If you feel the urge, don’t be afraid to go on a wild goose chase. What do you think wild geese are for, anyway? – Will Rogers

Tonight I heard the wild goose cry,

Wingin’ north in the lonely sky.

Tried to sleep, it weren’t no use,

‘Cause I am a brother to the old wild goose.

— 1950 hit record for Frankie Laine, music and lyrics by Terry Gilkyson

If you are puzzling over the course jazz is taking in the second decade of the new century, this would be a good weekend to be in New York at the Winter Jazzfest. The event is packed with young artists making waves that excite fans their ages and younger, and frustrate many older listeners who have rigid convictions about what constitutes jazz. There is a wide range of musicians and styles, but the prevailing direction is forward, not back. It is an intriguing festival that has Jenny Scheinman, Dr. Lonnie Smith, Jason Moran and Linda Oh under the same umbrella. The festival takes place in several Greenwich Village clubs. Nate Chinen’s piece in The New York Times summarizes what listeners can expect. Here is one of his descriptions:

Ms. Scheinman, a violinist, and Mr. Moran, a pianist, both favor a direct but slightly warped sense of melody, balancing the rustic and the urbane. Their duo rapport should be a genuine conversation.

To read the whole article, go here. To help you get in the mood for some of what you might encounter if you attend, this video has Ms. Scheinman with bassist Ben Allison’s band at the Jazz Standard last fall. Allison is also on the festival this weekend. Shane Endsley is the trumpeter, Steve Cardenas the guitarist, Rudy Royston the drummer.

A memorial service for Stacy Rowles is set for Sunday, January 10, in the auditorium of the Musicians Union local in Hollywood, California. The growing list of more than fifty musicians who will perform in tribute includes Pete Christlieb, Joe LaBarbera, Charlie and Sandi Shoemake, Gary Foster and Mike Melvoin. The trumpeter and singer died in late October of injuries from an automobile accident. She was the daughter of pianist Jimmy Rowles.
The affair will start at 11:00 a.m. and run into the evening. From the organizers’ invitation:

Please be our guest, we’ll be serving tri-tip and chicken with beer, wine and softer things at the bar. If you make a dish you are proud of, you are welcome to bring a taste for the table. One of the rules of the house when Stacy entertained was ‘nobody leaves hungry’, and we never did!

Rifftides reader Ty Newcomb sent a link to video of the Dutch singer Fay Claassen doing Gerry Mulligan’s “Line for Lyons.” After enjoying it, I noticed that YouTube has another version of the piece by The Dave Brubeck Quintet. What to do? Why, show you both, of course.
First, we see and hear the composer with Brubeck, Paul Desmond, Jack Six and Alan Dawson at the Berlin Jazz Festival in 1972. The director goes berserk with reverse zooms out of the stage lights, but a little dizziness is a small price to pay for a fine performance. Brubeck enjoys the work of his compadres and joins them in a round (so to speak) of counterpoint. Mulligan, sporting his old-man-of-the-mountains look that year, wrote and recorded the tune in the key of G 20 years before, but Desmond preferred it in B-flat and that’s where they play it here.

If you’re keeping track, Fay Claassen also chooses B-flat. She plays Chet Baker to Jan Menu’s Mulligan in an arrangement that thrives on tempo changes. Hein van de Geyn is the bassist. John Engels is on drums.

Among her other accomplishments, Ms. Claasen is a Chet Baker specialist. This double CD is devoted to her interpretations of his trumpet solos and his vocals.

On his JazzWax blog, Marc Myers begins a series about pianist Dick Hyman. What a good idea. The first installment of the interview adds a video clip of Hyman and Billy Taylor doing a two-piano duet on “Hot House.” If you thought Hyman played only Scott Joplin and James P. Johnson, read Marc’s interview, then watch that clip.

Gary Peacock and Marc Copland, Insight. Marc Copland, Alone (Pirouet). Copland’s previous explorations on the fine German label Pirouet were four trio CDs and one by a quartet. In these new ones, he pares down personnel but not his signature keyboard touch, melodic inventiveness or harmonic astringency. Peacock, the brilliant bassist, gets top billing in the duo album, but he and Copland are full partners. Laced with chance-taking adventure, their interaction nonetheless produces an overall sense of contemplation and ease. The polish and unity of six compositions with joint credit to Peacock and Copland make it impossible to be sure which parts are written and which spontaneously created. Other provocative performances are of “All Blues” and “Blue in Green,” associated with Miles Davis; a spritely take on Dave Brubeck’s “In Your Own Sweet Way;” Copland’s “River Run,” all shimmer and mystery; and Peacock jauntily plucking the lead in the 80-year-old standard, “Sweet and Lovely.”
Copland goes it Alone beginning with a softly insistent A-natural struck beneath the melody of Mal Waldron’s “Soul Eyes.” As the piece blooms, he returns to the ostinato now and then, a remembrance of things past. The figure helps frame the performance’s sense of longing or nostalgia that continues through Joni Mitchell’s “I Don’t Know Where I Stand.” Later, two other Mitchell songs become parts of an expressive whole in which Copland combines ten discrete compositions into a suite centered in wistfulness but not, perhaps, regret. His “Night Whispers,” “Into The Silence” and “Blackboard” are facets in the pensiveness, as are meditative abstractions on Stordahl and Weston’s “I Should Care,” Wayne Shorter’s “Fall,” and Bronislau Kaper’s “Hi Lili Hi Lo” bringing us to the end with another ostinato, this time in C-major.
A news release that arrived with the CD has a quote from Copland.

There’s no cut and dried technique other than this:
The desire, when playing, not to hit a single note or a single chord unless
It has a certain touch, a certain blend, a certain feel.

Copland has all of that, and these albums have staying power.
Freddie Hubbard, Without A Song (Blue Note). This collection of concert performances in England, previously unissued, captures the entire trumpeter. That means you get the daring explorer of chords, the exhibitionist technician and the balladeer who could break hearts with his lyricism. There are moments, as on “Space Track,” in which Hubbard is so unrestrained as to overwhelm the listener. There are others, notably in a long, wondrous version of “The Things We Did Last Summer,” when his tenderness makes you forgive him anything. The discovery of the music on this CD helps fill out a vital chapter of Hubbard’s touring career and makes his loss a year ago all the more regrettable. It is a logical companion to his MPS studio album The Hub of Hubbard, also recorded in December, 1969. The rhythm section is nearly the same in both, pianist Roland Hanna and drummer Louis Hayes, with Ron Carter on bass in England and Richard Davis in Germany.
BRIEFLY
Dan Nimmer, Yours Is My Heart Alone (Venus). The fleet young pianist of the Lincoln Center Jazz Orchestra recruits the ace rhythm team of bassist Peter Washington and drummer Lewis Nash for an eclectic mix of standards, jazz classics and two of his own pieces. Surprise: Nimmer’s joyous treatment of the Gil Evans rarity “Jambangle.” No surprise: the bow to his hero Oscar Peterson with Peterson’s arrangement of the title tune. Special treats: Johnny Hodges’s “Squatty Roo,” with a powerful Washington bass solo, and a driving “Falling in Love With Love.”
Sachal Vasandani, We Move (MackAvenue). Vasandani’s singing faintly suggests Kurt Elling, but that is less a matter of emulation than a similarity of attitude toward material. Without making an attempt, always doomed, to define jazz singing, suffice it to say that Vasandani does it and does it well. Jazz is in his phrasing, intonation and dynamics, whether on a chestnut like “Don’t Worry About Me” or his own songs “Every Ocean, Every Star” and the title tune. His voice has a reedy quality that maintains through the registers of his considerable range and his note manipulations.
Bob Green, St. Peter Street Strutters (Delmark). Bob Green is a pianist from New York, one of the world’s most dedicated Jelly Roll Morton specialists, now 88. He recorded this album at Preservation Hall in 1964 when he was visiting New Orleans. He plays the whey out of “Wolverine Blues,” “The Pearls,” “Sweet Substitute,” King Oliver’s “Snake Rag” and W.C. Handy’s “Atlanta Blues,” among others; fifteen pieces in all. The band’s unusual instrumentation is piano, cornet (Ernie Carson), banjo (Steve Larner) and tuba (Shorty Johnson). I hadn’t listened to Green for years and put this on wondering if he was as much fun as I remembered. He was.

I have been robbed of three million dollars all told. Everyone today is playing my stuff and I don’t even get credit. Kansas City style, Chicago style, New Orleans style, hell, they’re all Jelly Roll style. –Jelly Roll Morton

When Jelly Roll said that he wrote his first jazz tunes in 1902, or that he used scat-singing as far back as 1907, there is not only no proof to the contrary, but Jelly’s own considerable accomplishments in themselves provide reasonable substantiation. –Gunther Schuller in Early Jazz

He could back up everything he said by what he could do. –Omer Simeon

Film producer Andrew Thomas writes with news of what perhaps everyone but Jack Berry and I knew:

Like many fans of Vince Guaraldi, I make sure that Google sends me an alert every time he’s mentioned in posts and blogs, so I was directed to this Rifftides page.
I was surprised by your suggestion that there is little evidence of Vince on film or tape. There is actually a decent amount, and much of it is included in the feature-length documentary I premiered with my partner Toby Gleason at the Monterey Jazz Festival last September — including Vince on screen performing “Star Song” (with Bola Sete both in studio and live at the Trident), “Treat Street”, “Samba de Orpheus”, and more…. as well as film of Vince rehearsing with the choir for the Grace Cathedral Jazz Mass, and performing on the road at various universities. (These are beyond the three Jazz Casual programs on which he appeared, and all of it restored and transferred in high definition… unlike those YouTube clips that someone ripped-off and posted without regard to quality or copyright.)
Of course, it’s not hours of performance footage… but the program is scored using rare unpublished Vince recordings (from his private collection), as well as new performances by George Winston, Jon Hendricks and several others, and conversations with Dave Brubeck, John Handy, Dick Gregory, and… well, there are quite a few people who participated. Vince himself is featured in extensive on camera interviews as well.
The film is called “The Anatomy of Vince Guaraldi”, and more information can be found at http://www.anatomyofvinceguaraldi.com
We’re hoping that it will be in release both theatrically and on home video this year, should there be enough interest to warrant it.

If that happens, I’ll look forward to reviewing the film.

On a New Years eve in the mid-1960s, my wife and I attended a dance with music by Duke Elllington. At midnight, Ellington nodded casually and the band concocted a head arrangement of “Auld Lang Syne” that sounded very much like this. As you listen, please accept the wishes of the Rifftides staff for a perfect 2010.