Recently in main Category

Loud, fast and chopsy -- that was the definition of "jazz-rock fusion" assumed by panelists (including me)  in a Jazz Journalists Association Jazz Matters public panel discussion of "Fusion at 40" held in conjunction with the headline appearance of  Return To Forever at the Ottawa Jazz Festival.

RTF -- introduced by pianist Chick Corea in 1974 to comprise guitarist Al DiMeola, bassist Stanley Clarke and drummer Lenny White -- is a banner act at jazz fests most everywhere this summer. This lineup is together for the first time since 1983, its tour promoted as a 25-year anniversary and accompanied by a two-cd retrospective album (Return To Forever The Anthology) which has gangstered much jazz magazine coverage. RTF meets the loud, fast and chopsy criteria, sorta. But the supergroup was born several minutes past fusion's finest hour, and its members' collaboration honestly shows their age.

Too hip to be rattled by ignorant, idle, defensive -- and of course, revealing - threats, the greatest living musicians are basking in hard-earned recognition and producing inspiringly energized, not necessarily mellow music. Undeterred by Live Nation-like commercial disdain, jazz festivals are thriving throughout North America under nominally non-profit organizations run by a coterie of canny impresarios. Jazz clubs -- not only in NYC, I saw it in Chicago, too -- are hosting eager audiences, maybe because the cheap buck has lured international tourists. But the buck's not cheap Canada, which is also promoting jazz. Jazz is always endangered, but right now it's in high bloom. 

So sayeth tenor saxophonist Albert Ayler in December 1964 -- a clip I used in my latest NPR audio piece about a Swedish documentary film on Ayler currently touring U.S. arthouses. He believed unbound, exploratory and free (yet focused) improvisation was the sound of the future. Typically depicted as a wild-eyed radical whose mysterious death 38 years ago came at the crux of his brief but ecstatic career, Ayler is being proved right by the explosive energies that seek to turn America's vernacular music transcendent -- at jazz festivals this week and next in New York City and beyond. It's the only way left for musicians to play!

Two upcoming Awards presentations highlight these questions. The Jazz Journalists Association with a cocktail barbeque buffet on Wednesday June 18 at the Jazz Standard, in Manhattan, hails the jazz aesthetic but risks preaching to the choir. The First International Jazz Awards, advertised as a "two-hour televised extravaganza" hosted by comedian D.L Hughley at the Beverley Hilton in Beverley Hills on June 29, bases its nominations on Soundscan's top jazz sellers," contributing to the tautology "What sells best is best." Everyone knows that, right? 

Also, see Matt Miller's newest recommendations for NYC performances -- Comin' Right Up.