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Rifftides

Doug Ramsey on Jazz and other matters...

Archives for June 17, 2005

Perk

The Jazz Institute of Chicago website has the transcription of a valuable 1981 interview with Bill Perkins by the indefatigable British print and broadcast journalist Steve Voce. Perkins was one of the great tenor saxophonists who grew out of Lester Young. In the fifties, Stan Getz said of him, “Perk is playing more than any of us.” I have always assumed that by “any of us,” Getz meant not just himself, Al Cohn, Zoot Sims, Paul Quinichette, Brew Moore and dozens of others who worshipped Lester, but tenor saxophonists in general. Perkins adored Young, but he was on a constant search beyond Young, beyond himself, so that he could get deeper inside himself and his music. He worked incessantly and intensely to become a more expressive player. And he seemed never to be satisfied with his own playing. More than once I have seen his fellow musicians’ mouths fall open in astonishment at some daring passage he played, only to have him come off the stand shaking his head in disgust at what he considered a failed attempt. His self-deprecation was no act. Here’s some of what he told Voce.

As you know the attraction to Los Angeles for the musicians was the chance to make money in the studios. It was a very enticing thing. But in recent years because of the sheer number of musicians there they’ve made their own thing musically. And still you can’t possibly make a living as a jazz musician in Los Angeles. I think I took the studio work too seriously. I’d go to each job with the attitude that it was supposed to be a work of art and I’d wind up going home almost on the point of tears because I thought I’d played badly. But, as my dear friend Ernie Watts pointed out, it’s not art it’s craft at best, and if you look at it that way it won’t be so painful to you. Here’s a man half my age educating me!

The important thing about Perk—all musicians who played with him in later years remarked on it—was his unceasing self-renewal as an artist. A coterie of fans constantly barraged him with requests that he play as he did in 1956; specifically, as he did on the marvelous Grand Encounter with John Lewis, Jim Hall, Percy Heath and Chico Hamilton. But, like Hall, he kept growing, exploring, taking harmonic and rhythmic chances, never entertaining the thought of remaining static. That made it difficult for admirers whose antennae were pointed backward, but he treated more open-minded listeners to some of the most adventurous playing in all of jazz. His exploratory, occasionally boggling, conception comes through in his last recordings with the Bill Holman Band, and there is a lot of it in CDs with the Danny Pucillo Quartet on Pucillo’s Dann label and in Silver Storm with Bud Shank’s sextet on Raw Records. Still, Perkins never lost his love for Lester Young and was persuaded late in his life to recreate some of Young’s most famous solos on Perk Plays Prez on the Fresh Sound label.
In part because he was on the west coast, in part because it is demanding to follow a moving target, Perk’s daring late work eluded taste-making critics. Anyone who examines his ouvre of the late nineties and early 21st century will witness astonishing music-making. I rarely tell musicians what I think they should do. Generally, they don’t need or want to hear it. But in 2002, when we are all in the same place, I suggested to Perkins and the guitarist Jim Hall, another giant incapable of not looking ahead, that they collaborate on new music. They liked the idea. That would have been something to hear. If only it had happened before Perk died in August of 2003.

Correspondence

Leo Boucher in Houston sent a message about my comments Wednesday on Ben Ratliff’s New York Times piece predicting a boring concert at the JVC Festival.

I read it differently. I don’t think he meant that those players are boring or that the concert would be boring. I think he meant that it is an example of boring, uninspired programming. My guess is that that’s why he didn’t name the pianists; he wasn’t dissing them, but the festival programmers. I look forward to reading your blog.

Nate Dorward, a Canadian reviewer and blogger, wrote much the same, and added:

I think a better word would have been “unimaginative” or “safe”: heartfelt tributes originated by the musicians themselves are one thing, but the way festival programmers (and record labels) constantly turn jazz into unimaginatively packaged tributes to a pantheon of past greats is frustrating for many jazz fans. It would be far more respectful of the individual geniuses of Weston, Allen, Barron and Caine to give them each a concert to themselves and let them play whatever music struck their fancy.

I don’t know how far I’m going to go with the Food section under Doug’s Picks, but Jack Wright of Boston responded to the first entry.

For your asparagus recipe, allow me to recommend a favorite pinot gris of mine. The label is Big Fire, the winemaker is R. Stuart & Co of McMinnville, OR. That’s what I’ll be drinking when I make your recipe. I look forward to reading Rifftides fervently.

Ah, those Oregon pinots—gris and noir. Salud.
Another Bostonian, the respected critic Bob Blumenthal, had a thought about Take Five: The Public and Private Lives of Paul Desmond.

Am I the only one who has said that your Desmond book reminds me of nothing so much as the recent Albert Ayler “spirit box”? And I mean that in a good way, but these are two saxophonists who don’t normally share the same thought.

I can hear Desmond giving his conspiratorial chuckle at the thought. He rather liked Ornette Coleman, even if he did say that listening to Ornette was like living in a house where everything was painted red.
The master trumpeter Marvin Stamm writes concerning my evening at the Garage Restaurant in Greenwich Village:

I am glad you had the opportunity of hearing Virginia Mayhew play while on your recent NYC sojourn. I have been doing several gigs with her these past few months and am enjoying her playing immensely. She’s a beautiful player and a lovely person to work with. She’s an excellent musician who knows what she wants, yet allows each player plenty of latitude for their own musical input. She’s certainly showing me a thing or two about playing in odd meters!

Knock, Knock

I have had unbelievable luck lately. Just this morning, I got an e-mail message notifying me that I have won a million Euros in the Royal Spanish Sweepstakes Lottery, another from the son of a murdered bank official in Kenya who will make me rich for helping him invest his inheritance, and one from a merchant in Dubai who led a selfish life, but now that he is dying of a particularly hideous form of cancer, wants to give his fortune to charity and would like me to help him dispose of it. As if that weren’t enough, I’ve been offered a huge stockpile of Viagra at bargain prices. What opportunities the internet brings.
Have a nice weekend.

Doug Ramsey

Doug is a recipient of the lifetime achievement award of the Jazz Journalists Association. He lives in the Pacific Northwest, where he settled following a career in print and broadcast journalism in cities including New York, New Orleans, San Francisco, Los Angeles, Seattle, Portland, San Antonio, … [MORE]

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