Jazz Beyond Jazz

Howard Mandel's Urban Improvisation

AACM at 45: “Creative Musicians” span generations, U.S., globe

The AACM — Association for the Advancement of Creative Musicians — continues after 45 years to encourage highly original, edgy and exciting artists — as I detail in my new City Arts column. Examples in New York City: reedist/composer Henry Threadgill’s Zooid performs tonight and tomorrow at Roulette; trumpeter Wadada Leo Smith’s 22-piece Silver Orchestra and the duo of keyboardist-singer Amina Claudine Myers and drummer Reggie Nicholson are the bill for the AACM-New York”s concluding concert of its fall 2010 season on November 19 at The Community Church of New York; NEA Jazz Master Muhal Richard Abrams, the pianist, composer and improviser who co-founded the organization 45 years ago and has guided it ever since celebrates his 80th birthday by collaborating with two very different small ensembles at Roulette on December 2. 

And in Chicago, an AACM 45th anniversary festival is going on with trombonist-computer composer George E. Lewis, Roscoe Mitchell, Alexander von Schlippenbach, Ernest Dawkins, Douglas Ewart, Mike Reed, Phil Cohran and many others concertizing at the Museum of Contemporary Art, and conducting open master classes. Hail to creative musicians everywhere!

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CareFusion drops jazz fest sponsorships

CareFusion, a global corp. specializing in hospital equipment, has ended its two-year sponsorship of George Wein’s New York Jazz Festival and Newport Jazz Festival, and the Chicago Jazz Festival, a day after reporting the retirement of its Chairman and CEO David L. Schlotterbeck, and the first quarter financials of its 2010 fiscal year. 

The company announced steep revenue losses and plans to cut 5% of its workforce last August; in October, CareFusion recalled 17,000 Alaris PC infusion units, cited by the FDA as a product the use of which has “a reasonable probability” of causing “serious adverse health consequences or death.” But a publicist cautioned against linking these happenstances, and enthused about what she called CareFusion’s jazz-related marketing campaign.

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Randy Weston, Giant Standing

Pianist, composer, ensemble leader, now autobiographer — at age 84, Randy Weston is a huge and undiminished presence. Read my column in City Arts New York about how he’s just published African Rhythms, his life story, is signing it at Tribecca Performing Arts Center (NYC)  Oct. 30, and leads his 22-piece orchestra at that same venue in a 50th anniversary concert of his 4-part suite Uhuru Afrika, (lyrics by Langston Hughes) on November 13. 

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Surprises and stalwarts in an NYC jazz weekend

Five acts, all jazz headliners, in 3 hours at the Jazz Foundation of America’s Loft Jazz Party, plus Chicago drummer-composer Mike Reed’s thrilling People, Places & Things quartet and alto saxist Darius Jones’ trio at Drom in the East Village — bountiful blues, soul, swing, groove, creativity, tradition, big names and newcomers in NYC on Saturday and Sunday. It’s like this all the time in the jazz capital of the universe, but good not to take it for granted.

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Jason Moran: Genius and/or very hard worker

The MacArthur Fellowship to pianist/composer/bandleader Jason Moran follows from that Foundation’s ongoing trend to give $500,000 no-strings-attached to musicians who’ve demonstrated accomplishment and seem to promise more. Here’s my City Arts-New York column  re what Moran’s done and how things have changed since Monk, Bird, Dizzy et al brought modernism to jazz, without any dream of non-profit or governmental financial support.

Manhattan music “loft” Roulette takes big chance on Brooklyn

Roulette, since 1978 a formerly humble Manhattan-based presenter of avant-garde “intermedia,” has signed a 20-year lease on a former YWCA art deco 600-seat theater in Brooklyn. This  Next weekend (Oct. 7, 8, 9) is the space’s three-night benefit “Easy Not Easy,” assigning emerging (read: little known) artists presumably simple scores by such its longtime stalwarts as Pauline Oliveros and John Zorn. Read more all about it in my column in City Arts – New York . . . 

Jazz elders cast giant shadows

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Muhal Richard Abrams – photo credit sought – no copyright infringement intended

Why isn’t the amazing current generation of creative (jazz) musicians better known? Maybe because major artists of the not-so-distant past are practicing the art form at splendid peaks, overturning clichés about dwindling powers of octogenarians. Read my column in City Arts New York for a report that touches on Sonny Rollins, Roy Haynes and Muhal Richard Abrams, who tower over the start of the fall 2010 season.

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If videos of Sonny are removed, will the legend grow?

Gone from Youtube are two brief but vivid excerpts from Sonny Rollins’ 80th birthday concert at the Beacon Theater on Sept. 10 — one showing the great tenor saxophonist in duet with percussionist Sammy Figueroa, the second documenting the surprise, climactic contributions of Ornette Coleman to the set, and Rollins’ inspired improvised responses. 

What a shame! — from at least one perspective. Or should those visuals never have been made public without the artists’ permissions? 

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Video for fans of Sonny Rollins & harmolodics

Too good to not post: Ornette Coleman was surprise guest with Sonny Rollins at his fast-become-famous Beacon Theater 80th birthday party on September 10 (backstage there was birthday cake shaped like a saxophone, made of marzipan). Note SR’s quote at about 10 minutes in of “I’ll Take Manhattan,” which he certainly did. [[As of 9/15/2010 this video has been removed from Youtube by it’s “user.” Research will follow. 

 And next is  another priceless clip I’ve never come upon before, from the early ’60s, of Sonny with trumpeter Don Cherry — Ornette’s brilliant partner — young Henry Grimes on bass and drummer Billy Higgins. 

 thanks to whoever made these public, though in the future — PLEASE get artists’ agreements to film and make public . . . And the embedding is disabled, but here’s Don Cherry playing Monk’s “Bemsha Swing” with Herbie Hancock, Ron Carter and Billy Higgins, from New Orleans circa 1986. 

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Sonny @ Beacon bootlegged video clip

A bootlegged video excerpt of Sonny Rollins at the Beacon Theater, 9/10/2010 is available on youtube — the sound doesn’t do him justice, and I don’t intend to encourage unauthorized video, but it is out there to give the world a brief idea of last night’s concert. 

On the other hand, Bret Primack, the Jazz Video Guy, has been working long and hard on, for and with Sonny, and I embed below a clip from the end of a performance of “Tenor Madness” from Antibes, 2005, which is auhorized to be on the web:

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Sonny the sax king

At age 80, Sonny Rollins is indisputably the greatest living jazz tenor saxophonist, proved last night throughout a 2-hour set at New York’s sold-out Beacon Theater in which harmolodic sage Ornette Coleman sat in, backed by drummer Roy Haynes and bassist Christian McBride, on “Tenor Madness.”  “Sonnymoon For Two”. Rollins was hunched and hobbled when he came onstage, but once he started blowing he stood upright and blasted his big bold sound with energy that brooked no diminishment of strength or inspiration, bending only to fire another fussilade of freshly wrought invention as if from his guts. 

Guest brassman Roy Hargrove paced Rollins melodically on “I Can’t Get Started” and one of Sonny’s vamp-based songs; Jim Hall had to tune up his guitar while starting to interact with Sonny on “In A Sentimental Mood,” but found his place, and Sonny’s standing band w/ guitarist Russell Malone, elec. bassist Bob Cranshaw, drummer Kobie Watkins and conga-player Sammy Figueroa was better than solid — but it was the Old Man himself who kept raising the stakes with gruff, hearty, spirited, virtuosic roars and runs. 

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Daley bad for Windy City’s music?

Contrary to my paean to Richard M. Daley’s support of Chicago’s music and arts, Chicago Tribune rock-crit Greg Kot writes of the Mayor’s treatment of the local music scene as a “second class citizen.” It’s true the City has messed with club venues — Marguerite Horberg of  established the multi-genre Hot House years back and now runs the progressive culture initiative Portoluz regaled me last weekend with tales of fire inspectors evacuating theaters mid-show over petty infractions and other harrassments; Kot reminds us of Chi’s failure to get behind its indigenous rock, blues, pop and jazz as New Orleans, Austin and other U.S. cities have. Jury’s out on whether Daley’s been overall good or bad for music, but the issue deserves careful analysis, and I urge Jazz Beyond Jazz readers to take a look at Kot’s piece as well as this collaborative Trib report.

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