Archives for August 11, 2008

A British company is releasing a two-CD package tracing Bix Beiderbecke’s influence on musicians of his era. Proceeds from sale of the set will be devoted to medical care of Dick Sudhalter, a musical descendant of Beiderbecke and his greatest biographer. Sudhalter is in bad health with MSA (muscular system atrophy) and getting worse. He needs help. From the Jass Masters news release:

The CD set contains a number of tracks that are being re-issued for the first time since their original release on 78 rpm record. In addition, several sides are transferred from un-issued test pressings and are being released for the first time ever. The recordings have
been faithfully restored using the latest digital techniques while at the same time paying respect to sound of the original recordings. The CD set is completed by two in-depth booklets (one of 28 pages and one of 36 pages) outlining each track and providing detailed information on the bandleaders and musicians responsible for the music heard on each CD; both booklets are replete with many rare photographs, some reproduced in print for the first time.

All profits from this CD set will go towards helping to meet the medical expenses for respected author and jazz musician Richard Sudhalter, who has done much
to bring Bix’s life and music to wider audiences. His works include Bix, Man and Legend, which was written in collaboration with Philip R. Evans and first published by Arlington Press in 1974, Lost Chords: White Musicians and Their Contribution to Jazz, 1915-1945, (Oxford University Press, 1999) and Stardust Melody: The Life and Music of Hoagy Carmichael (Oxford University Press, 2002). Sudhalter is also a much acclaimed musician whose Bix-influenced cornet and trumpet solos have graced numerous recordings.

For details about the 51 tracks in the CD set and for ordering information, click here. For a Rifftides posting about Sudhalter, his predicament and the benefit concert for him nearly two years ago, click here. He needed help then. Now, he needs it even more.

It is now called the JVC Jazz Festival, but it still takes place in Newport, Rhode Island. If the festival no longer has the jazz purity of its beginnings in the 1950s, at least it has survived. It continues to include major jazz artists among the tangential pop figures who attract the big crowds that pay the bills. In today’s Boston Globe, Steve Greenlee summarizes the two days of Newport and evaluates the highlights as if he were scoring Olympic events.

Gold medal: Sonny Rollins. The titan of the tenor sax hadn’t played Newport in more than 40 years, but last night he owned it, with a hard-blowing set that closed the festival. He improvised endlessly on the repeating two-bar figure that serves as the framework of “Sonny Please.” He played ahead of time and against time, punctuating phrases with quick jabs, shrieks, and honks. Be it burner or ballad, he blew and blew, and he never ran out of ideas.

Greenlee even awards gold, silver and bronze medals to elements of the audience.To read his entire report, click here.

In an interview a few days before the Newport performance, Rollins told Rick Massimo of the Providence Journal why he has kept bassist Bob Cranshaw in his band for more than four decades…

…because he maintained the fixed portion of it, and that would allow me to extemporize freely and the song would still be maintained. It was a contrast; if he had the fixed part, then I could go into all of my wild dreams.

…and why he rarely works with pianists.

At the risk of alienating my piano-playing friends — and I’ve played with some great piano
players — the piano is a very dominating instrument. I guess this goes back to when I was 7 years old and I was able to play and get into myself without any other instrument. The jazz bands in New Orleans — you see these guys marching down the street, there’s no piano…

The kind of music without a piano is more gritty, more real, hard jazz. It allows me to feel more free in my improvisations. The piano is very leading. You can lead a band here, you can lead to this chord, this mood. Everything is fed by a piano. I find that very restricting.

For more of the Massimo interview, go here.

For classic examples of Rollins not being led or fed by a piano, listen to A Night At The Village Vanguard and Way Out West, both from 1957 and as fresh as this morning.