[JPL] bopndicks 10 picks August 2007
Bob Rogers
rwsfin at hotmail.com
Thu Aug 2 15:45:49 EDT 2007
Marilyn,
I'm interested in hearing this cd. Thanks.
Bob Rogers
2816 Barmettler Street
Raleigh, NC 27607
WSHA-FM
www.wshafm.org
email: rwsfin at hotmail.com
phone: (919) 413-4126
>From: Marilyn Duncan <info at soonasongs.com>
>Reply-To: Jazz Programmers Mailing List <jazzproglist at jazzweek.com>
>To: Jazz Programmers Mailing List <jazzproglist at jazzweek.com>
>Subject: Re: [JPL] bopndicks 10 picks August 2007
>Date: Thu, 02 Aug 2007 12:07:03 -0500
>
>This Week's JPL Sponsor: 2008 JazzWeek Summit
>
>June 19-21, 2008 -- Clarion Riverside Hotel, Rochester, N.Y. --
>Registration opens in August
>
>+++++++++++++++++++++++++++++++
>
>Dear Jazz Programmers,
>
>If you would like a promo copy of "The Sky Is Blue and Sometimes Cries" by
>Lisa Markley, based on Dick Crockett's recommendation, let me know and I
>will send one right away.
>
>Samples can be heard at: http://soonasongs.com/store_lm2.php
>
>Thanks for your time.
>
>Sincerely,
>
>Marilyn Duncan
>Owner, Soona Songs
>Independent Record Label
>www.soonasongs.com
>
>
>
>Dick Crockett wrote:
>>This Week's JPL Sponsor: 2008 JazzWeek Summit
>>
>>June 19-21, 2008 -- Clarion Riverside Hotel, Rochester, N.Y. --
>>Registration opens in August
>>
>>+++++++++++++++++++++++++++++++
>>
>>Bopndicks 10 picks August 2007
>>JAKI BYARD SUNSHINE OF MY SOUL- live at the
>>Keystone Korner High Note Records
>>Jaki Byard has been called one of the most versatile
>>and unsung piano players in jazz. That means he was
>>great but never enough exposure to be credited as
>>such. The best way to appreciate Jaki Byard is to imagine
>>you're in the right place at the right time with this capacity for express
>>yourself through jazz, still a
>>very young capricious art form, now a hundred some
>>years old or so compared to Methuselah. Born in 1922
>>when jazz was probably in it's terrible twos and
>>learning to walk the walk and loved by everybody as a
>>brand new baby. Now, more legitimized as an art form
>>and best enjoyed in a more intimate gathering, after
>>all, what large standing room only crowd would watch
>>Jackson Pollack drip paint all over the place? If so, there should an
>>auction for the drop cloth, a
>>bidding in the millions!
>>This performance recorded at the Keystone Corner in
>>San Francisco in 1977 and released this year answers
>>all our questions of self doubt. This man was one of
>>the greats, an example of an artist whose exceeded his
>>reputation to iconic status. What you hear in the
>>universal mind is a full body jazz of historical
>>knowledge, for Jaki Byard was an engaging story
>>teller. The whole history of the jazz piano, the
>>anecdotal and humorous, comes through his hands. This solo performance at
>>the Keystone Corners, as his
>>others was a joyful noise blend of stride, ragtime,
>>boogie woogie, bebop to free jazz, humor,
>>classical...flawlessly! A joy of international
>>cooking.
>>>From “Tribute To The Ticklers,” listening to a
>>soundtrack while watching a sped up version of a
>>Charlie Chaplin film. A Mingus medley, interactive
>>Faubus, an interesting version of David Clayton Thomas
>>“Spinning Wheel,”a smoky high octane after hours
>>“Boogie Woogie In And Out,” with references of Art
>>Tatum and James P Johnson. It may have been phenomena
>>that Byard channeled these masters while telling his
>>story. Then the beautiful “Emil” from Byard's “Family
>>Suite” will \ lift your horizons and bring tears to
>>your eyes. Jaki Byrad's a Giant among jazz artists as
>>his students at the New England Conservatory would
>>wholeheartedly attest.
>>And this cd is addition to your collection to share
>>with others, who're unfamiliar with his contribution
>>and are from a similar mental zip code.
>>ENRICO PIERANUNZI/MARC JOHNSON/JOEY BARON LIVE IN
>>JAPAN
>>Cam Jazz
>>This trio has the accoutrement and essence-soul of a
>>prominent jazz band. Is it the Japanese, who
>>understand and know what we want in automobiles and
>>seem to know what we want, jazz, as the now? Enrico
>>Pieranunzi has evolved as one of the world's most
>>prominent on jazz piano. Listen to what Brad Mehldau
>>and Keith Jarrett have accomplished, consistent
>>excellent performances over a long period of time,
>>what other great jazz players have achieved, a status
>>to excellence-some gray hairs for the distinguished.
>>It's where Enrico Pieranunzi has evolved as a seasoned
>>jazz artist with Marc Johnson and Joey Baron.
>>Consistent excellence. Ever since Enrico Pieranunzi
>>played with Chet Baker, there's been an American
>>interest in his work. This is a trio mainstay as
>>relevant as other aforementioned post modernists. This
>>is the evocative sense of Enrico who's committed to
>>his roots, his school, experience and yet highly
>>inventive and modern to his evolving artistry. If you're like me and
>>listen as most programmer's due
>>for the hook, then this Enrico Pieranunzi may not be
>>for you.
>>However, if you're like me and fed up with the whole
>>hyperbole- let's be real here- then you'll dig this cd
>>many times over in the quiet of your articulate
>>consciousness, then this cd is meant for you. There's original material
>>with Morricone's “Mia Caro
>>Dottor Grasler.” Don't ask what it means because I
>>don't know. The music is captivating. “Improleaves”
>>is almost impromptu, long introspective bluesy Marc
>>Johnson bass high lyrical runs in an appropriate form
>>in the middle. Could it be improvisation with Joey
>>Baron, drummer, starting things off, then Pieranunzi chiming in, creating
>>on the metaphor, kicking Asimov. This is essential to the others who know
>>and
>>anticipate each other's form and nuance. It happens
>>with musicians who each other well as these do. This
>>is the Keith Jarretts and Brad Mehldaus bones of the
>>jazz world. This trio of expert musicianship and
>>camaraderie achieve a similar popular level.
>>This is a 2 cd set, recorded live in in Tokyo and
>>Yokohama in 2004. All tunes are very original and
>>personal, written by Pieranunzi, Morricone and Baron,
>>others collectively by the trio. In many ways the
>>'feel' of this performance, reminds one of Dave
>>Brubeck's “Jazz Impressions Of Japan.” Pieranunzi is
>>able to project a very similar simple straight ahead
>>sound as Brubeck. Hence the core of the many inspiring
>>moments in this 'live' cd.
>>BOBBY SANABRIA BIG BAND URBAN FOLKTALES Jazzheads Records
>>Percussionist Bobby Sanabria keeps the post modern
>>bop/ afro Cuban in all it's sangria roots/ traditions
>>moving forward with a lush Latin big brass band sound
>>that's so down on a Sunday in the Bronx. It starts
>>with “57th Street Mambo.” The first thing that hits
>>right upside the inside is the overall orchestrations
>>that remind you so much of the power of Kenton mixing with
>>traditional/modern-straight ahead Dizzy
>>Gillespie, Tito Puente and Chico O Farrell. It's all
>>really NYC Latin jazz inspired by
>>Dizzy/Tito/Chico/Eddie and others in the hot bed of
>>Latin jazz talent. “Blues For Booty Shakers” will
>>provide a drive through many jazz intersections and
>>insurgencies. Sanabria will make it all work out in
>>unison for you. This cd is so free and open, drawing
>>upon all influences, from Kenton, Mingus to The Wizard
>>Of Oz, whose cool with Latin and Fort Apache Band.
>>“The Grand Wazoo” is all very brass, percussion,
>>picture Xavier Cugat practicing...Now Bobby Sanabria
>>will use the discordant licks.”Obrigado Maestre” is
>>very lush and Kenton-esque. It's like a bunch from
>>the South Bronx: “El Hefi, lets go to Lexington Ave
>>and do the mambo, I know a place where we can play
>>some stuff!” And that's what it is, great Latin stuff! Tito Puente's
>>legacy and commitment falls on
>>the mantle of Bobby Sanabria and this new cd will
>>solidify that. As Sanabria proclaims upon conclusion
>>of “57th Street Mambo,” slick and cool as it should
>>be, from one whose soul embraces, “That's It
>>Gentlemen!” THE MULGREW MILLER TRIO LIVE AT THE KENNEDY CENTER
>>VOLUME TWO MAXJAZZ
>>Mulgrew Miller emotes, combines Oscar Peterson
>>intensity, (you hear it in his chord progressions) and
>>Wynton Kelly Laissez Faire soul. Smile, relax and
>>groove old style as in “Grew's Tune.” This should be a
>>classic. A text on how it should and does sound from
>>a master and that's the current sound of Mulgrew
>>Miller, an articulate muscular pianist as on“Farewell
>>To Dogma,”starting with an intimate solo, then
>>expanding to a more soluble mainstream portion.
>>Mulgrew Miller takes you on a sophisticated, yet funky
>>trek through his music. You feel comfortable with his
>>transgressions. I could be on Jefferson avenue in
>>Grosse Pointe Farms, fifty years ago, listening to
>>Tommy Flanigan and receive the same vibe.
>>That's what I like about Mulgrew Miller. The jazz
>>comfort level as in his rendition of “Old Folks.”
>>Comfort level is what we all say yes about and what
>>jazz does so well' gain a positive consensus. Mulgrew Miller learned to
>>play by ear as a child,
>>meaning he has a tremendous capacity to absorb not
>>only the music, but the atmosphere. This kinetic
>>energy from birth to the moment may be demonstrated in
>>“Eleventh Hour,” a straight ahead blues with Miller
>>locked in to the groove, the essence as Jelly Roll
>>would attest.
>>There's nothing I like better than a good solo and
>>you'll so much innately about this artist. And when
>>the rest of the band kicks in, fasten your safety
>>belts, it's when Mulgrew Miller, Derrick Hodge and
>>Rodney Green party with the speed and precision
>>reserved for un-limiteds on a quarter mile. Therefore, you're up to speed
>>on the latest Mulgrew
>>Miller.
>>PS: Happy Birthday Mulgrew Miller. August 13. Yours
>>is the same as George Shearing and mine!
>>DAVID MURRAY BLACK SAINT QUARTET with Cassandra Wilson
>> SACRED GROUND Justin Time Records
>>David Murray is the most progressive post modern voice
>>on saxophone in jazz world. There's no one with the
>>chops and imagination who come close. A tone equal to
>>Coleman Hawkins as in “Believe In Love,”as free as
>>Archie Schepp and edgy as Albert Ayler, as determined
>>as John Coltrane within a melodic compass as in
>>“Family Reunion” “Transitions” and “Pierce City,” a
>>ballad with a similar ferocity as a John Coltrane.
>>“Sacred Ground,” the title of this cd begins with
>>Cassandra Wilson, singing the lyrics' almost native
>>American is it's honesty and tone. There's truth
>>here, so apparent in the message and plight of the
>>slaves to this land, two centuries ago. A sad irony to
>>current terms and yet we press on with the music. Obviously, David Murray
>>is more interested in honest
>>pure expression than lead horn on Saturday Night Live.
>>He should be celebrated of that. “Banished” is very metamorphic and
>>personal with David
>>Murray. His bass clarinet intonations attest as
>>much.”Believe In Love” will bring back Coleman Hawkins
>>memories. When a jazz musician is able to conjure a
>>message, portray an artistry and history in a breath,
>>then we know the significance of the person and the
>>contribution. “Prophet Of Doom” is a nostalgic take
>>with Cassandra, the daughter of Hecuba, priestess of
>>Athena, singing the lyrics of Greek blues mythology.
>>Now Cassandra was a sear who was blind and no one
>>believed her to their own trevail. Now that's the blues! So it goes with
>>David Murray able to arouse the best
>>stable yet on his new, “Sacred Ground” with it's
>>artistic multitude, uniqueness and iconic power!
>>JOHN ABERCROMBIE THE THIRD QUARTET ECM
>>Jazz is a personal medium for musicians,. I wonder
>>what significance latent knowledge, pre birth chops to
>>a person's existential/life has to do with his
>>expression.
>>Jazz guitarist John Abercrombie's life might be
>>blessed with the depth of the Scots/Irish music
>>tradition, especially with fiddle/ guitar work as this
>>cd demonstrates with Abercrombie on guitar and Mark
>>Feldman on violin.
>>It doesn't matter if you think you've heard enough,
>>because you haven't. There's an authenticity, so
>>simple and profound in it's performance. What's
>>profound is simple. What's truthful is a slip of the
>>tongue at first and justifiable later. This music is
>>so immersing. John Abercrombie has appointed what
>>almost all giants in jazz do, give it up to the other
>>players, a personal life-long impression. You think I'm overly sardonic,
>>pierian and 'blow fish'
>>bombastic. This is full immersion.
>>John Abercrombie relays his youth, vulnerability and
>>stamina in his music evolution, wondering in brief
>>moments, 'Is This My Journey?' 'Whether you simmer than or you aft to
>>be...' I have a different acclimate-a glimmer-but it's not
>>apt to be. Fore or aft? There's always mystery and
>>anticipation in jazz. And this new John Abercrombie
>>disk with Marc Feldman, Marc Johnson and Joey Baron is
>>a love-some thing.
>>You must remember that John Abercrombie is joyous and
>>down to serious business with this new cd. All songs
>>are written by Abercrombie, except Ornette Coleman's
>>“Round Trip.” The “Elvin”brings it back home and Joey
>>Baron lets it happen as a Ginger Baker rock, strong
>>arc and on cue, Elvin Jones imagined, with John
>>Abercrombie so down, nice and funky as always and most
>>proportionately. MANUEL VALERA VIENTOS ANZIC RECORDS
>>Manuel Valera, a young musical genius, will no longer
>>be relegated to Holiday Inn piano bars! A figure of
>>speech, of course, for the disengaged 'we' may not even know the
>>difference. The genius that walk among
>>us, selling newspapers, serving coffee, busing our
>>tables. We'll never know when the next Mozart will
>>appear! Don't think this is an aspersion to real-hyperbole for
>>the endless to the incorruptable. Cross your tees and
>>dot your eyes. It's not about that. This Valera's new
>>and endless music is all important. May not buy you a
>>farm on Malibu. This could be the perfect endless
>>journey. It's real about what's in you and you go
>>forward from there. You go forward from here, as we
>>go forward from here. A twist, excursion as in 'A La
>>Interperie,” to add to a list of other consummate of
>>songs on “Vientos.” Then a scattering in “So You
>>Say,”with Joel Frahm at his best with a quintet and
>>Valera smoking down to and past Memphis in a post
>>modernity open closure. Manuel Valera was born in Cuba in 1980, studied
>>classical saxophone there and emigrated here and only
>>started playing the piano in 1994. He now resides in New York City.
>>This new Manuel Valera is expansive, yet in mindful of
>>his traditions. Valera's imprint is a fusion of
>>modern jazz with various Latin music styles. His first and highly
>>acclaimed “Forma Nueva” was a
>>remarkable debute for this young artist. His second
>>and most regarded “Melancolia' merges jazz with
>>classical romance, Rachmaninoff and Silvio Rodriquez.
>>
>>“Vientos” will establish Valera as a fine creative
>>composer. His early training on saxophone at Havana
>>Conservatory could the establishing touch. His feel
>>for jazz is almost intrinsic Bill Evans with soaring melodic lines, tones
>>& themes and his feel for
>>orchestrations is innate/ mysterioso., elevating his
>>status, setting him apart. This is only the beginning.
>>
>>DAVID WITHAM SPINNING THE CIRCLE Crypto
>>gramophone Records
>>“Allow me to introduce myself. My name is David Witham
>>and I am a musician. A pianist primarily, but I also
>>use synthesizers, samplers and various other noise
>>makers in my music...”
>>Witham also studied with Jaki Byard at the New
>>England Conservatory of Music and Alan Broadbent and
>>has collaborated with Ernie Watts, bassist/ composer
>>Jay Anderson and the Jeff Gauthier Quintet. He has
>>been music director for George Benson since 1990 and
>>produced cds for Tom Scott and Grover Washington.
>>By now you may form a fairly accurate picture. David
>>Witham is also experimental, combining understated pop
>>with new world progressive jazz in his new cd,
>>“Spinning The Circle.”
>>Sounds like a mouthful. Welcome to the 21st Century.
>>The jazz musical spores are invading us.
>>In case you're not aware, Cryptogramophone, a very
>>progressive label from Venus Beach welcomes this sort
>>of thing, sparkling, pop, inter continental music-
>>digestible and different, most acceptable from inner
>>galactic disco to a cold brisk clear evening under
>>the stars in rural Norway. You're a world traveler.
>>The music is composed by Witham and performed with a
>>stellar band, as in “Con Quiem” with Greg Leisz on
>>steel petal, Witham's special effects in “The Neon,”
>>wondrous acoustic piano open to a minimalist train
>>ride through Nebraska by Witham on “Who Knows,” a
>>requiem, yet freeing post bop unfolding in “N.O.
>>Rising” with a scintillating symposium on soprano sax
>>by Jon Crosse and a great slide guitar solo by Greg
>>Leisz. Scott Amendola concludes with the signature
>>N.O. marching strut on drums. Then “Momentuum” takes
>>on a different slow discordant, yet heroic phrasing as
>>Witham's accordion physiology takes on the mantra of
>>discordant and mundane with a noble agenda. “The
>>Circle” is as such, an evolving anxious rondo with
>>Latin accents and Jon Crosse soprano exploring the
>>inner Latin depth too the blues. “Light And Life”
>>features a glistening captivating acoustic interact
>>with bassist Jay Anderson and drummer Scott Amendola.
>>David Witham's new cd “Spinning The Circle” will
>>ultimately answer the question: Is modern jazz the
>>real answer or is it language we muddle with the
>>mundane in all it's forms.
>>ALVIN QUEEN I AIN'T LOOKING AT YOU Enja/Justin Time Records
>>Alvin Queen, drummer, is a mean machine on this one. “I Ain't Looking At
>>You” will bring back those funk
>>and groove days, when Art Blakey, Jimmy Smith, Lee
>>Morgan and Tina Brooks showed on the same date, by all
>>means, when this sort of groove was common place. This
>>new Alvin Queen is straight ahead, center stage, full
>>blown from L.A. to Vegas funk!
>>And does he have some grade A players, Terell
>>Stafford, today's best on trumpet, Jesse Davis, an
>>Grecian god-like amorphous one on alto, a smokin Mike
>>LeDonne whose the bones of the Hammond B-3 on this one
>>and guitarist Peter Bernstein, who plays like a
>>************ also! There's certain very expressive
>>word we can't use on TV, let alone radio, the passive
>>step child. This kind of music is raucous and
>>aggressive, testifyin as in “I Ain't Looking At You.”
>>It doesn't denigrate, or take away any of the power to
>>impose that fact I'll turn into Ed Love on WDET to
>>hear the real score on this music. This Alvin McQueen band is all on down
>>to the basics.
>>Be sure. This is the only way it is done, friends.
>>Mike LeDonne's tribute to Shirley Scott with
>>“Shirley's Song” is especially poignant on this cd
>>with solos by Peter Bernstein and Jesse Davis. Mike LeDonne is right on
>>with this thing. He has Scott
>>'s roll embellishing style down cold! Horace Silver's “ Nutville,” Miles,
>>“Seven Steps To
>>Heaven” and McCoy Tyner's “Contemplation” seed these
>>hard bop anthems to all that's good and nasty
>>about jazz. And with Alvin Mc Queen's “I Ain't Looking
>>At You,”it's all good!
>>THE FRED HERSCH TRIO NIGHT & THE MUSIC Palmetto
>>Records
>>Fred Hersch always dislays his best jazz side first,
>>perfect for any occasion. That's what good musicians
>>do, let their music speak for themselves This trio
>>context displays the classic jazz side of his
>>personality. This cd will bring back ethers of great
>>jazz ghosts , Tommy Flanigan, Bill Evans, Hank
>>Garland. Those great others who let their music speak
>>for themselves. This trio recording has that
>>emotional impact. This is how a great post modern jazz trio sounds and
>>Fred Hersch is one of the great ones. He's witty
>>engaging, commanding, playful and special. His
>>writing is full of nostalgia and spirit on display,
>>“Rhythm Spirit” “Heartland” and the surreal, effusive,
>>“Galaxy Fragment/You And The Night And The Music.” In fact this romantic
>>piece could be the underlying
>>theme of this cd. “You And The Night and the Music”
>>has many meanings. When a jazz musician of Fred
>>Hersch's quality takes on this theme, it rises to a
>>spiritual level. As a Monk interpreter with “Boo's
>>Boo's Birthday” and “Misterioso,” Hersch is unequal
>>in the mainstream. Hersch has that special
>>sophistication. He also does exceptionally well with
>>Strayhorn and Ellington.
>>On this recording he interprets Berlin's “Change
>>Partners” and “:How Deep Is The Ocean.” This is what a
>>great jazz player will do, remember how it sounded and
>>feed it back to the 'now' of his personal way.
>>That's what we like about this music. It's an inner
>>music excursion jotting our memories.
>>And your endorphins will simmer with this new Fred
>>Hersch cd.
>>For a kid from Cincinnati, whose advance studies were
>>at the New England Conservatory Of Music, it's the
>>perfect measure.
>>The connection, no doubt, Fred Hersch is six degrees
>>of Jaki Byard. ONES TO WATCH:
>>VASSILIS TSABOPOULIS & ANJA LECHNER CHANTS, HYMNS
>>AND DANCES ECM
>>Vassilis Tsabropoulis is an engaging Greek jazz
>>pianist and Anja Lechner, a most expressive
>>violoncellist. This duet interprets the music of
>>Giurdjieff, a Greek Armenian mystic teacher who
>>wandered throughout Europe and the far East in the
>>early part of the 20th century. “A high initiate of
>>the esoteric school, who took it upon himself to show
>>the Western World that mankind was asleep, that there
>>are higher levels of being and there are somewhere,
>>people who know.
>>In the fifties, jazz musicians knew of Gurdjieff, his
>>Institute for the harmonious development of man, his
>>music, his dances, the whirling dervishes, etc.. The merging of Mid
>>Eastern with Western music is the
>>essence and symbiosis of Gurdjieff and Tsabropoulis, a
>>magical romance of the art of letting go.
>>KAHIL EL'ZABAR'S INFINITY ORCHESTRA TRANSMIGRATION Delmark Records A huge
>>band with tons of saxophones, brass, 12 rhythm
>>players and volcano of special effects. The Infinity
>>Orchestra is experimental yet rooted in the hard bop
>>tradition, based in the city of Bordeaux, the south of
>>France. “Speaking In Tongues.” Along with
>>percussionist, teacher and articulator Kahil El'
>>Zabar, Robert Irving III, for his writing, most
>>certainly has a hand in this.
>>Reminds me of a cool evening in Monterey, sipping some
>>two buck chuck and listening to an extended Charles
>>Lloyd. THE ROCCO JOHN GROUP DON'T WAIT TOO LONG COCA
>>Productions
>>It took a little time. Thank goodness I didn't wait
>>too long. This real underground radio deeply rooted in
>>Loft expressionism and experimentation. There's
>>nothing like the spontaneity. Rocco John worked with
>>Sam Rivers whose always experiential and spent some
>>time with Lee Konitz. It seems you're listening to a Samuel Becket
>>soundtrack, but it's so hard bop. “Gentilesse” will
>>tell the story.
>>CHARLES MINGUS IN PARIS-1970 Sunnyside Records A wonderful collectors
>>piece with Jaki Byard, this
>>month's belated six degrees of separation. Charles
>>Mingus was one the true modern innovators in
>>progressive jazz.
>>SAM YAHEL TRIO TRUTH AND BEAUTY Origin Records
>>Brad Mehldau writes in the liner notes.
>>“We're the first generation in jazz that has no
>>distinguishing playing style to speak of.” That's a
>>profound statement. A break away from the post modern.
>>Sam Yahel and Brad Mehldau made it on the scene in NYC
>>in the earl nineties. This new cd, features popular
>>reed player Dewey Redman and the extraordinary
>>drummer, Brian Blade. This has to the 'Cream' band in
>>Jazz.
>>LISA MARKLEY is a natural. THE SKY IS BLUE AND
>>SOMETIMES CRIES is a natural inclination from a new
>>artist. How and what do you sing on your new cd?
>>“Spring Can Hang You Up The Most,” and Markley's
>>phrasing comes upright naturally.
>>And “Someone Exactly Like You,” isd a straight ahead
>>blues written and performed, J. Paul Stevens, piano
>>accompanist. “Elements” written by guitarist Bruce
>>Balmer reveals another talent of Lisa Markley. A
>>remarkable ability to interpret new songs, an adroit
>>rarity. There's great raw talent here. You woulfd hope
>>that Austin City Limits would pick up on Lisa Markley.
>>She wrote and performed “Eve Take The Fall” with such
>>casual enunciation. Then it struck me when listening
>>to listening to 'The Dry Cleaner From Des Moines”
>>that Lisa Markley's reflections are Joni Mitchell and
>>remembered her performances in a small cafe on
>>Woodward Ave in 1963 with her husband folk
>>guitarist/singer Chuck Mitchell. Back to Lisa Markley
>>in focus. She is definitely the next best of
>>guitarist/writer since Joni Mitchell, pop
>>expressionist, the early one. Then the song that struck was “Lullaby Of
>>The
>>Wandering Moon,” an existential love in the moment as
>>it is...
>>PS: I'm awe struck and teary eyed.
>>Dick Crockett
>>“The Voice” 88.7fm
>>4623 T Street, Suite A
>>Sacramento, Ca 95819-4743
>>audio streaming
>>accesssacramento.org
>>
>>
>>
>>
>>
>>____________________________________________________________________________________
>>Be a better Globetrotter. Get better travel answers from someone who
>>knows. Yahoo! Answers - Check it out.
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