Demarcation

We live in a world of shadows / Sometimes the sound a horn is a shadow / This old metal clarinet probably marched in a parade, but who knows: Lester Young preferred metal clarinets ---- photo by Mark Weber -- July 12, 2o18

We live in a world of shadows / Sometimes the sound a horn is a shadow / This old metal clarinet probably marched in a parade, but who knows: Lester Young preferred metal clarinets —- photo by Mark Weber — July 12, 2o18

The Thursday Jazz Radio Show

July 5, 2o18 Jazz @ Noon every Thursday (starts at 12:07 after the satellite news) Host MARK WEBER KUNM Albuquerque, USA 89.9 FM (Mountain Standard Time) also streaming on the web KUNM.org Current time zone offset: UTC*/GMT -6 hours (*Coordinated Universal Time)/Greenwich Mean Time)

 

DEMARCATION

 

deave yet so tellingly
did the sky speak
that
only foolishness not overcome
would that we continue this path this day

 

to release the fire that
is in the wood
hunker down under this overhang
and take the day in forbearance

 

it is good to rest, gathering our thoughts,
strengthening our resolve, ordering
the alignment of stars come nightfall
meat to cook
crystal water
we only knew a hundred words then
                in those days
and of them they were growing
as we spoke them
over and over again

Bobby Bradford with his drummer Yayo Morales and pianist Theo Saunders at LACMA before the concert Friday June 15, 2o18 Los Angeles -- photo by Mark Weber ------- Yayo was born in Bolivia and spent his first 20 years there, then to Madrid for 23-some years, and now he's in L.A. and Henry Franklin brought him to Bobby's attention ----- Theo has been knocking about L.A. jazz scene for decades . . . . . . . .

Bobby Bradford with his drummer Yayo Morales and pianist Theo Saunders at LACMA before the concert Friday June 15, 2o18 Los Angeles — photo by Mark Weber ——- Yayo was born in Bolivia and spent his first 20 years there, then to Madrid for 23-some years, and now he’s in L.A. and Henry Franklin brought him to Bobby’s attention —– Theo has been knocking about L.A. jazz scene for decades . . . . . . . .

Bobby Bradford and his 1970s Getzen flugelhorn he just bought off EBay and is still putting it through its paces to see if it will do what he needs ----- In his studio -- June 15, 2o18 before driving down to L.A. County Museum of Art ( "LACMA" in LAspeak) for gig with his Mo'tet -- photo by Mark Weber

Bobby Bradford and his 1970s Getzen flugelhorn he just bought off EBay and is still putting it through its paces to see if it will do what he needs —– In his studio — June 15, 2o18 before driving down to L.A. County Museum of Art ( “LACMA” in LAspeak) for gig with his Mo’tet — photo by Mark Weber

Anthony Ortega first made records in 1947 and worked around L.A. early 50s with Roy Porter (w/Dolphy, Knepper, Russ Freeman, etc) and Lionel Hampton (w/Clifford Brown, Art Farmer, Buster Cooper, Gigi Gryce, George Wallington) too many names to list them all, made a number of records under his own name beginning in 1954 but came up on our radar in L.A. in a great big way when he was soloist with Gerald Wilson Orchestra (1965-1984) -- Gerald's music was all over the radio those years ---- Anthony is listed on 122 recording sessions at Tom Lord Jazz Discography ----- On June 7 he turned 90 and is far from played out or done with music as I found out this Sunday when I ventured down to Encinitas on the Pacific Coast to hear him at Mr Peabody's when he picked up the tenor (Selmer Super Action)(all his saxophones are Super Action that Selmer presented to him years ago, and kept in mint condition, they all looked new!) and blew me back into my seat ----- He's on fire! and that's every Sunday from 6-10 at Mr Peabody's -- the Quartet this day was Bud Shyrock (1986 Gibson L-5), Russell Bizer(drums), Jeff Blanco(bass), Anthony(soprano, alto, tenor, flute, scat, and vocals-- He likes to sing! and good, too) they played Songbook standards "Shiny Stockings," "Easy Street," "Invitation," "Laura," scatted on "Four," Neil Hefti's "Cute," "East of the Sun," and way into his LONG first set he finally picked up the soprano and played "So What" -- photo by Mark Weber -- June 17, 2018

Anthony Ortega first made records in 1947 and worked around L.A. early 50s with Roy Porter (w/Dolphy, Knepper, Russ Freeman, etc) and Lionel Hampton (w/Clifford Brown, Art Farmer, Buster Cooper, Gigi Gryce, George Wallington) too many names to list them all, made a number of records under his own name beginning in 1954 but came up on our radar in L.A. in a great big way when he was soloist with Gerald Wilson Orchestra (1965-1984) — Gerald’s music was all over the radio those years —- Anthony is listed on 122 recording sessions at Tom Lord Jazz Discography —– On June 7 he turned 90 and is far from played out or done with music as I found out this Sunday when I ventured down to Encinitas on the Pacific Coast to hear him at Mr Peabody’s when he picked up the tenor (Selmer Super Action)(all his saxophones are Super Action that Selmer presented to him years ago, and kept in mint condition, they all looked new!) and blew me back into my seat —– He’s on fire! and that’s every Sunday from 6-10 at Mr Peabody’s — the Quartet this day was Bud Shyock (1986 Gibson L-5), Russell Bizer(drums), Jeff Blanco(bass), Anthony(soprano, alto, tenor, flute, scat, and vocals– He likes to sing! and good, too) they played Songbook standards “Shiny Stockings,” “Easy Street,” “Invitation,” “Laura,” scatted on “Four,” Neil Hefti’s “Cute,” “East of the Sun,” and way into his LONG first set he finally picked up the soprano and played “So What” — photo by Mark Weber — June 17, 2018

Anthony Ortega -- June 17, 2o18 north of San Diego ----- On Friday, at Bobby Bradford Mo'tet concert at LACMA I told (bassist) Henry Franklin that I was going to see Anthony Ortega on Sunday, he burst out "Batman!" purely smiling Attachments area

Anthony Ortega — June 17, 2o18 north of San Diego —– On Friday, at Bobby Bradford Mo’tet concert at LACMA I told (bassist) Henry Franklin that I was going to see Anthony Ortega on Sunday, he burst out “Batman!” purely smiling

Two baad guitar players: Son Seals & Lonnie Brooks, bluesmen, out on the road, playing a roadhouse south of Cleveland, Ohio -- June 26, 1987 -- photo by Mark Weber

Two baad guitar players: Son Seals & Lonnie Brooks, bluesmen, out on the road, playing a roadhouse south of Cleveland, Ohio — June 26, 1987 — photo by Mark Weber

Warren Smith master percussionist -- one of the central players behind Max Roach's drum band M'BOOM ---- Today we'll revisit his tympani solo on "Epistrophy" from M'BOOM's first album (1979) ---- photo from Joseph Daley Trio clinic at University of New Mexico -- March 27, 2o18 -- photo by Mark Weber

Warren Smith master percussionist — one of the central players behind Max Roach’s drum band M’BOOM —- Today we’ll revisit his tympani solo on “Epistrophy” from M’BOOM’s first album (1979) —- photo from Joseph Daley Trio clinic at University of New Mexico — March 27, 2o18 — photo by Mark Weber

Sugar Pie DeSanto is coiled for blast off -- 1955 Johnny Otis made her a touring member of his Johnny Otis Revue and gave her the stage name Sugar Pie and by 1960 her hits started up the R&B charts ---- And I understand she's still writing songs and performing in the Bay Area ---- photo by Mark Weber at San Francisco Blues Festival, August 12, 1978 ----- on bass is Walter Savage who was one of the bass players on Horace Tapscott's first album THE GIANT IS AWAKENED (1969) -- Everything is connected ---- I was hanging around Horace & Celia's place one afternoon in the early 80s when Horace took a phone call, and when he got off he said, "That was Walter Savage, he lives in Oakland now, he called to say that's where he's at in case anybody wants to know"

Sugar Pie DeSanto is coiled for blast off — 1955 Johnny Otis made her a touring member of his Johnny Otis Revue and gave her the stage name Sugar Pie and by 1960 her hits started up the R&B charts —- And I understand she’s still writing songs and performing in the Bay Area —- photo by Mark Weber at San Francisco Blues Festival, August 12, 1978 —– on bass is Walter Savage who was one of the bass players on Horace Tapscott’s first album THE GIANT IS AWAKENED (1969) — Everything is connected —- I was hanging around Horace & Celia’s place one afternoon in the early 80s when Horace took a phone call, and when he got off he said, “That was Walter Savage, he lives in Oakland now, he called to say that’s where he’s at in case anybody wants to know”

Recording session at Wayne Peet's Killzone Studios, Santa Monica, where we're working on a new CD of my poetry to be called NIGHT RIDERS -- June 18, 2o18 -- Michael Vlatkovich (trombone, sitting at Wayne's controls), Bobby Bradford (cornet), William Roper (tuba) ----- photo by Mark Weber

Recording session at Wayne Peet’s Killzone Studios, Santa Monica, where we’re working on a new CD of my poetry to be called NIGHT RIDERS — June 18, 2o18 — Michael Vlatkovich (trombone, sitting at Wayne’s controls), Bobby Bradford (cornet), William Roper (tuba) —– photo by Mark Weber

You know it's got to be L.A. when you see palm trees, that or Saudi Arabia, toss in a cop car and the odds are it's L.A. plus add Johnny Otis and it could be no other place -- September 29, 1985 -- photo by Mark Weber

You know it’s got to be L.A. when you see palm trees, that or Saudi Arabia, toss in a cop car and the odds are it’s L.A. plus add Johnny Otis and it could be no other place — September 29, 1985 — photo by Mark Weber

Joe Liggins had a major hit back in April 1945 in Los Angeles as WW2 was wrapping up (VE Day: May 8, and VJ Day Sept 2, 1945) with "The Honeydripper" and with the emergence of black radio, this new form of music now known as R&B blew the roof off with Cecil Gant, Roy Milton, Hadda Brooks, T-Bone Walker, Johnny Moore & the 3 Blazers, Johnny Otis and by the end of the 40s add: Big Jay McNeely, Joe Houston, Amos Milburn, Floyd Dixon and so many more ----- photo by Mark Weber -- September 29, 1985 Attachments area

Joe Liggins had a major hit back in April 1945 in Los Angeles as WW2 was wrapping up (VE Day: May 8, and VJ Day Sept 2, 1945) with “The Honeydripper” and with the emergence of black radio, this new form of music now known as R&B blew the roof off with Cecil Gant, Roy Milton, Hadda Brooks, T-Bone Walker, Johnny Moore & the 3 Blazers, Johnny Otis and by the end of the 40s add: Big Jay McNeely, Joe Houston, Amos Milburn, Floyd Dixon and so many more —– photo by Mark Weber — September 29, 1985

People respond to friendliness, and openness, and when you're in foreign territory it's comforting to meet a new friend -- I was making my way into the San Francisco jazz scene and Andre always took the time to point things out to me, with a smile, so, I was saddened to hear of his passing a few Saturdays ago (May 26, 2o18 in Portland) ---- George Sams (trumpet) and Andre St James (bass) as part of Sound Clinic (w/ Lewis Jordan, alto) afternoon of August 27, 1978 in the Western Addition, San Francisco -- photo by Mark Weber ---- The world needs more people like Mr Andre

People respond to friendliness, and openness, and when you’re in foreign territory it’s comforting to meet a new friend — I was making my way into the San Francisco jazz scene and Andre always took the time to point things out to me, with a smile, so, I was saddened to hear of his passing a few Saturdays ago (May 26, 2o18 in Portland) —- George Sams (trumpet) and Andre St James (bass) as part of Sound Clinic (w/ Lewis Jordan, alto) afternoon of August 27, 1978 in the Western Addition, San Francisco — photo by Mark Weber —- The world needs more people like Mr Andre

Clarinet genius Bill Payne on the New York subway -- September 17, 2009 -- photo by Mark Weber

Clarinet genius Bill Payne on the New York subway — September 17, 2009 — photo by Mark Weber

Arlen Asher & Mark Weber on the KSFR Jazz Experience in the midst of our 3-hour over-view we called Timeless Duke Ellington -- December 18, 2o17 Santa Fe -- photo snapped by operations manager Sean Conlon on that stupid Nikon Coolpix shirtpocket digital I have since thrown into the dumpster (the read-out says it was 10:40am)

Arlen Asher & Mark Weber on the KSFR Jazz Experience in the midst of our 3-hour over-view we called Timeless Duke Ellington — December 18, 2o17 Santa Fe — photo snapped by operations manager Sean Conlon on that stupid Nikon Coolpix shirtpocket digital I have since thrown into the dumpster (the read-out says it was 10:40am)

2 Comments

  1. —————————–playlist———————————-
    the swamp cooler jazz radio show
    July 5, 2o18
    KUNM Albuquerque USA
    Host MARK WEBER

    1. Anthony Ortega Trio “Alone Together” — 9july2000 cd SCATTERED CLOUDS (hat Art) w/ Mike Wofford (piano), Joe LaBarbera (drums), Anthony (alto)
    2. Eric Dolphy Quartet “The way you look tonight” — 6sept61 Copenhagen — cd box COMPLETE PRESTIGE RECORDINGS — originally Lp ERIC DOLPHY IN EUROPE Vol. 2
    3. Grant Green “Idle Moments” (written by Duke Pearson — How many other great tunes did this guy write? He also wrote one of my all-time favorites “Cristo Redentor” ) w/ Joe Houston (tenor), Bobby Hutcherson (vibes), Grant Green (guitar), Duke Pearson (piano), Bob Cranshaw (bass), Al Harewood (drums) — 4nov63 — cd IDLE MOMENTS (Blue Note)
    4. Kali Z Fasteau “A Gift” c.1987 w/ Rashied Ali (drums) and Bob Cunningham (bass) and Kali (soprano sax) –cassette BEYOND WORDS (Flying Note Recordings)
    5. Kali Z Fasteau “From Above” as previous
    6. Shiela Jordan “What Are You Doing For the Rest of Your Life?” in duet with bassist Arild Anderson on her 3rd album SHIELA (Steeplechase) August 1977
    7. Bill Watrous — R.I.P. d. July 2 —– jam session “Tubby”(Gene Ammons) w/ solos all around: Danny Stiles (trumpet), Joe Romano (tenor), John Heard (bass), Frankie Capp (drums), Ross Tompkins (piano), Watrous (trombone) cd I’LL PLAY FOR YOU (Progressive) summer 1978 Los Angeles
    8. Kevin Norton 5 “Knots” from cd KNOTS (Music & Arts) 1997 NYC w/ Kevin (drumset), David Bindman (tenor), Tomas Ulrich (cello), Joe Fonda (bass), Bob DeBellis (alto)
    9. Eddie Lawrence comedy routine (played this for poet James Burbank regarding some emails we recently had over being Luddites) “The Jazzy Old Professor” — 1993
    10. Claudio Tolousse Perez “Sandu” (12-bar blues by Clifford Brown) w/ Cal Haines (drums) and Andy Zadrozny (bass), Claudio (guitar) —– informal/formal session at Studio 725 — 15june2o12 —– Claudio has a concert at Outpost this Saturday night honoring his guitar teacher Michael Anthony
    11. Beth Custer Clarinet Thing “Sticks & Stones”(John Carter) cd AGONY PIPES AND MISERY STICKS (BC Records) 12feb2003
    12. Joshua Breakstone trio “Chanson De Delphine — You Must Believe in Spring” –25aug2004 cd THE FRENCH SESSIONS Vol. 2 (Capri) w/ Joshua (guitar) and Louis Petrucciani (bass) and Christian Ton Ton Salut (drums)
    * all dates refer to the recording session

    13. directly after my show ends at 1:30 ———- on the next show: Afternoon Free Form, the host Brandon Kennedy over the last 6 months has asked me to start his show off with a poem, and lately I’ve been selecting the music bed ——— today I read poem “Demarcation” except I called it “Poem with Song by
    Maryanne DeProphetis” from her 2o18 cd TELL A STAR — track “Ombra” wordless vocals (I kind of wish he would have played the entire track but he had other things on his agenda . . . .)

  2. FOUR THINGS

    1) the esteemed Kali Zusaan Fasteau will be a telephone guest on the Thursday jazz show July 19

    2) I titled above poem after the fact (I rarely title poems, but the webpage needed something) —- poem found in bedside journal entry of 21may2o18 ——————— I changed the first word to the OE > deave (to deafen or bewilder with noise: Funk &Wagnalls) just because I liked the sound————Then I added the title

    3) OE = Old English = Anglo Saxon = linguisticspeak

    4) George Sams tells me that at that time of this photo he had a duet scene going with Andre they called Travelin’ Light

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