For a comprehensive Freddie Hubbard obituary, see Peter Keepnews’s article in this morning’s New York Times.

Freddie Hubbard died this morning in the Sherman Oaks district of Los Angeles. He was hospitalized there since he had a heart attack on November 26. Hubbard was 70. 

My PC-to-iMac conversion project is coming along nicely. I should have the new computer figured out any year now. It will be nice if that year turns out to be 2009.

User, n. The word computer professionals use when they mean “idiot.” ~Dave Barry 

But they are useless. They can only give you answers. ~Pablo Picasso 

Man is still the most extraordinary computer of all. ~John F. Kennedy

With so little video of Lester Young, every foot of him performing on film is precious. Loren Schoenberg calls attention to a performance by Young that showed up recently on You Tube. Whoever submitted the clip from a kinescope of Art Ford’s Jazz Party television program provided no information beyond Young’s name. Ray Bryant is the pianist. The bassist is Vinnie Burke, who was on many of Ford’s shows. Does anyone recognize the drummer? We catch a glimpse of cornetist Rex Stewart, who does not play with Young on “Polka Dots and Moonbeams.” The sound is about a beat out of synchronization with the video. At the end of the piece, Ford introduces Sylvia Syms, whose song is chopped aborning. Such are the vagaries of You Tube; you take what you get. In this case, we are grateful to get Lester. This was most likely 1958 or ’59, shortly before he died.  

Whatever your language, the Rifftides staff wishes you a Merry Christmas, a happy holiday season, a rewarding 2009 and good listening. 

While probing the mysteries of the Macintosh universe and meeting with frustrations, roadblocks and delights (man, this thing is FAST), I have continued to listen. Here are impressions of two of the CDs that have kept me company during my slam-bang self-tutorial and late-night iMac school. 

Christmas week is underway, time to listen to the only vocal performance Bill Evans is know to have recorded. I wish I had thought of posting the audio clip, but full credit goes to Jan Stevens of The Bill Evans Web Pages. Rifftides reader Russ Neff called it to our attention. Click on this link. When you get to the Bill Evans site, click on the word “Here” in the first panel. Prepare to smile.

All I can tell you about this is that the violinists are Katica Illenyi and Csaba Illenyi.The Hungarian Wikipedia entry did not help me learn more. I only wish that Jimmy Giuffre had heard this version of his best-known composition and arrangement. 

Posting will resume after I have spent a little time getting to know my new iMac. After beginning on a KayPro 2 and spending more than twenty years with PCs, I have switched to Macintosh. So far, it is exhilarating, but there is a lot to learn. I feel like the audience in the commercial that announced the advent of the Mac twenty-four years ago.

On Tuesday, Dave Brubeck was inducted into the California Hall of Fame along with eleven others including actors Jane Fonda and Jack Nicholson, fitness maven Jack LaLanne, musician and producer Quincy Jones, chef Alice Waters and — posthumously — Theodore Geiss (Dr. Seuss), scientist Linus Pauling, architect Julia Morgan, and Dorothea Lange, the photographer best known for documenting the human toll of the Great Depression.

Brubeck turned eighty-eight on December 6. Paul Conley of Capital Public Radio in Sacramento, California, spoke with him yesterday about the honor and about his plans. To hear the conversation and see Conley’s video of Brubeck, click here.

Shortly after I posted the Doug’s Picks selection of Wadada Leo Smith’s new CD, Tabligh (see the center column), I was in a meeting with Daron Hagen. I casually mentioned Smith. “What?” he said, full of excitement. “You know about Leo?” It turns out that Hagen, a distinguished composer of operas, chamber music and orchestral works, was a teaching colleague of Smith at Bard College and holds him in high regard. That led to a discussion of one of Hagen’s — and my — favorite propositions, that music is music and there are only two varieties–good music and what Duke Ellington called the other kind. Hagen places Smith squarely in the first category.

Coincidentally, You Tube has just put up a video of Smith and his Golden Quartet. It is apparently from a television program, but in typical You Tube fashion the only information we get is the names of the players: Smith, pianist Vijay Iyer (misidentified as Lyer), bassist John Lindberg and drummer Ronald Shannon Jackson. Before they play, Smith speaks briefly about the nature of the blues. The piece ends inconclusively, but given the nature of the music it is difficult to know whether that is by design or because the video reached You Tube’s time limit.

There is a second piece, evidently from the same program. If you watch it, I recommend setting aside preconceived notions. The music is fascinating – and wild. This also cuts off unceremoniously, an annoying feature of far too many web videos. Click here.

From San Francisco comes news of the death of Frances Lynne, the singer who worked with Paul Desmond and Dave Brubeck before there was a Brubeck Quartet. Ms. Lynne went on to sing with Charlie Barnet and Gene Krupa as the big band era wound down. Her first recording, however, was not until 1991 with her husband, John Coppola’s band. She and the trumpeter were married for fifty-six years. She was eighty-two years old. Reviewing her CD, Remember, I wrote, “Often discussed but seldom heard, Ms. Lynne is a charming singer.”

She worked in the late 1940s at San Francisco’s Geary Cellar in a group called the Three Ds in which Brubeck was the pianist. In 1949, Desmond stole her, Brubeck and bassist Norman Bates from the Three Ds leader for a job at the Band Box near Palo Alto. In Take Five: The Public and Private Lives of Paul Desmond, Ms. Lynne recalled that experience.

Oh, it was a funny little gig, just an ordinary little gig, and the people from Stanford used to come in and sit there and inspire us, especially Dave and Paul. They’d get on a kick where they’d play all these fugal things. It was just a great happy thing. When I was singing, Paul played behind me. He never got in my way. He was the kind of player who was intuitive and inspirational. He’d never do anything unmusical. He was just a sweet, sweet person. He was interested in what you said and what you thought. Everybody likes that. He was attentive and he was very, very talented. Nobody got a sound like that out of the alto saxophone.

And, you know, those little jobs at the Geary Cellar and the Band Box never seem to die. I still hear people talking about them. And I’m glad, very happy, because that’s my only claim to immortality. I got a lot of offers in those days, but I wanted to stay with the group. I was like a little puppy, I was having so much fun. 

After the Band Box job ended and following her time with Krupa, Ms. Lynne worked in New York, including a spot on television, then returned to San Francisco. She and her husband kept their home there while Coppola went on the road as a member of Woody Herman’s Third Herd in the fifties and later led his band in the Bay Area. She sang occasionally, always winning praise for her intonation, phrasing and sensitivity to the meaning of lyrics.

For more on Frances Lynne, see Jesse Hamlin’s article in today’s San Francisco Chronicle.

Among Rifftides readers in Europe are the proprietors of three web logs helpful to those who wish to keep up with developments on the continent.

Tony Emmerson’s Prague Jazz concentrates on music in the Czech Republic. George Mraz,

Emil Viklický, Frantisek Uhlir, Gustav Brom, Miroslav VitouÅ¡ and a few other Czech musicians are widely known. Emmerson (pictured) writes about them, but he also keeps tabs on the current crop of players known mainly in Eastern Europe. He sometimes stretches the definition of what many listeners consider jazz, but he’s on top of developments. Here is an excerpt from a piece about a band at the new Charles Bridge Jazz Club.

As well as a good venue a good evening requires a good band, and the Luboš Andršt Blues Band certainly falls into this category. We here at Prague Jazz are proud fans of the mighty Luboš and the musicians he usually plays with. With him for this concert were perennially funky electric bassist Wimpy Tichota, drum powerhouse Pavel Razím, and Jan Holeček on keys and vocals.

What the band delivered was three sets of hard-hitting electric blues, ranging from gospel spirituals to a rocking blast of “Cross Road Blues” (R. Johnson). Their arrangement was very close to the Cream interpretation that has become known as the definitive version to many people. LuboÅ¡’s improvised solo was dazzling, while Holeček wailed the lyrics with passion. His voice is very similar to a young Robert Plant, and he could no doubt make a good living in a Led Zeppelin tribute band if he was so inclined.

Emmerson also sometimes posts photographs of Czech musicians in action, like this one of the amazing singer Iva Bittová and Mraz in a recent concert in Bern with Emil Viklický’s trio. 

Laco Tropp and Iva Bittová, photograph by Benno

To visit Prague Jazz, click here.

The German trumpeter Bruno Leicht (pictured) has a blog with the cumbersome name, Bruno
Leicht presents His Old & New Swingin’ Dreams. He posts at irregular intervals, alternates 

between German and English and devotes himself more to American jazz from the classic and bebop periods than to what is happening now in Germany. Still, he manages to unearth interesting audio clips and videos and occasionally comes up with anecdotes that make his pages worth a visit. An example: His encounter with Chet Baker.

The band seemed to be stoned which didn’t seem to bother Chet. He was more worried about his horn which didn’t work properly. He sat there, pushing the valves, then he grabbed the mike and asked something like: “Some trumpet player around?” I was seated right in front of him and said: “Yes!” He intended to play on my trumpet and so I fetched it from the checkroom and handed it over to him. He took it, looked at it and counted: “One, two, three, four!” into a very fast and boppish “Conception,” George Shearing’s masterpiece, a tune as closely connected to Miles Davis as it was to Chet Baker.

He played it in the key of C, that’s what I remember. After the tune, he waved my trumpet over his head, smiled at me in a sardonic way and pretended dashing my horn in some corner. I was quite shocked but of course got the joke in the same second. This was my first real instrument, a Getzen Capri but with a little hole in the middle tube.

What do I remember yet? He played the rest of the concert on his own horn and … he kept my valve oil. When I arrived later at home I found it gone. Chet Baker, a thief!

To check out Bruno Leicht’s blog, go here.

In Russia, the editor of Jazz.Ru magazine, Cyril Moshkow (could that be his real name?)

operates an extensive web site in Russian. But, Moshkow (pictured) tells, Rifftides,

For those disadvantaged by little or no Russian, we do have a safe (however tiny) harbor in English. At least we mean it to keep our Western visitors informed on what we do, but, alas, I cannot say that we update the English section too often.

Nonetheless, the site has helpful tidbits like this:

FAQ: IS THERE JAZZ IN RUSSIA, REALLY? The answer is “YES”. The first jazz concert in Russia took place in Moscow on October 1, 1922. The band was local, called no less than The First Jazz Band of the Republic, led by not a musician, but a dancer, 

one Valentin Parnakh (1891-1951)(pictured), who also was a gifted poet, poetry translator, and literature historian, and spend seven years (from 1915 to 1922) in Western Europe. That band was later employed by the great theatre director, Vsevolod Meyerhold, in one of his plays where the sounds of live jazz should represent the “Western reality.” The band included piano, saxophone, clarinet, trombone and a trap set. One of the musicians known to be a part of this band was pianist Yevgeny Gabrilovich (1899-1993), later a successful playwright and movie screenplay writer.

Moshkow’s magazine concentrates on contemporary Russian jazz of all stripes. The current online edition in English, for instance, has short pieces on tenor saxophonist Igor Butman and the multi-instrumentalist Arkady Shilkloper, two of Russia’s best-known jazz players.

We will add the web addresses of these sites to the list in the Rifftides center column of links to Other Places.

In his Jazz Profiles blog, Steven M. Cerra’s stock-in-trade is thorough examinations of the careers of important jazz musicians. His current project is Victor Feldman, the late, astonishingly talented drummer, pianist and vibraharpist. Steve just posted the third of three parts about Feldman. In the first installment, he tells of going to The Lighthouse in Hermosa Beach, California, in the late 1950s when Feldman was playing piano and vibes with the all-star group led by Howard Rumsey. 

As an aspiring Jazz drummer, it was late on one of the sparsely attended week nights that I summoned the courage to go up to Stan Levey, always an imposing figure, to ask him a question about some aspect of the mechanics of playing the instrument.

The band members usually congregated along the back wall of the club between sets. When I approached Stan and asked my question he replied: ” you don’t wanna talk to me about that sh**; I’m self-taught. The guy you want to talk to is sitting over there [nodding toward Victor sitting alone at an adjoining table]. He even knows the names of all the drum rudiments!”

At the time, I had no idea that Victor played drums. I soon found out as he thoroughly answered my question as well as demonstrating the answer. Shortly thereafter, Victor Feldman agreed to offer me lessons.

Victor Feldman, ca 1957

Cerra details Feldman’s career up to and beyond his celebrated and regrettably brief time as Miles Davis’s pianist. To read all three segments, click here. I suggest scrolling down to part one and working back up. Along the way, you’ll find a Cerra appreciation of pianist Dado Moroni, also worth your time.