Tomorrow morning, I am off to Newport, Oregon to attend the 2012 Oregon Coast Jazz Party. The three-day event used to be called The Newport, Oregon, Jazz Festival, but I’m told that it became necessary to rename it because of concerns that it could be mistaken for another festival. Perhaps you can guess which one. This poster, perhaps commissioned by the chamber of commerce or the tourist commission, clearly shows that the Oregon Newport is on the left coast. If you look closely, you will see that it illustrates some of the things I could do if I weren’t going to be in windowless rooms listening to music.

If you follow Rifftides, you may have noticed that the festival has an advertisement in the right column. It popped up there one day through an arrangement by the festival management with artsjournal.com, the blog umbrella under which we appear.
Full disclosure— the Rifftides staff had nothing to do with the ad’s placement and has no financial interest in it. Further full disclosure—I am going to take part in a concert at the festival. Long ago, Bill Mays said that some day he would play a History of Jazz
Piano concert in the US, as he had in Japan, and asked if I would narrate it. Sure, I said. Later, Bill was invited to play at the Newport festival, er, party, and suggested the program to Holly Hofmann, the music director, who approved. Bill has spent decades preparing. I believe that he intends to use a full-size piano. I have spent hours writing my ad libs. Even further full disclosure—the management asked me to introduce some of the concerts. Marcia Hocker of KMHD radio in Portland will introduce others. If you wish to know who is playing at the party, click on the ad. It’s quite a lineup. If you’re going to there, please say hello.
Well, with all of that full disclosing, here’s the ethical dilemma: Since I have agree to be an ad hoc part of the event, can I also report about it to Rifftides readers without destroying my journalistic integrity? I’ll think about that on the five-and-a-half-hour drive tomorrow.
Speaking of Newport, right-coast variety, I learned by chance that
George Wein and I share the same birthday, which at this writing has another hour to run. He didn’t know it, either. George and I exchanged pleasantries about that today. It was pleasant. Happy birthday, George.





The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
Belated Happy Birthday Doug!
Happy Birthday, Doug! And many, many more.
Keep on swingin’ on!
To someone who has showered us with so many blessings, may you be blessed greatly in the coming year and always!
It’s better late than never
). (I’ve been away for a decade and unfortunately had no access to PC)
Many Happy Returns of the Day, Doug!
We are lucky to have you as an erudite jazz blogger.