Dottie Grossman

thanks in advance
KP

http://www.thankyourecords.com/

Chuck Britt

love,
Dudessa de Albuquerque

I really enjoy your new website. Good luck!!!

Bill Payne

These smokin photo pictures by James Gale are from 22 March 2007 Outpost Performance Space, Albuquerque, New Mexico, USA and one 20+ – minute track from this evening can be found on compilation Vol.28 ALBUzerxQUE (Zerx Records).
That’s Michael Vlatkovich on trombone; Chris Garcia, drumset; Jonathan Golove, electric cello; David Mott, baritone saxophone; Mark Weber, poetry

From the first rain-to-snow night this season, in Denver Where we are suddenly all about baseball (???) Your website is beautiful I have to go hold down the roof now. It’s blowing like mad Always
jeant f. deer

Michael travels all over the U.S. playing wherever and anywhere — January 2007 found him in a little neighborhood pizza joint in Albuquerque playing with Mark Weaver’s Brassum — on one of Michael’s appointed solos he grabbed that banged-up tin pie pan that he carries around and slapped it onto the bell of his horn and started making the most gawd awful sounds ever emanated from a trombone I couldnt help but sneak a peak at the two New Mexico Symphony Orchestra musicians in the audience — a trombonist who’s a fan of Michael’s work, and a French horn player — and both these wonderful girls had horrified but delightful smiles on their faces, as Michael jerked this positively horrid sound (the ants came out of the wall to see what all the racket was) into a solo built like a house, constructed
of it’s own logic, a logic unto itself, inherent upon only its own laws, knocked together, bent nails, recycled rusty hinges, assembled only to exist for itself, purely honest — a magnificent display –

Similarly, several years ago at the Bing Theatre at the Los Angeles Museum of Art on Wilshire Blvd next to the LaBrea Tar Pits, a concert 20th year celebration for the existence of 9 Winds Records, a huge large (30 piece?) Vinny Golia ensemble was cooking up a few things, and when it came to Michael’s solo, this huge lumbering band was boiling, and Michael slowly and meticulously, and very deliberately constructed one of the most magnificent jazz solos I’ve ever heard — he’d lay down a phrase or two, then stop to listen (the band had no stage monitors, so he had to stop to hear what was going on, and decide how to proceed) then add another line, then stop and listen, then add another, and as this went on, the members that weren’t playing were all one by one slowly turning toward Michael because everybody knew something was happening, I remember saxophonist Bill Plake staring in awe as Michael built this architectural ediface of complete pure logic and lyricism and grandeur, to this day I get goosebumps remembering it –

And another time, when he was doing a studio over-dub session for me, at Quincy Studios, we needed him to tidy up a the Bubbadinos “Buttons & Bows” track — we needed an ending (the Bubbadinos had sorta destroyed the ending on the original take) and so, Michael stood at his mic as Quincy readied him for a “punch in” — Michael took one pass, and then said, “No, give it to me again,” hardly with less than ten seconds pause and he nailed it on his second pass with one of the most astonishing moments in Bubbadino history, I LOVE that track, BUT he wasn’t done! In 1949 or was 1950 Dinah Shore had a hit with “Buttons & Bows” (in 1950 Charlie Parker quotes the melody in Sweden!) so Michael adds the television commercial from the 60s “See the U.S.A. in your Chevrolet” phrase as a tag, that Dinah made famous. What a guy! *(see Zerx 047)

mark weber
6oct07
Albuquerque