I like New York in June. I’d like it more if we didn’t have heavy rain, with more in the forecast. Umbrellas crowd the streets. People discussing the weather give that “Hey, whaddaya gonna do” New York shrug. Last night at the Tutuma Social Club, Gabriel Alegria and Laurandrea Leguia told me that in Lima, Peru, umbrellas are unknown because it never rains. Lima is their home town. They are New Yorkers now, making a name for their band, blending Peruvian and Caribbean influences with jazz to make music as subtle as the Peruvian food served at Tutuma. To see a Rifftides review of an Alegria concert, click here.
The Tutuma is a new midtown restaurant and music club that one of its owners, Santina Matwey, told me is in a “soft opening” phase. Nonetheless, it seems to be fully operational, with not only a menu of the small individual servings of the delicacies known as tapas, but also a full-sized portion of music delivered by Lisa Harriton. Ms. Matwey and her husband visited Peru and fell in love with its people, music and cuisine. They came back to New York and, with Gabriel and Laura Alegria as advisors, applied their restaurant experience and skills to the creation of this happy little basement room on 56th Street just off Third avenue.
Lisa Harriton, with the Alegrias’ rhythm section as collaborators, sang and played a set of songs in approximately the same trans-genre spirit as the music made by the Alegrias and, increasingly, by North American musicians including Maria Schneider, Geoffrey Keezer, Ingrid Jensen and Jon Wikan. Harriton’s impeccable Spanish, her hip phrasing and her piano solos might come as a surprise to those who know her only for her work with the alternative rock band The Smashing Pumpkins.She studied at the University of Southern California with, among others, Shelly Berg and Alan Pasqua. After graduation, she took work with The Smashing Pumpkins because, as you may have heard, entry level gigs are hard to come by for young jazz musicians. The Pumpkins engagement has ended, probably bad fiscal news for her. For those who heard her last night, it was good listening news.
Tonight at Tutuma, the Alegrias will perform following a set by Harriton. I’m thinking of spending another of my precious New York nights there.
Later in the day, I’ll try to post a little something about the Jazz Journalists Association and ASCAP Jazz Wall of Fame awards events that brought me to town.
Many thanks to Michael and Kaitlyn of Starbucks at 19th Street and Eighth Avenue for coming to my internet rescue and making this entry possible and to Starbucks for playing Miles Davis and Ella Fitzgerald while I wrote it. Additional thanks to my matronly cross-town bus driver. When my Metrocard popped up short half a dollar and I didn’t have two quarters to drop in the box, she said, “You got a dollar? Let’s see if we can get you some change. Anybody got change for a buck?”
“I do,” said a women seated on one of the side seats. Fifty cents in the box and we were on our way east on 23rd Street. I profusely thanked the driver.
“I just wanted to help you, baby,” she said.
I like New Yorkers in June.

Artsjournal.com unleashed Rifftides on the world four years ago today. A lot of blogging has gone down since then. See the archives (center column) for a complete history. Here’s a section of the first item, posted June 15, 2005, when I was in New York promoting Take Five: The Public and Private Lives of Paul Desmond.

The Village Vanguard was sold out, full of advance planners and second mortgagers eager to hear Lou Donaldson. We wandered three blocks down the street and found a 1920s garage converted into a jazz club. Even adjusting for inflation, the Garage Restaurant at 7th Avenue South near Grove is no throwback to the last golden age of jazz in New York–not in the fiscal sense. A couple of drinks can make twenty dollars disappear. But there is no cover and no minimum, and it is possible even on a populous Saturday night to comandeer a stool at the bar, focus your hearing through the hilarity and be treated to a superior jazz performance.
We listened to the Nick Moran trio with bassist Marco Panascia and pianist Eduardo Withrington. Moran is a good young guitarist with a lyrical bebop bent and an alert harmonic faculty. He would benefit from self-editing, but it’s a rare young improviser who would not. Unless you don’t want to hear the piano, try for a spot at the bar that is not under the enormous copper air vent, a relic of a cooking area long dismantled. The metal seems to block or absorb the piano’s sonority.
Next up was the bright young tenor saxophonist Virginia Mayhew, a Garage regular. She was at the helm of a pianoless quartet, a good idea under the acoustic circumstances. Mayhew’s playing was so far advanced from the last time I heard her that I was riveted by her expansive tenor sound, flow of ideas, humor, use of space, and swing that is by turns loping and hard-driving.

To read the whole thing, go here.
By coincidence, as you read this I am on my way to New York again, for a week of business and pleasure. I’ll attend the Jazz Journalists Association awards at the Jazz Standard to present the JJA journalism lifetime achievement award to the 2009 winner. I was unable to be there last year to accept it. And, who knows, maybe I’ll make it down to The Garage again. Blogging will be as time allows.
Thanks to Rifftides readers around the world for four years of interest, support and participation.
Onward.

Bill Kirchner alerts us to his latest Jazz From the Archives tonight on the radio and the internet.

Recently, I taped my next one-hour show for the “Jazz From The Archives” series. Presented by the Institute of Jazz Studies, the series runs every Sunday on WBGO-FM (88.3).
For over thirty years, reed player Gerry Niewood (1943-2009) was a mainstay of the NYC music scene. Not only was he a superb improviser (on soprano, alto, tenor, and baritone saxophones, flute, alto flute), but he was an always-reliable player in a variety of jazz and pop (Peggy Lee, Simon and Garfunkel, Judy Collins) situations. His life ended tragically when a plane he was aboard crashed near Buffalo, NY last February 12.
We’ll hear Niewood, on all of his instruments, on recordings as a leader and as a sideman with fluegelhornist Chuck Mangione (with whom Niewood worked on and off for four decades) and trumpeter Randy Sandke.
The show will air this evening, June 14, from 11 p.m. to midnight, Eastern Daylight Time.
NOTE: If you live outside the New York City metropolitan area, WBGO also broadcasts on the Internet at www.wbgo.org.

To see a Rifftides piece on Gerry Niewood, click here.

Sometimes fate does not distribute her gifts based on merit. Jack Nimitz never achieved the recognition, popularity or record sales of Gerry Mulligan, Pepper Adams or Serge Chaloff. Nonetheless, he was fully their peer as a baritone saxophonist of the post-bop era. Nimitz died last Wedneday in Los Angeles at the age of 79. From the early 1950s in Washington, DC, with The Orchestra, through the bands of Bob Astor, Johnny Bothwell, Woody Herman and Stan Kenton, Nimitz was a sturdy anchor of reed sections and a soloist of power and creativity.
After he moved to Los Angeles in the early sixties, Nimitz was a first-call baritone player in studios and on a dozen or more big bands, including those of Benny Carter, Gerald Wilson, Terry Gibbs, Oliver Nelson and Frank Capp. He was a charter member of Supersax, the saxophone band that specialized in orchestrated Charlie Parker solos. Nimitz is on scores of other peoples’ albums, but did not release a CD as a leader until 1995 with Confirmation. That recording is out of print or, as the record company’s web site optimistically announces, “temporarily out of stock.”
Fortunately, his second CD, Yesterday and Today, is available. It teamed Nimitz with another neglected master, the trombonist Bill Harris and, five decades later, with a rising young player of Nimitz’s own instrument. From a 2008 Rifftides review:

Jack Nimitz, Yesterday And Today (Fresh Sound). “Yesterday” was 1957, when the distinctive baritone saxophonist recorded a long-playing album for ABC-Paramount. The LP sat unissued for half a century. “Today” was early last year, when Nimitz went into the studio to record new music to add to the 1957 material and round out a compact disc. Nimitz’s tone has more heft and his soloing more aggressiveness than fifty years ago. In both instances, his playing is superb.

To read the whole thing go here.
Funeral services are scheduled for Saturday, June 20, at the Church of the Hills, Forest Lawn Cemetery, in Los Angeles.

If you have read Poodie James, you may remember Winifred Stone. She is the publisher of the newspaper that was important to the development of Poodie’s town by the Columbia River and the agricultural region around it. In the story, she is concerned about Poodie’s persecution by the mayor. Her paper is important in exposing that injustice. Her character is based on a real person and her newspaper on a real publication. This week, National Public Radio‘s StoryCorps was in Wenatchee, Washington, on its mission of capturing tales told by interesting people. In the StoryCorps interview, Wilfred Woods, the publisher son of that publisher, told his father’s story. Yes, father. In the book, I made the publisher a woman. It’s fiction. That sort of thing is allowed.

The StoryCorps folks recorded Mr Woods in conversation with Harriett Bullitt, another vital figure in North Central Washington. What they didn’t explain in the setup is that in addition to her founding of the famous Sleeping Lady Mountain Resort, Ms. Bullitt is a member of a family that pioneered radio and television broadcasting in the Pacific Northwest. She asked Wilfred Woods to talk about his dad, Rufus, who gets a significant portion of the credit for the existence of Grand Coulee Dam. That depression-era achievement made irrigation possible and brought prosperity to an area that was turning to dust.
To hear the conversation as it ran on Northwest Public Radio and see its accompanying slide show, click here.
I am happy to report that Poodie James is still the publisher’s best seller.

Here is Wayne Shorter at France’s splendid Vienne Festival in 2003. The other members of his quartet are pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade.
Added attraction: the wide shots of Vienne’s ancient Roman amphitheater.

Stan Kenton could be grandiose in his music. Otherwise, for the most part, he was down to earth. In the 1950s following a concert, a reporter asked him, “Mr. Kenton, where is jazz going from here?”
“Well,” Kenton said, “tomorrow night we’ll be in Detroit.”
That is still the best response I’ve found to a question that will continue to be asked and can never be answered. Atlantic Records called Ornette Coleman’s first album for that label The Shape Of Jazz To Come. A more honest title, it turned out, was that of his final Contemporary album a few months earlier: Tomorrow Is The Question. Coleman has influenced certain aspects of jazz over the past half-century, but he has not shaped it. Charlie Parker and Dizzy Gillespie had enormous effect on the course of the music, but in 1943 it would have been impossible to predict that their innovations would reach so far. It is orthodoxy for jazz historians and critics to declare that in 1928 Louis Armstrong’s “West End Blues” was the turning point into a new jazz maturity, but that is with the perspicacity of hindsight.
Tomorrow will always be the question, so when we listen to adventurous new music, it might be safest to judge it on its merits rather than proclaim it a vision of the future. Here are reviews of recent CDs by artists who are interesting but may not be messiahs. Who knows where they’re headed?
Detroit, perhaps.
Miles Okazaki, Generations (Sunnyside). Okazaki is a composer who closely controls his concepts while allowing his soloists enough latitude that the music has spontaneity. His guitar solos are well executed, but in the nine sections of this continuous work, three alto saxophonists and a vocalist dominate the sound. Miguel Zenón, David Binney, and Christof Knoche comprise a saxophone choir in several segments. There is enough similarity in their approaches that unless you are familiar with their subtleties, it will be helpful to refer to the booklet credits to see who is soloing at any given moment. All of them are satisfying, but on “Generations,” Zenon reaches a high point, escalating power and passion, then subsiding into peacefulness.
Jen Shyu’s soprano voice rides on top of the ensemble, sometimes in counterpoint, sometimes in unison with one or more instruments–including drums. Bassist Jon Flaugher, drummer Dan Weiss and Okazaki are the rhythm section, swinging forthrightly in places, controlling the expansion and contraction of time in “Overture” and elsewhere. Okazaki’s web site includes the score for “Generations.” You needn’t be an accomplished sight reader to see the meticulousness with which he prepares his music. He achieves an expansiveness that can be restful even when there’s agitation below the surface of the music. And he’s one young jazz artist who knows the value of dynamic contrast.
Jacám Manricks, Labrynth (Manricks Music). An Australian who moved to New York nearly ten years ago, Manricks plays saxophones, flutes, clarinet and bass clarinet. Like Okazaki, his writing is as important to his music as his playing. He proves it here by employing not only a quintet but also, on two tracks, a ten-piece chamber orchestra. In his album notes, Manricks acknowledges the influence of Debussy, Schoenberg, Gil Evans and Ravel, and although they are detectable, Manricks’ originality is more in evidence. His strings ensembles float the listener through “Micro-Gravity.” His harmonic voicings, uses of powerful rhythms and the electronically manipulated textures of Ben Monder’s guitar are among the elements that make “March And Combat” gripping listening. Conceptual writing also rules the combo tracks, each of which contains plenty of stimulating soloing by Manricks, Monder, pianist Jacob Sacks, bassist Thomas Morgan and drummer Tyshawn Sorey. This one came out of the blue. I’m glad that it did.
Josh Berman, Old Idea (Delmark). There is a good deal of whimsy in cornetist Berman’s quintet. Whimsy seems to go with avant garde territory in Chicago, the land of Ken Vandermark and Rob Mazurek, not to mention the AACM. There are moments when he’s not gliding through a melody that tenor saxophonist Keefe Jackson sounds as if he could be slap-tonguing and making animal sounds with a New Orleans band of the 1920s. Berman is not averse to spitting, whinnying and snorting with his horn. But there are moments of touching lyricism, as in the reflective “Nori” and the three versions of “Next Year.” The band’s approach reminds me of Tommy Peltier’s Jazz Corps, which in 1966 made one memorable album that featured Roland Kirk. However far outside he may go in his improvised lines, Berman gets an old-timey sound like Peltier’s on cornet. The band’s spirit is often similar to the Jazz Corps, even unto the resemblance of the vibraphone playing of Berman’s Jason Adasiewicz to that of Peltier’s Lynn Blessing. Anton Hatwich is the bassist, Nori Tanaka the drummer. This is a fresh Old Idea.
Andrea Fultz, The German Projekt (Andrea Fultz). As we pointed out a couple of years ago, Louis Armstrong made “Mack The Knife” a jazz standard, but few jazz artists have explored Kurt Weill’s songs of satire, outrage and beauty from The Threepenny Opera, Happy End and Mahagonny. For a Rifftides discussion of exceptions, go here. Now, we can add Andrea Fultz’s new collection. Her singing is knowing, sly, in tune, and gutsy. The daughter of a German mother and an American father, she sings these songs from the twenties and thirties in German, with only occasional side trips into English. She renders German so persuasively that by the end of my first hearing of the album I was nearly convinced that I understood the language. Whether or not she is one, she has the phrasing and inflections of a trained actress.
Seven of the songs are by Weill and his partner Bertholt Brecht, four by Friedrich Hollaender, another major figure in German musical theatre between the world wars. The repertoire includes “Alabama Song,” “Bilbao Song,” “Mackie Messer Moritat” (“Mack The Knife”),Hollaender’s “Falling In Love Again” and the devastating anti-fascist “Song of a German Mother” by Brecht and Hanns Eisler. Fultz’s accompaniment is by a hip young band of San Franciscans (piano, violin, accordian, bass and percussion). Much of this is heavy stuff, musically and emotionally, from a period when Germany was awash in forebodings of evil, and cynicism thrived. Thanks to the quintet’s sensitivity to the music and the canny arrangements by accordianist Rob Reich, they manage to meld a German cabaret sensibility with a twenty-first century grasp of jazz feeling. The songs are riveting. This is my first encounter with Ms. Fultz. I’m looking forward to the next and hoping that she will be a part of the future of jazz.
Towner Galaher, Courageous Hearts (Towner Galaher). Galaher has been in New York for a couple of decades, a ubiquitous drummer reliable and adaptable enough to be in demand by artists in a range from Louis Armstrong’s former bassist Arvell Shaw to comparative youngsters like Jon Faddis, Wynton Marsalis and Arturo O’ Farrill. For his second CD as a leader, composer and arranger, Galaher recruited a formidable band of veterans; trumpeter Brian Lynch, trombonist Fred Wesley, tenor saxophonist Craig Handy, pianist George Colligan, bassist Charles Fambrough and on the four Latin pieces, percussionists Gabriel Machado and Ze Mauricio. His compositions are in the middle of the modern mainstream, but with unexpected harmonic and rhythmic twists. Galaher’s reworkings of Tadd Dameron’s “Hot House” and Mongo Santamaria’s “Afro Blue” are ingenious. So, too, are his drum fills behind soloists. He assembled the band just for this date; they had never played together as a group. That and adventurous soloing are the the only senses in which this music is experimental. They sound as if they had worked together for weeks. This may not be where jazz is headed, but if it were, I could live with it.

Rifftides reader Russ Mitchell asks:

Is there ONE place to find ALL of Doug’s picks? If there is, I can’t find it.

They are archived. Follow these (relatively) simple directions:
1. Click on the Archives link in the center column, just below Doug’s Books.
2. Scroll ‘way down to the heading, Category Monthly Archives.
3. Scroll down past the list of months to the beginning of the recommendations listings. Click on individual months to see the picks. These go back to June of 2006.
For picks and reviews from June, 2005 through May, 2006, you can explore the month-by-month archive.

The following announcement is posted on the JazzTimes web site:

Important Message From JazzTimes Management
By JazzTimes

To our readers and members of the jazz community:

JazzTimes has temporarily suspended publication of the magazine and has furloughed the bulk of its staff while it finalizes a sale of its assets. The brand and operation will undergo reorganization and restructuring in order to remain competitive in the current media climate. Print publishing is expected to resume as soon as a sale is closed. New information and statements will be posted at www.jazztimes.com as they become available.
Thank you for your patience during this challenging period.
JazzTimes Management

With the suspension last year of the Canadian magazine Coda, the absorption of Britain’s Jazz Review by Jazz Journal and the conversion of JazzIz to a quarterly, jazz listeners’ choices of major print information about the music are disappearing fast. The question, unanswerable at this point, is whether web sites and blogs can provide the same depth and width of coverage generations have received from jazz magazines. This is a small manifestation of the larger challenge facing free societies as newspapers shrink or disappear. A democracy can only suffer from diminution and fragmentation of the flow of information upon which we base our judgments.
Let us hope that JazzTimes survives its reorganization. More important, let us hope that we do not lose news organizations serving mass audiences. They help bind us together.

There is still no confirmation, and no denial, of reports that Jazz Times will go out of business as a print publication. General economic decline, the increasing loss of advertising life blood and the necessity to shrink staffs weaken all magazines and newspapers.
Nasty fiscal weather is even more threatening to publications that specialize in cultural affairs. In hard times, support for the arts is likely to top the list of cuts in advertiser, donor and personal budgets. In his blog’s Sunday Wax Bits, Marc Myers takes a perceptive look at the Jazz Times predicament and at alternatives to paper-based jazz information.

I don’t buy the argument that the slow demise of print is tied to the “dumbing down of America.” Fans today aren’t reading less about jazz. They’re just gravitating toward more essential content. What is essential? Content that’s timely, surprising and independent. Sadly, many jazz magazines in recent years have missed the mark on all three fronts with cost escalations, talent drains and advertiser synergy deals.

To read the whole thing, go to JazzWax