Flavors of the British Isles - Bob Stewart

Norma Winstone was long considered Britain's most distinctive jazz singer when, in 2007, she was honored as a Member of the British Empire by Queen Elizabeth. She began her recording career in 1977 with the group Azimuth, and has appeared on discs by Kenny Wheeler and Eberhard Weber. Since the mid-'80s, she has been a recording artist in her own right. From the beginning of her life in jazz, Winstone has wanted to be part of the ensemble, rather than a frontwoman. She uses her voice "instrumentally" to interweave improvised lines with her partners and to participate in the blossoming harmony. "Stories Yet to Tell" is the newest release from her British-German-Italian trio.

The brainchild of Nova Scotia-based trumpeter Paul Tynan and baritone saxophonist Aaron Lington from the San Francisco Bay area, the Bicoastal Collective is a select grouping of musicians from across the U.S. and Canada. "Chapter Two" finds the ensemble in a quintet setting exploring improvised music inspired by the British Isles. England's eastern coast folk melodies and their treatment in composer Ralph Vaughn Williams' early 20th-century works, are adapted by Lington into a suite, and Tynan adds three compositions inspired by his own Irish roots.

The Art of Guitar - Bob Stewart

Longtime Los Angeles-based guitarist Doug MacDonald is a native Philadelphian who was raised in Hawaii. As a sideman on both coasts and some stops elsewhere, his live performances are in the hundreds, including those with Stan Getz, George Shearing, Joe Williams, Sarah Vaughan, and Buddy Rich, among many others. Scott Yanow of Jazz Times describes MacDonald as,"...a fine bop-based guitarist in the tradition of Herb Ellis, Barney Kessel, and Joe Pass." His new release -- "It's a Blue World" -- takes him back to his roots leading a guitar trio.

Mix the styles of Pat Metheny, Mike Stern, and Stevie Ray Vaughan and you have the recipe for one of the hottest up and coming contemporary jazz guitarists around. B.D. Lenz has worked with Randy Brecker, Mark Egan, Will Lee and others on his previous six discs, and his music has been featured on over one hundred television shows globally. "Five & Live" is his newest release and features his regular cast of virtuoso band mates from a series of live recording dates.

High School Musicians Rub Shoulders with Pros - Dennis

Amidst homework, final exams and holiday concerts at area high schools, the halls are also buzzing with the sound of jazz. Students at ten Corridor-area high schools are in final preparation stages to put their best musical foot forward as they record with a professional jazz educator for the Corridor Jazz Project.

The bands from Cedar Rapids Prairie and Washington recorded their submissions last week for The Corridor Jazz Project 2011. Linn Mar also has their tune "in the can." Other schools participating are West, City High and Regina in Iowa City; as well as Marion, Cedar Rapids Kennedy, Xavier and Jefferson.

The Corridor Jazz Project is a collaboration between Jazz 88.3 and the school districts of Iowa City, Cedar Rapids and Marion. Each school's jazz band is matched with a professional player and jazz educator, who rehearses and performs with the band as a guest soloist. Their song is recorded and all the tunes are put on a compilation CD. Schools can then sell the CD as a fund raiser.

This is the fourth year of the program, which the Iowa Bandmasters Association has called "the crown jewel" of jazz education in Iowa.

All ten bands will celebrate the release of the Corridor Jazz Project CD on April 5, 2011 with a concert at The Concert Hall at Prairie High School. The Corridor Jazz Project concert is also the only school music event that involves all ten public and parochial schools in Cedar Rapids, Iowa City and Marion.

Watch the Prairie Jazz Band's recording session:

See photos from each school's recording session on KCCK's Facebook Page.

More information at www.kcck.org.

Vocals Past and Present - Bob Stewart

Lizz Wright spent her previous three releases defying categorization-contemporary jazz stylist? Neo-soul/neo-folk/Americana artist? None or all of the above? So it's no surprise that "Fellowship" would introduce yet another wrinkle into the mix: gospel. As the daughter of a Georgia pastor, Wright listened to and sang nothing but religious fare before fate and/or the Lord led her to Atlanta's jazz community in her college years. On this new release, Wright emphasizes a healthy stretch of the rousing gospel standards she grew up singing in the church, but borrows other selections from the decidedly secular catalogs of Jimi Hendrix, Eric Clapton, Gladys Knight.

Meanwhile, "Second Chance" is the final unreleased recording featuring jazz vocal legend Irene Krall and the Alan Broadbent Trio, recorded live at the Times Restaurant in Studio City, California. Christopher Loudon of Jazz Times calls her voice, "as pure and exquisite as Lalique crystal," and Scott Yanow of the All Music Guide describes her as, "a superb ballad singer who always put both plenty of emotion and subtlety into her often haunting interpretations." This collection comes from the apex in her development, the summer of 1975, and shows her at work in top form.

Loeb Joins Fourplay - Bob

After 20 years and a dozen CDs, in an industry that has undergone sweeping transformations in the past decade, Fourplay knows that the only thing that's certain, in music or any other business, is change. The latest proof of that axiom is the new face in their lineup-that of guitarist Chuck Loeb, who makes his compelling debut with the quartet on the band's new recording, "Let's Touch the Sky." Loeb completes the four-man crew that also includes the band's founding members: keyboardist Bob James, bassist Nathan East and drummer Harvey Mason.

Another new jazz release: Jelly Roll Morton opined that jazz is not a set repertoire but rather an attitude that can be applied to any piece of music. The UCF Jazz Ensemble, comprised of freshmen, sophomores, and a few juniors in the emerging Jazz Studies program at the University of Central Florida, recorded seven pieces with this attitude in mind. The resulting collaboration -- "Jazz Town" -- includes not only classics but also new works written specifically for the Ensemble.

Also new: Brazilian pianist Helio Alves offers up his fifth release as a leader, "Musica", with his trio and special guests Claudio Roditi and Romero Lubambo; saxophonist Michael Zsoldos debuts with "Off the Cuff", recorded live in the spirit of an old-school blowing session featuring standards and original work; and Dana Lauren, a semi-finalist at the 2010 Thelonious Monk Vocal Jazz Competition, is joined by saxophonist Joel Frahm and pianist Manuel Valera on "It's You or No One."

Holiday Goodies - Bob

It might be the parties. Or maybe it's the roasting of chestnuts. Or the caroling out in the snow. Whatever the reason, most people consider the holiday season to be the most wonderful time of the year. That's exactly the case among the members of Take 6, the a cappella group that has been mixing elements of jazz, gospel, R&B and vintage doo-wop for nearly 25 years. Recipients of 10 Grammy Awards, the group has made an indelible musical and cultural mark in the past quarter century. Their new holiday CD -- "The Most Wonderful Time of the Year" -- is a collection of heartwarming seasonal favorites.

John Sheridan's Dream Band's "Hooray for Christmas", on the other hand, is not your usual Holiday album. As explained in the disc's liner notes, "With a single happy exception, John Sheridan stays away from the pre-tested tried and true Christmas songs and, drawing upon his vast knowledge of American popular music, offers up a program of overlooked and underappreciated gems that in their freshness, along with the joyful enthusiasm with which they are played, summon forth some of the fullness of good feeling that the holiday season was originally meant to convey."

Also: drummer Matt Wilson's "Christmas Tree-O" performs a collection of everyone's favorite holiday tunes in Wilson's always-unique style; Wynton Marsalis presents his first holiday release in 20 years, "Christmas Jazz Jam", which is rooted in the spirit of New Orleans and the gospel church.

Gadd's Gang Live - Bob

Steve Gadd has had a remarkable career during the past 40 years, working with everyone from Dizzy Gillespie and Chick Corea to Maynard Ferguson and George Benson. When it comes to his own projects, the drummer loves to play good-time groove music that has the danceable qualities and bluesiness of the best R&B along with the adventurous solos and impeccable musicianship of jazz. On his new CD -- "Live at Voce" -- he's joined by organist Joey DeFrancesco, the passionate baritone saxophonist Ronnie Cuber, and the versatile guitarist Paul Bollenback, a quartet which has been together since 2007 creating grooves and hard-driving swing that are reminiscent of the best organ groups of the '60s.

Also notable. In a diverse career spanning three decades, keyboardist Pete Levin has performed with hundreds of jazz artists, including Miles Davis, David Sanborn, and Wayne Shorter, along with a 15-year association with Gil Evans and an 8-year stint with Jimmy Giuffre. His new CD "Jump!" documents his continuing efforts to push the envelope of the traditional organ trio. The set features a collaboration with the remarkable guitarist Dave Stryker, legendary drummer Lenny White, and dazzling percussionist Manolo Badrena.

Also out with new music this week: Japanese trumpeter Takuya Kuroda makes his debut as a leader, "Bitter and High"; trumpeter and Chicago native Brad Goode unveils his exciting new quartet on "Tight Like This"; and veteran keyboardist and composer Bill O'Connell features saxophonist Steve Slage, trombonist Conrad Herwig and vibraphonist Dave Samuels on his new release, "Rhapsody in Blue."

Strings Attached - Bob

Russell Malone has been a significant figure in the jazz world for more than two decades. One of his most pivotal career-shaping experiences was as part of organist Jimmy Smith's band in the late-80s. He's also spent time working in the bands of Diana Krall, Harry Connick Jr., Sonny Rollins, and Ron Carter among other notables. For his ninth release as a leader -- "Triple Play" -- he once again cements his reputation as a pre-eminent jazz guitarist, composer and bandleader in a piano-less trio setting with bassist David Wong and drummer Montez Coleman.

Guitarist Kevin Eubanks held one of the most coveted chairs in television for nearly 15 years as the leader of the Tonight Show band, when his muse struck and prompted him to take his axe and move on. Before taking the TV gig that boasted talents like Branford Marsalis and the venerated Doc Severinsen, Eubanks had an acclaimed recording career garnering many awards along the way. He resumes that career with "Zen Food", a new disc which finds him in the company of his favorite players, most of whom can be found jamming with him at L.A.'s famed Baked Potato.

Also out with new music, veteran drummer Louis Hayes and his Jazz Communicators, featuring pianist Mulgew Miller and vibraphonist Steve Nelson, offer up "Lou's Idea"; pianist and composer Leslie Pintchik, who first surfaced on the Manhattan jazz scene in a trio with legendary bassist Red Mitchell, unveils her third release as leader, "We're Here to Listen"; and Boston-based pianist and composer Pamela Hines presents her seventh release, "Moon Germs."

KCCK's Military Veterans

Veterans Day 2010 - we note several KCCK staffers who are veterans of military service.

Mark Yother was in the Air Force for three years. He was editor of the base newspaper at Ent Air Force Base in Colorado, then worked in radio and television with the American Forces Korea Network (AFKN) for a year.

George Dorman spent two years in the Army, including a year in Korea -- first in field artillery, later as a reporter/photographer for the 2nd Infantry Division newspaper. He also worked weekends as a radio newscaster and television sportscaster for AFKN.

Cary J. Hahn served four years in the Navy, broadcasting on Armed Forces Radio aboard the USS Hancock aircraft carrier during Vietnam service and on the island of Kodiak, Alaska.

Murray Kent was a news and sports announcer for American Forces Vietnam Network (AFVN) and an FM radio music host.

Bob Naujoks spent his entire two-year Army tour at Fort Leonard Wood, Mo., managing an enlisted men's service club.

Student Music Producer Josh Roberts is an Army vet who did two tours of duty in Iraq as a helicopter mechanic.

Hot Club Sandwich and Other Good Stuff - Bob

Drawing on the Hot Club style of Django Reinhardt and Stephane Grappelli, Hot Club Sandwich adds in classic Latin American, old-world European and other influences, including a bit of West Coast twang. The fourth release from the Seattle-based band -- "And If Only" -- takes listeners from the smoky cafes of Paris to the hipster backstreets of 1930s Harlem, careening along a winding musical road filled with yodeling cowboys, a band of Mexican violinists, and spirited Gypsy jazz guitar slingers.

The inspiration for trumpeter Chris Davis' new CD -- "Baile Bonita" -- comes from an old, fairly obscure album by Kenny Dorham which consisted of Dorham on trumpet and the great Ernie Henry on alto on the front line plus bass and drums. It was essentially a jam with a head-solos-head format. Davis' date utilizes this instrumentation in a very different way with complex ensemble passages, background riffs, and is much more orchestrated. The same instrumentation was used by Ornette Coleman in his first legendary quartet, but Davis' music is fresh and free like Coleman's but has a strong harmonic structure.

Also out with new music: Brazilian guitarist Sandro Albert, cited by Yellowjackets bassist Jimmy Haslip as one of the best young contemporary guitarists and an exquisite composer, unveils his latest quartet release, "Vertical"; saxophonist Eli Degibri is joined by Brad Mehldau, Ron Carter and Al Foster for "Israeli Song"; and young organist Jared Gold, who has plied his craft as a sideman with Randy Napoleon and Oliver Lake, offers up his third release as a leader, "Out of Line."

Spotlight on Piano Trios and Trumpets - Bob

The piano trio is hardly a new concept in jazz. Certainly Cyrus Chestnut has established himself as a giant in that format, through CDs stretching back to his recording debut in 1990 and his countless appearances at clubs, concert halls and festivals throughout the world. Even so, his new release -- "Journeys" -- marks a watershed moment in his ongoing growth as a pianist, composer and bandleader. "This is a trio record as opposed to a piano trio record," he points out. "...It's about three gentlemen paying close attention to each other. Each of us listening to the others, reacting and working together for what I believe is the unique sound of this particular unit." That unit features Dezron Douglas on bass and Neal Smith on drums.

Cornetist Warren Vache and trombonist John Allred put together a quintet a few years ago for a live date in Switzerland, resulting in their first disc as co-leaders. "The live CD we did was a ball," Vache says. "I love playing with these people-they're all very creative and they all have something to say, and it inspires me to keep going. This line-up is something pretty special and it's something I'd like to do more of." Vache and Allred do just that on "Top Shelf", featuring a program of bop, hard-bop and standards. Their band mates include Tardo Hammer on piano, Nicki Parrott on bass and vocal, and Leroy Williams on drums.

Also out with new music: trumpeter/singer and New Orleans mainstay Kermit Ruffins unveils his latest, "Happy Talk"; pianist Pete Malinverni includes some of his original compositions and some popular songs less-used in the jazz context on his new trio release, "A Beautiful Thing"; and trumpeter Joe Magnarelli mixes in string orchestration by Marty Sheller with his own quintet arrangements on "My Old Flame."

The Elegance of Stallings and Person - Bob

Passionate, robust singers with the sensitivity of a Carmen McRae and the sass of a Dinah Washington aren't exactly thick on the ground these days, which is what makes Mary Stallings' return to the studios a cause for rejoicing. Her voice is, at once, contemporary and timeless, encompassing the entire history of jazz vocals. For her newest release -- "Dream" -- the former colleague of Cal Tjader, Dizzy Gillespie and Count Basie sails through a program of standards and obscurities with elegance and ease, her slightly blues-tinged phrasings beautifully supported by pianist and arranger Eric Reed.

Houston Person is a gentleman of jazz, a versatile player with a seemingly effortless approach that's elegantly sensuous and unabashedly romantic. There's a smooth, creamy warmth to his tone, but a decidedly muscular undercurrent keeps saccharine sweetness firmly at bay. On his new CD -- "Moment to Moment" -- his players provide superbly understated, gently swinging support with trumpeter Terell Stafford receiving plenty of time in the spotlight. Beautifully recorded by Rudy Van Gelder, Person explores and elaborates on melodic themes, reflecting upon rather than reinventing each composition with an emphasis on the sheer beauty of timeless tunes.

Donatelli & The World of Jazz - Bob

The problem with jazz singing is that almost no two listeners can agree on exactly what it is. Fans of unbridled scatting tend to dismiss vocalists with a more lyrical side; listeners who enjoy lyrical storytelling have less regard for performers who use words as vehicles for ostentatious display. This makes the singing of Denise Donatelli particularly remarkable, since her style is able to employ the positive aspects of both camps. The first thing you notice is the rich timbre of her voice, which has the clarity and flexibility to sing almost any imaginable genre. With musical direction, arrangements and keyboard contributions by Geoffrey Keezer, Donatelli shows herself to be a jazz singer who belongs in the upper echelon of modern jazz vocalists with her new CD, "When Lights Are Low."

It's been a long journey for the five talented young musicians and composers of the band UoU from their start in Japan. They first arrived in the U.S. to attend at Berklee School of Music in Boston during the late '90s and early 2000s. Upon completion of their studies, they individually began working with top artists on the New York City jazz scene, including Mark Turner, Marcus Printup and Walter Blanding, before they formed UoU in 2008. Their debut CD -- "Home" -- is comprised of original compositions which fuse elements of Japanese-inspired melodies along with American jazz rhythms and harmonies.

Accoustic Abbasi, Cohan's Second Release - Bob

It seems perfectly natural that a musician having developed a distinctive sound and approach to his instrument would want to broaden his palette. Guitarist/composer Rez Abbasi has been perfecting his own guitar voice, mainly playing electric, for some time. With his new CD, "Natural Selection", Abbasi forgoes the electric and turns to the acoustic guitar along with a new, unique ensemble. The Rez Abbasi Acoustic Quartet features the talents of Bill Ware on vibes, Stephan Crump on acoustic bass and Eric McPherson on drums. As Abbasi explains, "One of the elements that make the group stand out is the texture of acoustic guitar with vibes, bass and drums-something I haven't heard up until now. The sound is organic and chamber-like and it granted me a fresh palette to write new music from."

Guggenheim Fellow Ryan Cohan has distinguished himself as a vital original voice to be heard amongst the elite young jazz artists on the global music scene today. Upon receiving his performance degree from DePaul University in 1993, Cohan began making his mark playing and writing with the top jazz and Latin musicians in Chicago. He has since performed with many iconic artists including Freddie Hubbard, Curtis Fuller, Paquito D'Rivera, and Kurt Elling. The pianist's second release as leader, "Another Look", features Geof Bradfield on reeds, Lorin Cohen on bass and Kobie Watkins on drums, a quartet that's been playing together in the U.S. and internationally for seven years.

Jazz Influences Pop, Triveni - Bob

Jazz has a long history of taking popular songs of the day and making them vehicles for improvisation. Organist Joey DeFrancesco's current exploration of the music associated with Michael Jackson, "Never Can Say Goodbye", is merely the latest addition to the list. Though this music is linked with the undisputed "King of Pop," this is jazz at its finest. Jackson and his music have become part of the American landscape every bit as much as the singers that preceded him and the songs, as DeFrancesco's spirited readings bear witness to, give themselves smartly to an improvisatory approach.

The ensemble Triveni is the perfect conduit for the musical explorations of Avishai Cohen, who takes full advantage of the space and freedom this piano-less trio affords. Drawing from hard-bop, straight-up funk, and avant-garde, drummer Nasheet Waits, bassist Omer Avital and trumpeter Cohen effortlessly move from the American songbook to standards and Cohen's original compositions on "Introducing Triveni." Cohen's sometimes provocative and always soulful playing has never sounded so assured as he continues to establish himself as one of his generation's leading musical voices.

Barbecued Jazz; Oregon Milestone - Bob

Connoisseurs of the Kansas City barbecue scene are certainly familiar with the world renowned Gates Barbecue. Saxophonist Bobby Watson, who leads the jazz studies program at the Conservatory of Music and Dance at the University of Missouri-Kansas City, is a huge fan. "Kansas City is the Napa Valley of barbecue," he says. "Gates' Barbecue stands alone as king of the valley!" He's such a big fan that he's written a suite in honor of the legendary chain, "The Gates BBQ Suite", featuring Watson with the UMKC Concert Jazz Orchestra. Asked why he chose to write about barbecue, Watson explains, "...the way I compose is similar to the way Duke Ellington composed, which is to find a theme, not necessarily a musical one."

The band Oregon has achieved a rare milestone - 40 years of making music together. The innovative quartet has become one of the leading improvisational groups by blending Indian and Western classical music with jazz, folk, and avant-garde elements. Their new CD, "In Stride", reflects the compositional talents of the four musicians, drawing upon Mediterranean moods that cross with European traditions, incorporating influences from South America, and drawing upon the American tradition of melding traditions.

Scofield-Mendoza Collaboration, Lloyd's New Quartet - Bob

The collaboration heard on John Scofield's new CD -- "54" -- had its origins back in the '90s when Vince Mendoza asked the guitarist to play on his first album. Scofield has since been on two more of Mendoza's records. When Mendoza assumed directorship of the Metropole Orchestra of the Netherlands in 2005, he and Scofield decided to collaborate again with primary focus on Mendoza's arrangements of Scofield compositions as performed with the Orchestra. Scofield says, "Vince is one of the most creative arrangers today and his sensibilities are perfect for my compositions. This orchestra is unique to any other I know of in its ability to play with a natural jazz feeling."

Many critics have opined that Charles Lloyd's new quartet with pianist Jason Moran, bassist Reuben Rodgers and drummer Eric Harland may be the best of all his groups. The quartet's previous live release in this line-up met with across-the-board approval and was voted number one album of the years in both the Critics and Readers Polls of Jazz Times magazine. "Mirror" is the first studio CD by the unit and it features beautiful, transformed versions of favorites including both Lloyd originals and tunes he has made his own over the years.

The Sound of Latin America - Bob

Born in Quivican, Cuba, in 1941, Chucho Valdes is one of Cuba's most famous pianists, bandleaders, composers and arrangers. Perhaps best known for founding the famous Latin jazz band Irakere in 1972, Chucho's illustrious career has also garnered him six Grammy wins and 16 nominations over the past three decades. He's recorded over 80 CDs and performed with everyone from Herbie Hancock and Dizzy Gillespie to Wynton Marsalis and Chick Corea. Chucho's new CD, "Chucho's Steps", with the Afro-Cuban Jazz Messengers, marks his return to the U.S. for the first time in 7 years.

Grammy Award-winner Danilo Perez is among the most influential and dynamic musicians of our time. In just over a decade, his distinctive blend of Pan-American jazz has attracted critical acclaim and loyal audiences. The Panama native first attracted the spotlight in the late-'80s as the youngest member of Dizzy Gillespie's United Nations Orchestra. Since then, the pianist has toured and/or recorded with jazz greats like Wayne Shorter, Roy Haynes and Michael Brecker. In 1993, he turned his focus to his own ensembles and recording projects. His new release, "Providencia", crosses streams of jazz, classical and Latin American folk music.

Also out with new music: singer Cynthia Felton showcase the Ellington songbook on "Come Sunday"; saxophonist and composer Albert Rivera, whom DownBeat Magazine touts as "part of the next wave in this jazz ritual," unveils his second release, "Inner Peace"; and veteran guitarist and composer Tom Rizzo, originally a member of Doc Severinsen's fusion group Xebron and a regular member of the Tonight Show Band in its final Carson years, is joined by a stellar new ensemble of some of L.A.'s finest on "Imaginary Numbers."

The "Bones" of September - Bob

Few can match Steve Turre's skill as a trombonist. His technical mastery has seen him win five Down Beat magazine polls. Since his formative experience as a teenager playing alongside Rahsaan Roland Kirk, Turre has gone on to play with artists such as Ray Charles, B.B. King, Woody Shaw, Art Blakey, Dizzy Gillespie and McCoy Tyner. He can also be found playing in Cuban maestro Arutro O'Farrill's orchestra and the "Saturday Night Live" band. For his new disc, "Delicious and Delightful", Turre is joined by sax great Billy Harper, pianist Larry Willis, with whom Steve had worked in Shaw's band, and guitarist Russell Malone.

After reimagining the music of John Coltrane, Miles Davis and Wayne Shorter on previous releases, trombonist Conrad Herwig continues his "Latin Side" series of discs by highlighting the compositions of iconic jazz pianist Herbie Hancock. "The Latin Side of Herbie Hancock" was recorded live at the Blue Note Jazz Club in New York, and features reigning jazz giant pianist Eddie Palmieri and trumpeter Randy Brecker. With arrangements provided by Herwig and pianist Bill O'Connell, the recording includes classic Hancock tunes like "Cantaloupe Island," "Watermelon Man" and "The Sorcerer."

Also out with new music: Pianist Larry Goldings and saxophonist Harry Allen collaborate on a sophisticated and magnetic project, "When Larry Met Harry"; pianist and composer Dave Bass, whose music career was put in jeopardy 20 years ago after a wrist fracture and who went on to law school and his current gig as a California Deputy Attorney General in civil rights enforcement, is joined by Ernie Watts and Mary Stallings on "Gone"; and trumpeter Jim Rotondi has vibraphonist Joe Locke and drummer and Iowa native Bill Stewart in his quintet for "1000 Rainbows."

Esperanza's Chamber Music & a Marsalis Celebration - Bob

Centuries ago, chamber music was the music for the masses -- the music in which people from nearly every segment of society could find meaning and relevance. A decade into the 21st century, Esperanza Spalding -- the bassist, vocalist and composer who first appeared on the jazz scene in 2008 -- takes a contemporary approach to this once universal form of entertainment with "Chamber Music Society." Backed by drummer Terri Lyne Carrington and pianist Leo Genovese, Esperanza creates a modern chamber music group that combines the spontaneity and intrigue of improvisation with sweet and angular string trio arrangements. The result is a sound that weaves the innovative elements of jazz, folk and world music into the enduring foundations of classical music.

The 2011 NEA Jazz Masters Marsalis Family gathered together last June at the Kennedy Center in Washington, D.C., for a very special evening of celebration, appreciation, and performance as patriarch Ellis Marsalis received the Duke Ellington Jazz Festival's Lifetime Achievement Award. The concert featured performances from sons Branford on sax, Wynton on trumpet, Delfeayo on trombone, Jason on drums, poet Ellis III, and special guest, family friend Harry Connick Jr. The release of "Music Redeems" coincides with the 5th anniversary of Hurricane Katrina, and proceeds from sales of the disc will benefit educational programming at the Ellis Marsalis Center for Music, the heart of the New Orleans Habitat Musicians' Village.

Also out with new music: Freddy Cole celebrates the life and music of his friend and mentor, Billy Eckstine, with "Freddy Cole Sings Mr. B"; contemporary jazz keyboardist Tom Grant unveils his latest, "Delicioso"; and composer and bandleader Chie Imaizumi's "A Time of New Beginnings" features an all-star band including Randy Brecker, Jeff Hamilton, John Clayton, Gary Smulyan, and Terell Stafford.

Reed Legends Unite - Bob

First meeting in the clubs of Los Angeles' Central Avenue in the early 1960s, and following separate but superlative careers, tenor legends Hadley Caliman and Pete Christlieb reunited in the fall of 2009 to perform a couple of concerts and record a new studio CD -- "Reunion" -- taking up where they left off some forty years ago. With original music by pianist Bill Anschell and the two headliners along with a couple of standards, the band creates a warm and swinging recording, a great document of two longtime friends and icons of American music.

Another legend of the saxophone, James Moody, follows up his "Moody 4A" release of last year with "Moody 4B", recorded in 2008 a day after the previous disc. As Ira Gitler writes in his liner notes, "While these sessions were not recorded before a live audience, the essence of Moody and the quartet (pianist Kenny Barron, bassist Todd Coolman and drummer Lewis Nash) comes through with elan and spirit. Again there are numerous pearls from the Great American Songbook as well as gems from the Great American Jazz Standards Library."

Meanwhile, saxophonist Matt Garrison unveils his first disc as a leader, "Familiar Places", featuring trumpet great Claudio Roditi and guitarist Mark Whitfield; guitarist Tomas Janzon is joined by jazz greats Tootie Heath and Art Hillery on his third release, "Experiences"; and Eastern Iowa pianist and composer Tim Daugherty and his quartet offer up a program of original tunes inspired by the aftermath of the Iowa Floods of 2008 on "River of Promise."

Saxes Are Wild - Bob

Jimmy Amadie was a hot jazz pianist in the 1950s, playing for such notables as Mel Torme and Woody Herman. His career was seemingly on the fast track until 1960, when an extreme form of tendonitis in his hands derailed his playing career for decades. After several surgeries and plenty of physical therapy, the former boxer from North Philly made his recording debut shortly before his sixtieth birthday in 1997. On his new disc, "Kindred Spirits", Amadie and his trio are joined by a trio of reedmen whom the pianist has always wanted to work with, Lee Konitz, Lew Tabackin, and Joe Lovano.

Ralph Alessi is among the most active innovators in New York City's downtown progressive jazz scene. Jazz Times magazine has noted that Alessi has "drop-dead trumpet chops" and calls his music "...as sophisticated and disciplined as post-modern progressive jazz gets." He's collaborated with Steve Coleman, Don Byron, Jason Moran, Fred Hersch and others over the years. "Cognitive Dissonance" is Alessi's sixth CD of originals. He's joined by drummer Nasheet Waits and bassist Drew Gress, with Moran and Andy Milne sharing keyboard duties.

Other new releases: saxophonist Ken Fowser and vibraphonist Behn Gillece unveil a program composed entirely of original compositions on their second release, "Little Echo"; reedman Kelly Jefferson unveils his third release, leading a quartet on "Next Exit"; and Japanese saxophonist Takao Iwaki, a student of George Garzone, debuts with Introducing "Takao Iwaki."

New Music - Bob

A San Francisco prodigy known for fire and fluidity in his deep-groove guitar work, Barry Finnerty was one of the top players on the New York jazz scene from the '70s through the '90s. His brilliant playing with the Crusaders, Miles Davis and the Brecker Brothers put him on the international map. In the late-'90s, he returned to the Bay Area to compose, perform and teach, writing a lot of music and two volumes of his acclaimed practice books. A versatile artist who describes his guitar style as a mix of George Benson and Jeff Beck, his prime influences, Finnerty digs into a wide range of moods and grooves on his first studio recording in a decade, "Blues for Trane."

Amina Figarova, a native of Azerbaijan who's now based in Holland, is a terrific player and one of the freshest composers and arrangers of her generation. A fine balance of her detailed scores and the personalized expressivity of her sextet make "Sketches" perhaps the best-realized of Amina's dozen releases since 1994. It is music rooted in the progressive mainstream styles of post-beboppers like Miles Davis, Horace Silver and Herbie Hancock, as updated for the current generation by modernists such as orchestra leader Maria Schneider, whom Amina especially admires.

Also this week, the Israeli-born pianist Tamir Hendelman, who moved to L.A. when he was 12 and has worked with James Moody, Benny Golson, Quincy Jones and others, releases his second trio release as leader, "Destinations"; singer Janis Mann, a native New Yorker now a favorite on the Los Angeles jazz scene, offers up her sixth disc, "Blow Away"; and saxophonist and composer Dave Anderson emerges from the fertile Seattle jazz scene with his debut CD, "Clarity."

New Music from Washburne, Bonafede - Bob

Chris Washburne has been called "one of the best trombonists in New York" by the New York Times, and was voted as a "Rising Star of the Trombone" in the Downbeat Critic's Polls of 2008 and 2009. He's performed with numerous jazz and Latin groups, including Tito Puente, Anthony Braxton and the Duke Ellington Orchestra. His own group, SYOTOS, was founded 20 years ago and has become what TimeOUT New York calls a "Latin Jazz institution. They've held the longest-running Latin jazz gig in the City's history, playing every week for 19 years. Members include alumni from the Puente, Eddie Palmieri, and Gato Barbieri bands. Their new recording -- "Fields of Moons" -- features the quieter side of the band, a collection of lilting lullabies, evocative ballads, and alluring songs of love.

After many releases ranging from trio to larger bands, featuring several jazz notables-from Joe Lovano and John Abercrombie to Lester Bowie and Enrico Rava-renowned Italian pianist and composer Salvatore Bonafede gets back to his roots with his newest trio CD, "Sicilian Opening." Joined by fellow Sicilians Marcello Pellitteri on drums and Marco Panascia on bass, the trio takes Mediterranean melodies dipped into the bittersweet colors of their home island and opens them up to a worldwide jazz audience.

Also releasing new music: violinist Christian Howes is joined by veteran jazz/blues/rock guitarist Robben Ford on "Out of the Blue"; Vancouver-based saxophonist Cory Weeds has B3 whiz Joey DeFranceso and drummer Byron Landham along for the ride on "The Many Deeds of Cory Weeds"; and the Indianapolis-based big band of trumpeter Mark Buselli and trombonist Brent Wallarab offers up its latest disc, "Mezzanine."

Burrell Live at Dizzy's - Bob

From the very start of his career in the early '50s, Kenny Burrell has been described as a bop and hard bop guitarist. Some of his early recordings supported this description, but like all the great players, Burrell brings his own unique style and sound to his playing. The bop elements are there, to be sure, along with blues and a great blend of the two styles, but he exhibits a much gentler, more melodic and expressive style of play. And he consistently proves himself to be an exceptional soloist. The diversity and elegance of Burrell's playing is evident throughout his new CD -- "Be Yourself" -- recorded live with his quintet at Dizzy's Club Coca-Cola in New York City.

"A Handful of Stars" is a most apt description for Los Angeles' first-call baritone saxophonist Adam Schroeder's debut release as a leader. He's been featured over the years with the Clayton/Hamilton Jazz Orchestra, Clark Terry, Ray Charles, and Anthony Wilson's Nonet. Shroeder has assembled a hard-swinging and sublimely sensitive quartet with veterans John Clayton, Jeff Hamilton, and rising star guitarist Graham Dechter on a program of originals and works by Ellington, Hefti, Porter and Quincy Jones.

Other new musuc: Bassist Charnett Moffet explores both the inner and outer limits of jazz composition, with solo and duo works, the trio format, and a larger ensemble on his new disc, "Treasure"; Michael Dease, whom jazz masters and critics alike have pegged as one of the most impressive trombonists of his generation, offers up his third release as leader, "Grace"; and contemporary jazz keyboardist David Benoit shines on "Earthglow."

Mintzer Organ Project - Bob

In the jazz world, Bob Mintzer is a household name, usually associated with being a reed man, composer, arranger, leader of a Grammy Award-winning big band, member of the Yellowjackets, and educator. For his new project, "Canyon Cove", he was inspired by the rich sound of the Hammond B3 combined with the close-knit feeling of the organ trio. Much of his original music on the disc is a nod to the older generation of organists like Groove Holmes, Jimmy McGriff, and Jimmy Smith, but also acknowledges subsequent players like Joey De Francesco, Lonnie Smith and Charles Earland. He's joined in this endeavor by another stellar organist, Larry Goldings, and drummer Peter Erskine.

Meanwhile, Pianist Hilario Duran's career began more than four decades ago in Cuba, where he was a member and arranger of two of that country's most illustrious orchestras. He also gathered up the remnants of the band Irakere after the departures of Paquito D'Rivera and Arturo Sandoval, serving as its musical director until he left to live in Canada. For the follow-up to his Grammy-nominated, Juno Award-winning Latin big band recording of last year, Duran brings together a power trio comprised of bassist Robert Occhipinti and drummer Mark Kelso for "Motion."

Other new musuc: Icelandic pianist Sunna Gunnlaugs unveils her sixth releases as a leader, "The Dream", having returned to her native land from New York City five years ago; Larry Carlton teams up with Japanese guitarist Tak Matsumoto on a program of fusion fretwork, "Take Your Pick"; and Washington D.C.-based saxophonist Jeff Antoniuk steps out with his second CD with his band the Jazz Update on "Brotherhood."

Holiday/Piaf Tribute from Marsallis & Galliano - Bob

Hailed as an extremely versatile musician who is able to masterfully navigate many musical contexts and genres, the French accordionist Richard Galliano has collaborated with jazz greats like Chet Baker, Ron Carter and Charlie Haden over the years. In the summer of 2008, he joined up with multiple-Grammy Award-winning trumpeter Wynton Marsalis and his quintet at the annual Jazz in Marciac Festival in southern France to pay tribute to the late jazz legends Billie Holiday and Edith Piaf. The resulting CD, "The Wynton Marsalis Quintet & Richard Galliano From Billie Holiday to Edith Piaf: Live in Marciac", translates classic jazz vocal compositions into artful instrumental versions that are striking in their rhythmic variety.

Saxophonist Tim Warfield has been associated with the Wynton Marsalis/Lincoln Center post-Young Lions of mainstream jazz for over a decade now, and was also a member of organ great Shirley Horn's ensemble for a number of years. For his sixth release as a leader, "A Sentimental Journey", he offers up an informed, soulful exploration of American Songbook repertoire with his current band of trumpeter Terell Stafford, B3 master Pat Bianchi and drummer Byron Landham.

Other new music: with "Images", trombonist Steve Davis salutes the people and places of Hartford, Connecticut, where he studied with his late mentor Jackie McLean; singer Lucy Woodward displays her formidable songwriting talents on her third release, "Hooked!"; and pianist Russ Kassoff is joined by bassist Jay Anderson and drummer Dennis Mackrel on his sophomore CD, "Bird Fly By."

A Fifth of Stryker/Slagle With a Sip of French Kent - Bob

With 20 years experience together and five discs to its credit now, the Stryker/Slagle Band has proven itself to be one of the most enduring units playing jazz today. The combined talents of guitarist Dave Stryker and saxophonist Steve Slagle as composers and improvisers sets it apart from the many pickup groups assembled just to make a gig or a record. The fifth outing by the band, "Keeper", is the third to partner the pair with the formidable rhythm team of bassist Jay Anderson and drummer Victor Lewis. Recorded after a successful engagement at New York's Jazz Standard, the disc captures the band at its very best, both relaxed and cutting edge.

Singer Stacey Kent has established herself as one of the new century's brightest jazz revelations. Voted best jazz vocalist at the 2001 British Jazz Awards, and the 2002 BBC Jazz Awards, she was also a 2009 Grammy nominee. France became her special stomping ground last year, with a sell-out nationwide tour and the National Order of Arts and Letters decoration, bestowed by the French Minister of Culture. Stacey's new CD, "Raconte-Moi...", was recorded entirely in French, and she sings the language with fluency and flair on great classics of the French musical heritage and original work by talented young songwriters.

Other new music -- Grammy Award-winning guitarist Lee Ritenour celebrates his instrument with "6 String Theory", featuring a star-studded tribute including George Benson, John Scofield, Pat Martino, Mike Stern and B.B. King; drummer Manu Katche dishes up his third helping of contemporary jazz for ECM Records, "Third Round"; and pianist Bob Mamet and his trio highlight ten of Mamet's original tunes on his fourth disc as a leader, "Impromptu."

Legends and Virtuosos - Bob

In 1999, the same year that Jason Moran released his debut disc, the prodigy pianist and composer also joined New Directions, a band made up of young stars from the Blue Note roster that went on tour in celebration of the label's 60th anniversary. At the core of that band was the genesis of a rhythm section-with Moran, bassist Taurus Mateen, and drummer Nasheet Waits-that would go on to become one of the most enduringly creative piano trios in jazz. Ten years later, the trailblazing trio--which Moran has dubbed The Bandwagon--releases "Ten", the most assured and focused CD of Moran's acclaimed career, a snapshot of a mature band with a decade of shared musical experience from which to draw.

Renowned bassist Stanley Clarke feels that the music on his new release, "The Stanley Clarke Band", is fresh and different from just about anything he's done before. The range of collaborative material has allowed him to venture to new levels of experimentation. The disc includes original compositions from the innovative young musicians of the band, including keyboardist Hiromi on her second foray with Clarke. He compares it to the first three albums of his solo career, with long extended electric pieces that take the listener on a kind of journey. "There are people other than myself who have something to say," explains Clarke. "Everyone on this project brought their own music and their own ideas."

Meanwhile, legendary trombonist and composer Curtis Fuller is offering up a new two-disc set, "I Will Tell Her"; pianist Fred Hersch features new compositions and fresh takes on old standards on his new trio recording, "Whirl"; and Gregory Porter, whom Wynton Marsalis has called "a fantastic young singer," debuts with "Water."

Cats on the Keys - Bob

Pianist Bill Charlap is a two-time Grammy Award nominee who has performed with icons such as Tony Bennett, Phil Woods and Gerry Mulligan, and served as musical director for the Blue Note 7. Canadian-born Renee Rosnes is a four-time Juno Award winner who has collaborated with legends like Wayne Shorter, Joe Henderson and J.J. Johnson, and has been the pianist and contributing composer in the dynamic SF Jazz Collective. Husband and wife have now joined forces for their first collaborative CD, "Double Portrait", a sparkling set of four-handed piano duets.

Hailed by Downbeat as one of the most "multi-dimensional keyboard players on the scene today," Marc Cary's continual search for his musical identity has taken him to all corners of the earth. His latest offering on this journey is "Focus Trio Live 2009", recorded live at select festivals across Europe and the U.S. Cary drives his longstanding trio towards hard-hitting turns, fusing together indigenous East Asian, Indian, African and Native American influences within the African American blues and jazz tradition. That trio features Sameer Gupta on percussion and Davie Ewell on bass.

New Music - Bob

Stockholm, Sweden, native Andreas Oberg is quickly becoming one of the most admired guitarists on the jazz scene today. Don Heckman of the Los Angeles Times has noted that "Oberg has mastered everything from bebop and swing to bossa nova, Gypsy jazz and fusion, enhanced with youthful, rock-driven vigor. His playing is, at times, an astonishing display of virtuosity." His new CD, "Six String Evolution", presents the guitarist in the company of pianist Dave Kikoski, bassist John Patitucci, drummer Lewis Nash and singer/saxophonist Darmon Meader.

The new CD by reedman Azar Lawrence, "Mystic Journey", features his East Coast piano and bass players of choice, Benito Gonzalez and Essiet Essiet, and reunites him with alto saxophonist Gerald Hayes after 35 years. They are joined by the great Eddie Henderson on trumpet. Jazz fans agree Lawrence is playing better and harder than ever, invoking inevitable John Coltrane comparisons. His connection to 'Trane might have begun with his work with McCoy Tyner and Elvin Jones, but on the new disc Azar is also joined by another Coltrane acolyte and free jazz legend Rashied Ali, who passed away just four months after making this recording.

Two other guitarists are out with new music: "Resonance" is the third recording from Yotam, featuring Christian McBride, Gregory Hutchinson and Roy Hargrove; and veteran Royce Campbell unveils his 26th recording as leader, "All Standards...And a Blues"; and a new self-titled disc from the Eastern Iowa quartet "Koplant No", who will be part of both the Iowa City Jazz Festival and KCCK's Jazz Under the Stars this summer.

New Music by Regina Carter - Bob

Through her albums, incessant touring and various guest appearances and collaborations over the years, Regina Carter has developed into a distinctly diverse musical personality. With "Reverse Thread", the preeminent violinist has taken a giant step forward by recording a CD primarily of African folk tunes infused with a contemporary feel. Without the support of the prestigious MacArthur Foundation, which awards unrestricted fellowships to talented individuals, the disc may not have been realized. Armed with the funds and the freedom to follow her muse, Regina turned to the World Music Institute in New York City, in which she found a diverse and inspirational resource for material, including ethnographic field recordings.

Other new music includes:

After two releases devoted to big band jazz and swing, singer Robin McKelle has turned to a bit of rhythm 'n' blues on her new CD, "Mess Around." "It's a project that spans a number of genres: soul, blues and jazz-all musical styles I love and which define my personality," McKelle says. "It has quite a '60s flavor, inspired by the albums Ray Charles and Nina Simone were making at the time." Its themes are drawn from very different sources, including Willie Dixon, the Beatles, Leonard Cohen and Doc Pomus. Special guests include Houston Person, Fred Wesley, and Marvin Sewell.

Also this week, saxophonist Paul Carr returns to his Houston, Texas, roots, inspired by mentors like Arnett Cobb and Don Wilkerson, for his new disc, "Straight Ahead Soul"; the sultry-voiced Brazilian singer Kenia, who reemerged on the jazz scene two years ago, serves up one of the most demanding and satisfying projects of her three decade-long career with Kenia Celebrates Dorival Caymmi; and the dynamic guitarist Corey Christiansen returns with another grooving soul-jazz offering, Outlaw Tractor.

New Music: Keith Jarrett, Charlie Haden, Phil Woods, Dr. Lonnie - Bob

The last time Keith Jarrett and Charlie Haden were together on record was a live disc in 1976, a document from the final days of Jarrett's great American Quartet. In the interim, the two have each separately given renewed attention to the music of the Great American Songbook, Jarrett in his widely-admired Standards ensembles, and Haden with his Quartet West. Early in 2007 Jarrett was invited to contribute some reminiscences to a film documentary about Haden. This led to some informal playing together and, ultimately, to "Jasmine", their first collaboration in 30 years.

Saxophonist Phil Woods and the DePaul University Jazz Ensemble began their association with a series of performances at the Jazz Showcase in Chicago back in 2004 which resulted in a recording that received widespread critical acclaim. Since that time, Woods has performed with the band on several occasions, including many performances at area high schools and jazz festivals. Early last year they completed recording sessions for their latest project, "Solitude", featuring a program of Woods originals arranged by members of the DePaul Jazz Studies faculty, Ensemble members and alumni, and Woods himself. The disc also features his Grammy Award-winning rhythm section of pianist Jim McNeely, bassist Steve Gilmore and drummer Bill Goodwin.

Dr. Lonnie Smith, who headlines the Iowa City Jazz Festival July 4, unveils his new CD, "Spiral; Grover Live", a never-before-released live performance by Grover Washington Jr. from 1997.

And Trumpeter Ken Watters and his trio combine the most powerful and seductive Caribbean styles with a broad mix of other musical traditions on "Riyel."

KCCK Relatives Remembered

With the coming of Memorial Day 2010, some KCCK staffers' fathers, who are no longer with us, are being remembered for their service during war-time.

George Dorman's father, Jack Dorman, was in the U.S. Army for nearly four years during World War II. Most of that time was spent in northern Africa, where he was a crytopgrapher, encoding and decoding secret messages.

Bob Stewart's dad, Allan, served in the Army in Panama during WWII.

And Craig Kessler's father, Donald F. Kessler, was a bombardier in the 15th Air Force in WWII (Italy, Germany).

New Music: Fusion Redux, Trumpet Summit - Bob

More than three decades after his earliest recordings, keyboardist and composer Jeff Lorber has come full circle. His new CD, "Now is the Time", delves back into his early catalog and reinvents some of the most compelling compositions from the Jeff Lorber Fusion heyday. This new incarnation of the Fusion includes luminaries like bassist Jimmy Haslip, saxophonist Eric Marienthal, trumpeter Randy Brecker, and drummers Vinnie Colaiuta and Dave Weckl. Lorber points to a recent European tour with many of these same musicians-and the positive response that resulted from it-as the primary catalyst for the disc.

Continuing the tradition of fabled trumpet duo sessions that have included Fats Navarro & Howard McGhee, and Freddie Hubbard and Woody Shaw, two of the more dynamic and versatile trumpeters anywhere, New Yorker Ray Vega and Thomas Marriott from Seattle, make up the front line of a power-packed quintet taking a joyous ride through a collection of jazz classics and original compositions on "East-West Trumpet Summit." Far from a cutting session, the recording showcases the sensibilities and styles of both coasts of the U.S. and how they can partner to cover a good deal of stylistic territory while remaining both lyrical and exciting.

Also new, "Chiaroscuro" introduces a new duo and a rare instrumental combination--the guitar of Ralph Towner and the trumpet of Paolo Fresu--on a program of old and new Towner compositions and duo improvisations; after eight years of immersing herself in the vocal jazz tradition through study with inspired mentors and performing throughout the West, vocalist Carrie Wicks gathers some of Seattle's finest musicians for her debut recording, "I'll Get Around to It"; and vibraphonist and percussionist Marc Wagnon returns to his own musical vision, combining great jazz-rock with thought provoking themes, for "Earth is a Cruel Master."

New Music - Jazz: American, French and Serbian - Bob

Joe Chambers is one of the drummers from the Fifties and Sixties who, along with Max Roach and Art Blakey, has influenced an entire generation of drummers. Archie Shepp, in fact, compared Chambers' qualities as a sensitive yet dynamic drummer to another influential drummer, Roy Haynes. For his new CD, "Horace to Max", Chambers has assembled an ensemble that includes stalwarts Eric Alexander on tenor sax, Xavier Davis on piano, and the colorful percussion effects of Steve Berrios. Playing both drums and exhibiting his considerable chops on vibes, he breathes fresh life into a number of well-known jazz classics by the likes of Roach, Horace Silver, Wayne Shorter, and Thelonius Monk.

Born and raised in Belgrade, Serbia, guitarist and composer Rale Micic has, over the past two years, established himself as one of the most inventive voices in jazz, leading a quintet featuring jazz great Tom Harrell. Jim Santella of All About Jazz says, "The New York jazz scene, and by extension jazz's modern mainstream, has Rale Micic to thank for a portion of its continued growth." On his new CD, "3", featuring one of New York's top rhythm sections, bassist Scott Colley and drummer Gregory Hutchinson, the guitarist continues to explore the interaction between his cultural roots in Serbia and his extensive knowledge of jazz.

Also this week, twin French brothers Francois and Louis Moutin offer up the fourth release from their Reunion Quartet, "Soul Dancers", featuring saxophonist Rick Margitza; pianist Aaron Goldberg is joined by longstanding trio mates Eric Harland on drums and Reuben Rogers on bass, augmented by their masterful colleague Mark Turner on the tenor sax on Home; and Toronto-born drummer Ernesto Cervini features saxophonist Joel Frahm on his sophomore release as a leader, Little Black Bird.

New Music: Britos, One for All, Ray Blue - Bob

Imagine a violinist, born in South America, equally adept at playing classical, jazz, Latin idioms and music for films; a musician with a sound that is at home in a symphony hall or on 52nd Street; an artist who has worked with a staggering array of far-flung superstars, such as Duke Ellington, Astor Piazzolla, Bebo Valdes, and Charlie Haden. The legendary Uruguayan-born/Florida-based violinist Federico Britos has had an unbelievably prolific career for fifty years. His new CD, "Voyage", is a star-studded celebration of that five-decade brilliance, featuring Bucky Pizzarelli, Kenny Barron, Eddie Gomez, Ignacio Berroa and others.

After more than 13 years together as a working sextet, the members of One For All have forged an uncanny chemistry and camaraderie both on and off the bandstand. The indelible tightness and like-minded pursuit of swing is readily apparent on their new CD, "Incorrigible." "When we play, there's a lot of fire on the bandstand and everybody loves the music to be swinging hard," says trombonist Steve Davis. "That's not necessarily the norm these days, but it's a style we all feel great playing in." Joining Davis are sax man Eric Alexander, trumpeter Jim Rotondi, pianist David Hazeltine, drummer Joe Farnsworth and bassist John Webber.

Also this week, talented tenor man Brandon Wright serves the music up hot and tasty on his debut release, "Boiling Point", with trumpeter Alex Sipiagin, drummer Mat Wilson, bassist Hans Glawischnig and pianist Davis Kikoski; University of Iowa alumnus and saxophonist Ray Blue unveils his latest disc, "Berries and Blues"; and Nashville-based pianist and composer Beegie Adair offers up a collection of solo and duo songs from composers and friends she's come to admire on "Into Somethin'".

New Music from Terrasson, HCOD, Others - Bob

Ever since Jacky Terrasson burst onto the jazz scene in 1993 by winning the Thelonius Monk Piano Competition, the Berlin-born, Paris-raised, New York-based pianist extraordinaire has consistently recorded richly refined and remarkably free-spirited music. His new disc, "Push", features a new working trio that includes recent Monk Competition winner Ben Williams on bass, Jamire Williams on drums, and a handful of special guests including Gregoire Maret on harmonica and Jacques Schwarz-Bart on sax. It includes seven new Terrasson compositions as well as a sampling of fresh spins on standards, including two Monk tunes and a Cole Porter beauty.

Hot Club of Detroit may be inspired by the spirit of Django Reinhardt, but with the release of "It's About That Time", the band pushes the boundaries of what was once just called Gypsy Jazz. From the blistering fretwork of their homage to Pat Martino and Miles Davis, to their subtle reworking of Chopin's "Tristesse," it's obvious that HCOD is widening its influences, and forging ahead to carve out their own niche in the jazz world and beyond. As well, in this Centennial year of Django's birth, everything from local appreciation societies to larger national music magazines and shows-on and offline-are certain to mark the Django heritage.

Also this week, guitarist John Basile presents a soulful organ-based collection of standards, originals, Latin, and '70s pop tunes with "No Apologies"; award-winning singer Catherine Russell, the daughter of Louis Armstrong's music director Luis Russell, releases her third CD as leader, "Inside This Heart of Mine"; and Indianapolis-born, Chicago-based trumpeter, composer and educator Pharez Whitted assembled a stellar sextet comprised of his favorite musicians from both cities for his long-awaited third release, "Transient Journey."

New Music - Nnenna, Trombone Shorty, Stanton Moore - Bob

Esteemed jazz vocalist and six-time Grammy nominee Nnenna Freelon offers up her first studio album in five years, "Homefree", a soulful swinging disc that she calls her "home brew." The collection is comprised largely of contemporary interpretations of classic American Songbook tunes, along with a new original and spirited arrangements of two anthems. "Most of the songs are part of our repertoire," Nnenna says. "We've tested them on the road, getting insight on what works and what doesn't...the music was deeper in our bones. These are all songs that were loved and ready to record."

Troy 'Trombone Shorty' Andrews' new CD, "Backatown", is the work of a rare artist who can draw both the unqualified respect of jazz legends and mesmerize international rock stars and audiences alike. With an unprecedented mix of jazz, funk, soul, and hip-hop, Andrews is the kind of player who comes along maybe once in a generation. Surrounding him is Orleans Avenue, the same band he brought to the Iowa City Jazz Festival last summer. The album title comes from the locals' term for the area of New Orleans that includes the Treme neighborhood in the city's 6th Ward, where Shorty was born and raised. The cultural backdrop of the area is at the very root of his music, on top of which he's built his own sound.

Another New Orleans mainstay, drummer Stanton Moore, brings his funky, Crescent City second-line swing to his fifth release as leader, "Groove Alchemy", featuring keyboardist Robert Walter and guitarist Will Bernard.

Other new releases -- the legacy of Stan Kenton in good hands with Mike Vax and the Kenton Alumni Band on a new live disc, "Have Band Will Travel"; and the band Playdate reunites three childhood friends, saxophonist Wayne Escoffery, pianist Noah Baerman and guitarist Amanda Monaco, for their self-titled debut release.

New Music from Tom Harrell, JCLO, Others - Bob

Hailed by Newsweek for his pure melodic genius, Tom Harrell is widely recognized as one of the most creative and uncompromising jazz instrumentalists and composers of our time. Each of his discs has found its way onto various critics "Top Ten" lists worldwide. His newest, "Roman Nights", is the third CD to feature his current quintet. The remarkably cohesive unit includes tenor saxophonist Wayne Escoffery, pianist Danny Grissett, drummer Johnathan Blake, and his bassist of 12 years, Ugonna Okegwo. Harrell once again exhibits the talent, creativity and touch of genius which led both Whitney Balliet of the New York Times and Bill Milkowski of Jazz times to proclaim him "the premiere trumpeter of his generation."

The world-renowned Jazz at Lincoln Center Orchestra with Wynton Marsalis is back with a new project, "Portrait in Seven Shades." Each of the seven movements of this new suite, composed by long-time JCLO reedman Ted Nash, is inspired by a master of modern art who worked in the century around the apex of jazz: Chagall, Dali, Matisse, Monet, Picasso, Pollock and Van Gogh. The writer Will Friedwald once said, "Music is like painting in time, painting is like music in space." This new disc illustrates this point masterfully.

Pianist Ehud Asherie, an Israeli native who's now a mainstay on the New York club scene, is out with his third disc as a leader, "Modern Life", featuring saxophonist Harry Allen.

"Alive & Kickin'", is the first live disc from the Michigan-based soul-jazz organ trio Organissimo and the incomparable vocalist Maysa reinvents the classics of Ella Fitzgerald, Billie Holiday, and Nina Simone, and offers up her own originals on "A Woman in Love."

New Music from Mehldau, Mose, Taylor, Garcia and Holland - Bob

Although Brad Mehldau is best known as a jazz composer and improviser, he has written several long-form compositions and songs, including those for orchestra and voice. Highway Rider is a new double-disc set of original work by the pianist, composer and arranger which features a chamber orchestra, along with regular trio mates Jeff Ballard on drums and Larry Grenadier on bass and special guests Joshua Redman on sax and drummer Matt Chamberlain.

Mose Allison occupies a hallowed place in American songwriting, bringing a witty, urbane sensibility to modern blues and jazz. His subtle, laid-back singing style meshes nicely with his nuanced piano stylings, with nods to Monk and Garner. Allison's influence can be heard in everyone from Diana Krall and Norah Jones to John Mayall and Van Morrison. The Way of the World marks his return to the recording studio after a 12-year absence with five brand new Mose compositions.

To mark the 100th anniversary of the birth of Django Reinhardt, UK guitarist Martin Taylor has re-formed his award-winning group "Spirit of Django" for the first time in 15 years for Last Train to Hauteville.

Other new music includes Brazilian-born, Chicago-based guitarist/composer Paulhino Garcia offers up a new collection of originals on My Very Life and bassist Dave Holland and his octet are live at Birdland on Pathways.

New Music from Anat Cohen, Chris Tedesco, Carolyn Leonhart - Bob

Anat Cohen is a veteran of five residencies at the renowned Village Vanguard in New York and is the first female horn player and first Israeli to headline and record there. Her new release, Clarinetwork Live at the Village Vanguard, coincides with the 75th anniversary of the Vanguard, recorded on the final night of a six-night stand. Cohen's first live album showcases her virtuoso skills as an instrumentalist and improviser on the clarinet at the end of a global event celebrating the centennial of jazz legend Benny Goodman.

Over the past few decades, many Los Angeles big bands have made indelible impressions on the jazz scene. Those led by Bob Florence, Terry Gibbs, or Bill Holman knew how to stoke up the heat with the best collection of arrangements. Now there's another name to add to the list. Chris Tedesco has been on the L.A. jazz scene since 1987 and has managed to corral the cream of the studio crop, the most proficient readers and swingers on the West Coast, to put together a cohesive 18-piece band. Living the Dream is an impressive big band debut thanks, in part, to the arrangements of Jim McMillen and the first-rate studio soloists they wisely chose.

Carolyn Leonhart, the daughter of legendary bassist Jay Leonhart who's known for her 10-year tenure as lead back-up vocalist for Steely Dan, is joined by her husband, saxophonist Wayne Escoffery, on her latest CD, Tides of Yesterday; trumpeter Christian Scott has teamed up with legendary producer Rudy Van Gelder on Yesterday You Said Tomorrow, a 10-song collection combining jazz, hip-hop and rock; and Argentine-born, New York-based bassist Pablo Aslan sets out to reinvent twelve 20th century tango classics with a superb ensemble of tango and jazz musicians on Tango Grill.

New Music - Bob

Grammy Award-winning bassist and composer Mark Egan is known for his outstanding rhythm section contributions to many groups, including the Pat Metheny Group, Gil Evans, Pat Martino, Larry Coryell and Sting. For his new release, "Truth Be Told", he's assembled a super quartet featuring Bill Evans on sax, Vinnie Colaiuta on drums and Mitch Forman on keyboards. It's one of Egan's strongest recordings to date.

"What I love about Iron City's CD is the tight ensemble playing and well crafted solos. As a member of Grover Washington's band, we had the nickname 'The Locksmiths;' we were so tight, yet responsive to the soloist. I feel Charlie's compositions capture the flavor of our music in the 1970s where you put the groove first." So says violinist John Blake about Sparks, the new release for guitarist Charlie Apicella & Iron City, which keeps the flame alive in the legacy of the funky organ trio.

Vibraphonist Joe Locke and his quartet offer up "For the Love of You", featuring pianist Geoffrey Keezer, bassist George Mraz and drummer Clarence Penn, with Kenny Washington adding some vocal touches.

Organist Matthew Kaminski is the latest find for Tony Monaco and his Chicken Coup label with his debut disc, "Taking My Time."

And Bay Area guitarist George Cotsirilos and his trio apply a progressive, modern jazz treatment to a mix of original and classic compositions on "Past Present."

News Music from Dee Dee, Others - Bob

Over the course of a multi-faceted career that has spanned four decades, Dee Dee Bridgewater has put her own unique spin on standards as well as taking intrepid leaps of faith in re-inventing jazz classics. For her latest recording, Eleanora Fagan (1915-1959): To Billie With Love from Dee Dee Bridgewater, the singer honors iconic jazz figure Billie Holiday. Bridgewater performed the role of Holiday in a theatrical production staged in Paris and London in the mid-'80s. More than being a tribute album of retreaded Holiday tunes, Bridgewater says, "Billie deserves to have her music heard in another light, and I didn't set out to imitate her." Key to the fresh approach is pianist Edsel Gomez, who wrote new arrangements for the twelve songs on the disc.

Guitarist Paul Meyers has performed or recorded with a host of jazz greats in his career to date, including Ron Carter, Mel Lewis, Kenny Werner, and Kenny Barron. James Gavin of the New York Times calls Meyers, "one of the most eloquent jazz guitarists since Kenny Burrell." Of his new CD, Paul Meyers Quartet featuring Frank Wess, guitarist Rodney Jones says, "In an era of over-processed and over-thought music, Paul Meyers has produced a beautiful CD of music from the heart. In combination with jazz legend Frank Wess, Paul brings forth a genuine work of art and musical magic."

Also new, reed man Ken Peplowski weaves through beautifully arranged and seldom heard tunes by Ellington, Strayhorn, and Berlin, and originals by himself and band mates Shelly Berg and Joe La Barbera on Noir Blue; flutist Mark Weinstein brings together the best of the new generation of Cuban jazz musicians in a feast of rhythms and virtuosity on Timbasa; and Jay D'Amico's Nocturne: Jazz Under Glass represents the pianist's latest effort at composing and interpreting his own music.

Pizzarelli's New CD - Bob

Ellington a la Pizzarelli - Singer/guitarist John Pizzarelli celebrates the music of Duke Ellington with his new CD, Rockin' in Rhythm, his first ever Ellington recording. Pizzarelli was still a very young man when Duke passed away in 1974, but thanks to his father, veteran guitarist Bucky Pizzarelli, he would eventually learn much about jazz's most important composer. Like Ellington, Pizzarelli crafts his performances to spotlight the talents of his quartet and, on several tracks, the Swing Seven Horns arranged by Don Sebesky. .

Apps, We Got Apps - Dennis

Now, you can listen to Iowa's Jazz Station anywhere you have Wi-Fi or iPhone service!

KCCK now has its very own application in the itunes App Store. Search "KCCK" or go to this link.

Our HD-2 service, The Iowa Channel, is up with its App as well. Search "Iowa Channel" or visit this link.

Development of both of these cool, custom-branded apps was made possible through a grant from the Iowa Arts Council. Thanks!

Survey Says!-Dennis

Thanks again to everyone who participated in KCCK's recent Listener Survey. We had over 200 responses, which ran the gamut from "We love everything you do" to "You suck pretty much all the time" and everything in between.

In years past, we would have shared the results and comments with our staff, and maybe put a summary in a newsletter article. But today, we can post the whole darn thing so anyone who is interested can take a look. So, we've done so, down this page. It's mostly all there, warts and all. The only editing we've down is to take out a couple of really uncalled-for personal attacks against a couple of our staff, and taken out one particularly profane entry.

What will we do with this data? Well.... it's complicated. A survey like this is self-selecting. You decide whether you want to participate or not. So, it's not necessarily a sample representative of our listening audience.

That leads to situations like one regarding two of our shows, Smooth Brunch and Big Band Memories. If you read the comments, you'll see that these two shows probably took the most hits out of our entire program lineup. But the ratings show they're two of our most listened-to programs. Which indicates that either fans of those shows didn't fill out the survey; what people actually listen to is different than what they say they like, or some combination of the two.

And, if you read through the comments, you'll see that nearly every show on KCCK is both someone's favorite and one that someone else demands we get rid of.

So, if you were programming KCCK, what would you do?

That said, we do not intend to ignore the results. Far from it. We'll be going over the comments as a staff in the coming weeks, graphing the results against other audience data we have and seeing if any patterns emerge.

Let me also say thanks to the KCCK staff for allowing us to post these results, even though many of us take some pretty personal shots. I appreciate everyone's thick skin and good humor.

OK, are you ready? It's a huge document, but we wanted you to be able to read as much as you were interested in. And, you can comment on the comments in the box at the end of the article.

Enjoy!

Summary of Numerical/Percentage Responses

1. What is (are) your favorite style(s) of music that you hear on KCCK?

Total

Bebop 1945-1955 51%

Acoustic Blues 40%

Electric Blues 43%

Dixieland/Traditional 36%

Fusion 36%

Latin/Bossa Nova 47%

Local/Regional Artists 44%

Mainstream/Post Bop 1955-present 72%

New Age/Ambient 23%

Smooth Jazz 48%

Swing/Big Band 57%

Vocal Jazz 59%

Worldbeat 28%

Other 13%

2. What is your favorite KCCK program and/or personality?

Craig Kessler/Jazz Corner of The World	14%
John Heim	6%
Bob Stewart	6%
Mark Yother	6%
Bob Naujoks	6%
Saturday Blues/Bob DeForest	5%
Doug Jackson/Smooth Brunch	5%
Gordon Paulsen	5%
Piano Jazz	5%
jazz Masters	3%
Friday Blues	3%
Riverwalk	3%
Gentle Jazz	3%
Funk At Five	3%
Jazz At Lincoln Center	3%
Cary J Hahn	3%
Radio Deluxe/John Pizzarelli	2%
Hearts of Space	2%
Dennis Green	2%
Jazz Profiles	2%
Jazz Set	2%
Murray Kent	2%
Big Band Memories	2%
Sunday Morning Swing	1%
Short List	1%
Ron Adkins	1%
Gotta Minute	1%
Mark Jayne	1%
Midnight CD	1%
Talking Pictures	1%
Melting Pot	1%
Echoes	1%
Putamayo	1%
Rhythm Sweet & Hot	0.3%
Wednesday Night Special	0.3%
KCCK Jams	0.3%
Joe Brisben	0.3%
Writers Almanac	0.3%
Clean Up Your Act	0.3%
Jazz Rhythms	0.3%
Culture Crawl	0.3%
Star Date	0.3%

3. When do you tune in to KCCK the most in an average week?

Weekdays 85%

Weekends 74%

4. What time of day do you usually listen to KCCK?

6-10am 53%

10am-3pm 52%

3-5:30pm 50%

5:30-7pm 38%

7-8pm 34%

8pm-Midnight 36%

Overnight 7%

5. At What location do you listen to KCCK the most?

Home 64%

Car 60%

Work/Office 24%

Other 4%

6. What device do you use the most to listen to KCCK?

Regular Radio 80%

HD Radio 5%

Computer Webcast 15%

Phone 0

Ipod/MP3 Player 0

7. Do you attend concerts or events for any of the following organizations?

Orchestra Iowa/Cedar Rapids Symphony 33%

Riverside Theatre 27%

Englert Theatre 46%

CSPS/Legion Arts 30%

Hancher/UI 55%

Gallagher-Bluedorn 27%

Iowa City Community Theatre 8%

Old Creamery Theatre 14%

Kirkwood 30%

Iowa City Jazz Festival ` 72%

Iowa Arts Festival 45%

Friday Night Concert Series 34%

Other 19%

8. What two radio stations do you listen to the most, other than KCCK?

IPR News (KUNI-WSUI)	34%
IPR Classical (KSUI)	16%
WMT-AM	6%
KKRQ	5%
KDAT	3%
Sirius/XM Satellite	3%
KXIC	2%
KGYM (ESPN)	2%
KMRY	2%
KFMW	2%
WMT-FM	2%
WVIK	1%
KRNA	1%

Others mentioned: KXEL, KRUI, KCJJ, KZIA, WOI, KHAK, KOKZ, KQRN, WHO, KNWS, KFOG, WBBM, KAT, KBEN, Wisconsin Public Radio, KUMD, WGN, KKHQ, KPLU, KCRR, KUVO, KMXG, KTSU, KPLU, WWHP, KGRR,WAMU, WPFW

9. What non-broadcast Music sources to you listen to?

My Own (Ipod, CDs, etc)	76%
Internet Music Channels (pandora, etc)	37%
Internet Webcasts of Over-The Air Stations	27%
Satellite Radio	23%
Other	8%

10. How do you listen to KCCK online?

Website 100%

Facebook 3%

Twitter 1%

11. What information or programs do you look for on KCCK’s website?

Online Playlist 74%

Concerts/Local Events 56%

Jazz News 33%

Webcast 29%

Podcasts/On Demand 6%

12. Have you ever pledged online?

Rarely 41%

Sometimes 62%

Frequently 24%

13. Are you a KCCK Member (contributor)?

Yes 79%

No 38%

Not Sure 7%

14. If so, how long have you been a member?

6 or more years 57%

1-5 years 38%

Less than a year 5%

Demographic Information:

15. Age

Less than 18 1%

18-24 2%

25-34 6%

35-44 8%

45-54 27%

55-64 35%

65+ 19%

16. Gender

Male 70%

Female 30%

17. Education

High School 6%

Some college 15%

Associate’s Degree 8%

Bachelor’s Degree 30%

Master’s Degree 28%

Doctorate/JD 17%

18. Household Income

Less than $25,000 6%

$25,000-$50,000 19%

$50,000-$75,000 20%

$75,000-$100,000 24%

$100,000+ 31%

Summary of Narrative Responses

What is your favorite thing about KCCK?

o The Music and public events

o The variety of programming...no matter what time of day it is, I usually like listening to what's on.

o Nice people and good music

o Jazz

o Live DJs!!!

o No endless obnixous ads that are louder than the regular program. I don't mind when the DJs talk about sponsors and I try to give business to those that I can. I like that there is a variety of music, Jazz, Blues, New Age.

o The music

o Independent radio station.

o Music I can't hear anywhere else

o Wide variety of jazz music uninterrupted by commercials.

o The music and the great personel

o You hear a variety of music & stylings daily.

o The wide range of jazz programming. Accessible people. Mix of strong local shows and great national programs.

o that it plays jazz

o The playlist, where I can look up the info on a song I heard at a certain time & date.

o COMMERCIAL FREE!!

o Great way to find or even just remember stuff I wouldn't otherwise play on my own

o Craig Kessler and the Iowa City Jazz Festival

o Craig Kessler's Saturday afternoon program; Jazz Masters; Jazz at Lincoln Center; Jazz Set; Marian McPartland's Piano Jazz

o "The 6pm shows (JALC, Piano Jazz)

o Jazz Corner of the World

o Bobby D Blues"

o A great, rare musical outlet that is wonderfully "plugged in" to our community.

o Variety

o Jazz

o The mix of jazz through the weekdays

o "jazz, jazz, jazz

o your incredible knowledge

o your local sponsorship of music in the schools, under the stars, and everywhere in-between"

o Music styles; I love Marian McPartland show

o The quality and variety of the programming.

o the music

o "Local station

o jazz under the stars

o programing variety-jazz"

o Blues!

o How cool you guys think you are. It's charming how hep you cat's come off on the air reading your jazz birthday script. Especially that guy over the noon hour.

o How cool you guys think you are. It's charming how hep you cat's come off on the air reading your jazz birthday script. Especially that guy over the noon hour.

o How cool you guys think you are. It's charming how hep you cat's come off on the air reading your jazz birthday script. Especially that guy over the noon hour.

o "My favorite thing about KCCK is that you once in a while play something good by accident, out of ignorance. You occasionally let a student display some quirky stuff late at night. The rest of the time you play tired pop instrumentals fit for a dentist's office. Yawn.

o Craig Kessler's show.

o It's about the music - not profit.

o The people and the local involvement!

o the personalities

o KCCK presents me with new artists and new music that, without such programming, I wouldn't hear. As a result, I have widened by appreciation of jazz.

o "Freedom of the DJs to make their own selections. This guarantees a real mix and reflects personaltities.

o I also love the playlists which allow me to go back to find the title, etc of tracks I didn't hear at the beginning. "

o Programing

o We help bring music to soldiers around the world now.

o Best jazz station in American.

o Real Jazz, new & old

o its independence from the commercial radio formula

o professional broadcast staff!!

o GREAT MUSIC and real LIVE people who know what they are playing and care that it is done right.

o Saturday afternoons 2:00-6:00.

o Love the variety of jazz that you play -- I think it's good to be exposed to different types of music. But I hope rapp music is never considered to be jazz.

o "I like KCCK as background music.

o I like hearing the musicians listed.

o "I love the type of music you play. Its all smooth an relaxing music. Please keep it moving.

o Uncompressed Sound with music that's scarcely heard elsewhere.

o Jazzzzzz

o Jazz all the time. Jazz in the community. Informed host who play the music. Information from the host about the music without too much talk.

o I like th evarity of music - love whenn you play multiple tracks without interuption

o The music

o the variety of music

o That it's something the whole family can listen to and NO COMMERCIALS!

o jazz and special features

o Jazz music

o The Jazz

o Wide variety of music, with identification of artists for each track played and information about when it was recorded. I enjoy learning about jazz history in this way, a little bit at a time, related directly to the music I'm listening to.

o Unless one has XM/Sirius it's the only way to get jazz while driving the car

o good mix of new and old jazz music. I like the history of the artists and the background information of what lead up to a particular artist doing what s/he did

o It is a pleasure for a veteran of radio (and TV) to hear a station which is SELF CONFIDENT. That is the key to listeners.

o Your readouts are somewhat tedious, (album jackets and other

o prepared remarks presented into the microphone,) but YOU CARRY IT OFF. That is niche behavior. As I said, if you like it, you like it, and generally buy into everything. "

o JAZZ STREAM

o The music

o Only place on the radio dial to find the music KCCK offers.

o It plays jazz and it is commercial free.

o the small family like feeling wher even if you don't know everyones name you know you have seen them before

o The idea that it's a locally programmed public radio JAZZ / BLUES music station

o great music

o Non-vocal jazz

o Good music. No commercials.

o That it's a whole music education; lots of background given about performers and performances

o the variety of music

o Easy listening

o Nice variety of JAZZ and you educate me about the groups.

o variety of jazz types and commitment to good music

o There is a sense of familiarity- I used to listen to you as soon as I walked in the house (I don't watch TV) and through the night when I was breast feeding. Lately, I have been opting for quiet when I come home. But I enjoy hearing the familiar DJs and education about the music and singers when I am making dinner or getting ready for church on Sunday mornings (before Gentle Jazz- I am not especially fond of that program but that's okay I listen to it if its on).

o That KCCK is here in Cedar Rapids.

o Consistently great music. Knowledgeable announcers.

o new and original programming

o Variety of music nd lack of advertisements

o It is great to have a station that plays jazz.

o Learning about jazz. Informed dj's.

o It's local! The weather updates are actually germane (IPR is state-wide and not specific enough). I *love* litening to swing on the radio - KCCK is the only sour e for this.

o no commercials and it plays lost of songs that i never heard before so i get to hear something new

o variety of music, cd of the month, history and information about the artists and performers supplied by the djs. like the variety of on the air hosts--all have different personalities. not much repetition of music. like hearing "old standards" done by different artists

o That your station actually EXISTS, & makes your excellent programming available. Also, in the firm belief that most "liner notes" on any recording are inseparable from the recording itself, it's GREAT to have knowledgeable radio hosts giving us info on the performers in addition to the performance.

o "No Commercials

o Sound quality.

o Funk at Five, the Saturday programing (Radio Deluxe, Smooth Jazz), the contests, support of local musicians, Jazz Under the Stars, and just plain having a great Jazz station to listen to.

o the music

o It ain't pop, man. It's Jazz!

o A great source for jazz

o Mellow jazz and announcers as background in an empty house.

o It's a phenomenal station that I love telling my clients about (I'm a Realtor). It's always reliably good.

o sunday morning swing

o Jazz history, bios and music

o the jazz--

o Just about anything "jazz." it's a great way for me to start my day.

o Just the fact that it offers jazz music in general, I may not like everything played but I still appreciate hearing actual musicians versus what is on the majority of radio stations these days.

o The music

o The online playlist to go back and listen to what you heard the night before!

o The music!

o I learned about KCCK years ago from the concerts in the park. I love those! I love the VARIETY of jazz. I like so many kinds of music that it is great to have the variety. I like the comments about the music, as I am always learning more.

o mix of jazz styles

o Sunday music

o Jazz that you cannot get in the Quad Cities except for Jazz Patio on 86.1

o Few interruptions to the jazz!

o Jazz

o Just about everything.

o Love the Blues on Friday and Saturday nights.

o It's a great non-commercial local resource.

o "The quality of programming and the on-air personalities.

o Still really enjoy Big Mo and Bobbie D on Friday and Saturday nights. They were what brought me over to becoming a contributing member, years ago."

o variety and no commercials

o Local angle and ownership.

o local announcers seem very "real," not commercial/artifical

o good music selections, jazz education, ONLINE PLAYLIST!

o "Great Music with a Background. The quick band member, composer,lyricist,etc. run down. A little history. A little personal info.

o ""Way"" better than commercials. Yeah! No Commercials. Just sponsors.

o Anybody helping ""Keep The Music Playin' "" gets some of my gold.

o music, no commercials

o news, weather

o variety of information, business, local information, movie reviews."

o Friendly announcers/producers who have been around a long time, like old friends.

o Also, calling attention to local events."

o No ads and great programming the vast majority of the time.

o The variety

o The music and knowledge that the DJs give on the artists and the music

o Variety. The hosts know their stuff.

o Being able to donate money for music I love and to keep it going!

o he variety of music. My daughter lives in San Fransico -- when I visit her -- I can not find a radio station that matches the quality of KCCK.

o VINTAGE JAZZ in EXCELLENT AUDIO !!!

o Wonderful programming.

o when REAL jazz is played

o hearing the latest in jazz recordings and historic vignettes

o Gordon Paulsen's show in the afternoons

o great music and knowledgeable staff

o straight ahead jazz

o the variety of music, and no commercials, info on community events

o the music and lack of constant commercials

o variety of jazz

o I like listening to the music and having intros explained by knowledgeable people. I also very much appreciate the lack of ads!

o "Over all selection of music, lack of commercials and talking,

o easy listening on Sunday Evening"

o The music and on-air personalities. I have learned so much about this genre by listening. It has really expanded my interest and exposure to new artists.

o Your total Jazz programing

o Format and on-air personalities

o Classic jazz and news

o Quality of music and the public radio format.

o great variety. You can hear everything from Big Band, Frank Sinatra, latin jazz, great blues music, great female jazz singers, and of course my favorite group, Bela Fleck and the Flecktones.

o The lack of ads

o The music of course and the radio hosts(DJ's). The noncomercial aspect.

o "variety of music

o Jazz under the stars!!!!"

o Diversity of music - NO ONE else plays your variety - jazz, blues, funk!

o Music history & education

o Variety,support for local players & events.Only place to hear the Jam bands/progressives.

o Explanations of music, musicians, historical anecdotes; introduction of new CDs and young artists

o "Jazz Corner of the World

o Sunday morning jazz"

o Little talk, easy music.

o Jazz Corner of the World

o Saturday afternoon jazz programming.

o Support of Local events

o My absolute favorite thing about KCCK is the highest of possible standards that your guy (Kessler) displays on Saturday afternoons... Honoring great music with the love and attention that it deserves! There's no reason that KCCK can't aspire to that level of programming all the time.

o "I like hearing about local music events.

o The on-air hosts are all very personable.

o And of course... the music!

o That it is devoted to jazz and blues.

o No commercials! Good music--an even tone that isn't anxiety provoking or obnoxious. Cool jazz.

o Locally owned and opporated

o The personal touch and the local connection.

o good jazz

o Locally played Jazz.

o Dedication to quality jazz and music; excellent local news & weather; good djs.

o the jazz corner of the world

o Saturday afternoons are my favorite programming period. I wish there were more jazz on weekend nights - good jazz, not the light/new/coffeeshop background noise stuff.

o "It's the People..Stupid!

o I feel I really know most of you,and that is a very good thing, and you all know a lot more about jazz than I do."

o Great programming. Great announcers. Great format

o Having no commercials.

o Quality music, blues, no commercials

o Great Music, Good Programming

o I enjoy having a local jazz station.

If you could change one thing about KCCK's programming, what would it be?

o I don't care for the "urban" jazz on Sat. a.m.'s and Sunday Afternoons - too much talking by Cary J. Hahn.

o Bring back Night Breeze on Sunday nights...I'm familiar with the circumstances as to why this program no longer runs and I do like the programs that you have designated in its place (eg. Putamayo Jazz, etc.), but there was something unique about being able to listen to ambient/new age music on Sunday Evening.

o less talk - more jazz

o I would like to see more big band jazz played during the full day rotation. The small group jazz programming is great.

o Sometimes the real far out jazz, that sounds very random, will have me change the station for awhile, but I would bet that is something other people really like, since where else would you hear it.

o I think that as the KCCK listeners start aging, it might be a good idea to start introducing more recent jazz or jazz-influenced genres. I sometimes think that a Post Rock-based show might be interesting including groups like the amazing Chicago scene with groups like the Chicago Underground Duo/Quartet, Tortoise, Rob Mazurek, Jeff Parker, Isotope 217-- these are all on the Delmark and Thrill Jockey labels-- which I'm most familiar with, but there are a lot of other interesting bands in this same space.

o Eliminate Sunday afternoon program with Gary J. Hahn

o Certain programs I listen to rarely, particularly Sunday afternoon.

o maybe more on air during the beginning of the evening and not so much programming after 7:00 pm

o There's a lot of talk between songs.

o Doug Jackson's Saturday morning programming. I avoid it.

o more mainstream

o Schedule the overnight programming and put it in the weekly newsletter so I can know when a particular program I missed (Jazz at Lincoln Center, Piano Jazz, etc.) will be rebroadcast.

o More Blues on weekdays and week nights.

o As above in 'Favorite Styles of Music' I love when groups take a jazz mentality to modern music; rock, electronic, hip hop, whatever, and make their own 'mash ups' of the genre's without being overly 'heady' about it for the sake of making it difficult. Messing around with different styles of music is what jazz is all about, and it keeps the music relevant and gives the average Joe something to relate to if they don't otherwise listen to the music.

o Play jazz on Friday nights, Saturday nights, and Sunday nights.

o Less smooth jazz, Funk at 5, Sunday evening/night show, less blues. This is prime time jazz listening time...

o No more blues. No more "smooth jazz". No more Echoes. Limit or eliminate the type of "funk" Gordon plays. Be much more selective in choosing new or recent releases. There are wonderful new artists and new releases available each month, but I often hear forgetable music on KCCK.

o Cary J Hahn

o Pace, feel of weekday mornings.

o Weekend programming...some of it is not my style at all.

o Revamp the weekend to make it more like the rest of the week

o I don't love the Saturday morning show - it's ok but a little heavy on gospel. I'm sure there are many folks who really like it, though.

o Play music (jazz) that is more melodious. Some of the songs I hear sound like a gaggle of third graders that are trying out their instruments for the first time. I realize that some people might enjoy that sound, but I usually change the station.

o It's nice to have the Putamayo show back, but I miss the new age/ambient music that was replaced by Cafe Jazz.

o get rid of the commercials...that's what they really are; highlighting supporters with commercials..it's certainly not commercial free.

o More blues.

o "I used to be a faithful listener years ago all weekend long when you didn't have specialized programming with music from the 40s. Seems like that is all I hear when I tune in on the weekends. If you don't like a steady diet of that music or rock blues, you pretty much don't have much to offer on the weekends."

o "The top down control. Charts and sales, when it comes to jazz, is f***ing death. But you all are more concerned about your jobs than about the music. It is painfully obvious.

o You folks could make a difference. Instead you cop out."

o More consistent, high quality, REAL jazz, especially on Friday, Saturday and Sunday when I want to listen.

o I would change the weekend programming. I like to listen to the radio all day while I work at home on the weekends, but most often I switch off my radio at certain times because I really don't care for the music or the music producer's banter. I almost never feel compelled to turn off the radio at any other time. Some of the programming that comes to mind includes: Saturday morning smooth brunch, Radio Deluxe, and Big Band Memories.

o More ambient of course!

o I like Mark Yother. But the "Got a Minute" segment has gotten threadbare and no longer humorous. It seems to become an effort to find amusing stories and related jazz music. I'd eliminate it or would change the concept to freshen it.

o "Eliminate ""Funk at Five"", when I have the most time at a stretch to listen.

o Eliminate that awful worldbeat stuff. Do I have the right programming name? I mean the electronic, ethereal, other-worldly elevator music.

o The tendency to play the same track from an album repeatedly rather than change tracks.

o Not routinely announcing , at least briefly, at the end of a selection, what it was (and who) we just heard.

o Sorry that I couldn't restrict this to just one thing. You choose.

o More use of the Sunday morning personalities.

o Decrease the shlock that appears often during the day. Some of the music isn't good & isn't jazz.

o more Sinatra in the morning

o more BLUES!!

o If Mark Y. would speak up it little bit. Mark you tend to mumble in the early mornings.

o I would ditch the Saturday morning smooth jazz programming ASAP. Static would be an improvement.

o More smooth jazz offered during the weekday.

o I would play smooth Jazz at least 8 hours a day.

o I would stop trying to please the few new-agers, witches and Wiccans in Iowa City by talking about the global warming myth and by playing 'mother earth worship."

o More classic jazz

o Saturday morning. The "mo-town" smooth brunch jazz just wears thin in very short order. It is a time of the day I would really like to tune in but find myself shutting it off Sat after Sat.

o Play more multiple tracks without interuption - Play full album sides like Miles Davis Kinda Blue so you can truly get into the music - I woul dpledge more if this was possible

o Some of the local DJ's talk more than I wished they would; I also dislike the local movie reviews.

o Saturday and Sunday morning programming really needs to change. The music being played on Sunday morning I don't care because the recording are very scratchy and old which is not conducive to a calming experience. Saturday morning is ok but I can't take too much gospel.

o nothing specific

o There is one announcer who is very difficult to understand, he sounds like he is talking with amouthful of food. Replace him

o More Dixieland, Please

o Get rid of Funk at 5. If you don't get rid of it, play a wider variety of funk and stop playing the same tracks within the span of a week. Stop playing those live tracks that have audience participation that you can't hear--they're so damned BORING! Mercy!

o Can you bring back "Listen Here!"?

o " NOTHING, or some of the ""complaints"" in the earlier boxes.

o less blues

o Replace the Sunday night music and the Saturday morning music with mainstream jazz.

o A little bit more upbeat morning music to help me get the day started

o It's a nice mix

o play more blues

o I would sure like it if you would cary some of the talk shows like KUNI does...I really prefer there "news" coverage and listen to that station much more than I do your station.

o I've grown to like it very much. I used to listen only to classical music, but find your music great for working to in my workshop.

o Wouldn't change a thing

o I like it as it is.

o "Not a blues fan

o Not a fan of funk at 5 when I am usually in my car. MORE SMOOTH JAZZ

o Ok so more than one thing"

o less blues and more sraight ahead jazz on Friday nights and Saturdays

o "I enjoyed Night Breezes on Sunday nights- that was a relaxing way to end the week-end. I would like that back.

o I don't know if its anything that you can do- the radios at my two offices don't get KCCK in very well. I would really like to play it- no commercials, love the music, share it with my clients- but if we walk by the radio, it gets staticky (did I spell that right?)"

o Take Craig Kessler off. I tire of he's endless history lessons on Jazz each week. If I wanted to take a jazz music history course, I would sign up to one at a local college. His repeated throat clearing and pausing as has forced me to turn off KCCK when his program begins and I rarely turn the station back on the rest of the day.

o "I listen to KCCK in my car, and while I can't disagree with anouuncing songs in 'three's', with jazz, it just doesn't take that long to get from point A to point B in CR. As a result, we miss most of the time, who the artist is and I think that's a shame for people who end up going out and buying music either on CD on on Itunes.

o don't play "old timey" music on weekends, e.g. from 1920-30s

o More funk

o More Gentle Jazz--on Sunday afternoon and Friday evenings.

o I don't care for the got a minute program because the music that goes with it is so hokey.

o Nothing - good balance between music and brief news updates, etc. OK, maybe move Sunday Morning Swing back to 7:00-10:00 a.m. :)

o more blues

o For lack of a better musical term, it'd be great to hear some high energy "jump tunes" programmed...some of the great stuff put out by Louis Prima, also when Louis & Keely Smith were backed by Sam Butera & the Witnesses & some of Sam's later efforts...ala / Sam Butera & the Wildest...perhaps some of Louis Jordan's recordings...in other words those great 3-part riffs, created on the spot, copying each other's 4-bar & 2-bar solos...to me, this type of music just "leaps off the wax."

o Discontinue dixie land, do not like.

o "i would play less Jazz that the melody is unrecognisable.

o Some of that sounds like a nervous breakdown waiting to happen."

o More vocal Jazz

o More smooth jazz.

o Less fusion and stressful music. More funk and smooth jazz.

o "less vocal jazz

o eliminate writers almanac and that type of programming."

o Saturday morning, most of what's played isn't jazz.

o Less harsh (modern?) jazz.

o Sometimes a tune or two of what we fondly refer to as "spazz jazz" is played in the morning (6-8am) that we're just not up for yet.

o drop the sunday evening "easy listening format"

o Do without big band memories

o I would love to hear more aggressive jazz music, things that break the boundaries of jazz as it is known. Unrealistic as you have a certain audience to appeal to, I know, but one can dream.

o Some of the announcers do a lot of heavy breathing and slow talking without saying anything.

o Get rid of Echoes.

o Lengthen Funk at Five

o I like more music and less news reports. I can get the news online or on tv. I tune is and support your station for music.

o no more 1920's crap at 7:30

o I would make all week sound like Sundays, and put Echoes and Music from the Hearts of Space on when people are awake. I would also include great music that is not jazz or blues, creating more of a potpourri of sounds. I would also have several brief, maybe 5 minute, interviews with interesting people every day. Library Board thinks something is a good use of $40M, get 'em on to convince Craig Yother. Do a series of man-on-the street interviews with citizens about how they use the library. Flood stories. 5 minutes, and everyday.

o stronger signal to reach Davenport

o "Saturday morning choice of music currently played is not my favorite.

o I do rather listen to big band music while doing my Saturday shopping. "

o No complaints

o It seems the volume of the on-air host is lower than the music. Exactly the opposite of most commercial stations. Your hosts have interesting things to add to the music, but I don't catch it all unless I turn up the volume slightly. I am 55 after all, and it might be just me.

o "Drop the weekend blues music in favor of more jazz-oriented fare. Perhaps more ""out there"" music than during the week (funk, experimental, jazz-rock fusion, etc.).

o Even more jazz-flavored blues, or blues-rock, would be better, rather than the depressing quasi-country version."

o Make Sunday nights more like they used to be. (Mark Jayne's (sp?) eclectic mix.

o A bit more of HD-2 on HD-1!

o "fewer of the ""national"" shows that have too much talking, not enough music! Things like the Riverwalk Jazz show and especially Radio Deluxe -- although I may not need more of Bob DeForest, most of the other local shows are better to me than these national things, and why shouldn't you stress the local productions?

o Also, it would be nice to have some local news, maybe just few minutes on the hour..."

o I can't think of a single thing.

o I wish George Dorman and the morning news person had louder voices. When the news comes on at 6 a.m., I need to turn my radio up to hear them both. When the music comes back, I need to turn the radio back down.

o Convince the current progressive jazz world to cut down the use of saxaphone players who practice their scales and arpeggios (rehearsal etudes) and want us to think they're being creative. But KCCK can't control that.

o The Sunday afternoon and evening programming. While I appreciate the history, I am not a fan of big band music, the exception being Duke Ellington. He nearly singlehandedly shaped jazz in his time and beyond. As for the Sunday evening and night programs, I've heard it called wallpaper music. I second that opinion. Sunday afternoon and evening is when I fire up Pandora if I'm home.

o Nothing really.

o More blues and vocal jazz programs, possible daily.

o During the morning "commute" (CR doesn't really have commutes compared to cities like Chicago) -- the music can be a little loud for that early in the morning.

o Rhythm Sweet and Hot -- at a later hour than 5 AM Sunday morning

o "getting rid of non-jazz selections on the weekend nights/ daytime throughout the week

o ( new age, world music, fusion, etc) "

o Would like to see the ambient programming (Mark Jayne's Nightbreeze) return

o get rid of smooth jazz and pop music

o more funk and blues scattered in throughout the week

o nothing

o I'd add more of the world related news programs that other NPR stations have. I love hearing music and listen for that reason, but I'm usually feeling a bit behind in world news as I don't watch much TV.

o Friday night Blues is my least favorite

o Nothing ... I think you do a fantastic job of broadcasting, PLUS you are so community-minded.

o Radio broadcast signal strength to reach my home.

o Restore NPR newcasts

o Delete the blues, and add more news.

o Increasing signal strength or signal penetration - I have a different work schedule now and am rarely in an area in which the radio broadcast signal comes in clearly (DBQ to Quad Cities on Hiway 61). Now have Direct TV with those music services to play on home theater speakers so don't listen in to webcast as much as I used to though I do now run it through my computer to home theater. It's more work though.

o Fewer extended interviews.

o The Radio Deluxe Show on Sat morning. . .I don't care for the commentaries from the DJs.

o Less 20's-40's Big Band jazz on Sunday

o I'm not a big vocal jazz fan, but I know that lot's of people are - maybe you could carve out specific periods to meet both needs?

o More about women jazz musicians, more about KCC musicians, community jazz/blues education

o No new age,no Fuzak

o "Too much style shifting.

o Going from smooth to bebop to fusion and back doesnt work for me.

o Programming should be more consistent in terms of era/style.

o I'm not fond of the Saturday morning music, whatever it is called.

o More good, real jazz - more shows like Jazz Corner of the World throughout the week. Not so much light jazz, easy listening or fusion. Maybe you could even rebroadcast some older Jazz corner of the World shows.

o Perhaps refrain from fusing genres during a set time frame. When we are expecting classic jazz programming, it should not overlap with fusion or smooth jazz programming. This type of programming confusion inevitably turns listeners away.

o Less smooth and vocal jazz

o You must think about not playing a variety of jazz genres in the same program. I'll hear 3 or 4 great tunes in a row and then elevator music (the Ripingtons or the like). Frankly, I find it disrespectful that you would play a 5 min. piece of c_ _p amongst examples of great art!

o RETURN SUNDAY EVENING PROGRAMING FROM 6:00 P.M. ON LIKE IT WAS MONTHS AGO. THE NEW STUFF THAT PLAYS FROM 6 TILL 9 IS NOT THAT GOOD & I MISS THE AMBIANT MUSIC THAT USED TO PLAY.

o No "old" dixyland and big band, esp. after "gotta minute" and Kary J.

§ More rebroadcasts of KCCK produced programs so that each program can be heard not only in the wee off-hours of the morning but during a day, evening, and night slot too.

§ More broadcasts of KCCK recorded events. Maybe a new scheduled-program that focuses on KCCK’s recordings and on local musicians. This program could also feature a segment in which a guest host helps select the music and has conversation with the program’s DJ.

§ Like KCCK’s work with the Iowa City Jazz Festival, could KCCK be part of the Bix Fest in Davenport and/or the Cedar Basin Dixieland Jazz Festival in Cedar Falls? Could we broadcast live and/or record for rebroadcasts?

§ I would also like to hear Riverwalk Jazz and the Putumayo World Music Hour broadcast more often and during more convenient time slots."

o "Saturday morning should be a time for hard bop, not fluff. But, OK, I understand that Doug Jackson's show is very popular. But couldn't we at least keep the smooth jazz limited to his show? When the fluff gets sprinkled in throughout the day, I end up having to turn the radio off. Mixing smooth jazz in with mainstream just doesn't work.

o Why not become a true jazz station? The fluff is available anywhere, but the real thing is harder to find. Let's be real!"

o The weekday morning show can be ear-poppingly "squeely" at 7 a.m., to the point of having to turn it off sometimes. I would prefer mellower jazz at that time of morning. (since you're asking)

o Your four-hour block of big-band music on Sunday afternoons. I enjoy the last two hours because the host will shake things up with old broadcasts, etc. I understand that Carey J. Hahn has a big following, but sometimes I feel like every week is a Glenn Miller lovefest.

o its fine

o I've expressed my dislike of vocal music during the daytime before, as it is distracting at work. But you win awards for programming in this time slot, so I must be wrong.

o I'm just not a fan of Big Band or Blues. Sorry.

o less fusion, more real jazz, no non jazz programs (Sunday nights)

o I'd like to hear more, well, consistency. Sometimes I'll tune in and catch a really good classic jazz number only to turn it off in disgust when the next song is this fusion/light/smooth stuff.

o I would like you to pick up the PACIFICA news feed. If you are unfamiliar, it is totally different perspectives. That is the main reason I listen to www.kpfa.org evening news..to get the Pacifica Feed. They have a 15 minute version. Please try it for 30 days???...see what people think?"

o Announce every song. When you announce every three songs, you absolutely never know who's on and you then have to go to the online playlist when you get home.

o None

o "Some of the DJ's seem to go off on Tangents like the Sunday morning show a couple of weeks ago that was heavy in Religous music

o Add NPR to schedule around Dinner time"

o "There are too many mindless jazz drum solos through out the day and week. If there is a drum solo on when I turn KCCK on and I cannot identify a tune with that solo, I now turn KCCK off for the remainder of the day. Thus my interest in contributing is also diminishing.

o I prefer smooth jazz, and this is one style from which you will introduce more people to jazz than from Miles Davis's ""Bitches Brew"",but I am willing to listen to most jazz until the tunes with the long drum solos come along.

o I even enjoy Latin big band, but I am still having trouble enjoying regular big band."

What other comments do you have about KCCK?

o Love it!

o Keep up the good work and I hope that Kirkwood will always be very supportive of what you do.

o It's a real shame that such a great station as KCCK is, the reception is so bad in many areas of Coralville and Iowa City - so close to the Kirkwood campus. Even with a new HD tuner and HD roof-top antenna in Coralville (North of I-80), your signal frequently drifts in and out, causing volume spikes and other irritations.

o Think you are a great alternative station, and you do a lot to support community music scene.

o Thank you for enriching my life with jazz music.

o Thanks!

o For the most part, just keep doing what you're doing.

o "I would wear out my computer keys in a positive form-- i have been on too long--time to listen to the radio and read the newspaper.

o All of you have and will continue your outstanding work at Kcck. That is a fact"

o Thank you for the survey!

o I appreciate the HD Radio signal but wish it would live up to iBiquity's hype and sound more like a CD and less like MP3.

o Great job!

o I used to be a member, back when they played more jazz. Now I often turn on KCCK only to find they aren't playing jazz and I turn to another station. It is misleading to say you are a jazz station.

o I understand the reasoning money-wise of playing many different things, but it is this that keeps me away from listening. The definition of the word "jazz" get very blurred and obscured.

o I've been a long-term supporter of KCCK. I'm sorry to say that I listen to KCCK less than I used to now that Sirius Satellite Radio and Real Jazz is available in my car and in my home. Most of the time when I turn on KCCK, I hear shows I'm not interested in---blues, world music, etc. I looked at your play lists on the website, and you play some good jazz during times I can't listen--good artists like Kenny Wheeler, Ben Allison, Jan Garbarek, Enrico Rava, etc.

o I actually like the music Doug Jackson and Craig Kessler play on Saturdays, but their talking sometimes seems endless, and I go away. Is there a gentle way of relaying this to them? Alas, there is no hope for John Pizzarelli, who is way too full of himself. I wish you would lose that show, as well as Cafe Jazz (a step backwards). Also, the daytime features seem to be proliferating. I don't have much use for Midday Market Report, nor Sittin In. Thank you for carrying Echos, Putumayo, and Brazilian Hour (so late!), all EXCELLENT programs of world music.

o "I can't even begin to tell you how much I love KCCK! I listened to public radio for many years but turned away when the stations were combined into generic public radio. I am so glad I came back to KCCK and have rediscovered jazz and its importance to me. I also LOVE that you give me local weather (I don't really care what the weather is in Sioux City!) and the sports scores for local and regional teams (especially baseball).

o I have talked to Lisa about the possibility of putting together KCCK sponsored trips to jazz festivals, but we haven't really sat down and discussed this in detail. I would love participate in something like this!

o Thanks for being there!!!!!!"

o Don't know what I would do without this station!

o HE ON-AIR PEOPLE ARE SUPERB.

o "I can no longer listen to Kellison on Saturdays..his constant throat clearing drives me nuts.

o I am a Blue note member and have never heard my name on the air, as ""those special members we want to recognize"" "

o "I know you guys try and it shows, but it is painful sometimes listening when market guy tells who's birthday it is and then makes some attempt to connect that to the markets. I know you are a jazz station and that is what should stick with me, but how painful that is everyday makes me turn the station every time.

o Then when I am really digging some jazz tune and you follow that up with some ghastly singer. Somebody on your staff should listen and weed through that stuff. That shouldn't see the light of day.

o I dig the variety of jazz you play but there are so many atrocious vocals, that come right after a cool tune, I get frustrated and put on my ipod.

o Sorry to be so hardcore, but you asked. I used to want to gladly give my money to KCCK. Now it seems like I get a fundraising letter or pitch or gimmick about every month.

o I have pledged to about 15 different public radio stations in my travels. KCCK tries so hard but falls short in my opinion. Most of the jazz I learn about through other sources and other jazz stations on the internet. It seems like there is a very selective playlist you choose from when there is ten times better jazz out there and I hear you guys playing Bela Fleck or Pat Metheny. That's easy. How about some James Newton, Yousaf Latif, Gene Harris, Jimmy Ponder, Ira Sullivan. The only time I hear people like that is on their birthday. Mix it up more, take some chances. Nobody wants a steady diet of jazz. Funk it up like Gordon during the day. Stop being status quo. That enough?"

o "I know you guys try and it shows, but it is painful sometimes listening when market guy tells who's birthday it is and then makes some attempt to connect that to the markets. I know you are a jazz station and that is what should stick with me, but how painful that is everyday makes me turn the station every time.

o Then when I am really digging some jazz tune and you follow that up with some ghastly singer. Somebody on your staff should listen and weed through that stuff. That shouldn't see the light of day.

o I dig the variety of jazz you play but there are so many atrocious vocals, that come right after a cool tune, I get frustrated and put on my ipod.

o "A bunch of arrogant fools playing bad music, with lots of ads.

o "KCCK programming is too inconsistent. There's too much intermixing of styles/quality during the weekday. For example, Coleman Hawkins might be followed by the Rippingtons, at which point I would switch stations.

o There needs to be more jazz on the weekends. I enjoy the Sunday programming until the evening when there is new age, folk, world music, etc., but no music that could be called real jazz. I'm not put off by the blues programming, but it certainly would be nice to have jazz on Friday, Saturday and Sunday nights, the times when I would be listening to KCCK if the music were more appealing to me. I think of WEEKEND NIGHTS as the TIME FOR LISTENING TO JAZZ, I expect to find it on a jazz station, and I don't find it on KCCK.

o I think that Dennis Green et. al. are doing a great job making KCCK a high quality radio station and a valuable community resource. I support the mission of KCCK and what you do for enriching life in Eastern Iowa. I appreciate that you're interested in collecting feedback from listeners and members and I hope you act on the feedback you receive.

o Please tell Mark Jayne that Paul Baack says hello!

o Keep up the good work!!!!!!!!!!!!!!!!!!!

o KCCK is a great community resource. The entire organization is to be commended for its commitment, dedication and excellence in programming. The station is fabulous!

o We're crazy about the station.

o Big Mo and Bobby D rock.

o I just hope that soon you will be broadcast over the air in central Iowa..we have no jazz programming in central Iowa, except what little, and poorly, is done now by WOI FM. I would love to help figure out how you could be set up with a central Iowa translator/transmitter.

o I was listening to a recent Saturday program...in PM I believe...could not believe my ears...I never thought I would EVER hear rap music on KCCK, but there it was...that is not considered music by me...it is more of an irritant...hope this will be kept to a bare minimum. Jazz, Blues, Big Band, Dixieland is what I prefer.

o Please keep up the good work.

o Please keep the jazz playing!

o I really enjoy listening to kcck. Wht a wonderful Radio Station.

o Thank you for keeping the NPR communist news shows away. Thank you for contributing a little class to an otherwise classless demographic. Thank you for caring what we think. Your 106.9 translator doesn't extend your range in any direction, it just overcomes a few dead spots in downtown IC. When you talk about donating stock and other non-cash contributions, please give the 'how to' also. I tried to give a 79 share stock certificate to Dennis Green at the studio but he didn't know what to do with it. Please tell George Dorman to fully research the global warming myth, which is nothing more than a negative population movement with no evidence whatsoever, and remove all reinforcing references to this hoax from your show. Please review whether you really have to broadcast Earthsongs and Hearts of Space. The earth is not animate and must not be worshipped. I always to off KCCK at 5pm because i hate funk. People who like it don't usually have money to donate anyway and it just reduces the overall content quality.

oMore frequently I find myself looking at the dial to see if someone has changed it. Jazz to me should be something you can tap your toe or finger to the music. Some of the stuff you play doesn't stay with you after it's over.

o Thank you!! A thousand times.

o I will make a pledge soon :-{ thanks for reminfding me

o I want to mention that I think "Radio Deluxe" is better than it used to be. The Pizarellis seem to have grown into it.

o You guys are the best!!!

o thanks for existing!

o generally, keep up the good work"

o Keep the jazz coming, a little more Dixieland if you can. Thank you.

o keep up the good work!

o love it, I put my children to bed with KCCK every night. My oldest is 9 1/2 and still asks for it, and my youngest is 18months old and he loves dancing to the Duke!

o "I first listened when traveling I-80 from central to eastern Iowa, years in the past. Very good,but I was a broadcaster then and had my own stew to stir. (I did it all, but spent my last 28 years as a farm broadcaster. I intend to be a contributor for as much time as I can think about it and listen."

o Keep up the great work!! You're becoming more and more rare and unique.

o Keep up the good work.

o Thanks for asking.

o Keep on doing what you're doing. You're an incredible resource.

o "Love the interviews of upcoming personalities for concerts, very informative.

o Hard to find any issues with your team. Keep up the good work."

o I am so grateful for your passion. Someone asked my 6 year old son what his favorite type of music is. He said Jazz. THANK YOU!!!

o Kirkwood does the entire corridor a HUGE favor by providing this community outreach. I always shudder in these budget cutting times that KCCK would go on the chopping block. I want everyone at Kirkwood to know that that would be a huge blow to the area. It's one thing for Blend to close, it would be another thing entirely for KCCK to go off the air. Do what you have to do to stay viable.

o Keep up the good work!

o It was such a pleasant surprise, coming from Seattle and NY State, to find the best jazz station ever. Good job. Please keep it up.

o Glad I found it--great resource for the area.

o Otherwise, keep up the good work....I think it's great to poll your listeners....we all have a musical pulse worth monitoring."

o I live in Walcott my job takes me between Muscatine and Iowa city. I would love it if your signal was stronger in the muscatine and davenport area.

o I'm SO glad it's there. It's soothing.

o Keep the jazz playing!

o I appreciate that this station is available.

o Keep up the good work! Your programming is an invaluable resource and a positive contribution to my lifestyle.

o Keep up the good work!

o You guys are great!

o I don't listen very often because I usually listen to books on tape while in the car.

o I question the value of being so singularly devoted to jazz and blues.

o Keep up the good work and we hope that you grow enough to reach the Quad Cities soon.

o Much appreciate the programming. I do not make on-line donations to anything. I only consider solicitations received in the US mail.

o I REALLY enjoy Bob Naujoks ""Short List."" I learn a lot that I never would have thought to ask about. I would like to see his compilations made accessible for the public. So, a suggestion...

o Consider making up some (or all!) of the ""Short List"" series into CDs and make them - or some choice from them - a premium for signup to membership. I for one would be delighted to have that option and would likely give even more.

o Jim Crosheck"

o Keep up the great work!!!!!

o Keep up the great work!

o Keep up the good work!!

o Thanks KCCK !

o "The Butterscotch Boullion (left) and Prune Moose (right) borders on the web page kind of throw me. Maybe it's my monitor color. (You can read maybe monitor color, or maybe it's just him.) But it makes me queasy. Sorry.

o I don't have any stickers on my car. I don't really even like having the dealers name on my car. BUT I WOULD PROCLAIM MY RADIO PROCLIVITY with a KCCK Car Window Sticker!

o I've noticed that the morning news man seems to lose his breath while reading the news. I keep wondering if he has a health problem. It has continued for some time.

o I have learned alot. I wish I could get the station on my house radio but it does not come in. Even though the radio is less than 5 yrs old.

o "Murray Kent,

o Mark Yother,

o Rhythm Sweet & Hot

o The 3 best ! !"

o We live in Iowa City only during the summer months (May to September). The rest of the year we live in New York City. KCCK's programming is better than any that we can get in the NYC area, including WGBO.

o It seems that at least some of the music selections have moved to more of the R&B genreand moving away from some of the more traditional jazz music. Also had hoped to keep some of the ambient programming from Sunday night.

o keep up the great work, dennis is a solid leader and visionary.

o too much music that is not really jazz. Pizareli's show should not be at noon or one on saturday. put it on sunday night if you must have it.

o I don't like chaos jazz during work day

o Keep up the great work!

o Keep the Music playing on KCCK

o Keep up the good work!

o I hope you don't get gobbled-up by the statewide public radio conglomerate.

o Recognize that people like me contribute at each fundraiser, not just once a year.

o Tell Dennis that we are long overdue for a lunch date.

o ~LOVE IT~

o Thanks,but I miss thoughtful news like Democracy Now

o This is one of the only problems I have with KCCCK is the almost nonstop ongoing plea for donations. I give what I can but lately things have really been tight for me and it really inhibits what I can give.

o "Keep up the GREAT work!

o Thanks from Jamie and Sue"

o Hope your financial condition is hanging in there - it is tough out there.

o Overall great job!you will never please all people,so keep up the variety.Even when I hear stuff I don't like it's at least different from the usual earsludge of most stations.

o Thanks for keeping the music playing!

o Keep up the good work. I know in these times it's hard to find the resources.

o "Do even more local features. I do love the High School Programs featuring local artists. But stay more focused on jazz..there is so little of it!

o Thanks"

o Thank you for your time and for listening to my remarks. I really hope that KCCK can improve itself by giving the listeners what they want. I don't think that I'm alone in my opinions, but I guess that remains to be seen. I would love to be proud of the station that I know that you are capable of becoming.

o "Too much old timey music. Also too many vocalists not really doing jazz- rehash of pop tunes, got to have the inflection- soul!

o Going down hill, I'm a VERY early listener, not likeing recent changes. Listen to Bob Parlocha (on-line)for Great jazz programming!"

o Thanks for taking this survey.

o "I am in love with jazz, and I love KCCK. But I've lived in other cities with stations that stick to true jazz (by which I mean no fluff, no smooth jazz). I wish we would too. (KRTU in San Antonio is an example, at least when I left S.A. 3 years ago.)

o Keep up the fabulous work and thanks for all you do for the community.

o Love it!

o The website is really pretty, but almost too packed.

o "Oh..I listened to one of your ads, and went to Club 76 in NL for Mardi Gras. BF Burt and other great musicians.

o Please support the many local cool musician we have. Think that is a major weak spot. Play their stuff. Identify as HOME GROWN. I never hear BF,or Bob Dohr (formerly of IPR)or Ben Schmidt or so many of the people who play and live in our bergs!

o Love Ya! T2"

o Sure wish the signal was stronger. Can only pick it up in the car. Sometimes.

o "I simply urge Kirkwood to do whatever they have to do in these tough budget times to continue to support the community outreach provided by KCCK.This is one of the true assets of our area and Kirkwood is a hero for providing this. It has enriched many students lives, created a whole area of educational opportunity, and provided enjoyment and awareness of America's most important art form. Well done.

o "Overall very nice Station. A great job by most of the DJ's