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Rifftides

Doug Ramsey on Jazz and other matters...

Archives for August 2011

Draghici’s “Donna Lee”

Bill Crow sent an alert to a clip of the amazing musician Damian Draghici. Tricked by memory, I could have sworn that I had posted the video a few months ago, but the staff’s thorough search of the Rifftides archive turned up no trace of it. Draghici is a Romanian Gypsy as celebrated in his country for activism in behalf of the Roma people as for his mastery of the pan flute, an instrument rarely encountered in your average jam session. He studied at Boston’s Berklee College of Music, worked in Los Angeles and London and has toured extensively.

This performance is from a televised concert late last year in Bucharest. With Draghici are Eddie Daniels, clarinet; Randy Porter, piano; Scott Steed, bass; and Reggie Jackson, drums. Over the years, Charlie Parker’s (or possibly Miles Davis’s) “Donna Lee” has picked up velocity as musicians have mastered its linear complexity. This opening chorus probably sets a new land speed record.


For biographical information about Damian Draghici, go here.

“So What,” Illustrated

Here’s something to engross you as you prepare for a new week. A man named Dan Cohen animates music in the most fundamental and entertaining way. You have no doubt heard the Miles Davis Sextet playing “So What” often enough that you can sing along with the solos. Well, in fairness, it would require a remarkably flexible voice to stay in unison with Coltrane, but enjoy singing along—or reading along—with Mr. Cohen’s tour of one of the great jazz recordings.

Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, Jimmy Cobb, 1959.

Weekendia: Lester Young, Bill Crow, Radio Tip

Here is a weekend roundup of diversions or attractions for those Rifftides readers with nothing better to do on an August weekend; dodging Hurricane Irene, for instance.

1: Lester Young. This is one of the rare instances of The President performing on film. It is a kinescope of an episode of Art Ford’s Jazz Party, from the era when virtually all television programming was live. Ford’s show on WNTA-TV in New York survived for a few months in the late 1950s. He presented a cross-section of musicians as various in style as the venerable New Orleans clarinetist George Lewis and post boppers like alto saxophonist Cannonball Adderley.

In this instance, Young found himself in the company of pianist Willie The Lion Smith, clarinetist Pee Wee Russell and trumpeter Charlie Shavers, among others. He played one of his favorite tunes, “Mean to Me.” Guitarist Dickie Thompson is visible. The bassist appears to be Vinnie Burke. We don’t see the drummer, but Lester turns to him in mid-solo and requests “a little tinky-boom.” Prez was definite about what he expected from drummers. Note the allusion near the end to “Tain’t What You Do, It’s The Way That You Do It”—perhaps another gentle message to the percussion section.


For a Lester Young ballad performance from the Jazz Party, see this Rifftides archive post.

2: Bill Crow: The eminent bassist and raconteur sent this message.

I’ve been the guest lecturer for the last four Tuesdays at the Jazz Museum in Harlem’s series called “Jazz for Curious Listeners.” You can see the listings here:

They didn’t get their recorder working for the first one, but the second and third have audio, and the audio for the fourth will be up soon. I’m doing the last one next Tuesday, on the Benny Goodman trip to the Soviet Union. We’ve had nice audiences, and they have been very responsive. It’s been fun to do.

If New York survives Irene, the museum is open and you are in town, I strongly recommend that you go listen to Bill’s stories about the legendary, and legendarily uproarious, 1962 Goodman Russian venture. There is nothing like hearing Bill in person, but if you happen to be in, say, Reykjavik, Rawlins or Rome and can’t book a flight to Harlem on short notice, go here for his written account.

3: Radio Tip: Jim Wilke is best known as a talented broadcaster. He is also a skilled recording engineer. Among his recent audio captures were some of the performances at the Port Townsend Jazz Festival on Washington’s Olympic Peninsual. He will be airing one of them on his Jazz Northwest program tomorrow on the Tacoma-Seattle station KPLU-FM. Here is Jim’s description of the festivities, illustrated with his slightly grainy but atmospheric photo (I’m a visual arts critic on the side).

This performance took place at The Upstage and brought together a bi-coastal group including saxophonists Gary Smulyan and Joel Frahm and drummer Alvester Garnett from the East Coast, and Bruce Forman, guitar, Tamir Hendelman, piano and Doug Miller, bass, from the West Coast. All were members of the faculty of the week-long Jazz Workshop which precedes the Festival on the last weekend of July. Each of the six musicians has numerous recording and touring credits and brings a wide variety of experience to this set which ranges from tender ballads to be-bop burners.


With no rehearsal beyond talking through the tunes and deciding on solo order during the gig, this is a great example of the magic spontaneity of jazz as the six musicians turn in a performance that sounds like they’ve been playing together for years. The audience surrounds the musicians on three sides and two levels, and no one is more than a few steps from the musicians making it a very participatory experience.

Air time is 1:00 pm PDT Sunday. To hear Jazz Northwest, go to the KPLU website and click on “Listen Live.”

Have the best possible weekend. Stay dry.

Other Places: The Ellis Marsalis Center

In the aftermath of Hurricane Katrina, Harry Connick and Branford Marsalis vowed to see that New Orleans musicians affected by the storm would get long-term help. Six years of their hard work and the cooperation of hundreds of others are about to make a tangible difference in the city’s musical community and beyond. A new center named in honor of Ellis Marsalis (pictured)—father of four famous sons in jazz and teacher of hundreds of musicians—is officially open and will be in full swing in the fall. In today’s New Orleans Times-Picayune, Keith Spera writes:

Were it not for Hurricane Katrina, there would be no Ellis Marsalis Center for Music.

“I was guilty of the same thing our city has been guilty of for 100 years: Resting on our traditions and thinking everything is going to keep on going status quo,” Connick said. “No one thought there would be a storm that would put the city under water. No one thought that the musical traditions would ever be in jeopardy.

“The storm really opened up a lot of dialogue.”

In the storm’s wake, housing was a more pressing concern. Connick and Marsalis partnered with New Orleans Area Habitat for Humanity to develop the Musicians’ Village for musicians and others. From the outset, Connick said, the vision included a performing arts/community center.

The 72 single-family homes in the Village were built by thousands of volunteers. Habitat financed construction with donations and low-interest loans to the homeowners.

In a few weeks, the halls of the Marsalis center will ring with the music of its first class of students. To read Spera’s entire story, click here.

To see and hear Ellis Marsalis perform with his sons Branford, Delfeayo, Jason and Wynton, play this video.

Catching Up With Kristin Korb

Kristin Korb, you may recall, plays the bass as she sings or sings as she plays the bass. Take your pick; she does both equally well. This video is from a house-party concert she gave last year. The event was called Spring Soiree. The house provided a splendid view of the lights of Los Angeles. Korb’s colleagues in the rhythm section were her frequent pianist Llew Matthews, and drummer Matt Gordy. The clip gives a rare opportunity to hear former Stan Kenton alto saxophonist Mary Fettig, a veteran of touring with Airto Moreira and Flora Purim, Joe Henderson and Marian McPartland, among others. It also demonstrates that properly cared for, good old songs are never really old.


Ms. Korb recently married a Danish man and is moving to Copenhagen, which will be her headquarters and point of departure for touring.

Correspondence: Regarding Uan Rasey

I had hoped to include in the post below something from André Previn, who was Mr. Rasey’s colleague in the studios and, like him, is one of the few remaining members of the remarkable MGM orchestra of the 1940s and ‘50s. My request for a few words from Maestro Previn made its way to him a day late. He responded with this:

Thank you very much for your email. I have many remembrances of Uan, all of which are complimentary and flattering. He was not only the best trumpet player working at the film studios in Hollywood, but also a kind and good friend.

Please wish him the happiest of birthdays from me. I wish I could see him sometime soon.

With best regards,

André

It’s Uan Rasey’s Birthday

Today, trumpet players the world over are celebrating Uan Rasey’s 90th birthday. Listeners and moviegoers might be celebrating, too, if they knew that Rasey’s horn is the one they have heard gracing the sound tracks of some of the best-known films from the glory days of Hollywood. Among the pictures he enhanced: An American in Paris, Singing in the Rain, West Side Story, My Fair Lady, Gigi, High Anxiety and perhaps most memorably, Chinatown. From 1949 through the first half of the 1970s Rasey was first trumpet of the nonpareil MGM studio orchestra. His teaching has inspired many of the leading studio and jazz trumpeters of the past sixty years, among them Fats Navarro, Pete Candoli, Arturo Sandoval and Jack Sheldon.

(Photo of Uan Rasey by Gordon Sapsed)

Beginning at age seven in his hometown of Glasgow, Montana, Rasey taught himself to play using the instruction book that came with his mail order Montgomery Ward trumpet. After his family moved to Los Angeles, he played with the big bands of Sonny Dunham and Bob Crosby. The polio he contracted as a youngster prevented an extensive career on the road, but when Harry James, Tommy Dorsey and Benny Goodman played Los Angeles in the 1940s, Rasey was often in the brass section. Once, Duke Ellington’s trumpet section was unavoidably detained in Texas and Rasey did a brief stint with the band. He was a regular on major radio programs, including The Kraft Music Hall starring Bing Crosby, with John Scott Trotter’s band and arrangements by Billy May. As May became famous, he included Rasey in his projects as, later, did Henry Mancini.

Known not for improvising but for the perfection of his technique and the purity of his sound, Rasey tells his students, “Roar softly,” and “Have reverence for every note.” If you can’t quite bring his sound to mind, here he is playing Jerry Goldsmith’s love theme from Chinatown.

The Rifftides staff stole this Uan Rasey picture and quotation from Tony Gieske’s Remembrance of Swings Past.
Right. Just as in films Rasey supported, Jack Nicholson, Gene Kelly and Rex Harrison did the best they could and went home.

Their Latin Thing

My peripheral involvement in Bob Belden’s Miles Español project has refired a longstanding interest in music that combines Latin and jazz elements. A story by Larry Rohter in today’s New York Times added more fuel. It is about the restoration and DVD release of a film that played an influential role in bringing widespread attention to Latin music and, in particular, to the brand of salsa cooked up in New York’s Latin melting pot. Rohter begins by quoting the master percussionist Ray Barretto about his hopes for the film’s success in raising awareness. Then, he writes:

In 1971 Latin music barely existed on the margins of American consciousness. But Mr. Barretto, who died in 2006 at 76, was prescient. If salsa is today a globally popular and influential dance music style, that is due in no small part to “Our Latin Thing,” which documents a concert by the Fania All-Stars at the Cheetah club on 52nd Street in Manhattan on Aug. 26, 1971, and the chain of events it set in motion.

In the history of salsa music and Fania Records, which for many years were all but synonymous, “Our Latin Thing” and the Cheetah show occupy a singular position. It took another Fania All-Stars concert, this time for a crowd of more than 45,000 people at Yankee Stadium in 1973, to alert mainstream English-speaking America to the vast commercial potential of the Latin music market, but it was the Cheetah performance that may have been the ensemble’s artistic pinnacle.

The article includes an embedded performance excerpt from the “Our Latin Thing” film. To read it, go here.

Summertime Perfection

It was time to put up a new post. With a house full of guests, ideal summer weather and the attractions of all outdoors, I looked for an easy out. The solution begins with a perfect trumpet chorus, then gets better.

The gorgeous arrangement was by Russell Garcia.

A Bill Evans Birthday Observance

At this hour in Edmonton, Alberta, Canada, Laurie Verchomin is celebrating the 82nd anniversary of Bill Evans’ birth. She is at Alberta College reading from her book about the brief, intense relationship with the pianist that inspired him to write “Laurie.” The composition became a central part of Evans’ repertoire in his final years. Ms. Verchomin was with him on his final day in September,1980. On the left, we see Evans with photo booth shots of Laurie.

For a Rifftides mention of the book, go here. For Roger Levesque’s story in the Edmonton Journal about Ms. Verchomin and this evening’s event, go here. For a performance of “Laurie” by Evans, Mark Johnson and Joe La Barbera in Rome in 1979, don’t go anywhere. Play this video.


Bill Evans: August 16, 1929 – September 15, 1980

Joel Miller: Jazz In Montreal, Baby

There is more to jazz in Montreal than the sprawling festival that takes place in the Canadian city every summer. Keeping up with developments there is easier because of the work of filmmaker Randy Cole (pictured). Cole’s latest short film is about the influence of a new daughter on the life and work of tenor saxophonist Joel Miller and Miller’s preparations for a project with bassist Fraser Hollins, drummer Greg Ritchie and the visiting American pianist Geoffrey Keezer.

The last Rifftides piece about Miller was this post more than three years ago about an intriguing CD in a batch of Recent Listening recommendations.

Weekend Extra: A New “Blue Prelude”

Gordon Jenkins (pictured) wrote the music and Joe Bishop the words to “Blue Prelude” in 1933. Shortly after, the Isham Jones band introduced the song on record. In the reed section was a young saxophonist and clarinetist named Woody Herman, who ultimately became leader of a cooperative band that some of Jones’ members formed after Jones retired in 1936. That group, in turn, became the first of Herman’s own bands, known as The Band That Plays the Blues. Herman was so attached to “Blue Prelude” that he made it his theme song. The recording with his vocal was a minor hit in 1939 and ‘40.

Over the years, performers in a variety of genres have recorded the piece. Among them are Bob Wills and the Texas Playboys, Peggy Lee, Judy Garland, Helen Humes with Bill Doggett, Sonny Stitt, Sonny Criss, Charlie Ventura, The Moody Blues, Linda Ronstadt and Nina Simone. Simone’s version is in a three-way tie with Garland’s and Humes’ as the most wrenching. Gretta Matassa’s approach to the song is right in there with Peggy Lee’s as the hardest swinging. Here’s Matassa singing “Blue Prelude” last year in a Beverly Hills, California, appearance. The trio is Mike Garson, piano; Bob Leatherbarrow, drums; and Matassa’s bassist of longstanding, Clipper Anderson. This is one of those rare web videos that you can watch full screen without losing significant picture quality.

Lundgren Now

The Rifftides staff is springing—well, easing—(all right, slouching) back into action after near-total immersion in the Miles Español project described three items down. Here is a pleasant way to do it.

Word from Sweden is that the Ystad Jazz Festival organized and supervised by pianist Jan Lundgren in his hometown was a sold-out success. The four-day festival concluded last Sunday. I had hoped to cover it for you, but was unable to make arrangements. Maybe next year.

Fortunately for all of us, the Norwegian bassist Arild Andersen arranged with Swedish Radio P2 to play on his website a recording of Lundgren’s mellow concert on Saturday with Andersen, trumpeter Peter Asplund and the remarkable Korean singer Youn Sun Nah. Brush up your Swedish for the opening announcement, after which Lundgren introduces the tunes and musicians in English. To hear the entire hour-and-a-half, click here, then on the SverigeSRadio box. Afterward come back, please, for a Rifftides archive special.

Lundgren Then: An Archive Special

The news from Ystad arrived in a conversation with Dick Bank that also included discussion of a recording that is a high point in Lundgren’s career as a pianist and in Mr. Bank’s as a record producer. It is Lundgren’s album with bassist Chuck Berghofer and drummer Joe La Barbera of songs by Ralph Rainger. When the CD was released two-and-a-half years ago, it received enthusiastic reviews, but in narrow precincts of the press and the web. It deserved more attention and still does. Therefore, below is that Rifftides rarity, a rerun.

This post is from December, 2008.

THE FILM MUSIC OF RALPH RAINGER

The release of a new CD, The Film Music Of Ralph Rainger, is the occasion for my piece in today’s Wall Street Journal. Coupled with an article about the contemporary motion picture composer A.B. Rahman, it is headlined, Another Who Has Been Unjustly Forgotten and begins: 

For years, Jack Benny opened his CBS radio and television broadcasts with “Love in Bloom.” The comedian’s violin butchery of his theme song became a running coast-to-coast Sunday night gag. As a result, the piece became even more famous than Bing Crosby had made it with his hit record in 1934. Generations of listeners and viewers heard Bob Hope close his NBC shows with “Thanks for the Memory,” which he introduced in a movie, “The Big Broadcast of 1938.” The song was inseparable from Hope’s career. 

Ralph Rainger, the man who wrote those songs, was a pianist and recovering lawyer from Newark, N.J., who also composed such standards as “Easy Living,” “If I Should Lose You,” “Here Lies Love,” “Moanin’ Low,” “June in January,” “Please” and “Blue Hawaii,” most often with lyricist Leo Robin. Rainger and Robin turned out dozens of songs for Hollywood movies. They were frequently on the hit parade with Rodgers and Hart, Cole Porter and the Gershwins. George Gershwin died at age 38, Rainger at 41. But while Gershwin’s fame increased after his death, Rainger’s name faded. With their beguiling melodies and challenging chord progressions, Rainger’s works are frequent vehicles for improvisation. Yet, in my experience, most musicians who play those songs respond with puzzled looks when asked who wrote them. That might have been the case with bassist Chuck Berghofer, pianist Jan Lundgren, drummer Joe La Barbera and the incomparable vocalist Sue Raney until producer Dick Bank recruited them to record the CD “The Film Music of Ralph Rainger” (Fresh Sound). 

To read the whole thing, run out and buy a copy of the Journal or click here for the online version. The article praises the CD, but it concentrates on Rainger’s successful, grotesquely terminated career. The album demands greater attention, and gets it here. 

The Chuck Berghofer Trio: Thanks For The Memory, The Film Music Of Ralph Rainger (Fresh Sound).

Producer Dick Bank swears that this is his last project. If that proves to be true, he is retiring a champion. He provides Berghofer with a classy repertoire, two superb sidemen and the first leader assignment in the bassist’s distinguished career. Berghofer gets the music underway by playing the melody of “Miss Brown to You.” The stentorian sound of his bass is beautifully captured by engineers Talley Sherwood and Bernie Grundman. La Barbera and Lundgren gently escort Berghofer into a chorus of improvisation. Lundgren follows with his first solo in a CD full of work that makes this the best recording so far by a remarkable pianist. In the Journal piece, I wrote:

…it is the first all-Rainger album since pianist Jack Fina managed to reduce Rainger’s tunes to dreary cocktail music in a 1950s LP. Mr. Lundgren, a brilliant Swedish pianist, plumbs the songs’ harmonic souls. He illuminates even the prosaic “Blue Hawaii,” which — to Rainger’s horror — became a huge hit in 1937. “It will disgrace us,” he told Robin. “It’s a cheap melody . . . a piece of c-.” 

(In a touch of irony that Rainger must have come to appreciate, sheet music sales of “Blue Hawaii” barely exceeded 40,000, but sales of Crosby’s recording of the song skyrocketed and it was on Your Hit Parade for six weeks.) 

It is not only Lundgren’s harmonic ear and gift for chord voicings that elevate his work here, but also his unforced swing and an easy keyboard touch that puts him in a class with Jimmy Jones, Ellis Larkins, Tommy Flanagan and his countryman Bengt Hallberg. His tag ending on “Sweet is the Word for You,” with Berghofer walking him home and La Barbera nudging every fourth beat, is exhilarating. Lundgren’s wry interpolations are a significant part of the fun. They show deep familiarity with, among other sources, Lester Young, as In two quite different uses of a phrase from Young’s 1943 recording of “Sometimes I’m Happy.” 

Throughout, La Barbera reminds listeners why, from his days with Bill Evans, he has been one of the most respected drummers in jazz. His touch with brushes equates to Lundgren’s at the piano, and he employs it to construct a full-chorus solo on “Blue Hawaii” proving that a drum set can be a melody instrument.

Sue Raney is the guest artist for two of Rainger’s best-known songs, “If I Should Lose You” and “Thanks for the Memory.” They are perfectly served by the richness of her voice and interpretations. The performances are among her best on record.

With his unaccompanied “Love in Bloom,” Lundgren banishes recollections of Jack Benny’s violin clowning. He finds harmonic treasure beneath the surface of that abused melody, as he does in another solo piece, “Faithful Forever.” Hugely popular in the 1930s, those songs are less known today than many of Rainger’s others. The jaunty “Havin’ Myself a Time,” which Lundgren and Berghofer perform as a duo, is nearly forgotten, but the harmonic possibilities Lundgren finds in it show that it is worthy of revival. 

In addition to the trio music, the CD has a ten-minute final track that amounts to a little documentary. Lundgren introduces a 1937 interview with Rainger. Bank, the producer, introduces a segment of a1940 ceremony of the American Society of Composers, Authors and Publishers in which Rainger plays the piano and his partner Leo Robin sings “Love in Bloom.” The 32-page CD booklet is packed with information and photographs. If I make all of this sound like an exercise in nostalgia, do not be misled. The musical material may be standard songs from the 1930s, but Lundgren, Berghofer and La Barbera constitute one of the hippest trios of our time. This album is on my top-ten list for 2008 and will be permanently installed in my CD player for a long time.

Correspondence: Clark Terry Update

Bill Crow sent this followup to the August 4 Rifftides item:

I talked to Clark yesterday on the phone (my call interrupted his practicing the trumpet). He’s been home from the hospital for a couple of days and says he is concentrating on healing up. Sounded wonderful.He laughed a long time when I told him a joke. He’s an expert at hanging in there, and I hope that he hangs in for a long time.

The Miles Español Project

Blogging here has slowed in the past few days and may not pick up markedly for a few more. The Rifftides staff is on deadline for an historical essay to accompany Bob Belden’s Miles Español film project. The research has had to be deeper, wider and more intense than I imagined when I said yes to the assignment. No regrets, though. A few years ago, William Zinsser wrote an inspirational book called Writing to Learn. I thought I knew a thing or two about the subject at hand, but as I write this, boy, am I learning—about the roots of African, Spanish and Caribbean music, how they intertwined and nourished early jazz, about how those traditions informed what we heard from Miles Davis and Gil Evans and led to much of what we hear today. A bonus: I’ve come to know Jelly Roll Morton even better.

Belden’s Miles Español will result in a compact disc, but it is primarily a video venture. Many of the musicians worked with Miles. A few of the players are Chick Corea, Jack DeJohnette, Chano Domínguez, John Scofield, Alex Acuña, Ron Carter and Jerry Gonzalez. All 36 are named in the credits of this 10-minute preview.

Hasta la mañana (mas o menos)

CT IS OK

This item from trumpeter Mike Vax has popped up in various places on the web in the past couple of days. It is dated August 3.

I just talked with Gwen Terry. Clark Terry had surgery on his right leg to remove some blockage and the operation went very well. I will be talking with Clark tomorrow and will give him all the good wishes that I know will come from many of you. Please keep him in your thoughts and think good things for him. After all – any surgery at age 90 is a major thing.

Gwen says that Clark sends his best to all his friends and fans around the world!

That is good to hear. So is this.

That was at the Montreux Jazz Festival in Switzerland on July 14, 1977. The other musicians were Ronnie Scott, tenor saxophone; Milt Jackson, vibes, Oscar Peterson, piano; Joe Pass, guitar; Niels-Henning Ørsted Pedersen, bass; Bobby Durham, drums. CT is the sole survivor of that group.

I wonder how many of his fans know about Terry’s crucial role in prodding New Orleans to pay proper homage to its most celebrated cultural figure. Here’s the story from the Terry chapter in Jazz Matters: Reflections on the Music and Some of its Makers. I wrote the piece in 1978.

Terry’s ties to the city have been more spiritual than personal, but his admiration for a New Orleans hero led to one of the most important gestures of his life. A few blocks from the Super Dome a monument to Louis Armstrong is nearing completion. It might very well not have been built without Terry’s inspiration.

New Orleans’s Armstrong Park has been a project of the administration of former mayor Moon Landrieu, who deserves full credit for paying tangible tribute to the city’s greatest artist. But impetus for the idea came in 1969 on a bus ride during the second New Orleans JazzFest. As a musicians’ tour was passing Jane Alley, Armstrong’s birthplace, Terry deplored the fact that while New Orleans seemed to have statues of half the Latin American presidents in history, there was none of the city’s most famous son. Then and there, he started a fund to commission a statue. His first dollar was symbolic. His organizing ability and leadership were much more. Nine years later, that statue is on the verge of becoming the centerpiece of an entire park dedicated to Armstrong’s memory. The park’s completion slowed in the six-month transition between Landrieu’s administration and that of Mayor Ernest Morial. But assuming Morial, the city’s first black mayor, gets behind the project, Armstrong Park should be the New Orleans equivalent of Copenhagen’s celebrated Tivoli Gardens and open by 1980.

Well, it may still be a while before the park is the US Tivoli Gardens, but it was formally dedicated on April 15, 1980 by Landrieu (then US Secretary of Housing and Urban Development), Morial and Armstrong’s widow Lucille. The statue of Armstrong is the centerpiece.

For more on Clark, including the story of how he became Buddy Bolden, see this Rifftides archive piece.

Other Places: Jazz And Poverty

The subtitle above may seem like a redundancy, and for too many musicians, it is. Fellow artsjournal blogger Howard Mandel’s newest post offers a question—

“Are hard times good for jazz?”

—and answers it at some length, complete with a classic 1930s film clip. The reader comments are also interesting. To see the piece, click here.

Nice work, Howard. I wish I’d thought of that.

New Recommendations

In the right-hand column under Doug’s Picks, you will find recommendations of new CDs by a daring pianist, a daring duo and a daring singer. For now, last month’s DVD and book picks remain on the main page. New ones will follow——sooner or later.

Next Page »

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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