All Jazz Radio – A Blog Supreme Blog – WEDNESDAY 17th September 2014


Cape Town

Cape Town

No matter the weather in the Mother City, its always a good day, ok so I may be a wee bit biased, so don’t blame me, if you’ve not yet been to Cape Town, then it’s high time that a visit is planned. Thanks goodness I did the washing yesterday, sorry to bring in domestic issues, but its going to be a chilly and wet day today. No worries though there is great jazz to come your way. We also hope

Sebastian Scotney

Sebastian Scotney

to have our Skype connections sorted and can talk to Sebastian Scotney today, so looking forward to it finally getting to air around 11:00 Central African Time, look out for interesting news from London. Its always a good day to tune in to All Jazz Radio, Africa’s first and only 24/7 online Jazz, Blues, Latin and World jazz radio station.

Remember too that AJR is South Africa, Africa and the World’s pre-eminent Internet Jazz Social Lifestyle Radio Station and an essential broadcaster of good jazz music in all its various forms with Jazz, Blues, Latin and World Jazz being an integral part of the broadcast mix, enriching the social, cultural, educational and community experience of the listening audience, and also have All Jazz Radio, as one’s essential music listening home, where Jazz Lovers of the global village meet to share in our common social interest and lifestyle on the World Wide Web.

Go have a look at our website and join our All Jazz Radio – Cape Town, ZA FB Group, follow us in the Twittersphere at @AllJazzRadioSA Twitter

Stay in touch with and let us know what you’d like to hear and what we should add to our music library, just email us at


Here are todays and tomorrows “live” streaming broadcast streaming times;

Please remember that the live streaming broadcasts commence at 10h00 until 18h00 Central African Time daily then all programs are repeated, eg. Today’s programs are repeated tomorrow evening from 18:00 and the previous days programs are repeated at 2am the following morning. Time Zone is C.A.T.

10:00 to 14:00 Jazz Rendezvous With Eric Alan, Cape Town, SA
13:00 to 14:00 The Latin Perspective With Tony Vasquez, Pittsburgh USA (Latin)
14:00 to 16:00 Midweek Jazz Melange With Ndoxy Hadebe, Cape Town, SA
16:00 to 18:00 The Sundown Show Compiled by Eric Alan, Cape Town, SA
10:00 to 13:00 Jazz Rendezvous With Eric Alan, Cape Town, SA
13:00 to 14:00 Todd’s Turntable With Todd Gordon, Edinburgh, Scotland (Vocal)
14:00 to 16:00 Jazz-E 100% SAFRO Jazz With Etienne Shardlow, Jo’burg, SA
16:00 to 18:00 Vagabond Blues With Brian Currin, Cape Town, SA (Blues)


Joe Sample Funeral Services – Friday September 19th

Joe Sample

Joe Sample

There will be a Wake and viewing, open to the general public 6:00 – 9:00pm at Our Mother of Mercy Church 4000 Sumpter St. Houston Tx, 77020

Funeral services on Saturday will be private, for family and friends.

In lieu of flowers etc., the family asks to make donations to the Joe Sample Youth Organization, a 501 (c) (3) non-profit.

Contributions can be made via pay-pal or credit card using the folioing link or by check to the following address:

The Joe Sample Youth Organization, P.O. Box 590254, Houston Tx  77259

New York Times Obit

Joe Sample, Crusaders Pianist Who Went Electric, Dies at 75


New album release by Darrell Katz and the Jazz Composers Alliance Orchestra to be Released October 14, 2014 on Leo Records

New album release by Darrell Katz and the Jazz Composers Alliance Orchestra play music about Albert Einstein, The Zen Of Riding Bicycles and a six-toed cat Why Do You Ride?

Darrell Katz and the Jazz Composers Alliance Orchestra

Darrell Katz and the Jazz Composers Alliance Orchestra

“Roiling expressionistic canvases, full of dramatic dynamic and textural contrasts; brawling, virtuoso horn solos; free-collective outbursts; chugging rhythms; beautifully calibrated ensembles.”

  • Jon Garelick, Boston Phoenix

“Crazy, avant-garde, third-stream, god-knows-what big band composition that manages to stay in touch with what Julius Hemphill called ‘the hard blues.'”

_ David R. Adler, Lerterland

“When the legend becomes fact,” goes the oft-quoted line from The Man Who Shot Liberty Valance, “print the legend.” Thinking along similar lines, composer and bandleader Darrell Katz has set to music some of the most memorable quotations that Albert Einstein never said (and one or two that he actually did) on Why Do You Ride?, the latest CD by the Jazz Composers Alliance Orchestra. After all, if a saying is profound enough to inspire the kind of dense, genre-spanning, continually surprising sounds that fill this disc, then what does it matter if it was ever actually spoken by the particular genius to whom it’s been attributed?

Arriving on the cusp of the JCAO’s thirtieth anniversary year, Why Do You Ride? (October 14, Leo Records) shows off Katz’s deft ability to juggle off-kilter modernism with electrifying dynamic shifts and a tumult of jazz-history reference points in his vivid, smash-cut big band arrangements, all combined for this excursion with his love for cycling and his less-than-thorough internet research standards. The results are executed by an expert ensemble that tempers virtuosity with a liberal dose of irreverence, precisely navigating hairpin turns while maintaining just enough danger to make you believe you just might go off the cliff into total chaos.

The Boston-based JCA Orchestra includes an impressive roster of veteran musicians from the Boston area including woodwind players Allan Chase (Rashied Ali, John Zorn), Jim Hobbs (Anthony Braxton, Fully Celebrated Orchestra), Hiroaki Honshuku (Mike Stern, Dave Liebman), and Phil Scarff (Natraj); trumpeters Mike Peipman (Artie Shaw and Woody Herman Orchestras), Gary Bohan (Klezmer Conservatory Band), and Forbes Graham (Para Quintet); trombonists Bob Pilkington and David Harris; tuba player Bill Lowe (Muhal Richard Abrams; Henry Threadgill; Frank Foster); bassist John Funkhouser; and pianist Mina Cho, just to name a few. Rebecca Shrimpton, whose supple and entrancing voice has graced the work of such luminaries as Joe Lovano, Steve Lacy, Oliver Lake, and George Lewis, makes the apocryphal sound beguiling with her elegant rendition of Katz’s intricate, circuitous melodies.

The project was born when someone at Katz’s local bike shop told the composer that Einstein had once declared the three greatest inventions of the modern world to be “the three-masted sailing ship, the refrigerator, and the bicycle” – music to the ears of the avid cycler. As it turns out, Einstein never said any such thing, but the idea still got Katz started expressing his love for bicycling in musical terms.

The title track recounts a Zen koan in which a master asks his students why the ride their bicycles, praising each one’s practical responses but genuflecting before the one who answers, “I ride my bicycle to ride my bicycle.” Katz could be praised for his equal commitment to writing music for its own sake, evidenced beautifully by this track as it progresses from moody abstraction to an Ellingtonian growl of a fanfare, a hip Zen groove, Impressionist balladry, and a soulful, fluid guitar solo from the leader himself.

The centerpiece of the CD is comprised of “Wheelworks,” an eight-movement suite dedicated to the often inaccurate words of wisdom of one of the 20th-century’s greatest thinkers. The wide-ranging piece veers from the urgent “Any Intelligent Fool” through the pensive, shape-shifting disclaimer “What Did Albert Einstein Say?”; the angular “Riding a Bicycle,” with its tempestuous free section featuring baritone saxophonist Dan Zupan, tuba player Bill Lowe, and trumpeter Gary Bohan; Mina Cho and pedal steel guitarist Norm Zocher breaking the tension of “Under the Cloak of War”; the martial third-stream march of “Sticks and Stones”; the stealthy, aptly-named “The Mysterious”; the light-footed sway of “We Are the Dancers”; and finally the Copland-tinged hope of “A Better Teacher.”

The JCAO exits on “SamiBadGal,” a lush, heartfelt eulogy for a six-toed cat, before Katz ends the proceeding with a wistful arrangement of Thelonious Monk’s “Monk’s Mood” for the JCA Sax Quartet: altoists Jeff Hudgins and Daniel Ian Smith, tenor Phil Scarff, and bari Dan Bosshardt. The wordless piece offers one of the album’s most eloquent statements, originally uttered by one of the jazz world’s finest minds and here restated with grace and passion.

A composer of more than 70 pieces for jazz orchestra, Darrell Katz is a co-founder of the Jazz Composers Alliance Orchestra, which has been a fixture on Boston’s creative music scene since its first performance in December 1985. Dedicated musicianship, innovative programming and fresh compositional concepts make JCA concerts and CDs colorful, adventurous, high-energy events. Katz’s work has appeared on all eight of the big band’s previous albums. (The JCA also released a sax quartet album). The recipient of numerous grants, including the Massachusetts Artist Fellowship in composition, a Jazz Fellowship Grant from the NEA, and grants from Meet The Composer, The Aaron Copland Fund, The New England Foundation For The Arts, Katz “has forged an identity as a progressive and creative orchestrator of new music in a way that few can claim,” says Michael G. Nastos in All Music Guide. Katz was the organizer of the Julius Hemphill Composition Awards (1991-2001). He has a Master of Music Degree from New England Conservatory, and a Bachelor of Music from Berklee College of Music, where he been a faculty member since 1989. “One cannot help but admire Katz and the JCA for their dedication and commitment to creative music,” says Jazz


Interesting Conference to take place in January 2015 at Saint Peter’s Church in New York City

Panels & workshops to address important issues for the jazz community Sessions at Jazz Connect Conference on January 8-9, 2015 to include a session submitted by the community

Jazz Connect Conference Ja 2015The Jazz Connect Conference, organized by JazzTimes and the Jazz Forward Coalition, announced a tentative schedule for the annual gathering of the jazz community in 2015.  The conference will be held January 8-9, 2015 at Saint Peter’s Church in New York City and will lead into the annual APAP (Association of Performing Arts Presenters) Conference as well as Winter Jazzfest.  Now in its third year, the conference will continue to focus on vital issues affecting the jazz community carrying on the format and momentum from the January 2014 event which had over 800 registrants.

Many of the panel and workshop topics have been finalized, including: “Making Social Media Work”; “The Ways & Means of DIY Record Labels ”; “Partnerships for Presenting”; “Jukebox Jury”; Where’s the Money?”; “Where Are Our Rights?”; “Spotlight on Jazz in Spain”; “The Role of Artistic Directors in Presenting Jazz”; “Replenishing the Audience for Jazz”; “The State of Jazz Radio”; “Ask the Experts” networking session; and several others.  The conference will also be introducing a new series of intensive workshops with specialized topics across the spectrum of jazz for more intimate in-depth discussions.

In addition to those topics, the Conference planners have left a time slot open for a “Community Choice” panel.  If you have a topic that you think would be interesting to the jazz community, email it to and put “Community Choice” in the subject line.

Moderators and panelists will again include an impressive cross-section of artists and professionals from around the world.  Early Bird Registration is only $75 until September 30, with additional discounts offered to members of various organizations.

Stay tuned for the announcement of the recipient of the Jazz Connect Bruce Lundvall Visionary award to be presented at the conference.

For more information about the Jazz Connect conference, you can e-mail or go to the conference website.

To pre-register for the conference, go to the event page.

To reserve a table-top display or to advertise in the Conference program with JazzTimes, contact Miene Smith at 617-706-9092 or


Should You REALLY Only Ever Be Independent?

By Shaun Letang of Music Industry How To.

How likely it is you’d get a record deal. A lot of people said they’re going to stay independent for one reason or another, but is this really a good idea? This is what we look at today:

Should I Sign A Record Deal If A Good One Came Along?

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