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Live Jazz

Jazz on the Oregon Coast - Coos Bay

Ed. note: July 25, 2007 - Following the first of three orchestra concerts at MarshfieldÕs Auditorium this week as part of the Oregon Coast Music Festival, attention shifts to downtown Coos Bay tonight for an all-star jazz performance. The dinner performance at the Black Market Gourmet includes Mic Gillette on the horn, Todd Johnson on the electric bass, Kristin Corb standup bass and vocals, Don Mock on guitar, and Jay Roberts on guitar. The show begins at 6 p.m. and costs $75 per person. Hors dÕ oeuvres and dinner included. The final orchestra per formances are scheduled for Thursday and Saturday, while the Festival Chamber players perform at the Emmanuel Episcopal Church on Friday.

33 NW 2nd Avenue * Portland, Oregon * 503-222-6077

Playing Favorites
Cathi Walkup, vocals
David Uldolf, piano
Brad Buethe, guitar
Dmitry Matheny, flugelhorn
John Wiitala, bass
Jim Zimmerman, drums

Tanya's Wicked Body

What Say?

My Foolish Heart

Mambo de la Luna

The Ruby and the Pearl

Flying

The Last Light of Evening (Blood Count)

In These Shoes?

Down Here on the Ground

This Time the Dream's on Me

Hit the Road to Dreamland

Soon It's Gonna Rain

Hang Up and Drive

Not While I'm Around

Anthropology

Some Things Never Change

Living in a Dream
Cathi Walkup, vocals
Vince DiCiccio, piano
Gerry Grosz, vibes and flute
Robin Lewis, guitar
Dmitry Matheny, flugelhorn
Harvey Robb, saxophone
Brad Buethe, guitar
John Wiitala, bass
Bill Douglas, bass
John Clark, bass
Curt Moore, drums
Ian Dogole, Egg Shaker

Little Suzie's Humming

Nice Work If You Can Get It

Angel Eyes

Living in a Daydream

More Than Poor Clay

A Kiss To Build A Dream On

Cheek to Cheek

I Mean That

Reflections

Waffles and Hen

Favela

Check out Cathi's website at www.cwalkup.com

Andrea Wolper, vocals
Ron Affif, guitar
Ken Filiano, bass
Victor Lewis, drums
Jamie Haddad, drums
Frank London, trumpet, flugelhorn
Lou Marini, flute

Dancing on the Ceiling

You and the Night and the Music

Gray, Not Blue

Night Time Was My Mother

Crazy Love

Rendezvous in Providence

Today

Not Sleeping in Your Arms

Little Suzy's Humming

Moanin'

Small Day Tomorrow

I Like You, You're Nice

Andrea Wolper, vocals
Joe Vincent Tranchina, piano
Hilliard Greene, bass
Bob Bowen, bass
Dave Gibson, drums
Bernice Brooks, drums
Tom McGrath, percussion

You'd Be So Nice To Come Home To

What's Your Story, Morning Glory?

You Don't Know What Love Is

I Don't Know Enough About You

Left Alone

I Don't Want To Cry Anymore

No Moon At All

Angel Eyes

Come Back To Me / Lover, Come Back to Me!

I Thought About You

Andrea's Home Page
BIO * REVIEWS * PICS

Live Jazz Painting

At the Mill Casino - by Curtis Hempt

We received a new CD by Ken Filiano, a bass player. The CD is "subvenire" and a well orchestrated album. I was so impressed with just two hearings, 58 minutes each, that some kind of a spell was broken, and I stopped listening/watching TV news programs. This chap was bringing "news" that is far more interesting than the media fare, and caused me to be hungry for more. During the binge I dusted off an old Impulse recording of Charlie Mingus playing piano, and then I heard/watched the Dexter Gordon 'Round Midnight video, and then I watched/heard the PBS - Ken Burns History of Jazz (all 10 broadcasts). Until I heard Ken's record, I'd never heard of him, although he's been around; before returning to NY in the early '90s he was a "fixture" (as they say) on the west coast avant garde scene, and is associated with all sorts of people. Any of these names ring a bell? Rob Blakeslee, Vinny Golia, Richard Grossman, Roswell Rudd, or maybe Paul Smoker? Ed. note city says, Roswell Rudd!! Yes. I heard him in the late 1960s in L.A., and the cats he was playing with were exploring an edge of Jazz just beyond where Charles Lloyd took it to - take all of 1940s and 50s Jazz and where it went with those who invented bebop, and Charles Lloyd, and in the first two albums of The Jazz Crusaders, THAT Jazz maxed just then and right there. There are dozens of other Jazz history stories that include the Bill Graham's San Francisco concert scene, the Beatles and Luis Bonfa and Antonio Carlos Jobim, and Miles having learned the magic of home electronics, but never mind... I said all that to say Ken Filiano's "subvenire" is a bridge from where Charles Lloyd left it, through Roswell Rudd, and somehow, hello, "Modern Jazz" without a quartet. Ken's is a solo (bass) album, and a most pleasurable Jazz listen, particularly for anyone who wants to know what been happening in Jazz over the past 30-some years... OR as his proud mum might say, it is very beautiful and listenable. That too. I've heard the album another dozen times since I wrote what I wrote (above), and it came out early this year on Nine Winds.

"It's about time for this guy to start appearing on favorites lists and getting the recognition he deserves." (DJ Johnson, Cosmik.com)

Critics have called Ken, a "creative virtuoso," "master of technique" . . . the sort of artist "who can play anything in any context and make it work, simply because he puts the music first and leaves peripheral considerations behind."

About "subvenire"

"Ken is masterful on double bass, performing solo on 'subvenire'. . . [he] became obsessed with the bass at an early age and has since used it as the backbone of his creative genius." (O's Place Jazz Newsletter)

"Mixing emotions from the heavyhearted to the blithe and power waves of energy against toe tapping harmony. . .Like Jaco Pastorious did once with his extroverted electric bass, Filiano accomplishes in a more intimate acoustic setting." (All About Jazz)

"There is strength of vision in subvenire, an album that invites us to get up close and personal with a musician that should grab the spotlight more often." (All Music Guide)