Volume - I Issue - VIII May 1st, 1988 Network AAA U U DDDD IIIII OOO A A U U D D I O O AAAAA U U D D I O O A A U U D D I O O A A UUU DDDD IIIII OOO BBBB IIIII TTTTT SSS B B I T S BBBB I T SSS B B I T S BBBB IIIII T SSS & Audio Software Review (c) Copyright 1988 by Michael A. Murphy All original materials Copyright by the Author ======================================================================== Please send all suggestions/comments/requests concerning Network Audio Bits & Audio Software Review via E-Mail to: Michael A. Murphy - ======================================================================== CONTENTS Editorial Compact Disc Reviews 1) Policy - Martha Davis 2) Court And Spark - Joni Mitchell Artist Spotlight - Tuck and Patti Tears of Joy Record Reviews 1) Hazel's Wreath - Tiny Lights 2) Keystone Encores Vols I & II - Merl Saunders, Jerry Garcia, John Kahn and Bill Vitt 3) Desert Vision - David Lanz & Paul Speer 4) Walking A Changing Line - Ian Matthews 5) Serious Swingers - Bud Shank and Bill Perkins New and Upcoming Release Announcements Concert Watch ======================================================================== EDITORIAL Welcome to the eighth issue of Network AUDIO BITS & Software Review! The key word for this issue is variety. After all, variety is the spice of life. And in this issue there aren't too many threads that can be strung from one musical style to the next. Both new and old recordings and new and old artists are featured. There's a little something for everyone here, from the quiet and peaceful, yet eerie New Age Fusion sounds of David Lanz and Paul Speer to the hard driving, raucous beat of Tiny Lights. And there's even a tidbit for you Deadheads out there. Fantasy, Inc. has released some live recordings from a 1973 Keystone Korner concert that feature Jerry Garcia, among others. Also, there are a couple of firsts reviewed here. Martha Davis' first official solo LP (the Motels last couple might as well have been called Martha Davis solos). Windham Hill has released it's first vocal album, Ian Matthews "Walking A Changing Line". Windham Hill has released a few vocal albums on its Open Air label, but this is the first on the Windham Hill label itself. Windham Hill has also begun a new Jazz label. One of the first releases on Windham Hill Jazz features guitarist Tuck Andress & vocalist Patti Cathcart, an amazing duo who have been performing together for almost ten years and have just released their first recording. I've also added a new feature with this issue to go along with other recent features (Artist Spotlight and Concert Watch). This new feature will be a place where recently released and upcoming album released can be announced. Like Concert Watch my aim is to promote less publicized releases and/or independent groups/labels. This does not mean that new releases by major label bands will not show up here, but I definitely would like to give smaller labels and groups more exposure. Now, on to the reviews! ======================================================================== Policy Tell it to the Moon Martha Davis Just Like You Producer: Richie Zito T Heaven Outside My Door Engineer: Phil Kaffel R Don't Tell Me the Time Capitol CDP7 48054 2 A Rebecca Released: 1987 C What Money Might Buy Total Disc Time: 43:42 K Don't Ask Out Loud Source - CD S The Hardest Part of a Broken Heart Lust My Promise Performance: 6.5 Bridge of Sighs Sound Quality: 8 I have been a fan of Martha Davis ever since I first watched and heard my first Motels' video 'Only the Lonely'. I quickly went out and purchased their two prior albums, "The Motels" and "Careful" to go along with "All Four One". When "Little Robbers" came out, I was eager for new Motels music. Unfortunately, "Little Robbers" was only a mediocre LP and its followup, "Shock", wasn't much better. Both had their moments and for a fan of Davis and her voice they at least filled a void, though not completely. Sometime during the recording of the latter two LPs the band had internal problems and I remember reading somewhere that either "Shock", "Little Robbers" or both were recorded with session musicians and the band was only formed to go on tour. This sort of upheaval could easily account for a lack of quality during the recording sessions. The solo "Policy" is a natural extension of what was happening to the band. Unfortunately, it is also a natural extension of the last two Motels albums. Davis' voice still sounds wonderful, but the tunes and supporting musicians don't generate anything close to the electricity that the album "All Four One" had (and still has!) in 1982. Where the Motels' early albums benefitted from production that retained some dirt and grunge mixed in with all the slickness, the production on "Policy" has been rendered squeaky clean, and recorded digitally as well. Martha's voice requires just a little bit of dirt and grunge in order to shine. Removing these qualities has rendered "Policy" (as well as "Little Robbers" and "Shock") sterile. There are spots on this disc which could bode well for the future. 'Tell it to the Moon' has its moments, 'Heaven Outside My Door' is as good a ballad as any previous Motels' ballad and 'Bridge of Sighs' (a CD bonus track which closes the disc) is the closest "Policy" comes to equaling the sound of the earlier Motels. ======================================================================== Court and Spark Court and Spark Joni Mitchell Help Me Producer: Not Credited T Free Man in Paris Engineer: Henry Lewy R Peoples Parties Asylum 1001-2 A The Same Situation Recorded: 1974 C Car on a Hill Total Disc Time: 37:00 K Down to You Source - CD S Just Like This Train Raised on Robbery Trouble Child Performance: 10 Twisted Sound Quality: 8 "Court and Spark" has been out on CD for some time now. With the recent boom in manufacturing facilities the supply has caught up with the demand for CDs. This should eventually benefit the consumer, though prices of new recordings show no sign of dropping soon. However, some older CDs like "Court and Spark" are being released as 'budget line' CDs and carry a lighter price tag than new releases. "Court and Spark" is a disc that was well worth paying the big bucks for when discs were hard to come by and it is an even better bargain now. This 1974 release was well recorded and only suffers mildly from analog tape hiss. Few of the songs here need any introduction to rock and pop fans, though some of the younger fans might not be completely familiar with Joni's work. The first three tracks, 'Court and Spark', 'Help Me' and 'Free Man in Paris' are classic pop tunes. 'Raised on Robbery' was also a hit and the other seven tracks are all excellent as well. 'Twisted' is a personal favorite. Assembled for the sessions were many rock 'n roll luminaries and other notable performers such as Robbie Robertson (elec. guitar on 'Raised on Robbery'), Wilton Felder (bass), Tom Scott (on woodwinds & reeds), Jose Feliciano (elec guitar on 'Free Man in Paris'), Larry Carlton (elec. guitar), David Crosby & Graham Nash (background vocals/voices on 'Free Man in Paris') and Cheech and Chong (voices on 'Twisted'). There isn't much that I can say about "Court and Spark" that hasn't been said. It's a classic piece of '70s pop/rock and it sounds even better on CD. And now it's even priced almost reasonably! ======================================================================== ARTIST SPOTLIGHT Tears Of Joy Tears of Joy Tuck and Patti Takes My Breath Away Producers: Tuck and Patti T I've Got Just About Everything Engineers: Tuck and Patti R Time After Time Windham Hill Jazz WH-0111 A Everything's Gonna Be Alright Released: 1988 C Better Than Anything Total Disc Time: 41:54 K My Romance Source - LP S Up and At it An All Digital Recording Mad Mad Me Love is the Key Performance: 9.5 Sound Quality: 10 Tuck Andress and Patti Cathcart are based just a few miles from Windham Hill's Palo Alto headquarters, where they produced this debut album using digital recording equipment. The duo has been performing together on the west coast for close to ten years. They have developed a fanatical local following and until now have chosen not to record. They have had offers, though some of those offers included a backing band to make them 'marketable', but they wanted to record as a duo. Tuck grew up in a family where his father and older sister were piano players. Tuck began classical piano training by the time he was seven and switched to the guitar at the age of 14 to play rock 'n roll. At 17 he discovered jazz and switched from playing rock to jazz. Patti grew up surrounded by music in church, at home and in school. She showed exceptional skill and love for music at an early age. She remembers, "I went to first grade and when I sang for the first time, the teacher said 'Oh!' - That afternoon I was singing with the sixth graders." By the time Patti reached her teens she was directing youth and adult choirs in her church. Tuck and Patti met at an audition in 1978. They formed their duo initially as a way to earn money to start up a band. They quickly became addicted and committed to exploring the limits of one singer and one guitar. They are committed to more than just their music. They were married in 1981. Both Tuck and Patti cut their performing teeth working with rock 'n roll and soul bands. Their performances together in small clubs on the California Peninsula won them a following and they gradually worked their way up to larger Bay Area venues and settings that include the Monterey Jazz Festival and concerts in Europe and Asia. The first thing that hit me when I put "Tears Of Joy" on the turntable was Patti's striking, vibrant vocals. Her vocal strength is obvious from the first note and her control of this strength is incredible. On the title track, which opens the album, she hits hard, but gently, keeping a tight rein on her voice. "Takes My Breath Away" is a forceful, touching ballad. "I've Got Just About Everything" is a bouncy, jazz tune that really gives Patti's vocal chords a workout. It also showcases Tuck's guitar work, which complements Patti's vocals extremely well, Tuck being no slouch. Less is sometimes more and nowhere is this more evident than on Tuck and Patti's cover of Cyndi Lauper and Rob Hyman's "Time After Time". I really liked Lauper's version of the song, but Tuck and Patti improve on it by an order of magnitude. On "My Romance", a beautiful ballad, Tuck's guitar becomes piano-like to accompany Patti. "Up And At It" gives Tuck a chance to get out and stretch on the guitar. Patti's vocals are obviously the focal point of the duo, but Tuck shows here on "Up And At It" just how good he is and how his guitar work not only supports, but elevates the performance. Windham Hill should be commended for allowing Tuck and Patti to record as a duo. I believe little could be gained by adding more band members. "Tears Of Joy" was digitally recorded live in the studio. There was no overdubbing, no punching in or editing. "Tears Of Joy" is the first 1988 release on Windham Hill's new Jazz label. It is a fitting recording to introduce both the new label and Tuck and Patti to national attention. ======================================================================== Hazel's Wreath Tiny Lights Around it Goes Around Producers: John Hamilton with Green Instead Tiny Lights T The Bridge Engineer: James MacMillan R Wickerman's Dog GAIA 13 9005-1 A Colors and the Light Released: 1988 C Grown-up Fish Total Disc Time: 33:45 K The Capricious Yearnings Source - LP S of King Edward Before You Go Performance: 9 Red Planet Sound Quality: 9 Tiny Lights are a five member band out of Hoboken, New Jersey. The members (and the instruments they play on "Hazel's Wreath") are Donna Croughn (Vocals, Violin), John Hamilton (Vocals, Sitar, Mandolyn), Jane Scarpantoni ('Cello), Dave Dreiwitz (Bass, Vocals, Trumpet) and Andy Demos (Drums, Tabla, Soprano Saxophone). When I first put "Hazel's Wreath" on my turntable I had no idea what to expect. Looking at the credits prior to putting the album on revealed few clues (and misleading ones, at that) as to what I would shortly be hearing. "Hazel's Wreath" is an album that grabs your attention from the start. Donna Croughn's lead vocals on 'Around it goes Around' draw one's attention immediately. After a listen or two to get accustomed to Croughn's vocal style one can focus on the music which supports her leads. Croughn and Hamilton share the lead vocalist duties throughout "Hazel's Wreath". Tiny Lights blend a driving rock beat with several 'voices' of stringed instruments not normally associated with rock 'n roll. They've also incorporated a trombone and a tuba into 'Colors and the Light', a song which changes tone and tempo from an almost orchestral, quiet feeling to a driving, raunchy rock 'n roll song. Several of the songs on "Hazel's Wreath" have similar tone and tempo changes. 'The Bridge' has Croughn sounding very much like Rickie Lee Jones, jazzy and laid back, then the pace becomes frenetic and driving. 'The Bridge' slows down again to the jazzy, Rickie Lee Jones sound-alike vocals, giving the listener a breather before catching back up to the frenetic, driving pace to end the song. 'Wickerman's Dog' is an instrumental that sounds like it could be adopted as a traditional sort of folk song. 'Colors and the Light' and 'Grown-up Fish' show off Croughn's vocal talents, which are very well supplemented by the stringed instrumentation (violin, cello, etc.). Her voice lends itself very well to these instruments. 'Grown-up Fish', with it's interplay between vocals and strings, is arguably the best track on the LP. There are no duds on "Hazel's Wreath". Understanding 'The Capricious Yearnings of King Edward' would probably be easier with a working knowledge of his history. The lyrics are rather cryptic and a portion of them are in a language that looks like German. 'Red Planet' is definitely a bizarre song. There is definitely an other-worldly quality to Croughn's vocals (run through some sort of voice sampler, no doubt) on the portions of the song sung by the 'martian'. Hamilton's *normal* vocals provide a welcome contrast to the eerie quality of Croughn's. The chorus is sung by Croughn with her normal voice and soars brilliantly above the backdrop of strangeness of the rest of 'Red Planet'. "Hazel's Wreath" is an excellent, not quite ordinary, rock album. The use of out-of-the-ordinary instrumentation adds a lot to "Hazel's Wreath" and at times gives it a strange and eerie 'presence' that is difficult to find in this world of formula rock. ======================================================================== Keystone Encores, Volumes I & II Vol I Merl Saunders, Jerry Garcia, ----- John Kahn & Bill Vitt I Second That Emotion Producers: Merl Saunders and One Kind Favor John Kahn T Money Honey Engineer: Danny Kopelson R Merl's Tune Fantasy MPF-4533,-4534 A Released: 1988 C Vol II Recorded: 1973 K ------ Total Disc Times: 39:27, 37:48 S Hi-Heel Sneakers Source - LP Mystery Train It's Too Late (She's Gone) Performance: 9 How Sweet it is Sound Quality: 9 Digitally Remixed in Jan 1988 Fantasy Inc. has just released two LPs by organist Merl Saunders, Grateful Dead Guitarist Jerry Garcia, bassist John Kahn and drummer Bill Vitt which contain material recorded live in July 1973 at Keystone Korner in Berkeley. Keystone Encores, Volumes I & II have never before been released. The material contained on these two volumes are all reasonably well known tunes. They range from covers of Blind Lemon Jefferson's "One Kind Favor" to the Holland-Dozier-Holland tune "How Sweet it is". All of these versions of the songs have extend periods of jamming and the overall delivery is decidedly bluesy. There is a point or two where the band gets a little sloppy during these extended jams (midway through "Merl's Tune" is a good example), but their playing is tight, trading solos and/or playing off of each other extremely well during the rest of these jams. The sound here is clean and warm, especially noticeable whenever organist Merl Saunders is cookin'. The warmth will completely envelope you if you let it. These tunes have also been released on Compact Disc, but their format is quite different. Fantasy has taken their two-record set "Live At Keystone" (F-79002) and released it on 2 Compact Discs (FCD-7701-2 & FCD-7702-2). Each CD contains one of the unreleased tracks as a bonus track, "Merl's Tune" on "Live At Keystone V. 1" and "Mystery Train" on "Live At Keystone V. 2". The rest of the previously unreleased material from the two LPs has been released on the "Keystone Encores" CD (FCD-7703-2). All of these CDs carry an $11.98 list price, so depending on where you shop for CDs, you can probably find them for $9 or less. The newly released LPs carry a $6.98 list price. ======================================================================== Desert Vision Eagle's Path David Lanz & Paul Speer Seguaro Producers: Lanz and Speer T Desert Rain Engineer: Paul Speer R Sculptures Narada Equinox N-63003 A Canyon Lands Released: 1987 C Carlsbad Total Disc Time: 46:19 K White Sands Source - LP S Stormlight Digitally Recorded Tawtoma Performance: 8.5 Sound Quality: 10 David Lanz and Paul Speer grew up with similar musical backgrounds. Both had lessons early in life, became fascinated with rock and pop during their teens and then played in bands full-time throughout the '60s and '70s. During the latter period, each was independently exploring his own type of music and discovering by the late '70s what Speer describes as "the New Age music underground." In 1980, Speer and Lanz met in a Seattle Studio and teamed on a number of projects, with Lanz usually handling the composing and Speer concentrating on production and engineering. "Desert Vision" opens up with what one might call 'a basic New Age theme'. That is, quiet and reflective solo piano playing. Then about a minute into the first song, "Eagles Path", drums and guitars kick in and the tempo accelerates, almost, but not quite, leaving one breathless. But then, an "Eagle's Path" should give one a sensation of soaring peacefully and diving at breakneck speed only to level out, rise and soar again. Track number three, "Desert Rain", exudes a feeling of the solitary desert traveller. The flutework here lends a quiet eerieness reminding us that the desert, though often quiet and beautiful, can be frightening as well. "Canyon Lands" opens side two with a bit more pizzaz after a slight letdown from the promise of "Eagle's Path" on side one. "Desert Vision" gives testimony to the beauty and solitude of the desert. However, only on "White Sands" and "Stormlight" do I feel threatened, unnerved, or endangered. These are also beautiful properties of a desert environment. These two songs, along with "Eagle's Path", have a little more bite to them and demand attention, unlike a lot of New Age music, yet they are still allow one to relax and free one's mind of stress and pressure, which New Age music is noted for. Each of Narada's three labels (Narada Lotus, Narada Mystique and Narada Equinox) are devoted to a New Age sub-genre. Narada Equinox was created to explore the realm of New Age Fusion, the meeting of New Age, Rock, Pop and Jazz. "Desert Vision" is the third release on Narada Equinox (the second by Lanz & Speer, "Natural States" was their, and the label's, first release) and if it's an indication of what is to come, then I think New Age Fusion is here to stay. For my tastes, "Desert Vision" could contain a little more fusion and a little less New Age, but the future of New Age Fusion (especially on Narada Equinox) is promising. ======================================================================== Walking A Changing Line Matthews, Ian Dream Sequence Producers: Mark Hallman Standing Still Ian Matthews T Except for a Tear Engineers: Not Credited R Following Every Finger Windham Hill WH-1070 A Alive Alone Released: 1988 C On Squirrel Hill Total Disc Time: 42:58 K Shadows Break Source - LP S This Fabrication An All Digital Recording Lovers By Rote Only a Motion Performance: 7 Sound Quality: 10 Ian Matthews has been on the pop/rock scene for a long time. He recorded and toured with Fairport Convention in the late '60s, started Matthews Southern Comfort in 1969 then departed in 1970 to do his first solo album. He has released 9 albums with 4 different groups and "Walking a Changing Line" is his 14th solo release, the first since 1983. Matthews hiatus from recording was not a retirement from the music business. Far from it. He worked for Island Records and Windham Hill finding and developing talent. During this time period Matthews says he "figured out what I'd been doing that I didn't want to do, and what I wanted to do if I were to make music again. It's a bit bizarre, because during this period, I actually developed the concept for this new album by presenting it to Windham Hill for another artist." Also, performing with Fairport Convention at their annual reunion concert in England, held every summer, added to the urge to perform and record. Matthews left Windham Hill several months later, but kept in touch with the label. "Walking a Changing Line" emerged over the following months. The album is dedicated to the songs of Jules Shear, who is known for hits he has written for the Bangles ("If She Knew What She Wants") and Cyndi Lauper ("All Through the Night") as well as his work leading Jules and the Polar Bears. The tunes here are a mixed bag of Shear's work. Matthews has performed a service by digging out some jewels from Shear's vast catalog rather than relying on previous hits. Shear's songs are all strong, compelling works. I could easily trade the lush, atmospheric synthesised settings for a small acoustic ensemble that would add atmosphere and a little more punch to the music. The older tunes Matthews has picked are a little punchier and peppier than the relaxed 1987 tunes. 'Alive Alone' features Eliza Gilkyson (who recently released her solo debut, "Pilgrims" on Gold Castle Records 171 007-1) in a duet with Matthews. 'Following Every Finger' is one of the album's rockingest tunes and would probably receive airplay if released as a single. The a cappella 'On Squirrel Hill' was written specifically for this album and it suits Matthews voice quite well. The title for the album comes from the chorus of 'On Squirrel Hill'. In an age, or even an era, of constant experimentation in music, Matthews is to be commended for his efforts. He couldn't go wrong with the songs of Jules Shear and his vision of the album was adventurous. However, I yearn to hear just a little rock 'n roll kick and power on this album. Nothing fancy and nothing that would overpower, just a little shot of raw rock 'n roll energy. ======================================================================== Serious Swingers Nictation Bud Shank & Bill Perkins As Sure As You're Born Producer: Richard Bock T Blue in Green Engineer: Danny Kopelson R Out of This World Contemporary C-14031 A Blazing Paddles Released: 1987 C Nu Blues For B B Total Disc Time: 49:55 K C.T.A. Source - LP S Don't Explain A Direct-to-Digital Recording Remember Performance: 9 Sound Quality: 10 Bud Shank and Bill Perkins first recorded together in 1954. In early December of 1986, 32 years later, they recorded together for only the second time. "Serious Swingers" was released in the fall of 1987. Shank and Perkins both pursued careers in commercial studios and motion picture sound stages in the '50s and '60s. Perkins also was a recording engineer for Bill Putnam's United Recording Studio in Hollywood. He's also been a member of the Tonight Show orchestra since the early '70s. Shank spent the early '70s devoting himself to yacht racing and won the Large Sailing Yachts division of the 1972 Santa Monica Midsummer Regatta. Though he'd set his music to the side, he never stopped playing. "Serious Swingers" opens up with 'Nictation', a tune written by pianist Alan Broadbent. Broadbent, John Heard (on bass) and Sherman Ferguson (drums) fill out the the quintet. 'Nictation' swings, bounces and bops. It's a lively tune with good interplay between the entire quintet. Each hands the lead back and forth with ease. 'As Sure As You're Born' has the quintet still swinging, though is a little less lively than 'Nictation'. 'Blue in Green', a Davis/Evans collaboration, evokes a feeling of relaxation and tranquility. 'Out of This World' has the rhythm section setting a driving, steady backbeat for the two saxmen, who, in turn weave an aural portrait for the listener. 'Blazing Paddles' is a Bud Shank tune that has the same quick, swinging style as 'Nictation'. 'Nu Blues For B B', a Bill Perkins tune, 'C.T.A.', 'Don't Explain' and 'Remember' finish up the second side of the LP. 'Remember', an Irving Berlin tune, closes the album as we come around full swing (pun intended) back to the tone set in the opening cut. All five players let it all hang out here, though they maintain the cohesiveness displayed throughout the rest of the LP. ======================================================================== NEW RELEASES Newly released from Fantasy Inc. -------------------------------- Compact Discs ------------- Dancing in the Dark - Sonny Rollins (Milestone - MCD-9155-2) Cannonball Adderley Collection - Vols. 4-7 (Landmark LCD-1304-2, LCD-1305-2, LCD-1306-2, LCD-1307-2) Real Time - The Jazztet (Art Farmer, Benny Golson, Curtis Fuller, Mickey Tucker, Ray Drummond, Marvin 'Smitty' Smith) (Contemporary CCD-14034-2) New Again - Chris Connor (Contemporary CCD-14038-2) Major Changes - Frank Morgan and the McCoy Tyner Trio (Contemporary CCD-14039-2) Evening Star - Joshua Breakstone (Contemporary CCD-14040-2) LPs --- Fifteen "Prestige Soul Masterpieces" albums have been recently released as part of Fantasy's Original Jazz Classic series. The music is representative of the soul jazz sound that was in its heyday in the '60s and early '70s. Artists in this series include the Willie Jackson Quintet, the Eddie 'Lockjaw' Davis Quintet with Shirley Scott, Shirley Scott and Stanley Turrentine, Billy Butler and Charles Earland. There is also a sampler which contains one track from each of the 15 releases which is also being made commercially available. Newly released from Windham Hill -------------------------------- LPs (titles are also available on CD) ------------------------------------- Design - Interior (Windham Hill WH-1067) Out Of The Frame - Philip Aaberg (Windham Hill WH-1069) Usually/Always - Fred Simon (Windham Hill WH-1071) Untitled - Tim Story (Windham Hill/Lost Lake Arts LL-0094) Modern Mandolin Quartet (Windham Hill/Lost Lake Arts LL-0095) Newly released from Gold Castle ------------------------------- LPs (titles are also available on CD) ------------------------------------- Pilgrims - Eliza Gilkyson (Gold Castle 171 007-1) Intervals In Sunlight - John Weider (Gold Castle 171 006-4) Forthcoming albums ------------------ The Bobs are working on a new album for Great American Music Hall records to be released this summer. Due out in May are new albums on Pablo records by Count Basie, saxophonist Sonny Criss and Curtis Peagler. All material on these albums is previously unreleased. "Loose Walk", a 1972 live date recorded in Frankfurt, Germany features Basie with five of his men (Al Grey, Eddie 'Lockjaw' Davis, Freddie Green, Norman Keenan and Harold Jones) with special guest Roy Eldridge. "Intermission Riff", by Criss, was recorded at a 1951 Jazz at the Philharmonic concert in Los Angeles with Benny Green, Joe Newman, Lockjaw Davis, Tommy Potter and Kenny Clarke. Alto and Tenor Saxophonist Peagler made "I'll Be Around" in December 1986, with sidemen Gildo Mahones, Herbie Lewis and Billy Higgins. Kerry Campbell, a young alto saxophonist discovery of Richard Bock's (Producer Bock, who passed away on February 5th, 1988, had been very involved in the reactivation of the Contemporary label which Fantasy acquired in 1984) is due to release his Contemporary debut 'Phoenix Rising' sometime in May. Joe Pass has recently completed work on a new solo album for the Pablo label and it is scheduled for a fall release. ======================================================================== CONCERT WATCH ***NOTE*** All information concerning concert dates is subject to change without notice. Billy Bragg will be appearing in Chicago, IL on 5/6, Detroit, MI on 5/7 and Pittsburgh, PA on 5/8. Guitarist Joshua Breakstone will be on the road for much of May and June. Dates include Jazzberry's (5/5 - Rochester), Schwannee's (5/6,7 - Akron), A Place to Start (5/13,14 - Indianapolis), Blue Wisp (5/20,21 - Cincinnati), Rusty's (5/23 - Toledo), D.J.'s Village Jazz (6/7,8 - Portland, OR), Garden City (6/12 - San Jose), Kuumbwa Jazz (6/13 - Santa Cruz), and Milestone's, San Francisco (6/16-6/18 - SF). The Bobs will be appearing with the Oberlin Dance Collective on 5/22, 26 and 28 at San Francisco's Herbst Auditorium. Albert Collins will be appearing in Detroit, MI on 5/29, Toronto on 5/30, Vienna, VA on 6/2, Philadelphia, PA on 6/3 and New York City on 6/4. Miles Davis has finished up several April dates and is scheduled to appear in Greensboro, NC on 6/21. Midnight Oil and House of Freaks will be appearing in Rochester, NY on 5/6, Cambridge, ON on 5/7, Toronto on 5/8, Montreal on 5/9, Boston, MA on 5/11&12 and New York City on 5/13. Alto Saxophonist Frank Morgan has played several April dates and will be playing dates in Chicago and New York throughout much of May and early June. He will be at the Jazz Showcase in Chicago from 5/17 thru 5/29. He will be at the Village Vanguard in new York from 5/31 thru 6/5. Sinead O'Connor has been touring for the last month or so and has two more dates scheduled for the end of May. They are 5/23 in Los Angeles and 5/25 in New York City. "Saxophone Colossus", the Robert Mugge documentary on Sonny Rollins will be broadcast nationally in an 84 minute version (down from 101) by PBS on Saturday 7/16/88. Check your local listings. The Smithereens will be moving from one coast to the other over the course of just a couple of weeks. They have been touring on the east coast recently and will start heading west soon. They will be appearing in Philadelphia, PA on 5/3, New York City from 5/5-5/7, Washington, DC on 5/9&10, Cleveland, OH on 5/11, Indianapolis, IN on 5/12, Detroit, MI on 5/13, Chicago, IL on 5/14, Milwaukee, WI on 5/15 and Los Angeles, CA from 5/18-5/21. ========================================================================