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Rifftides

Doug Ramsey on Jazz and other matters...

Archives for March 2014

CD Recommendation: The Keynote Box

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The Keynote Jazz Collection 1941-1947 (Fresh Sound)

Keynote setThe Keynote records produced by Harry Lim trace jazz as it evolved from traditional through swing and bebop. The 11 CDs in the set begin in New Orleans with George Hartman’s trad band. By the time they end, the listener has spent time with a wide cross section of the decade’s best musicians, including Lester Young, Coleman Hawkins, Lennie Tristano, Red Rodney, Dinah Washington, Shorty Rogers, Sid Catlett, Dodo Marmarosa and dozens of others. Among the rarities: a 1945 Horace Henderson octet session and the Dave Lambert-Buddy Stewart bop vocalese recordings. The 124-page book with the discography and the story of Keynote is packed with photos. At last, we have all of the invaluable Keynote sides in a comprehensive, organized, beautifully produced box set. This is a major jazz event.

Recent Listening: Boshnack, Powell, Akinmusire, Hamilton

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Recent Listening (ear horn)There is no possibility of keeping up with the flow of albums pouring out of what is often described, absurdly, as a declining jazz scene, but it can be interesting to try. Here are brief observations on a few more or less recent CDs.

Sam Boshnack, Exploding Syndrome (Shnack Music)

Sam BoshnackSam Boshnack is an aggressive, rowdy, uneven trumpeter who heads a quintet of adventurers from Seattle’s avant jazz community. She (Samantha) contains her and her band mates’ wildness within carefully balanced compositions supported by tight harmonies and demanding rhythms. Lyricism and sardonic wit coexist in the title track with its floating Dawn Clement piano solo, a howling Beth Fleenor vocal like something from the sound track of a Rob Zombie movie, and a Moussorgskian fanfare. In her primary role, Fleenor solos smoothly on clarinet and bass clarinet. Boshnack’s “Suite for Seattle’s Royal Court,” particularly in the final movement, has moments of majesty. It has others of whimsy. The suite encompasses further impressive piano playing by Clement, pastoral Fleenor clarinet and a nicely sculpted Isaac Castillo bass solo. In all tracks, Castillo and the young drummer Max Wood are an effective rhythm team. Boshnack’s writing and her energy make her progress worth tracking.

Bud Powell, Birdland 1953 (ESP)

Listeners coming to Powell for the first time by way of this three-CD set may be intriguedBud Powell Birdland '53 that so much seems familiar. The familiarity is because there is a significant component of Powell DNA in virtually every pianist in the modern jazz idiom. His influence is pervasive. When Powell was at his peak, as he often is in these recordings, no pianist but his idol Art Tatum could match his keyboard virtuosity, energy and ability to improvise lines that moved with uninterrupted flows of creative intensity. Powell’s 20-week engagement at Birdland came as he emerged from nearly two years of crisis in mental and emotional problems that would plague him until his death thirteen years later at the age of 41. For details of his health and tragic life, see Peter Pullman’s invaluable 2012 biography Wail: The Life of Bud Powell.

The ESP box set collects most, if not all, of Powell’s Birdland recordings. His bass/drum accompanists were Oscar Pettiford/Roy Haynes, Charles Mingus/Haynes, Franklin Skeete/Sonny Payne, Mingus/Art Taylor, George Duvivier/Taylor, Curley Russell/Taylor— an elite of young New York bebop rhythm teams. Dizzy Gillespie and Charlie Parker, Powell’s fellow founding fathers of bop, sit in. Gillespie is on two tracks, Parker on three, one of which includes an amazing solo on “Cheryl” into which he inserts Louis Armstrong’s epoch-making “West End Blues” introduction. Powell, brilliant throughout, reaches an apogee in the September sessions that contain some of his best compositions, among them “Parisian Thoroughfare,” “Un Poco Loco,” “Oblivion” and “Glass Enclosure,” as well as remarkable performances of “Embraceable You” and “My Heart Stood Still.” An announcer’s voice and snatches of Powell playing “Lullaby of Birdland” pop up half a dozen times. It was the theme song of a radio program that originated in the club. Sound reproduction is hardly high fidelity, but skillful remastering has substantially improved the quality of the tape recordings over previous releases, some of them bootlegs.

Ambrose Akinmusire, The Imagined Savior Is Far Easier To Paint (Blue Note)

Akinmusire SaviorThe tracks with singers in this haunting album will receive the most attention. That’s how things work in this pop-oriented culture, and if the vocals bring attention to the trumpeter’s engrossing album, so much the better. On an emotional scale, the music ranges from peaceful tracks with strings (“The Beauty of Dissolving Portraits,” “Inflated By Spinning”) to an insistent quintet voyage of discovery called “Richard (conduit).” In his 2011 Blue Note debut, When The Heart Emerges Glistening, Akinmusire’s playing was so complete in terms of technique, tone and content that it seemed unreasonable to expect improvement. There is improvement, however—increased intensity that pulsates beneath the surface of this music.

The vocals are by Becca Stevens, Theo Bleckman, the British soul singer known as Cold Specks, and a child who in “Rollcall for Those Absent” reads the names of young murder victims including Trayvon Martin. They are so integrated with the music that the pieces with singing would be ineffective without it. Akinmusire’s closely knit quintet has tenor saxophonist Walter Smith, pianist Sam Harris, bassist Harish Raghavan and drummer Justin Brown. The impressive young guitarist Charles Altura is a guest on several pieces. The pieces, all by Akinmusire except for Ms. Stevens’s “Our Basement,” are 21st century successors to art songs by Schubert and Wolf and works of miniaturists like Chopin, Schumann, Satie, Prokoviev and Schuller. Like its title, the album’s music is a sort of poetry.

Scott Hamilton, Swedish Ballads…& More (Charleston Square)

The American tenor saxophonist and an all-star Scandinavian rhythm section explore piecesScott Hamilton Swedish that are classics in Sweden and, in a couple of cases, around the world. After Stan Getz learned the traditional song “Ack Värmeland Du Sköna,” from pianist Bengt Hallberg in 1951, their Swedish recording of it migrated to the US. It acquired a new name, “Dear Old Stockholm,” and became a jazz standard. Hamilton takes it at a relaxed tempo. His and pianist Jan Lundgren’s four-chorus solos allow leisurely exploration of the piece’s major-minor harmonic scheme and the unusual structure that incorporates a four-bar bridge section. On full display are Hamilton’s big sound and easy-going wit, Lundgren’s harmonic inventiveness and the pianist’s touch reminiscent of Hallberg’s.

The only non-Swedish song on the album is its second best known. Quincy Jones wrote “Stockholm Sweetnin’” for a 1953 recording of American and Swedish all-stars including Hallberg, Clifford Brown, Art Farmer, Lars Gullin and Arne Domnerus. Its ingenious melody line is constructed on the chords of “You Leave Me Breathless.” The song’s harmonic transitions in and out of the bridge present improvisational challenges that don’t phase Hamilton, Lundgren and bassist Jesper Lundgaard. The Danish drummer Kristian Leth uses brushes throughout and solos sparingly but is notably effective in his breaks on the Swedish piano hero Jan Johansson’s “Blues i oktaver,” a highlight of the collection. Leth produced the album. Lundgren wrote the informative liner notes about the songs. Olle Adolphson’s “Trubbel,” the World War Two hit “Min soldat” (“My Soldier”), Ulf Sandtrom’s “You Can’t Be in Love With a Dream” and Ove Lind’s “Swing in F” round out the CD. All are tunes that other players might profitably adopt. Hamilton is one of the most prolific recording artists in jazz, with dozens of albums in his discography. This is one of his best.

We’re Back

For more than two days, Rifftides and all of the other arts journal.com blogs have been taken down by software robots—hacker bots. The attackers have been vanquished, security measures are being put in place and we look forward to the resumption of regular posting. Say goodbye to this rascal.

hacker bot
By way of celebration, let’s see and hear the Thad Jones-Mel Lewis Jazz Orchestra in Copenhagen in 1969, playing Thad’s “Central Park North.”

Thad Jones, flugelhorn & conductor
Al Porcino, trumpet
Richard Williams, trumpet
Snooky Young, trumpet
Danny Moore, trumpet
Eddie Bert, trombone
Jimmy Knepper, trombone
Garnett Brown, trombone
Jerome Richardson, soprano sax
Eddie Daniels, clarinet
Jerry Dodgion, alto sax
Joe Henderson, tenor sax
Pepper Adams, baritone sax
Cliff Heather, bass trombone
Roland Hanna, piano
Richard Davis, bass
Mel Lewis, drums

Compatible Quotes: Don Ellis

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I got bored with the old way – it came too easy. I worked until I could play any chord changes at any tempo in any key, and then said ‘What else is there?’ Now I’m finding out.

Don Ellis facing left

I expect the audience to come up to my level. I am not interested in compromising my music to make it palatable to an assumed sub-standard mass.

If one takes all the styles in jazz harmonically from the earliest beginnings to the latest experiments, he still has a rather limited scope when compared to the rest of music in the world.

CD Recommendation: Cava Menzies/Nick Phillips

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Cava Menzies/Nick Phillips, Moment To Moment (NPM)

MenziesPhillips CDAlthough Pianist Menzies and trumpeter Phillips make judicious embellishments in the ballads of this enchanting collection, their operating principle seems to be adoration of the melody. The tempos are slow, the harmonies rich, bassist Jeff Chambers and drummer Jaz Sawyer finely tuned to the leaders’ wave length. The quartet illuminates standards including “The Peacocks,” For All We Know,” “You Don’t Know What Love Is,” “Speak Low” and Kenny Barron’s “Phantoms.” Phillips’ C-minor musings on his composition “You” and Menzies’ touch and folkish harmonies on her “Mal’s Moon” are highlights, far from the only ones. By day, she’s a music teacher. He’s an executive at Concord Music. The quality of this collection makes it unlikely that it will be their last one.

They Say It’s Spring

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My visiting son went skiing in the Cascade Mountains, and I accompanied him. This is how it was on the lightly populated runs of White Pass at 4500 feet.

White Pass 1

Après-ski, driving down the mountain by the time we reached about 3500 feet, warmer weather had removed the snow except for patches in the valleys and on the peaks.

White Pass 2

My son is sad to see the snow go. Not to worry, Blossom Dearie makes everybody glad.

Followup: Don Ellis

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Don EllisTrumpeter Don Ellis (1934-1978) provided the instrumental focus in yesterday’s Third Stream Revisited post. He portrayed young Peter Parker, a boy learning to be a jazz musician. Let us look into Ellis’s all too brief future following that impressive 1962 appearance with Gunther Schuller, Leonard Bernstein and the New York Philharmonic. He built on his experience with Ray McKinley, Charlie Barnet, Maynard Ferguson, George Russell and some of the most forward looking players in jazz to become a bandleader himself—a daring one. In additional to his skill as a player, he was a composer and arranger. Ellis built a substantial part of his band’s repertoire on his compositions using time signatures unusual to jazz. He adapted odd meters to a large ensemble and incorporated elements of Indian and Eastern European folk music. Here he is at the 1977 Montreux Jazz Festival in Switzerland with his 22-piece orchestra. Ellis announces the piece, which develops into a 15-minute entertainment complete with audience participation.


Don Ellis 1977 (08) Niner Two by electricbathhouse

”Niner Two” is included in Ellis’s Live At Montreux album. The year following that concert, he was dead of a heart attack at the age of 44. For an extensive article about Ellis’s career, see Wikipedia.

A few of the musicians in Ellis’s late 1970s band—Ted Nash, Chino Valdez, Ann Patterson among them—went on to become well known in jazz. You may be interested in the complete personnel list.

Reeds: Ann Patterson, Ted Nash, James Coile, Jim Snodgrass
Trumpets: Glenn Stuart, Gil Rather, Jack Coan
French Horn: Sidney Muldrow
Trombone: Alan Kaplan
Bass Trombone: Richard Bullock
Tuba: Jim Self
Keyboards: Randy Kerber
Bass: Leon Gaer, Darrell Clayborn
Drums: David Crigger
Congas: Chino Valdes
Percussion: Drums and Mallets – Michael Englander
Percussion; Mallets and Timpani – Ruth Ritchie
Violins: Pam Tompkins, Lori Badessa
Viola: Jimbo Ross
Cello: Paula Hochhalter

Rifftides Archive: Third Stream Revisited

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From time to time, we reach into nine years of posts stored in the Rifftides vaults for pieces that the staff thinks are worth a second look. This is one of those times.

Originally posted on Rifftides on March 25, 2010.

“Third Stream” seems a quaint term nearly half a century after it kicked up a bit of a fuss in jazz and classical Birth Third Stream.jpgcircles. Still, it never quite goes away, as the recent Eric Dolphy posting reminded me. Two of the names that remain associated with the movement are Gunther Schuller and Leonard Bernstein. Several years ago, I wrote about Schuller’s central role in creation of the term and implementation of the concept. It was in a review of a CD reissue of two daring and indelible Columbia albums of the late 1950s, Music for Brass and Modern Jazz Concert. In a moment, documentation of Bernstein’s peripheral but highly visible role in the Third Stream movement. First, about Schuller from that 1997 Jazz Times review:

In his notes for Modern Jazz Concert, Gunther Schuller emphasized the unimportance of pigeonholing the music, “…I will therefore not categorize and typecast the six works on this record.”

Nonetheless, Schuller could not long deny the insatiable human need to label. In 1957 he created a name for this music that drew upon the jazz and classical traditions. It was “Third Stream.” There had been successful meldings of the improvisation and swing of jazz with big classical forms at least as far back as Red Norvo’s 1933 “Dance of the Octopus,” but “Third Stream” caught on as a moniker and persuaded many listeners that the marriage was new. If itgunther schuller ca '62.jpg attracted attention to the works in this album, then no harm and considerable good was done. The inspired playing of Miles Davis on John Lewis’ “Three Little Feelings” and J.J. Johnson’s “Poem for Brass” allowed producer George Avakian to convince Columbia to commit large resources to a Davis project that turned out to be Miles Ahead. That revived Davis’ partnership with Gil Evans and led to Porgy and Bess and Sketches of Spain. “Poem for Brass” was the first major indication that J.J. Johnson was a large-scale composer. “Pharaoh” allowed Jimmy Giuffre to extend his range beyond the 16-piece band. Schuller’s “Symphony for Brass and Percussion” was not a jazz composition but its presence on the Music for Brass album under the baton of Dmitri Mitropolous shed prestige on the entire undertaking.

Fast forward to 1962 and Leonard Bernstein’s series of televised New York Philharmonic concerts for young people. He included in one of the concerts a piece by Schuller called “Journey Into Jazz.” The segment found Bernstein entertaining, informative and wordy. The portion of the video available to Rifftides excludes much of Bernstein’s setup explanation, which began with a small jazz group on stage with him. It is not just any jazz group. It is Don Ellis, Eric Dolphy, Benny Golson, Richard Davis and Joe Cocuzzo. The band plays briefly, then Bernstein says the following, leading us into the video.

BERNSTEIN: Now that’s about the last sound in the world you’d expect to hear in Philharmonic Hall, isn’t it? Sounds more like your next-door neighbor’s radio, or the Newport Jazz Festival. And yet, that’s a sound that’s been coming more and more often into our American concert halls, ever since American composers began trying, about forty years ago, to get some of the excitement and natural American feeling of jazz into their symphonic music.

Even so, in spite of these tries at combining jazz and symphonic writing, the two musics have somehow remained separate, like two streams that flow along side by side without ever touching or mixing–except every once in a while. But it’s those once-in-a-whiles that we’re interested in today: those pieces in which the jazz stream now and then does sneak over to the symphonic stream, and for a moment or two, flows along with it in happy harmony. And these days–at least, for the last five or fifty years, that is–there is a new movement in American music actually called “the third stream” which mixes the rivers of jazz with the other rivers that flow down from the high-brow far out mountain peaks of twelve-tone, or atonal music.

Now the leading navigator of this third stream–in fact the man who made up the phrase “third stream”–is a young man named Gunther Schuller. He is one of those total musicians, like Paul Hindemith whom we discussed on our last program, only he’s American. Mr. Schuller writes music–all kinds of music–conducts it, lectures on it, and plays it. Certainly he owes some of his great talent to his father, a wonderful musician who happens to play in our orchestra. We are very proud of Arthur Schuller.

But young Gunther Schuller–still in his thirties–is now the center of a whole group of young composers who look to him as their leader, and champion. And so I thought that the perfect way to begin today’s program about jazz in the concert hall would be to play a piece by Gunther Schuller–especially this one particular piece which is an introduction to jazz for young people–

The Rifftides staff thanks pianist-composer Jack Reilly and blogger Ralph Miriello of Notes On Jazz for calling our attention to the video from Leonard Bernstein’s Young Peoples Concerts.

To explore the hundreds of posts in the Rifftides vaults, see “Archives” in the right-hand column and select a month and year.

Lennie Tristano: The Complete Look Up And Live

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Lennie Tristano was born in Chicago on this day in 1919. At birth, influenza ruined his vision. By his 10th birthday he was blind. Formally trained at a music conservatory, he played piano and, as a 12-year-old clarinetist, led a Tristano smilingtraditional band. When he moved to New York in1946, Tristano had begun deepening the harmonic possibilities in modern jazz and by the end of the decade was a guru to forward looking musicians including saxophonists Lee Konitz and Warne Marsh guitarist Billy Bauer, and a few adventurous veterans like tenor saxophonist Bud Freeman. His piano playing and harmonic innovations were examples to Bill Evans, CTristano Half Notelare Fischer and many other pianists, composers and arrangers of the post-bebop generation.

Tristano’s teaching had a significant impact on jazz but, despite his influence, his public performances were few. That helps account for the importance of his June, 1964, engagement at the Half Note in New York and for the importance of showing you film made during his quintet’s run there that summer. The CBS television program Look Up And Live sent the theologian William Hamilton and a crew to the Half Note to make a segment of the program; more about Hamilton after we see the video.

The picture quality may have been fine originally, but it appears to have been through several generations of dubs. No matter; the sound is reasonably good. Through the murk you get a tour of the beloved Half Note in the days when folks dressed to go out in the evening. Those strips of cloth you will see on the mens’ shirtfronts were called neckties.

The bartender we glimpse now and then is Mike Canterino. He and his brother Sonny manned theHalf Note bar. Their father may have had a formal name but his family and the customers called him Pop. You will get a glimpse of Pop and Sonny greeting Hamilton as he comes in. Pop and Mamma took care of the kitchen. The word pasta never crossed Pop’s lips; it was spaghetti. The uncomplicated menu gave jazz club food a good name, a major accomplishment. Mike’s wife Judi and Sonny’s wife Tita helped out. Judi became a singer after James Moody recruited her one night to sing the Blossom Dearie bridge on “Moody’s Mood For Love.” Al the waiter completed the staff.

In its original incarnation, the Half Note was among the warehouses and garages of lower Manhattan. In the seventies, the club moved uptown, lost its soul and died. Years ago on Rifftides, we embedded a 10-minute segment from the Look Up And Live show. Now, we can bring you the entire half hour, thanks to YouTube. The band is Tristano, Konitz, Marsh, Sonny Dallas on bass and Nick Stabulas on drums. They play Konitz’s “Subconscious Lee,” Tristano’s “317 East 32nd Street” and Marsh’s “Background Music.” As “Background Music” begins, Dr. Hamilton speaks his essay, or sermon, but be sure to stay around for the strength and intensity of Tristano’s solo on that final piece.

Those Tristano performances are included in this CD. William Hamilton, the host of the Half Note Tristano film, was a doctor of theology who in the 1960s became a leader in the radical Christian faction questioning the existence of God. He appeared in several Look Up And Live segments. For more about Hamilton and the Death Of God movement, go here.

For a lovely remembrance of the Half Note by Dave Frishberg, who often played there, go here. Dave paints splendid pictures of Al the waiter and of Mr. George, a dedicated customer for whom Al Cohn named a tune.

Happy St. Patrick’s Day

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Shamrock Hat“How Are Things In Gloca Morra,” featuring Sonny O’Rollins, tenor saxophone; Donald McByrd, trumpet; Wynton Kelly, piano; Gene MacRamey, bass; and Max O’Roach, drums.

On St. Patrick’s day, the whole world is Irish.

The recording is from Sonny Rollins, Volume One, Blue Note, 1956.

May the road rise up to meet you this fine day.

CD Recommendation: Bill Kirchner

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Bill Kirchner, Lifeline (Jazzheads)

Kirchner LifelineIn 2008, I initiated an occasional series called Medium But Well Done. It highlights the accomplishments of groups bigger than combos but smaller than big bands. Introducing it, I wrote, “Six to eleven pieces allow arrangers freedom that the conventions and sheer size of sixteen-piece bands tend to limit.” There is no better recent illustration of that proposition than this release by Bill Kirchner’s Nonet. His arrangements of pieces by composers including Wayne Shorter, Cole Porter, Denny Zeitlin and Kirchner himself show that a skilled writer using what some might consider a limited palette can achieve excitement, expansiveness and an impressive range of tonal colors. His adventurous three-part “Lifeline Suite” is an important contribution to the literature of mid-sized bands.

Tommy Flanagan

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Tommy FlanagaThanks to Lester Perkins of Jazz On The Tube for reminding us that today Tommy Flanagan would have celebrated his 84th birthday. The great pianist died in 2001. From the time he made his debut as a teenager in his native Detroit, Flanagan was one of the busiest sidemen in music. These are just a few of the musicians with whom he toured and recorded: Milt Jackson, Miles Davis, Lucky Thompson, J.J. Johnson, Ella Fitzgerald, Jim Hall, Thad and Elvin Jones, Tony Bennett. From the late 1970s, Flanagan functioned almost exclusively at the head of a trio that employed superb bassists and drummers. In this video made in Cologne, Germany, in 1991, Flanagan had George Mraz, who played with him for many years, and Bobby Durham. Flanagan was a knowing and subtle interpreter of Billy Strayhorn’s compositions, in this case, “Raincheck.”

To find out about Jazz On The Tube, go here

Med Flory, 1926-2014

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Med Flory in GrizzlyAlto saxophonist Med Flory was best known to the general public as an actor, but jazz listeners are most likely to remember him as the co-founder and leader of Supersax. Flory died this week at the age of 87. He made hundreds of appearances in television shows and a few in motion pictures, usually as characters in westerns and action flicks. He’s the big man in the foreground in a scene from the 1966 film Night Of The Grizzly. He was a familiar presence in Mannix, Bonanza, Wagon Train, Magnum P.I. and other TV series. Flory once told the Associated Press_MG_1959Med Flory Jazz Wave-L that the acting made it possible for him to keep Supersax together. In 1972 he co-founded the group with bassist Buddy Clark and built it around transcribed and harmonized solos from the recordings of Charlie Parker. Supersax had two alto saxes, two tenors and a baritone accompanied by piano, bass and drums. It often featured trumpet solos by Conte Candoli or trombone solos by Frank Rosolino or Carl Fontana. The band won the 1974 Grammy Award for best jazz performance. From their album with the L.A. Voices, here’s Supersax with “Embraceable You,” instrumental and vocal arrangement by Med Flory in a stunning treatment of the Parker solo.

Through the ‘70s, ‘80s and ‘90s, Supersax recorded a dozen albums. Apart from Supersax, Flory maintained active playing until a few years ago. Operating his acting and music careers in parallel, he often took part in big band concerts, jazz parties and the festivals of the Los Angeles Jazz Institute. For a summary of Med Flory’s career, see the obituary by Don Heckman in The Los Angeles Times.

Iola Brubeck RIP

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Iola Brubeck died today. She had been under treatment for cancer discovered several months ago duringIola-Brubeck1 oral surgery. She was 90 years old. Her children made the announcement through the University of the Pacific, home of the Brubeck Institute. Mrs. Brubeck and her husband Dave were alumni of the university. They met there at a student dance in the early 1940s and decided that night they would marry, which they did a few months later. Mrs. Brubeck died peacefully at home in Wilton, Connecticut, Iola, Dave, Dukewith her family around her. To see the announcement, go here.

The photograph to the left shows Mrs. Brubeck with her husband and Duke Ellington in the 1970s. Long before then, she played an essential role in the early years of her husband’s career as pianist, composer and bandleader. This passage from Take Five: The Public and Private Lives of Paul Desmond, describes the crucial part she played in 1953 in the development of the Dave Brubeck Quartet:

In her role as manager, booker and publicist in the lean days before Brubeck signed with Joe Glaser’s Associated Booking Corporation, Iola Brubeck acted on an idea that led not only to more work for the Quartet, but also to a major change in the relationship of jazz to its audience. As far back as the 1920s, jazz musicians played on college campuses, but almost always for restricted fraternity and sorority dances. The Brubecks’ pioneering opened the college market as a source of work for jazz artists and helped open society’s ears to wide acceptance of jazz as a mature cultural element.

Mrs. Brubeck wrote more than one hundred colleges and universities, enclosing reviews of the Quartet’s recordings and live appearances. She suggested that The Dave Brubeck Quartet would be ideal for campus concerts and offered a deal that appealed to student associations—a low fee for the band and a split of profits . A few bookings developed. Early on, the band often played in lecture rooms or cafeterias doubling as concert halls, with students wandering in and out during the performances. By the time Joe Glaser’s office took over the Quartet’s management, the system was working. The young agent Larry Bennett, Iola said, “took the idea and ran with it.”

For their March, 1953, appearance at Oberlin College in Ohio, the Quartet found itself in theJazz At Oberlin acoustically blessed chapel of an institution known for the quality of its music department. The audience knew what it was hearing and responded with enthusiastic appreciation. In a canny business move, exchanging broadcast rights for ownership of the master recording, Brubeck allowed the Oberlin campus radio station to tape and later air the concert. When Fantasy issued the performance as a long-playing record, a phenomenon was established: Jazz kept on going to college and Brubeck created an audience that has been loyal to him for decades.

Later, Mrs. Brubeck became her husband’s partner in songwriting, contributing memorable lyrics to many of his compositions, among them those for his musical The Real Ambassadors. She managed all of that professional involvement while raising six children during the years of Dave’s travel as leader of one of the world’s busiest musical organizations.

Through my early coverage of Brubeck and Desmond and, ultimately our friendship, I came to know Iola and the Brubeck family. The friendship continued over the years. When it came time for me to write the Desmond book, she and Dave were primary sources. We spent hours in interviews. They agreed toDR with Iola provide the biography’s foreword. Following Dave’s death in December of 2012, Iola and I stayed in touch, even toward the end as her own health problems became complicated. We exchanged messages until recently. Hers were unfailingly cheerful and upbeat, including the last one about deciding to discontinue therapy. We were together for a few moments at Dave’s memorial service last May. She had just spoken movingly about her husband and his music in a way that made me think of Paul Desmond’s description of her as “the incomparable, regal Iola.”

“For All We Know” was one of her favorite songs.

)

Dave, Iola at piano

Other Places: Cerra’s Bud Shank Seminar

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Bud ShankIn his Jazz Profiles blog, Steve Cerra posts a piece about Bud Shank (1926-2009) that is packed with remembrances of the saxophonist and flutist, interviews, photographs and music clips that recall the career of an amazingly productive, versatile and expressive musician. Steve’s introduction summons his own youthful impression of Shank:

To the older guys that I hung out with, Bud Shank was the epitome of West Coast “Cool.” He was a tall, broad shouldered, good looking guy with a brush cut, who drove a sport car and who always seemed to have a good-looking babe on his arm. And, he also played the heck out of the alto saxophone.

Bud, however, was not just another pretty-face or wastrel artist-type. Rather, he was the living embodiment of the motto of my tax and financial advisor: “Work hard, put some of your earnings away and remember that it’s not all yours.”

In addition to his recollections of Shank, Steve includes a substantial portion of the notes IBud Shank - Mosaic wrote for Mosaic’s 1998 Bud Shank box set, now long out of print. He reprints the Shank chapter of Gordon Jack’s book of interviews with jazz musicians and closes with three tracks by the superb Shank quintet that had Carmel Jones, Gary Peacock, Mel Lewis and Dennis Budimir. For a welcome Bud Shank refresher course, visit Professor Cerra’s seminar. Click here and scroll up.

A New Approach

thumbs-up-iconIt has been Rifftides practice to make Doug’s Picks recommendations in batches, with long periods between. Beginning with the recommendation below, the picks are going to come singly and more often. As always, clicking on the title of the CD, DVD or book will take you to where it can be found. The current recommendations are in the right column under Doug’s Picks. If you click on “More Doug’s Picks” at the end of that section, you can read them clear back to 2006. That covers a lot of listening, viewing and reading.

I am deciding which day of the week would be best for posting new recommendations. If you have an opinion about that, please send a reply in the comment box at the end of this item.

CD Recommendation: Anton Schwartz

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Anton Schwartz, Flash Mob (AntonJazz)

Schwartz Flash MobThe front-line blend of the leader’s tenor saxophone and Dominic Farinacci’s trumpet may recall Hank Mobley and Kenny Dorham, but if this is hard bop, its 21st century attitude is Schwartz’s own. His compositions have a distinctive quality that incorporates disparate harmonies and rhythms. “Pangur Ban” could be a down home Irish reel, if there is such a thing. “Swamp Thang” has overtones suggesting that the swamp in question is on Georgia or southern Florida tribal land. Thelonious Monk’s and Kenny Clarke’s “Epistrophy” and Dorham’s “La Mesha” are interesting for Schwartz’s special treatments, but his 10 originals hold their own in that distinguished company. He and Farinacci play beautifully throughout. Pianist Taylor Eigsti, bassist John Shiflett and drummer Lorca Hart are an impressive rhythm team.

Weekend Extra: Poodie’s Town

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pood_frontSpeaking of Poodie James (see the previous post), if you have read the novel you might like to see a bit of the town and valley that bear a not entirely coincidental resemblance to the book’s locale. I just watched a short promotional video made by Charley Voorhis and his colleagues at an outfit called Voortex Productions. I had never heard of Voortex until a friend sent me a link to this little film. I am impressed with the shooting, editing, post-production and story-telling skill that went into it. I plan to see more of their work. The fact that the film made me nostalgic for the town where I grew up has nothing to do with my assessment of the video. See what you think. If you can, watch it full screen, then press esc and see the special Poodie offer at the end of the post.

We are Wenatchee from Voortex Productions on Vimeo.

If you have not read Poodie James, we can arrange that. For Rifftides readers, we have a special price and free shipping. For details, go here. Hey, if a guy can’t use his blog for shameless self-promotion, what’s it good for?

Surviving In The Book Business: An Authors Fair

As the digital revolution makes inroads into traditional publishing based in paper, bookstores are not having a notably good century so far. Hardly a week goes by without news of a large or small bookstore, including those owned by chains, going out of business somewhere in the US. Yakima, Bookstore Going OutWashington, the longest running of the Ramseys’ many hometowns, has an independent bookstore that does well because this reading community supports it. That is in no small part because Inklings Bookshop (pictured below) stays keyed into the town and the region, with a flair for promotion and special events. One of Inklings’ biggest book soirees takes place tomorrow. The store is bringing together 12Inklings authors to talk about and sign their books. I’ll be signing copies of Poodie James. The book fair will be near the store in the building of a former library branch that expanded to bigger quarters; I told you, folks around here read a lot. The place is empty now, so they suggested that each of us bring a table, a chair, a poster and cookies to offer browsers. Here’s a link to a story about the event that includes word sketches of the authors. The article is by Pat Muir, who edits the weekly entertainment supplement of the Yakima Herald-Republic.

If you’re going to be in the area, come early and maybe you’ll be in time to get a cookie. If your plans don’t include being in the Pacific Northwest and you wish to know about my books, click on “Purchase Doug’s Books” at the top of the page.

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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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