Jazz Notes TM The Journal of the Jazz Journalists AssociationSM

Vol. 19, No. 1 • Spring 2008

From the Editor 3 Reviewing a long-awaited book.

President’s Report 4 On Great Black Music

Digital Promo: Bring It On 5 A Power Stronger Than Itself: By Andrey Henkin The AACM and American IAJE Invades Toronto 6 Experimental Music By Willard Jenkins By George E. Lewis

Kurt Mohr 7 University of Chicago Press, Chicago, IL, 2008; 672 pp.; By Ron Sweetman $35.00 hardcover Indian Jazz Revisited 8 8 Review by Alain Drouot By Max Babi his could very well be the most Frank Morgan 10 anticipated book of the year. Since George Lewis announced his plans By Laurence Svirchev T for a book on the Association for the Ad- vancement of Creative Musicians (A ACM), Book Reviews 11 the influential organization founded in By Art Lange, Mikayla Gilbreath Chicago in 1965, there has been much and Marcela Breton speculation as to when it would finally be published, not to mention the reasons for New Members 14 what seemed to be recurring postpone- ments. dustry in the first half of the 20th century News of Members 15 The long wait is now over and patience followed them when they pursued their will be rewarded. George Lewis’s ency- vision of a forward-looking music in the R.I.P., Late 2007 16 clopedic knowledge, thorough research ensuing years. Lewis describes at length and in-depth interviews have produced how the AACM struggled — and is still Six Clarinets 17 an eye-opening work. In terms of expec- struggling — to be recognized for its in- tations, it should be noted, however, that novations and contributions. Every time

IN THIS ISSUE IN By Laurence Svirchev & Paul de Barros Lewis’s purpose is not to present a musical black musicians have moved the music in analysis of the output of AACM members, new directions, a supposed lack of con- but to trace a contextualized history of nection to the tradition has been cited the organization. Another goal is to reas- JAZZ NOTES HAS GONE DIGITAL. and used to dismiss their output. And sert its significance in the development of somehow this criticism is rarely applied This issue of Jazz Notes is American experimental music, which has to white musicians. The question of rac- available in PDF only. been underestimated in the past. ism is therefore central to Lewis’s book. To download future issues or to Avant-garde and New Music have never Indeed, it was the issue of racism that discuss this change, visit had mass appeal, but the discrimination www.jazzhouse.org black musicians suffered in the music in- continued on next page | » » | AACM: from previous page prompted the creation of the AACM to point out contradictions between Jazz Notes and later resurfaced in an internal de- testimonies (his account inadvertently bate, resulting in white artists being presents two versions of Famoudou Don the quarterly journal of the ruled out for membership. Moye joining the Art Ensemble of Chi- cago). He also provides as many points Jazz Journalists Association Written from the point of view of an of view as possible when trying to shed insider (Lewis has been an AACM light on points of contention — the dis- Editor member since 1971), the book has to cussion about Sun Ra’s potential influ- David R. Adler be commended for its objectivity and ence is quite engaging in this regard. honesty. The author never tries to em- On the other hand, transcripts of the Associate Editor bellish the facts and refuses to dodge first few AACM meetings (Abrams had James Hale any controversy. In fact, over the years, the habit of recording all discussions) quite a few questions have created ten- Art Director make for one of the book’s highlights, sion within the outfit. For instance, the Forrest Dylan Bryant AACM was reluctant to accept women as they suffer no doubts and reveal the personalities as well as the concerns of (today, flutist Nicole Mitchell is co- Photo Editor chair). And one of the most fascinat- the participants. Laurence Svirchev ing turning points was coping with the Lewis enjoys digressions, but he knows great Chicago–New York divide that how to turn them into value added. He Circulation Manager has plagued the jazz world and ended always provides a context and shows Joseph Petrucelli up poisoning relations between AACM that the organization did not exist in a members. By the late ’70s a significant vacuum, but was a reaction to its times. Editorial Consultants contingent of AACM musicians had mi- For instance, he describes less success- Howard Mandel grated to New York, including the two W. Royal Stokes remaining cofounders, Muhal Richard ful attempts at organizing musicians Abrams and the late Steve McCall (the through the experiences of the Black David Franklin other two, Jodie Christian and Phil Artists Group in St. Louis or the Jazz Cohran, had already left the organiza- Artists Guild in New York, accounts tion). The AACM faced a crisis, and its that highlight the AACM’s relative sus- Editorial Correspondence Chicago constituents fought a tough tainability. This year, the AACM will David R. Adler battle to maintain the Windy City as celebrate its 48th anniversary, quite a 2122 Kater Street the home base. feat for a musicians’ collective. Ventur- Philadelphia, PA 19146-1215 ing into sociology and music criticism, Though Lewis’s book does not dispel Lewis attempts to explain the organi- (215) 366-1099 the impression that the first two gen- zation’s lack of commercial and critical [email protected] erations are more important musically success. than the last two, it provides some useful information about the organiza- Factual mistakes are so scarce, and Circulation tion’s latest developments and intro- have such minimal impact, that they Joseph Petrucelli duces many of the newer members who do not require elaboration. More ques- 74 Jewel St., 2nd Floor have risen to lead the AACM in Chicago. tionable is Lewis’s love for packing Brooklyn, NY 11222 What the book does not mention is a stories so full of information that the lack of visibility; to this day the AACM narrative can lose its fluidity, making (917) 292-4901 has failed to make its presence felt. It it hard to keep track of time frames [email protected] rents a space (a cubicle, in fact) at the or musicians discussed. Overall, it is a Jazz Institute of Chicago and its web- pleasant read, scholarly but not overly © 2007 Jazz Journalists Association, Inc. site was only recently overhauled, after All rights reserved. Reproduction of this academic in tone, covering a wide sty- being in limbo for quite a few years. publication, as a whole or in any part, listic range — from essay to storytelling Also, while it might have fallen outside without prior written permission of the Jazz to autobiography to an astute virtual Journalists Association, Inc. is prohibited. of the scope of Lewis’s book, it would meeting that closes the book and serves jazz journalists association, who asked have been interesting to learn about as a potent evaluation of the AACM’s you, anyway? and jazz awards are service the evolution of the AACM’s induction current status and look at the future. marks or registered service marks of the process and the reasons behind it. Jazz Journalists Association, Inc. jazz notes < < < is a trademark and service mark of the Jazz The biggest challenge of such a project Journalists Association, Inc. All other marks is relying on recollections that are as Additional book reviews begin on are the property of their respective owners. much as 40 years old. Lewis is quick page 11 of this issue.

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 2 Jazz Journalists Making Change Association s you know, dear readers, a cussion in the world would not fill the promoting the interests of shortfall in the JJA treasury JJA treasury to the necessary levels. journalists covering jazz A has led us to an unavoidable For that, we need a concerted fundrais- decision: to publish Jazz Notes as a PDF ing effort — and not just for Jazz Notes c/o Village Postal document only, and to make but for plenty of other JJA 151 1st Avenue it available online. The deci- initiatives, as you’ll find New York, NY 10003 sion will hold for the indefi- discussed in Howard Man-

nite future. We’d like noth- Noah Kalina del’s report on page 4. If [email protected] ing more than to be able to you have deep pockets, afford the ever-rising print or fundraising and grant- Board of Directors and postage costs that en- writing expertise and time Howard Mandel sure the physical delivery of to devote to the JJA’s im- President & Executive Director Jazz Notes to your door. But portant mission, please let James Hale, Vice President for the JJA to accrue debt in us hear from you. this fashion would be irre- From the Forrest Dylan Bryant sponsible. It’s worth noting that our Susan Fox Editor online move, however Gary Giddins To date, feedback on our problematic, is in keeping Reuben Jackson move to digital-only has David R. Adler with industry develop- Fred Jung been sparse. However, Bert ments in the new millen- Vuijsje of Amsterdam expressed his dis- nium. Antonio Terzo, one of the JJA’s Membership Secretary may in a recent email: Italian members, publishes a respected email-zine called jazzColo[u]rs, de- Jerry D’Souza I just started downloading the livered via PDF much like Jazz Notes 209 Hollyberry Trail new Jazz Notes, but I must say (online at jazzcolours.it). Other online Willowdale, Ontario m2h 2p3 I am not at all happy with this jazz publications include The Missis- Canada development. I am sure there sippi Rag (mississippirag.com) and Bill (416) 497-9785 will have been financial consid- Shoemaker’s recent launch, Point of De- erations that led to the decision [email protected] parture (pointofdeparture.org). Record to stop printing this interesting labels are also moving increasingly magazine, now in the 18th year Treasurer toward digital promo — a controversial of its life. However, I wonder how topic among music journalists, though Arnold Jay Smith many JJA members, like me, feel our own Andrey Henkin applauds the 436 State Street that the new format is much less development on page 5 of this issue. Brooklyn, NY 11217 satisfying for such an impor- (718) 625-2026; fax: (718) 625-2866 tant publication. Also, I don’t As purveyors of the written word, we recall any prior announcement may always prefer hard copy. All the [email protected] of this change (but I may have same, we urge you to take a moment to overlooked something). Anyway, download Jazz Notes (and print it out The Jazz Journalists Association (JJA) is a 501(c)(3) non-profit corporation, I would like to see this matter if you prefer). Whatever the medium, promoting the interests of writers, pho- discussed in the magazine itself. we are every bit as committed to giv- tographers, broadcasters and new media ing you a timely, quality journal that professionals covering jazz. The JJA sup- Agreed: the matter should be discussed. speaks to the widest array of JJA con- ports the creation and dissemination of We invite your responses (email me cerns. Thanks for your continued read- accurate, balanced, ethical and informa- at [email protected]) and we’d ership and interest. Stick with us, and tive journalism on all of jazz’s genres; also encourage you to use the BBS at be in touch. the growth, development and education jazzhouse.org to debate the matter. We of the jazz audience and the dissemina- should note, however, that all the dis- < < < tion of information pertaining to jazz to the general public, by providing forums for the discussion of jazz-related issues and events, fostering the development of journalistic and presentation skills Moved? New email address? New affiliation? among new journalists and the continu- ing development of such skills in jour- Please be sure to notify the JJA’s membership secretary, Jerry D’Souza, at nalists already engaged in the field. [email protected]

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 3 JJA President launches a membership drive. Associate!

“ t’s an association, right?” asked are jazz journalists everywhere who JJA ballot committee has completed a lapsed JJA member Stephen Gra- haven’t affiliated. Members: spread the call for nominations in the first stage I ham rhetorically in recent corre- word! of balloting that will result in the 2008 spondence, looking for a reason to re- Jazz Awards (12th annual). Various JJA join. “‘Associate’ may be the key word.” members are consulting, mostly on a local basis, with spring, summer and And he’s absolutely right. When the Jazz fall ’08 jazz festivals, eager to establish Journalists Association first loosely

Lourdes Delgado educational and enhancement pro- convened, it was about jazz journalists grams in which our members can meet engaged in activities we had in com- with the jazz-loving and/or jazz-casual mon. In subsequent casual and formal public, raise our profiles and perhaps discussions, among colleagues who’d everyone’s appreciation of the music just met and those who’d known each other for years, an organization arose we cover, creating more buzz around that has created opportunities and pro- President’s jazz. grams that further involve us working Report Most of these activities can be engaged together. Jazz Notes, the Jazz Awards, in anywhere — a jazz journalist doesn’t jazzhouse.org, academically oriented Howard Mandel have to live in New York or any other conferences such as last year’s “Jazz special place to participate in the JJA, and the Global Imagination” presented and the JJA is committed to having with Columbia University’s Center for We welcome full professional voting more contact with and programs for Jazz Studies, public panels, workshops members for annual dues of $75, stu- members outside the largest jazz popu- and discussions at industry gatherings dent (non-voting) members for $25 and lation centers. With members in more and jazz festivals in Boston, Monterey, non-voting support members for $300. places, more contact should be self- New York, Portland, Toronto — and We welcome writers, photographers, generating and more programs should parties everywhere: getting together is broadcasters, editors, publishers, blog- be possible. what the JJA does best. To advance the gers and web designers as well as (in association, JJA members just have to the student and support categories) So I ask each of you reading this to talk associate more, and have more associ- promoters, producers, publicists and to a jazz journalist friend not currently ates. philanthropists. Benefits of member- affiliated with the JJA about joining ship include: Jazz Notes quarterly in up. It’s easy — checks may be made So the President hereby launches a JJA your email inbox; use of jazzhouse.org out to the Jazz Journalists Association membership drive, aiming to attract for professional postings and queries; (sent c/o Arnold Jay Smith, 436 State new (and returning) members from access to the JJA’s member database; Street, Brooklyn, New York 11217), or all journalistic professions who en- and for full professional members, payments charged via PayPal, from gage with jazz and related musics. We nominating/voting privileges and dis- the virtual office at jazzhouse.org. Just want to extend special invitations to count tickets to the Jazz Awards; to all how many professional jazz journal- colleagues outside the U.S. and North unparalleled informal insider contacts ists — full- or part-time — are there in America. The “global” aspect of last and links to other professional organi- the world, anyway? Oh, yes: having fall’s Columbia conference reinforced zations throughout the jazzosphere. the value of a strong professional net- suggested more associating, and having work with representatives on every Be assured the JJA intends to exploit received a flood of correspondence in continent, offering expertise and per- all new associates — to strengthen the return, Stephen Graham re-upped, and spectives beyond the scope of any one association by bringing in new par- has offered to reach out to some likely individual or coterie. We can all stand ticipants with fresh energy, the better associates in the UK. Our most active to broaden our horizons, the JJA and to realize several concrete goals. For Russian member, Cyril Moshkow, has its constituent members included. The one thing, the JJA board continues to plans to do the same. JJA is honored to have members now negotiate with powerful potential not- in Western and Eastern Europe, Turkey, for-profit jazz powers in pursuit of a In service, Russia, India, Japan, Africa, Central larger, further, dare-we-hope interna- President Howard and South America as well as Canada tional conference of jazz journalists and the U.S. — but we know there as a follow-up to last year’s. Also, the < < <

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 4 Is web-based servicing a bad thing? One overwhelmed listener says no. Digital Promo: Bring It On 8 By Andrey Henkin

write this missive from under- Details of course need to be worked duced postal costs. Most important, it neath a pile of CDs. I can’t move, out, mainly issues of security that be- would level the playing field. It doesn’t I I can barely breathe and before I set the whole digital distribution era. take a genius to figure out that the al- expire from the weight, I implore the But it seems that we as journalists need bums and labels that get the most press jazz community to prevent future trag- to be more flexible in order to keep the and accolades are those with the big- edies like mine. gest promotional budgets. If all it took was an email list, the major label stran- All of us who write about jazz have glehold would be broken, and many similar piles, or perhaps mountains is Internet-based more artists toiling in obscurity would the better word. Even with jazz claim- P.R. methods are be discovered. Even established art- ing an ever-decreasing part of the mu- ists would benefit, as smaller portions sic market, one would hardly know it imperfect but a step of their budgets or contracts would be given the rise in independent labels in the right direction. have to be committed to promotion. and self-production. The sheer volume is intimidating and frustrating. To keep Even from under the pile of CDs, I up is hardly possible anymore. can already hear the howls of protest. industry economically viable. I have a Some, though they won’t admit it, are The problem of timely listening is our box of promo CDs I keep and offer to loath to lose a revenue stream from own. What needs to be addressed is anybody who comes to my house. Even used CDs. Others can’t be bothered to what to do with the CDs after we are this skirts the moral line, but I am left learn the basic online technologies that done. Too much product is reaching without a choice. The percentage of CDs digital promo requires. And still some people who are not interested; ulti- that I ultimately keep is small — and will claim that nothing replaces an ac- this includes many CDs I actually en- mately it’s wasted. The dirty little se- tual CD on a shelf. For the first group, joyed. But considering that I have not cret of the industry is how many jazz shame! For the second, welcome to the listened to some of my all-time favor- writers go out and sell promo CDs after 21st century. And for the third, if a CD ite albums in months, I am not likely (or sometimes even before) listening. is great and you demonstrate some sup- to return to some new release anytime For people who work in the freelance port of it, no musician will hesitate to soon. So my giveaway box grows bigger send you a hard copy with a letter of industry to turn around and profit from and bigger, and more and more money thanks, which is a much better use of another group of “freelancers” is mor- has been wasted. ally questionable, in my view. postage. A digital model of promo distribution < < < How can this problem be solved? An would solve this problem. Unwanted easy and modern solution exists that has music would be deleted. We would no Andrey Henkin is Editorial Director of some added benefits. A move has been longer have CDs lost or broken in the All About Jazz-New York. The opinions made in recent months toward digital mail. There would be drastically re- expressed in this article are his own. distribution: record labels are shifting their promotional strategy away from paper press releases and hard copies to Internet-based methods. Some of these attempts have been imperfect — propri- etary music-file players, uncooperative file formats — but these are at least a step in the right direction. One particu- larly elegant solution was emailed to me recently: a weblink-embedded two- sheet PDF file that linked gracefully to A MEETING OF THE MINDS MP3 files and a host of biographical FROM LEFT: Gary Giddins, George E. Lewis and June Cross speak at the “Jazz in the Global and press materials. Simple, effective Imagination” symposium, Columbia University, New York, September 29, 2007. Photographs and deleted with no carbon footprint by Norm Harris. when no longer useful.

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 5 A report from the jazz world’s annual group huddle. IAJE Invades Lovely Toronto 8 By Willard Jenkins

rom January 9 to 13, Toronto JJA hat proudly and chairing a couple with the screening of a Jazz Icons DVD played host to the annual confer- of sessions. One in particular, a round- performance of Kelly in the company F ence of the International Asso- table on the digital age, featured the of John Coltrane, rendering “On Green ciation for Jazz Education (IAJE), and erudite Canadian critic James Hale and Dolphin Street.” Immediately follow- I came away wondering if this city was the brilliant Canadian keyboardist- ing, Dan Morgenstern ably pinch-hit an apt conference host. On the whole for Billy Taylor in a NEA Jazz Mas- the event lacked its usual juice; the en- ters conversation with Roy Haynes. ergy level was decidedly down, not to This was followed by a Jazz Masters mention conference registration. Industry Track events roundtable with three awardees in the were underattended Advocacy category: John Levy, Dan Perhaps the jazz industry simply did Morgenstern and Gunther Schuller. not travel this time around. It seemed and lacking their On Friday, A. B. Spellman interviewed at least the threat of inclement weather the gathered 2008 NEA Jazz Masters: caused some senior jazz artists to bag usual buzz. Candido, Quincy Jones, Tom McIntosh, the trip, as was evident in the low NEA Gunther Schuller and Joe Wilder. Full Jazz Masters attendance. And let’s not disclosure: I work intimately with this forget how notoriously lazy and provin- composer Andy Milne. I counted fewer program as coordinator of the NEA Jazz cial certain members of the New York– than a dozen in the audience for what Masters Live project. centric jazz industry and intelligentsia could have been a lively discussion. The are about traveling to the “provinces.” evening concerts, though blessed with Friend and colleague Larry Blumen- their own charms, lacked the draw of feld, a tireless champion of all things Consequently, though expertly pro- the same events in New York. And the New Orleans, continues to note the grammed as usual, the conference’s exhibit hall was decidedly low-key and ongoing ills and disparities of the post- Industry Track offerings were in many down in terms of vendor participation. storm recovery as part of his ongoing cases — some glaringly so — underat- book project (see his blog at artsjour- tended and lacking their usual buzz. Still, it was a good hang. Among the nal.com/listengood). Larry chaired a Maybe it was the perception of a lack of musical highlights was the promis- rewarding session he called “In That the usual sidebar meeting opportuni- ing young bassist-vocalist Esperanza Number” which included live testimony ties. Toronto was definitely absent the Spalding, soon to release her Heads from Scott Aiges of the New Orleans hang-out atmosphere of the New York Up debut, who gave a fine account of Jazz & Heritage Foundation, along with conferences, where many folks skip her blossoming skills. I was delighted revealing interview segments on DVD. registration but hang out at the hotels to hear the engrossing young drummer Alas, though heart was deep in this all day, simply connecting with friends Otis Brown, who had been a guest as a house, session attendance was pitiful. and colleagues in the business. student on my Jazz Ed TV show on BET Jazz some years back. Cleveland home- Saturday morning, bassist and Berk- The annual Grammy Soundtable always boy and percussionist Jamey Haddad lee educator Oscar Stagnaro directed plays to a packed house, but not this also assisted Ms. Spalding, who has the IAJE Latin America Jazz Ensemble time. Perhaps the emphasis on historic special talent written across her fore- under the auspices of the Puerto Rico recording engineers (Phil Ramone, Al head. chapter of IAJE (how ’bout a conference Schmitt) didn’t resonate with confer- in San Juan?) in a crisp performance ees. I had to dash off to another session, One of the best-organized and most thoroughly en clave, richly in the jazz but when I left, the room was barely heartfelt sessions, which did draw a tradition. After meetings, I came up for one-quarter occupied. Similarly, Down packed room, was the Thursday after- fresh air and copped a comfortable seat Beat’s live Blindfold Tests are always noon “Wynton Kelly and the Musical for yet another strong performance, standing-room-only. But this year’s Company He Kept,” a loving tribute this time by the complementary and participants, NEA Jazz Master David to one of the swingingest pianists this creative duo of saxophonist-clarinetist Baker and educator Jamey Aebersold, music has ever produced. Kelly was Marty Ehrlich and pianist Myra Mel- remembered principally by drummer didn’t have the usual all-star draw. ford, who has certainly come a long way Jimmy Cobb, bassist Paul West and his from the shy young woman I first met as Howard Mandel (catch his blog at cousin (and NEA Jazz Master) Randy a finalist at the Thelonious Monk piano artsjournal.com/jazzbeyondjazz) Weston. And just to put the man in seemed to be everywhere, wearing his the house as it were, the session ended continued on next page | »

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 6 » | IAJE: from previous page competition years ago. Back then Myra the legendary Lew Wasserman. Schultz resonant and convenient locale. Stay wasn’t quite sure of her direction. Now also spoke of the fresh approach he’s tuned. It will be interesting to see how she is an entirely assertive, first-rank unveiling at Resonance Records, a new next year’s conference in Seattle turns pianist and composer with a growing not-for-profit model. Stay tuned for out — a real test of whether or not the and impressive discography. Having some good music from that port. conference should permanently root it- Ehrlich and D’Rivera at the same con- self in New York. But let’s not be rash. There are major changes afoot at IAJE ference provided the keen-of-ear a deli- After all, the 2011 conference is sched- central: longtime executive director cious opportunity to sample the state of uled for the Crescent City, and that’ll Bill McFarlin has resigned and a search jazz clarinet. be a guaranteed blast. is underway for his successor. And < < < Later, over a meal in good journalist as usual there is a contingent on the company, jazz record man Ricky Schultz board who would like to see the IAJE A fuller version of this report can be salted the conversation with a tale of headquarters depart Manhattan, Kan- found on Willard Jenkins’s blog The In- his perilous encounter years ago with sas, for perhaps a more internationally dependent Ear, at openskyjazz.com.

Are we bookmarked? Visit jazzhouse.org for the latest JJA announcements, exclusive online content and membership info.

Bidding farewell to a dedicated discographer, 1921–2007. Kurt Mohr: A Personal Remembrance 8 By Ron Sweetman

arrived in Paris in October 1957, every recording session they had made. Washington, and of course Kurt wrote and within weeks I had met Kurt His sympathetic personality, immense the excellent sleeve-notes. He often I Mohr. At that time he worked in a knowledge and quiet persistence led gave me test pressings of these LPs; record store on the Boulevard St. Ger- musicians to share a great deal about sometimes the discographical details main, near the intersection with Boule- their careers and search their memo- were in his handwriting. vard St. Michel. We always seemed to ries for details. From these interviews Kurt was involved in Mickey “Guitar” find topics of common interest, and our Kurt developed artist profiles and dis- Baker’s coming to France and recording discussions often continued through cographies that were published in a there. At some stage, the contract with dinner in a nearby restaurant. number of magazines, most recently in his employer was abruptly broken; Kurt the French magazine Soul Bag. Kurt’s father, the German ambassador sued and was awarded a monthly al- to Switzerland when Hitler came to In 1958 or 1959, Kurt began to work for lowance that formed his basic financial power, was granted refugee status and a French record company. Using his support for the rest of his life. Most re- so Kurt and his siblings became Swiss. unique knowledge of the U.S. market, cently he was an advisor to the Classics Kurt was fluent in German, French and he negotiated reissue contracts with label, but he had long before mastered English. King and Vee-Jay. On Odeon he issued the art of living on practically noth- ing. As long as he could afford coffee, Eventually, Kurt invited me to his Freddy King and Lula Reed recordings cigarettes and the distinctive paper on home in the Latin Quarter. The over- from the King catalog. From Vee-Jay which he wrote his interviews and dis- whelming feature of the room was the he issued collections on the Top Rank cographical notes, he asked for nothing LPs, piled higher and higher until they label. I recall Bluesville Chicago, Tenor else. Every time I returned to Paris, I threatened to tip over. There were even Sax Parade and Voici les Rhythm & would spend an afternoon or evening records on his bed, which he had to Blues. Clifford Scott and Bill Doggett with Kurt. A true scholar of post-war move gingerly before going to sleep. appeared on several of these. Kurt also blues and rhythm & blues, he was one There was also a filing cabinet with his issued two volumes of Jazzville Chi- of the most dedicated and gentle hu- precious discographical notes. Kurt in- cago featuring Frankie Bradford, Ar- man beings I’ve ever had the privilege terviewed every African-American mu- nett Cobb, Julian Dash, Wardell Gray, of knowing. sician who came to France, noting de- Joe Hunter, Willie Jones, King Kolax, tails of their careers and, most intently, Jay McShann, Dave Shipp and Lucius < < <

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 7 A look at jazz’s impact on Indian culture, then and now. Indian Jazz Revisited 8 By Max Babi

ore and more youngsters are Orchestra, with its huge repertoire of ing the effect. “Cabaret” was the Bol- learning Western music in dancehall tunes. lywood term for the nightclub act. In India, but the story of jazz’s current parlance it has moved from the M The Bollywood musicians, composers rise here is circuitous. Bombay (now smoky confines of nightclubs into any or “music directors” as they’re called Mumbai) has always been the epicenter imaginable place: the street or the roof in India, produced immensely popular of commercial music, and also due to of a train, an arena or even a corridor hits that clogged the radio airwaves. presence of “Bollywood” — India’s an- in a college campus after-hours. These swer to Hollywood — up to a thousand are called “item numbers.” Jazzy tunes movies are churned out yearly, each one are often heard as accompanying music. needing 8 to 21 songs. Many songs are Jazz has emerged as a It would thus not be impossible for a putatively “based” on Western pop/rock force in its own right, non-jazz music lover to confuse cabaret hits and many are plain borrowed. Jazz, and jazz, due to the visual associations. The vitality of this “item number” is for its part, became a device in conven- not just a Bollywood easily gauged from the fact that today, tional Bollywood nightclub sequences, background texture. Bollywood starlets who have never if only in the background score. It’s reached the top will disrobe aggres- worthwhile to assess how jazz became sively (though partially) for a raunchy an even broader influence, especially Sometimes they composed melodies number to some sort of jazz accompani- on the young musicians who have lived “inspired” by American pop songs, ment. Of course they’re highly paid for and played abroad, and who grew up and sometimes they fitted words to these cameo appearances. Some have listening to the music. the exact same melodies without any apology. The Edmundo Ross and Tito made this their entire career. In a catalytic sense, jazz has been in- Puente-type Latin jazz, with its then T he present generat ion of musicia ns has fluential since the early 1950s, when a newfangled cha-cha-cha, mambo and b ee n more succe s sf u l t ha n t he olde r B ol- samba rhythms, inspired even script- powerful American radio transmitter lywood composers in terms of earnings writers to force a scene in a nightclub, in Colombo, Ceylon (now Sri Lanka) and fame. And jazz has now emerged as where, for instance, the leading lady broadcast a good deal of jazz to cover a force in its own right, no longer just would sway to a song based on “Cherry the whole of Southeast Asia. Another a Bollywood background texture. Far Pink & Apple Blossom White” or Dean broadcast came from Manila, in the removed from the societal confines of Martin’s “The Isle Of Capri.” Some may Philippines. According to many musi- an earlier generation that struggled for call it plagiarism, but a whole gen- cians and musicologists, the overall survival, they have hit paydirt by aban- eration of well-to-do music composers influence of jazz may have been lower doning traditional Indian instruments came up on such a hybrid diet, openly compared to rock, and one cannot deny in favor of electric guitars, keyboards and successfully. the presence of a generation gap. Older and drums, often called “jazz drums.” folks were fond of Frank Sinatra’s mel- Interestingly, such songs were often set low crooning and also the Glenn Miller to near strip-tease, with music enhanc- continued on next page | »

ABOVE LEFT: The Sidewinders of Pune, performing live at the Jazz Utsav, an international jazz festival in Mumbai (Bombay). Photograph by Mr. Jehangir H.C.D. Jehangir. ABOVE RIGHT: Colin D’Cruz with his Indo-jazz group The Brown Indian Band. Photograph courtesy of Colin D’Cruz.

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 8 » | INDIA: from previous page

The music stores, perhaps formerly one jazz. DVDs are shown for the benefit of Indian Band, which seamlessly blends or two in metropolitan areas, are now members who grew up listening to jazz the complex elements of jazz with the too numerous to mention, all of them legends but never saw them perform. serenity of Hindustani classical music. specializing in Western instruments. The Sidewinders, a local quartet with Milind Daté, from Pune, who learned Furtado’s, a century-old music store in Indian and non-Indian members pro- the art of bamboo flute from Pandit Mumbai, recently opened a branch in moted by the Pune club, played at the Hari Prasad Chaurasia, has jammed ABC Farms complex in Pune, where a international Jazz Utsav festival, which with Colin at a couple of shows with couple of open-air restaurants feature a is held every year in Mumbai. high success. jazz musician over the weekends year- Going by the number of jazz events, The late Oscar Peterson received a round. Mumbai and Pune score high given their warm tribute from this correspondent The jazz scene in India has been hot- proximity to the West and the very large at the Pune Jazz Club, where a live ting up, there’s no denying, and one influx of tourists, a certain percentage concert DVD was shown to members. is pleasantly surprised to find jazz of these being musicians. Another ven- That some people travel by overnight ue, The Soul Avenue, known earlier as clubs and gigs sprouting in the least train from Baroda in Gujarat state just The Jazz Garden, featured several jazz likely places. A country of 1.25 billion to attend the monthly Pune meeting artists throughout the year. One of the souls is quite an incipient market, and speaks volumes about the love jazz afi- better-attended gigs was Amsterdam’s the willingness of event planners and cionados share and reinforce at every Saskia Laroo and her quintet. human-resource managers to celebrate opportunity. It is also encouraging to see youngsters swarm to such meet- an event in style seems to be growing. Colin D’Cruz, a bassist from Mumbai, ings, as well as live concerts. Their in- Pune Jazz Club, now in its seventh has entertained countless tourists at creasing number and sustained interest year, has risen to 300 members, many luxury hotels that book jazz gigs now unequivocally points to the permanent of them attending the club’s monthly and then. After a number of years presence and growth of jazz in India. meetings, where members showcase a playing mainstream jazz and funk, he particular jazz musician or a genre of has been promoting his unique Brown < < < LIGHT SHADOW&

TOP LEFT: Broadcaster Gary Walker of WBGO-FM takes a quiet moment during a celebration of the life of Rahsaan Roland Kirk, St. Peter’s Church, New York, De- cember 10, 2007. Photograph by Enid Farber.

BOTTOM LEFT: Bass clarinetist Jean-Paul Autin at Bobines Mél- odies, a performance of live music set to cartoons, Lyon, France, De- cember 15, 2006. Photograph by Juan Carlos Hernández.

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 9 Remembering Frank Morgan, 1933–2007

heard Frank Morgan play twice. The first time was at the Catalina Bar and Grill in Los Angeles. He had just I been discharged from prison for the last time. Morgan was a holy terror, on and off the horn. In the Mingus style, he’d get excited about the smallest noise in the busy res- taurant, stop mid-tune and rant about disrespect. He spent more time lecturing the audience than playing. But when he did play, he blew the place apart. But he turned soft and gracious when he invited Milcho Leviev to come up and play. Morgan introduced him as a total friend, one of the people who consistently visited him in prison, always encouraged him to play and never let him down.

The second time was in 1991, when Morgan played duet with George Cables at the Vancouver International Jazz Festival. The gig was a cozy theater with creaky seats, known locally as the “cultch” (short for Cultural Center). Offstage left, there was a little hidey-hole covered by a curtain. It was a perfect spot to hang out and photograph from a tripod — especially good while shooting a player known for temper tantrums. All I had to do was pick the times when Morgan was playing fortissimo to cover up the trip of the camera’s shutter.

It was a quiet concert, the kind of night when musicians play beautiful ballads like “Come Sunday.” He played warmly, but after his solos he was clearly nervous, blowing into his horn soundlessly and rubbing his hands together. On one solo, Morgan did a fast decrescendo and I tripped the shut- ter a micro-moment after he choked the last note. To me it sounded like a rifle shot.

Morgan’s head jerked in my direction. He stared intently at Is your JJA membership the curtain, and while Cables was soloing, he began to saun- up to date? ter nonchalantly over to the hidey-hole. He nudged the cur- tain aside, smiled and whispered, “Hey man, can you help The Jazz Journalists Association relies on the me? Ask them to turn the air conditioning down! I can’t get continuing support of its members to continue a sound ’cause my horn is too cold!” operations. Our current membership categories and dues are: “Sure, Frank,” I stammered. I backed out into the lobby and found someone to help. After the gig, Morgan thanked me. Student (non-voting)...... US$25/year Professional Journalist...... US$75/year We made a date to do a couple of portraits the next day. I showed up wearing a beanie, the kind people wore in China Industry Associate (non-voting).....US$300/year more than a hundred years ago. Morgan looked at me and said, “Hey man, Monk used to wear a lid like that. Where Make check or money order payable to can I get one?” Jazz Journalists Association and submit to: Arnold Jay Smith “From me,” I said. I took mine off and put it on his head. A 436 State Street, Brooklyn, NY 11217 year later, he used one of my photos for some press releases and that was the last contact we had. But some guys you re- or use our secure online server, courtesy of ally can’t lose track of. They stay in your mind forever. jazzcorner.com, at www.jazzhouse.org

—Laurence Svirchev

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JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 10 come by proposing that “dissonance” is what connects these three otherwise distinctive individuals — not just musical Book Reviews dissonance, but a mode of creativity that reflects a societal friction ultimately disruptive to the status quo. Howard Miles, Ornette, Cecil: Jazz Beyond Jazz reestablishes and expands upon this in his claim for their avant-garde status — a once-meaningful category that does By Howard Mandel not connote the isolation and iconoclasm it once did. There’s Routledge, New York, 2008; no doubt that all three deserved the tag at certain points 292 pp.; $30.00 hardcover in their careers, but the individual successes Howard docu- ments, and the assimilation of their stylistic innovations into 8 Review by Art Lange the ever-changing, free-flowing currents (if not the “main- stream”) of contemporary jazz, attest to the inevitable ex- iles, Ornette and Cecil are, piration of that dubious designation. Moreover, stretching of course, icons of jazz or New the concept so thinly as to embrace both “notorious elders” M Music (depending on one’s like George Russell and “20-something … psychedelic micro- definitions). Their first-name recogni- tonal guitarist” Gabriel Marin, as he does in his concluding tion factor, at least among us and our chapter, threatens to dilute its value, to the point where it readers if not the general public, con- signifies only novelty, anything new that falls outside of con- firms this. A great deal more has been vention and commercialism. written about Miles and his music than the other two; John Litweiler’s and Pe- Howard is an extremely well-versed and surefooted jazz ter Niklas Wilson’s books on Ornette are critic. His only missteps here come when he ventures too far insightful but examine only a portion of his ongoing career, into classical music. For example, in calling the “expansive, while we’re still waiting for t he f irst book-leng t h st udy of Tay- genre-defying concept and virtuoso realization” of Jelly lor’s biography and unique sound-world. What Howard Man- Roll Morton’s music avant-garde in 1926, he states, “…only a del provides us with here is a mixture of informed research, handful of chamber music or symphonic scores by Americans thoughtful contextualizing and personal response, focusing or Europeans in that era compare.” Only a handful? This on each artist in their own niche. He doesn’t so much com- seriously undervalues, or ignores, innovative and influential pare or contrast their musical styles, beyond his assertion music by Schoenberg, Webern, Bartok, Berg, Stravinsky, Hin- that they epitomize the 20th-century avant-garde — which he demith and Cowell to name just a few, and is unnecessary in sees as a badge of honor, not an audience-alienating alba- order to extol the virtues of Morton’s brilliant music. tross around their necks. His approach is not to submit their Elsewhere, he writes that Stravinsky’s “Ebony Concerto” and music to in-depth technical analysis, but rather account for Gershwin’s “Rhapsody in Blue” were originally considered its appeal and power of engagement through detailed de- avant-garde, but I wonder by whom? Stravinsky’s clarinet scription and open-minded cultural and sociological inter- “concerto” for Woody Herman’s Second Herd was a hybrid pretation. And he allows them to speak for themselves, via of caricatured styles (primarily Stravinsky’s own) in 1945, extensive interviews he has conducted over the years. hardly the composer’s most adventurous period, and the fact Full disclosure: Howard (please permit the familiarity, it’s that echoes of Gershwin’s inflated pop/jazz/classical concoc- just too awkward to call him Mandel, and “the author” would tion could be heard in film soundtracks almost immediately ring false) and I have been colleagues and friends for over suggests it wasn’t exactly ahead of its time either. The inclu- 30 years. But I learned some things about him that I didn’t sion of the radical and sonorously outrageous music of Ian- know in reading this book. This is in part because he reveals nis Xenakis into the “meditative” and “minimal” company a lot about his life and personal beliefs by chronicling how of Glass, Riley, Reich, and Young doesn’t jibe, and though he first came in contact with the music of his subjects as Howard knowledgably cites Scriabin and Ives as precedents a teenager, how he invested time and effort into learning for Cecil’s undeniably unique pianism, he surprisingly pulls about their music, how it led him to other related artists over back from digging into the Taylor/Olivier Messiaen connec- the years, and by explaining what it meant (and means) to tion, despite recognizing a quote from Messiaen in one of him. I discovered that he is a romanticist — his point of view Cecil’s performances (and despite the infamous Village Voice is frequently impressionistic and highly idealistic, and when article of some years back in which Stanley Crouch attempt- describing music he finds it necessary to not just consider ed to smear Taylor with it). what it is, but propose why it is as well. His writing implic- itly argues that music is not just a self-referential, aesthetic Howard is at his best, however, in the section on Miles Davis. experience, but an inherently humanistic endeavor that in- He’s selective of the biographical information he highlights, forms, inspires and defines us as it entertains. appears to be aware of everything ever written about Miles, and cites other sources liberally but generally in order to It was shrewd to ask Greg Tate to write the book’s preface, springboard into a personal observation or reconnect with a as Tate obviously shares Howard’s multicultural, multi-per- spective view of jazz, and wisely sets the stage for what is to continued on next page | »

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 11 » | MANDEL: from previous page Jazz: An Introduction to the History broader public context. He finds plugged-in Miles exhilarat- and Legends Behind America’s Music ing and communicates his feelings playfully and persuasive- By Bob Blumenthal ly, sprinkling in relevant literary, political and cultural ref- erences along the way, though I’m afraid he doesn’t pull me HarperCollins, New York, 2007; along into his hip-perverse appreciation of Miles’s final pop- 192 pp.; $16.95 paperback heavy excursions. His description of Miles’s music is equal 8 Review by Mikayla Gilbreath parts sensitivity and sass — especially his characterization of Miles’s “pugnacious fling at instrumental hard rock” and the ince 1969, when he first began implications he raises concerning the “coordinated freedom writing about jazz, Bob Blu- of flight” in the last acoustic quintet. Ironically, in quoting menthal has become not only a Miles’s own takes on Ornette and Cecil, he uncovers even S highly acclaimed writer but also one of more of the similarities between that band and Ornette’s the foremost authorities on jazz. He has early acoustic quartet. contributed to numerous publications Though Ornette’s music is presented as the sprit of play, Or- and lent his expertise to such organiza- nette himself is portrayed as philosopher and poet, seer and tions as Jazz Alliance International, the shaman. The epic discussion between Howard and Ornette is Jazz Composers Alliance and the Re- simultaneously bewildering and illuminating, leading circu- cording Academy. He received the JJA’s itously through issues of communication, being and aware- Excellence in Feature and Review Writing award in 2001, ness, freedom of thought and action; Ornette even reveals as well as its Lifetime Achievement award in 2005. In 1999 that he feels misrepresented as a performer of “free jazz” and 2000 he won Best Album Notes Grammys for Coltrane: when his true intent has always been to compose. In order to The Classic Quartet/Complete Impulse! Studio Recordings and help clarify the enigmatic aura that Ornette projects, Howard Miles Davis & John Coltrane: The Complete Columbia Record- turns to the orbit of collaborators around him — Don Cherry, ings 1955-61, respectively. Dewey Redman and Charlie Haden — but the information How should a writer with Blumenthal’s qualifications and gleaned says more about Coleman’s mystique than his com- expertise go about introducing a novice to the subject of positional methods. As much as he obviously admires Or- jazz? There isn’t one universal meaning to the word, and nette, Howard doesn’t shy away from the contradictions and there certainly is more than one subgenre. Already, there is confusing situations which Coleman joyfully exploits — like so much information available — trying to comprehend it all a vivid reminder of the painful (to those in the audience, my- can seem daunting. In addition, not everyone wants to read self among them) San Francisco body-piercing gig. There is a a textbook on jazz. We are in the electronic age, and the peripheral account of Ornette’s association with the Caravan Internet generation wants its information delivered in little of Dreams, and commentary on his business dealings that “blips” and pieces, laced with interesting images. imply even avant-gardists benefit from efficient marketing. In his first book, which is part of a Smithsonian paperback Cecil Taylor’s music was the toughest nut for Howard to series, Blumenthal takes all of this into account and man- crack initially, and perhaps as a result, remains the one that ages to hit his target audience dead center. The book is as evades concrete description and extra-musical associations. close to a multimedia presentation as one can achieve in Cecil’s art is offered as nurturing experience, a spiritual print format. Its numerous images, along with Blumenthal’s balm, requiring liberal doses of curiosity and special toler- unpretentious and entertaining writing, entice the reader to ance. By relating the details of a casual dinner with Taylor see what’s on the next page. The book also delivers a signifi- and others, however, provocative tidbits emerge, such as cant amount of information while presuming that the reader the interest Zoot Sims — a diehard swing saxophonist — ex- has little or no previous knowledge. pressed in Cecil’s music, and the mouthwatering hint that Ira Sullivan and (gasp) Pee Wee Russell may have jammed with Blumenthal lays out the history of jazz chronologically, in Cecil, suggesting that musicians aren’t as hung up on styles chapters covering two decades each, making it easier to un- and reputations as we devoted listeners sometimes are. derstand the music’s development. Books that instead focus on individual styles can be confusing, because of the overlap The most impressive aspect of the book is Howard’s writing: of the time periods involved. Within each section, Blumen- honest and evocative, flavorful and generous, enthusiastic thal discusses the prevailing jazz styles and highlights the and thought-provoking. We know what we’re getting is his significant performers and innovators of that period, as well hard-earned perspective, not received opinion or second- as other types of music that may have influenced that era. hand values. Miles, Ornette, Cecil may be most valuable to And he introduces the reader to up-and-comers of the time readers relatively new to the music, but even if you’re a jazz who would later make important contributions to jazz, as journalist, it’s a good read. documented in subsequent chapters.

< < < continued on next page | » JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 12 | BLUMENTHAL: from previous page » Secret Carnival Workers Once again recognizing his audience’s preference for more By Paul Haines than just text, Blumenthal places interesting tidbits of in- (Edited by Stuart Broomer with Emily Haines) formation in highlighted boxes throughout the book. And he With notes on Paul Haines by Carla Bley, Roswell Rudd and ends each chapter with a representative list of songs from Michael Snow. the given time period. This allows the reader easily to find and listen to each period’s leading artists. After all, it’s a Coach House Press, Toronto, 2007; book about music, and you can’t only read about music. You 232 pages; $14.95 paperback have to listen. 8 Review by Marcela Breton By contrast, an earlier book like John Szwed’s Jazz 101, which is perhaps more cerebral in its content, could be somewhat read Secret Carnival Workers ran- intimidating to the jazz novice, simply because of its text- domly — dipping into a poem here, book-like presentation. Although it is an excellent resource, I a prose piece there, hopscotching Szwed’s book assumes a basic understanding of jazz and per- my way through the sections. This dar- haps should have been titled Jazz 201. ing collection of poetry, short fiction, liner notes, jazz criticism and prose Blumenthal makes learning about jazz completely enjoyable. fragments, written between 1955 and The book is entertaining and an easy read, the perfect intro- 2002 by the cosmopolite lyricist Paul duction to jazz for the uninitiated — combining the informa- Haines, invites such a random reading tion, images and resources necessary to help one become with its own discontinuities. And it of- more than a novice jazz enthusiast. But don’t misunderstand. fers striking evidence that language can mirror the cadence Blumenthal’s own insights, gleaned from decades of involve- and improvisation of jazz. ment with jazz, should make the book appealing even to the veteran jazz fan. Haines, born in Michigan, led a nomadic existence, living in New York, New Mexico, England, France, India and Canada, A young jazz fan like this reviewer, talking to her friends where he died in 2003. He is best known for his collabora- about the theatric style of Cab Calloway, or the humor of tions with numerous jazz musicians, especially Carla Bley, Louis Jordan, or the passion that John Coltrane put into whose jazz opera Escalator Over the Hill was inspired by his his music, can flip open Blumenthal’s book, show them the poetry. Other collaborators include Roswell Rudd, Derek appropriate page and say, “Look, this guy right here!” The Bailey, Paul Bley and Kip Hanrahan. With Hanrahan, Haines beauty is that these friends will understand. released Darn It!, a two-CD set of his poems set to music, performed by artists like Steve Swallow, Carmen Lundy, < < < Evan Parker and Mary Margaret O’Hara. Haines was also an inveterate compiler of what he called “gaslight tapes” or “mystery tapes,” which editor Stuart Broomer describes as “bizarre and unidentified assortments of sound that could include any kind of music or a monologue from a drunken Symphony Sid or … sprinkled therein might be a gem from Paul’s own recordings, like Giuseppi Logan and Paul Bley playing together.” Secret Carnival Workers is divided into 14 sections, the last a biographical portrait of Haines by the JJA’s Stuart Broomer, formerly editor of Coda. Abetted by Emily Haines, the in- die singer-songwriter and daughter of Paul Haines, Broomer deserves credit for this portrait, his introduction, the selec- tion and arrangement of material and the various brief-but- illuminating prefaces that open each section. Included are photos of Haines at various stages and locations in his life. Two sections are devoted to the musicians Carla Bley and Evan Parker. Not surprisingly, the Carla Bley section includes material from Escalator Over the Hill and another Haines- Bley collaboration, Tropic Appetites. There is also a passage from Bley’s 1972 memoir, “Accomplishing Escalator Over the Hill.” ABOVE: Dave Brubeck performing at Lincoln Center Out of Doors, New York, August 5, 2007. Photograph by Nancy Kaszerman. continued on next page | » JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 13 » | HAINES: from previous page ridge of shoulder blades slicing like lines of Latin fins to the glory of rhythm freed of its perpetual sheen, any rhythmic similitude chewed through, Haines also wrote material for a number of Evan Parker proj- then going us one better than the truth, Hanrahan ects: an untitled poem for Saxophone Solos; a prose piece handling with sophisticated impetuousness for Parker’s box set Complete Solos; a sort of prose poem, what surges beyond inguinal groans. “Melodious Nominal Bygones, Yonder,” which was part of a BBC live performance by Parker and his trio, with Marilyn This is writing that rests on the perilous fin between the Crispell on piano; and a piece titled “Dark Rags” which ap- intelligible and the absurd, like the jazz musician whose peared on a duo release of Parker and Keith Rowe. playing traces a fine line between music and noise. It is a performance, equal parts courage and artistry. Unlike his poetry, prose and short fiction, Haines’s jazz jour- nalism is fairly straightforward in style and is as much about In “Dark Rags,” the liner notes for the Evan Parker/Keith locale and regional cuisine as it is about music. “Indoors” is a Rowe release, Haines’s final comment is: “This music is an summary of his listening experiences in the ’40s and ’50s. He abundance of beautiful moments.” So, too, Secret Carnival writes that “a trip to Milan meant hearing a freshly released Workers. It’s an extraordinary work of jazz literature that Chet Baker playing in a club with Mussolini’s son on piano.” rewards grazing and rereading. Not unlike with a new and Other articles cover the Siena Jazz Festival and the Siena challenging jazz release, it takes repeated encounters to Universita del Jazz, Italy’s oldest jazz school. In “Five Spot penetrate the hidden meaning and beauty. on the Bosphorus,” Haines writes about the Akbank Jazz Fes- < < < tival in Istanbul and peppers the jazz criticism with mouth- watering descriptions of Turkish cuisine. After his first day in Istanbul he is asked, “Did you come here for the festival or to eat up all our fish?” New Members The only book Haines published during his lifetime was the poetry collection Third World Two, most of it included here. Charlie Dahan is a news editor at allaboutjazz.com There is much other poetry as well: some impenetrable, who lives in Murfreesboro, Tennessee. none uninteresting. The poems are of varying lengths, often Brett Delmage, photographer, lives in Ottawa, typed in capital letters, and characterized by brevity, wit, Canada (jazzseen.ca). musicality and inventiveness. Here is the complete text of “Practicing Safe Emotion”: Marie-Claire Durand, student member, is in Mon- PRACTICING SAFE EMOTION treal, Canada. IT WAS THE BACK Tuncel Gulsoy, jazz program producer, lives in Is- OF HIS CHAIR tanbul, Turkey. SHE RUBBED Juan-Carlos Hernandez, photographer, lives in Ge- In his introduction, Broomer calls Haines a “verbal musi- neva, Switzerland (jazzeyed.20mn.com). cian,” an apt sobriquet for a writer whose poetry and prose has the sudden shifts, moments of surprise, humor, risk and Cynthia Hilts, jazz musician and composer, lives in rhythm of jazz. In the short-fiction piece titled “The Chari- New York. table Scent,” about a black dancer named Benjamin, there is the following sentence, slightly alarming, yet mysteriously Peter H. Larsen, programmer, DR Musik, lives in Co- seductive and surreal: penhagen, Denmark.

A bleak skeleton, its arch and chest bones stained Peter B. Lowry, a reviewer for several publications, with mustard, the cutout cats of humped restraint, lives in Austinmer, New South Wales, Australia. and rosy apples on a spree, blurred into the faces of fathers winking to their own in expensive bright Alayne McGregor, student member, is from Ottawa, costume, and motto-gushing mothers hushing Canada. their children at Benjamin’s comic reel. Marc Myers, a blogger at jazzwax.com, is from New Haines was certainly influenced by French and modernist York. literary traditions. His style is original, clever, light, playful Jessica Simms, student member, lives in Bowling and aphoristic, yet absent extreme self-consciousness. Green, Ohio. Haines’s liner notes are refreshingly unconventional. For the Kip Hanrahan release Desire Develops an Edge, he titles his David M. Tenenholtz, student member, lives in notes “To Be Done in the Dungeon,” and opens with: Richmond, Virginia. To be done in the dungeon, dancing is done slowly, < < < to the quick, a new autonomous suitability, a fast

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 14 News of Members

David R. Adler traveled to Dakar, ist’s tour, is on view in New York at March.) Tom has also been invited by Senegal as a part of an international the Living Room Gallery at Saint Pe- the Hot Club de France to be a regu- press contingent to learn about Birima, ter’s Church from March 13–April 13, lar contributor (from New Orleans) to Youssou N’Dour’s new microfinance ini- 2008. There will be a reception for the their monthly Bulletin Du Hot Club De tiative. He wrote a cover story on Phila- artist on Friday, April 4, from 6 to 8 France, published since 1950. delphia jazz for the April 9 music issue p.m. This exhibition features some of of Philadelphia Weekly, and a front-page Enid’s photographs of jazz and world Fran Kaufman had a show titled “The Arts & Entertainment feature on Danilo musicians as well as friends and other Jazz Photographs of Fran Kaufman” Pérez for The Philadelphia Inquirer of subjects. The portraits on and offstage on exhibit at the Brooklyn Academy of Sunday, March 23. In addition, David include such legends as Miles Davis, Music, in the Peter J. Sharp Playhouse, wrote liner notes for Danny Grissett’s Cab Calloway, Ray Charles, Fela Kuti, from January 22 until February 24. Encounters and John Swana’s Bright Wynton and Branford Marsalis and Curated by artist and gallerist Danny Moments (both Criss Cross), Trio West’s Sonny Rollins and Roy Hargrove. For Simmons, the exhibit was part of the Upper West Side Story (Yummyhouse) more information please contact Enid Brooklyn Next! Festival. The 20 black and Joanna Pascale’s Through My Eyes at [email protected]. and white photographs were selected (Stiletto). from Fran’s archive of photos made Mikayla Gilbreath’s new column, over the past 15 years in clubs, rehears- Jane Ira Bloom, soprano saxophon- “Mikayla’s Totally Jazzed,” debuted als and recording studios. ist/composer, announces the release on January 7 at allaboutjazz.com. This of a new CD, Mental Weather, on the regular column will feature interviews Howard Mandel is offering a live, Outline label. Her new electro-acoustic with established artists, emerging 90-minute multimedia presentation band includes newcomer Dawn Clem- young musicians and noted jazz educa- based on his new book, Miles Ornette ent on piano and Fender Rhodes, Mark tors. The goal of Mikayla’s column is to Cecil: Jazz Beyond Jazz, to education- Helias on bass and Matt Wilson on “reach out to youth and help them con- al institutions, libraries, community drums and percussion. Recent perfor- nect with the music I love,” while still groups and jazz organizations in time mances include Bucknell University appealing to jazz fans of all ages. Her for Jazz Appreciation Month (April). and a CD launch at Iridium in New first article, “Dr. Lonnie Smith: Organ He has already appeared at the Chi- York. Press copies are available to JJA Guru,” documents Smith’s earliest days cago Jazz Fair and Ars Nova Workshop members — contact [email protected]. as a musician and his rise to promi- in Philadelphia, and his schedule at the nence as one of the great organists of Portland Jazz Festival includes a public Laurence Donohue-Greene, Man- all time. interview with Ornette Coleman. How- aging Editor of AllAboutJazz–New York ard also offers a similar program, “The (AAJ-NY), covered the mid-February Rusty Hassan and Guy Middleton Blues — Right Here, Right Now,” with Portland Jazz Festival for the pa- presented the Peace and Justice Award New Jersey singer-guitarist Jr. Mack. per’s April issue (which streets, and to Sonny Rollins at the WPFW 30th An- Both programs include video clips and will be available online, by April 1 at niversary Gala Celebration held at the recorded music complementing discus- allaboutjazz.com/newyork). The pa- Washington Convention Center on De- sion points and Q&A sessions. Details per’s March coverage includes features cember 15, 2007. Over 1,700 WPFW sup- are available at HowardMandel.com. on Eric Dolphy, Joëlle Léandre and porters attended the gala, which also Dick Hyman. Also, in the Spring 2008 honored Dorothy Height, Harry Bela- Bill Minor was interviewed by Kar- issue of Signal to Noise, Laurence will fonte, Dick Gregory and Congressman en Chandler and Jack McCray of the publish a feature on Jeff Schlanger’s John Conyers. Rusty will always trea- Charleston Jazz Initiative (Charleston, musicWitness® Project. Schlanger, a sure the note he received from Rollins South Carolina), when they visited unique visual artist, is a mainstay and thanking him for his presentation at Monterey for archival information on ongoing participant/documentarian the event. Artists recently interviewed the Monterey Jazz Festival related to at New York’s annual Vision Festival, on Rusty’s “Jazz & More” radio show in- Charleston’s jazz legacy. The visit in- which enters its 13th year this June. clude Dee Dee Bridgewater, Hal Galper, cluded a “tour” of Doc’s Lab in Cannery Rashied Ali and Reggie Workman. Row, where the MJF had its inception. Enid Farber’s hand-painted photo- Bill will be in Charlottesville (for the graphic exhibition, “Creative License: Thomas W. Jacobsen wrote a feature Virginia Festival of the Book) in late From Black and White to Sepia to article on reedman Bob Wilber in the March, promoting his novel, Trek: Lips, Color,” recently seen during the 17th spring (March) issue of The Clarinet. annual Jersey City, New Jersey art- (Wilber celebrated his 80th birthday in continued on next page | »

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 15 » | MEMBERS: from previous page

Sunny, Pecker and Me. In April he will have a signing/read- ing at Village Books in Pacific Palisades, California, and R.I.P. Late 2007 other venues in the Los Angeles area. E Steve Rathe continues as senior producer for the Peabody Award-winning Jazz at Lincoln Center Radio program and Deaths in Late 2007 various specials. He also produced the recording of the Wynton Marsalis/Maya Angelou collaboration “Music, Deep Compiled by W. Royal Stokes and Ken Franckling Rivers In My Soul” that premiered in December on PBS. With Symphony Space in New York, Steve’s Murray Street Productions is launching a new radio program and website OSCAR PETERSON “Symphony Space Live” (at symphonyspace.org) featuring full performances ranging from Arturo O’Farrill’s Afro-Latin Trombonist Jim Smale Jazz Orchestra to Ursula Oppens playing piano works of El- liott Carter. Clarinetist Phil Cooper; clarinetist and baritone saxophonist Frank Chace Gary Stager, Senior Editor of District Administration (a magazine addressing school district management), recently Pianists and bandleaders Oscar Peterson, earned his Ph.D. in Education from the University of Mel- Günter Noris bourne. In October, the National School Boards Association named Gary one of “20 Education Leaders to Watch.” Cellist Derek Simpson

Bassist Alan Bates Antonio Terzo, Italian journalist, is please to note the first anniversary of his publication jazzColo[u]rs, a jazz email- Singer, guitarist, keyboardist, bandleader, zine featuring interviews, articles, reports, etc. The publica- composer, producer and talent scout Ike Turner tion, in PDF format and delivered via email, has featured writings by JJA collegues Alain Drouot (U.S.) and Michael Cabaret singer Ruth Wallis Pronko (Japan), along with many professional Italian jour- nalists. To request the free February 2008 issue please con- Blues singer Weepin’ Willie Robinson tact [email protected]. Subscriptions are available Composer Karlheinz Stockhausen at jazzcolours.it Musicologist, research institute executive, was the featured speaker on November 20, John R. Tumpak author and editor H. Wiley Hitchcock 2007, at the monthly meeting of the Los Angeles Duke El- lington Society. His topic was “The Sacred Concerts of Duke Writer Diane Middlebrooks Ellington.” On January 28, 2008, John made a presentation titled “The Life and Music of Billy Strayhorn” to The Ebell of Folklorist, ethnomusicologist, writer, broadcaster, Los Angeles, an educational and philanthropic organization producer, educator and lecturer Henrietta Yurchenco founded in 1894. The event took place at the Wilshire Ebell Theater. Filmmaker St. Clair Bourne Founder and chairman of the Jazz Foundation David Wild is co-author (with Chris DeVito, Yasuhiro Fujio- of America, president of the Jazz Museum ka, Wolf Schmaler and editor Lewis Porter) of The John Col- of New York and pianist Herb Storfer trane Reference, which was published at the end of December by Routledge. The massive work (821 pages, 8.5 X 11 format) contains a complete Coltrane chronology and discography, along with rare photos and reproductions of album covers Correction: and other details. It updates the Fujioka discography (itself an update to the earlier discography by Wild). Because of an untraceable source of misunderstanding, producer, promoter and broadcaster Gene Norman was < < < incorrectly included in the Winter 2008 issue obituary list for 2007 as deceased. Jazz Notes regrets the error. PHONE A FRIEND. < < < Invite a colleague to join the JJA today!

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 16 FROM LEFT: François Houle, William O. Smith and Jesse Canterbury perform in Seattle, Washington, December 15, 2007. Photograph by Laurence Svirchev. SIX CLARINETS

ast December, when Laurence Svirchev snapped fingerings,” playing joints of the instrument separately this photograph of William O. Smith, François and blowing across the barrel, sans mouthpiece, to make L Houle and Jesse Canterbury at Seattle’s Chapel the clarinet sound like a flute. His book on the subject is Performance Space, he seemed a bit surprised to hear that something of a classic. he had probably documented what was probably a world- wide musical “first.” But then, maybe you’ve already seen Canterbury, who is a physicist, decided to move from three musicians playing six clarinets at the same time. I Texas to Seattle in 2000, but first he asked around about certainly hadn’t. teachers and discovered that master French Canadian clarinetist Houle was just across the border, in Vancouver. The occasion was the celebration of a new album release He studied circular breathing and other techniques with by Smith and Canterbury, collage/décollage, to which François. Houle, in turn, told Jesse about Bill, from whom Houle contributed a piece. he had taken lessons, and Jesse started studying with Bill But it wasn’t just the novelty of those instruments sticking as well. And thus was born a triumvirate of clarinet mav- out like pairs of whiskers from three (cool) cats – though ericks. surely that’s part of the fun. It was also the gorgeous sounds these guys made together and the interesting his- The December concert featured a panoply of solos and torical relationship between them that is worth report- duets – some hauntingly atmospheric, others chattery and ing. agitated – for various aspects (and parts) of the clarinet, but this photo documents a free-improvised finale. William O. Smith – a.k.a. Bill Smith, when he’s playing with Dave Brubeck – taught for decades at the University — Paul de Barros of Washington, where he developed extended techniques on the horn, such as super-high notes, multiphonics, “false < < <

JAZZ NOTES • Vol. 19, No. 1 — Spring 2008 17 ABOVE LEFT: Roy Haynes at Birdland, December 14, 2007; photograph by Enid Farber. RIGHT: Marc Ribot at FIVE THOUSAND the 2007 Enjoy Jazz Festival, Heidelberg, Germany; photograph by Frank Schindelbeck. BELOW LEFT: Samita Sinha at the Charlie Parker Jazz Festival, New York, August 25, 2007; photograph by WORDS Nancy Kaszerman. CENTER: The sax line of Claire Daly, Grace Kelly and Giulio Martino jams at the Pittsfield CityJazz Festival, Pittsfield, Massachusetts, October 6, 2007; photograph by Ed Bride. RIGHT: Carl Allen takes a break; photograph by Ronnie James.

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