some carrying items. The room features tall walls, large windows on the right, and tables with checkered cloths along the edges. People stand and move about, suggesting a social or public gathering. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/14e0407e32ef695102c69ad5f4638a15.jpg ce1e99a586bedfae872cad14601ba43d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Theatrical performance on a stage with period costumes. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_035 ubmu0071_2_035.jpg LIB-MUS023 Title A name given to the resource Jane Bane (center) as the character Musetta and Joseph Chouinard (far right) as Colline in Act 2 of University at Buffalo production of Puccini's La Boheme Date A point or period of time associated with an event in the lifecycle of the resource 1974 November Creator An entity primarily responsible for making the resource Willoughby, Robert Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Williamsville North High School (Williamsville, N.Y.) Williamsville (N.Y.) New York (State) United States Description An account of the resource Black and white A black-and-white scene shows multiple performers on a raised platform and around it, wearing Victorian-style clothing. One figure stands on the platform with arms raised while others sit or stand nearby. The backdrop resembles a worn wall with a large window on the right. Audience members in vintage attire observe from the foreground. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Bane, Jane - Voice (Soprano) Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> https://digital.lib.buffalo.edu/files/original/0b743b87ec67695fbbdbc071140a62ef.jpg fc88dfced184910f10fe949c932ece5b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Group of performers in period costumes on a theater stage with wooden set pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Chouinard Collection of Images, circa 1928-2006 Description An account of the resource The collection contains 227 images collected by Joseph Chouinard. They document his life from the age of about two years through age eighty. The collection contains images of his performances with opera companies in Maine, Binghamton, Buffalo, and elsewhere. The collection also contains a set of twenty packaged images from Pikes Peak, Colorado and another set of forty-five images that document the fourteen months Joseph Chouinard spent as a United States sailor on Okinawa at the end of World War II. Mr. Donn Cuson generously provided information to identify many of the photographs in this set. Identifier An unambiguous reference to the resource within a given context LIB-MUS023 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Mus. Arc. 71.2 ubmu0071_2_036 ubmu0071_2_036.jpg LIB-MUS023 Title A name given to the resource Jane Bane (center) as the character Musetta, with In Soo Park as Rodolfo and Rachel Lewis as Mimi (seated at table), and Joseph Chouinard (far right) as Colline in Act 2 of University at Buffalo production of Puccini's La Boheme Date A point or period of time associated with an event in the lifecycle of the resource 1974 November Creator An entity primarily responsible for making the resource Willoughby, Robert Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Williamsville North High School (Williamsville, N.Y.) Williamsville (N.Y.) New York (State) United States Description An account of the resource Black and white A stage-filled scene shows many people in historical clothing standing and sitting around a set with wooden walls and a large window; some are near a counter and tables with checkered cloths. The image is in black and white, conveying a vintage theater atmosphere. Type The nature or genre of the resource Black & white photographs Subject The topic of the resource Opera--Stage-setting and scenery Bane, Jane - Voice (Soprano) Park, In Soo (Tenor) - Voice (Tenor) Lewis, Rachel (Soprano) - Voice (Soprano) Chouinard, Joseph Jerod, 1926-2014 - Voice (Bass-baritone) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a>