The Gabriel Alegria Sextet enlivened and intrigued the audience at The Seasons Saturday night. The group of five young Peruvians and a South African meld strains from American, Peruvian and African music into a sophisticated hybrid with which they are writing a new chapter in the history of Latin jazz. Since earning an advanced degree in music from the University of Southern California, Alegria has spent several years refining his concept of Afro-Peruvian music. His fluency as a trumpet player is matched by his skills as a composer, arranger and leader. He has assembled a band of kindred spirits whose joy in performing seduces his listeners to receive with enthusiasm music that is often as challenging as any in the most adventurous modern jazz. 

Rifftides reader Gary Alexander has some thoughts about what he sees as a watershed year for jazz back when popular culture had not yet been reshaped by rock and roll. Mr. Alexander broadcasts a jazz program Mondays and Fridays 3:00 to 5:30 p.m. PST, from KLOI on Lopez Island, Washington. If you are among the 2,200 (+ -) people who live on that enchanting island in the Strait of Juan de Fuca, you may know that KLOI is at 102.9 FM. If you are one of the 6-billion-800-million others (+ -), your best bet is to listen to Mr. Alexander on the web. Go here and scroll down to where it says, “Click Here To Listen To The Stream.” The opinions Mr. Alexander offers in the following piece are his own and do not necessarily reflect those of the Rifftides staff. On the other hand–to take a firm stand on the matter–maybe they do.

1959: The Year Jazz Was Reborn 

By Gary L. Alexander

Early in the morning of February 3, 1959, the chartered Beechcraft Bonanza carrying Buddy Holly, Richie Valens and J.R. “Big Bopper” Richardson crashed just after take-off near Clear Lake, Iowa. It was shocking news, similar to what jazz fans felt when Charlie Parker died (“Bird Lives”) four years before, in March 1955. Later singers like Don McLean called this crash “the day the music died.” 

I beg to differ. Later that same day, the Miles Davis sextet (absent Miles) recorded

The Cannonball Adderley Quintet in Chicago, the first of three phenomenal new albums – all included John Coltrane – in the first half of 1959 alone. As the 50th anniversary of the Buddy Holly crash arrives this year, rock musicians and cultural pundits will mourn the death of these three vital voices at their peak of popularity in their golden age of rock’n’roll, but jazz musicians can celebrate the rebirth of their own music. 

In the six months of 1959 – particularly the four months between the famous crash on February 3 and the end of May – jazz was almost literally reborn, with ground-breaking albums like Miles Davis and his all-star sextet in the celebrated perennial best-seller, Kind Of Blue which was mostly recorded on March 2 of 1959. That album, a best-seller 

each year since, introduced modal music to many listeners, while albums recorded in the same season contained the most forward-looking avant-garde music. Giant Steps, John Coltrane’s post-“sheets of sound” excursion, was mostly recorded on May 5, the same day that Ella Fitzgerald captured many of the first Grammy awards in ceremonies dominated by jazz and swing-related music. 

Ella was busy recording her largest “Songbook” offering, the 53-song George And Ira Gershwin Songbook recorded from January to July of 1959. In the

 same period, Thelonious Monk recorded his famous Town Hall Concert (on February 28) and Charles Mingus perhaps his best album, Mingus Ah-Um (in May). Looking forward, Ornette Coleman offered us The Shape of Jazz to Come. At mid-year, Dave Brubeck recorded odd-time compositions in Time Out on June 25 and July 1. 

The rest of America was fairly hip in those months. The #1 jazz hit in 1959 was the “Theme from Peter Gunn,” written by Henry Mancini and played by Ray Anthony’s big band. It was in the Billboard Top 40 from January 19 to April 13, 1959, peaking at #8. The #1 hit for 1959 was a song written by Kurt Weill for a German opera in the 1920s, “Mack the Knife” (recorded in late 1958 and reaching #1 for 9 of 10 weeks in late 1959, a huge hit for Bobby Darin). As you can see, the #1 hits for the first half of 1959 were better-than-average pop songs.
   

#1 Billboard Hits its in Early 1959 

“Smoke Gets in Your Eyes,” by the Platters (#1 for 3 weeks, January 19 to February 8)
“Stagger Lee,” by Lloyd Price (4 weeks): February 9 to March 8 
“Venus,” by Frankie Avalon (5 weeks): March 9 to April 12 
“Come Softly to Me,” by the Fleetwoods (4 weeks): April 13 to May 10 
“Kansas City,” by Wilbert Harrison (3 weeks): May 11 to May 31 
“The Battle of New Orleans,” by Johnny Horton (6 weeks): June 1 to July 12 

Jazz singers fared reasonably well on the Hit Parade, too. “Broken-Hearted Melody,” by Sarah Vaughn, charted for 11 weeks (August 17 to October 16), peaking at #7, while “What a Difference a Day Makes,” by Dinah Washington, reached #8. When the first Grammy Awards were announced in May 1959, jazz was a big winner, especially in the “Pop” category – although later on the Grammy judges mostly ignored jazz. 

For records released in 1959, the 1960 Grammy awards were also jazz-centered: 

Speaking of movie soundtracks, 1959 was the year that jazz scores expanded from jazz-influenced composers like Alex North, Elmer Bernstein and Henry Mancini to pure jazz artists like Duke Ellington, Gerry Mulligan and John Lewis of the Modern Jazz Quartet. 

In late 1958Johnny Mandel scored and a band led by Mulligan played in I Want to Live, followed by Duke Ellington’s award-winning Anatomy of a Murder score in the Otto Preminger classic, released July 1, 1959. In the fall of 1959, three more movies featuring jazz artists were released: Les Liaisons Dangereuses, featuring Art  Blakey; Odds Against Tomorrow, with a score by John Lewis, and Shadows, featuring the music of Charles Mingus. 

The public was mostly buying good music, too. The best-selling album of 1959 was the soundtrack from Peter Gunn, which featured top Los Angeles-based jazz musicians. For the eight years surrounding 1959, the best-selling albums in America were all Broadway soundtrack albums: My Fair Lady (#1 in 1957-58), The Sound of Music (1960), Camelot (1961), West Side Story (1962-63), Hello Dolly (1964) and Mary Poppins (1965). The record-buying public was pouring more cash into music by Lerner & Loewe, Rodgers & Hammerstein, Leonard Bernstein & Steve Sondheim, Jerry Herman and other great composers than into any single item by any rock artist – and that trend continued for nearly a decade, until 1966. 

Turning back to pure jazz, here are just a few of the albums recorded in those four magic months.

Day by Day, Classic Jazz Albums Recorded from February 2 to May 31, 1959

You can make a case that all forms of jazz existed side by
side, in relative peace, in that one year – everything from Dixieland to
avant-garde was on the record shelves under one category, Jazz.  The miracle year 1959 was not only the
year the music was reborn, but the year that jazz creativity reached its
zenith.

                                                                                  ©Gary Alexander, 2009.

Up here in the interior of the US Pacific Northwest, the floods have receded following the sudden snowmelt of a week ago. In this valley, the snow is gone except for the big piles scooped into the corners of parking lots. We are spared the drastic sub-zero temperatures of the midwest and east. What we have is constant fog and air just enough below freezing to apply frosted decoration to nearly everything outside.

The eve of next Tuesday’s inauguration of Barack Obama as the 44th president of The United States is also the birthday of Martin Luther King, Jr. Monday, January 19, there will be a celebration at the Kennedy Center in Washington, D.C, observing both occasions. The veteran journalist Nat Hentoff uses this conjunction of historic events as a point of departure to discuss the role of jazz in giving impetus to the civil rights struggle that made possible the election of a black president. Here is one dramatic story from Hentoff’s article in The Wall Street Journal:  

In his touring all-star tournament, Jazz at the Philharmonic, Norman Granz by the 1950s was conducting a war against segregated seating. Capitalizing on the large audiences JATP attracted, Granz insisted on a guarantee from promoters that there would be no “Colored” signs in the auditoriums. “The whole reason for Jazz at the Philharmonic,” he said, “was to take it to places where I could break down segregation.” 

Here’s an example of Granz in action: After renting an auditorium in Houston in the 1950s, he hired the ticket seller and laid down the terms. Then Granz personally,

before the concert, removed the signs that said WHITE TOILETS and NEGRO TOILETS. When the musicians — Dizzy Gillespie, Ella Fitzgerald, Buddy Rich, Lester Young — arrived, Granz watched as some white Texans objected to sitting alongside black Texans. Said the impresario: “You sit where I sit you. You don’t want to sit next to a black, here’s your money back.”

After a prolonged holiday delay, the Rifftides staff has posted new recommendations in three categories. Please see Doug’s Picks in the center column.

In the second concert of their 50-stop national tour, the Blue Note 7 drew a full house Friday night at The Seasons Performance Hall in Yakima, Washington. From the opener, Horace Silver’s “The Outlaw,” to the encore, Bud Powell’s “Dance of the Infidels,” the all-star band dipped into the vast repertoire of compositions by artists who have recorded for Blue Note Records in its 70-years. 

The unforgettable 1959 Thelonious Monk Orchestra concert at Town Hall will have a 50th anniversary recreation next month at the scene of the event in New York City. Preserved on a famous Riverside album and performed by jazz repertory orchestras everywhere, Monk’s compositions in orchestrations by Hall Overton are perennially fresh, full of ensemble performance challenges and of opportunities for soloists. Reissued every few years on LP, then on CD, the recording is a basic repertoire item, as timeless as Bach, Stravinsky or Charlie Parker. 

Rifftides reader Peter Myers writes: 

In your liner notes from the great Christmas present CD I received, The Art and Soul of Houston Person, you mentioned a gifted 19-year-old jazz musician who plays few standards. I wondered if you were talking about Eldar. I was looking forward to seeing him at the Clearwater, FL Jazz Holiday back in October. I came away disappointed for the same reason. He played mostly his own compositions. Brilliant though he may be, his choice of music almost boredered on semi classical. I think he played one number, “Straight, No Chaser,” that was recognizable, and that you could tap your foot to. I wanted to approach him at the CD sales and signing booth and tell him, in a constructive, senior citizen way, but I did not.

No, it wasn’t Eldar. it was Sam Reider, an impressively talented and tasteful young man. You can find out something about him on his MySpace page and hear him in full performances, including one standard, with the Uptown Trio. You might also take a look at a Rifftides piece posted a day or two after I listened to him and his confreres in a concert. This is the paragraph from the Person notes: 

A gifted nineteen-year-old jazz musician recently told me why he and his band play few standards. With touching earnestness, he explained that people under sixty don’t relate to standards and that his generation has no connection to the classic songs of the last century. He had just played a concert of compositions mostly written by him or his band members. It evidently escaped him that the audience, with a sizeable component of young people, gave its most enthusiastic response of the evening to an adventurous performance of Matt Dennis’s “Everything Happens to Me.” As his career progresses, it may dawn on our emerging young artist that when he provides his listeners a melody they can hold onto, they open up to him and accept considerable leeway when he goes beyond the familiar. That has been a fact of life in music at least as far back as Mozart.

Because of a digital malfunction the nature of which I am unequipped to explain, some of the pictures in the recent Rifftides archives have disappeared and been replaced by empty boxes. The artsjournal.com technical hierarchy assures me that the gremlins have been found and summarily executed, but their mischief remains until the Rifftides staff can repair it. That is a matter of one photo being restored at a time. The staff has plenty to do and will undertake restoration as time allows. If you are browsing the archive and disturbed by those ghostly frames, we offer the standard modern mea culpa in times of disaster large or small: we regret any inconvenience.

As readers of Rifftides know by now, The Wall Street Journal provides more than financial news and market reports. The newspaper has a Leisure And Arts section with extensive, varied, informed cultural coverage. It includes writing about music by several contributors. I am happy to be one on occasion. In today’s WSJ, Nat Hentoff brings together his friendship with Dizzy Gillespie and the need to care for sick or injured musicians with little or no health insurance.