Gap Mangione sent this message:

http://www.youtube.com/watch?v=gUh1SlrtEG0
http://youtube.com/watch?v=W-8CNslGOPc
I’ve never been able to listen to this second one with dry eyes; especially the final 58 seconds.
May he rest in peace…
Gap

Rifftides Washington, DC, correspondent John Birchard alerts us to a tribute concert by an international quintet of major jazz musicians who were affected by the Voice of America’s Willis Conover. If you live in the DC area, make your reservation early.

Willis Conover

The Voice of America and the Duke Ellington Jazz Festival are hosting a concert in memory of VOA jazz host Willis Conover and in observance of the 50th anniversary of Dizzy Gillespie’s first State Department-sponsored trip.
The concert is free and open to the public and will take place on Monday, September 17th at 7:30 PM in the Cohen Auditorium (at VOA). Cuban-born jazz great Paquito D’Rivera, who himself was influenced by Conover’s broadcasts heard in Cuba, will lead a quintet made up of another Cuban-born musician and three other players from former Soviet Bloc countries:
Performers: Paquito D’Rivera, Musical Director, Alto Saxophone, Clarinet (Cuba); Milcho Leviev, Piano (Bulgaria); George Mraz, Bass (Czech Republic); Valery Ponomarev, Trumpet (Russia); and Horacio Hernandez, Drums (Cuba).
Seating is limited and will be allotted on a first-come, first-served basis. Please e-mail reservations to publicaffairs@voa.gov by Sept. 13th. For details, go here.
Prior to this event at 3:00 PM, George Washington University’s Elliott School will hold a forum entitled “Duke, Dizzy and Diplomacy.” For more information, visit the Elliott School calendar.

The Rifftides archive contains several items about Conover, his importance, and the failure of the US government to posthumously award him recognition that he deserved when he was alive. For the first of those pieces, click here, then use the keyword “Conover” to browse the archive for followup comments.

News from the publisher: less than two weeks off the press, Poodie James has gone into a second printing. Many thanks to Rifftides readers who have helped to make that possible.
As an excerpt from the novel posted on Rifftides makes clear, Poodie is deaf and mostly mute. After she read that passage, Iola Brubeck sent this comment:

I enjoyed the excerpt. A number of years ago Dave played a benefit for the Theater of the Deaf in Connecticut. They described some of the sensations that you put so well in words….the feeling of the vibrations, both in their feet and in their bodies. Also, at one time, Dave shared a program with the deaf percussionist Evelyn Glennie, who often appears as soloist with symphony orchestras. Her rhythmic sensitivity is unmatchable.

Like Poodie, Dame Evelyn feels frustration over the frequent concentration by those with full hearing on a deaf person’s deafness rather than on his qualities and abilities. Here is some of what she wrote on her web site:

I hope that the audience will be stimulated by what I have to say (through the language of music) and will therefore leave the concert hall feeling entertained. If the audience is instead only wondering how a deaf musician can play percussion then I have failed as a musician. For this reason my deafness is not mentioned in any of the information supplied by my office to the press or concert promoters. Unfortunately, my deafness makes good headlines. I have learnt from childhood that if I refuse to discuss my deafness with the media they will just make it up. The several hundred articles and reviews written about me every year add up to a total of many thousands, only a handful accurately describe my hearing impairment. More than 90% are so inaccurate that it would seem impossible that I could be a musician. This web page is designed to set the record straight and allow people to enjoy the experience of being entertained by an ever evolving musician rather than some freak or miracle of nature.
Deafness is poorly understood in general. For instance, there is a common misconception that deaf people live in a world of silence. To understand the nature of deafness, first one has to understand the nature of hearing.

To read all of Evelyn Glennie’s “Hearing Essay” and explore her site, click here.

A message from Sue Mingus, widow of Charles:
I believe it was in Rifftides that someone recently quoted one of Charles Mingus’s sons talking about his father telling him to jump off a shed and then not catching him. That was an old joke I heard about 50 years ago in Paris– not very funny– about a father teaching his son, who is up in a tree, a cynical message about not trusting anyone. I think the story got twisted in someone’s memory from tree to shed and fact to fairy tale.

Several major jazz bassists – including Oscar Pettiford, Ray Brown, Sam Jones, and Percy Heath – also played the cello. Ron Carter doubles on cello. For the most part, Carter employs it as a midget replica of his main instrument, soloing by plucking the strings, as did his predecessors. Indeed, Heath referred to his re-tuned cello as a baby bass.
Improvising while bowing the cello is another matter. Fred Katz, who became well known in the 1950s for his work with the Chico Hamilton Quintet, demonstrated that there was a place for the arco cello in improvisation despite the instrument’s challenges, which include its relative slowness. The cello’s small, fast, cousin the violin has had a role virtually from the beginning of jazz. In Roger Kellaway’s glorious Cello Quartet recordings, Ed Lustgarten was brilliant at reading and interpreting the solos Kellaway wrote for him, but he was not an improviser. After the mainstreamers pioneered the instrument, players like David Eyges, Hank Roberts, Trinstan Honsinger and Tom Cora gave the cello a role in avant garde jazz. Recently, Erik Friedlander Peggy Lee, Alisa Horn and Matthew Brubeck, among others, have further helped to move the cello toward the circle of fully-accepted jazz instruments, using all of its capabilities.
If you do an internet search for Brubeck, you’ll get a link that describes the territory he has staked out. It says, “improvising cellist Matt Brubeck’s website.” The youngest son of Dave and Iola Brubeck has a master’s degree in cello performance from Yale and has worked in a range of symphony and classical chamber settings. His recorded debut as a bowing and plucking improvising cellist came in 1991, when he was thirty, on his father’s Quiet As The Moon. His impressive performances included a duet with his dad on a theme from Dave’s mass, “To Hope: A Celebration.” He has worked with musicians as various as Tom Waits and the eclectic Oranj Symphonette, with which he plays an passionate opening cadenza on Mancini’s “Dreamsville.” Brubeck’s resume is sprinkled with mentions of duo associations. The most recent is his partnership with the Canadian pianist David Braid.
In their CD called Twotet/Duextet, the musicians play five pieces by Brubeck and three by Braid. Matt Brubeck’s facility with the instrument, bowing or plucking, seems to allow him to play whatever occurs to him. His full, deep sound takes on an edge of dramatic urgency when he improvises with the bow, as he does to great effect in “Mnemosyne’s March” and several other tracks. In “Sniffin’ Around,” he employs his cello as a baby bass a la Percy Heath, occasionally letting the strings slap wood as bassist Milt Hinton used to do.
I usually rail against debut CDs in which musicians restrict themselves to original material, not only because it gives the listener nothing familiar to relate to, but also because so often the music is weak. In Twotet/Deuxtet, the songs are light years beyond the wispy excuses for blowing that fill so many jazz CDs. Their melodies have strength, the harmonic structures have substance. Even the rhythmic offbeats that open a free piece of instant composition called “Improvisation” develop a melody. It may not be instantly hummable, but it is distinctive. A pair of ballads, Braid’s “Wash Away” and Brubeck’s “It’s Not What it Was,” have melodies that might have been written by Stephen Foster. Brubeck’s “Huevos Verdes y Jamón” has a Hispano-Caribbean lilt worthy of Sonny Rollins or Chick Corea, Braid’s “Mnemosyne’s March” Brahmsian gravity and beauty of line.
I had never heard – never heard of – Braid before Twotet/Deuxtet showed up the other day. Now, I’m compelled to catch up with his previous work, particularly his sextet made up of Canadian all-stars Terry Clarke, Mike Murley, Steve Wallace, Gene Smith and John MacLeod. Braid’s tone, touch, chord voicings and imagination make him one of the most interesting new pianists I’ve encountered in a long time. In researching him, I discovered that I’m not alone. It turns out that when Gene Lees first heard Braid, he wrote, “If Bill Evans were alive, I’d send Braid’s CD to him.”
Alisa Horn is the cellist in pianist Bill Mays’ new group The Inventions Trio. She is a protégé of trumpeter Marvin Stamm, the other member of the trio. I wrote nearly a year ago about Mays convincing classical string players that they could swing when he recruited the cellist and violinist of the Finisterra Trio to perform Bach’s “Two-part Invention #8” with an overlay of Charlie Parker’s “Ah-Leu-Cha.” Horn has been convinced, too. The conviction didn’t come easily. She is added to the duo in which for several years Mays and Stamm have been melding jazz and classical music. A classicial cellist ingrained with the notion that improvisation should be avoided at all costs because it could lead to (gasp) mistakes, she was terrified at the recording session. Here’s some of what Horn wrote in a news release that came with the advance copy of The Inventions Trio CD.

What if I play a WRONG NOTE? During the session, I almost had a breakdown worrying about a shift that I had “missed” during an improvisation. No one else in the studio even heard the mistake or noticed it at all and these are some of the most experienced and well-trained ears in the business! (I was) almost in tears, worried over this horrible imperfection. Bill and Marvin looked at me and just said, “No one is ever perfect and that isn’t what this is about. Screw it!”
Since that moment, I have a new outlook on my music and the meaning of “perfect” has changed. Now I understand that perfection is an individual’s perception of what the music is and this idea applies to both classical and jazz styles of playing.

Horn is exquisite in the trio numbers on the CD, which include Debussy’s “Girl With The Flaxen Hair and “Mays’ three-movement “Fantasy for Cello, Piano and Trumpet,” an important new work. She is impassioned in Rachmaninoff’s “Vocalise,” and has a stunning introductory moment in the first movement of the “Fantasy.” Mays and Stamm, collaborators for years, have developed an empathy that verges on the mysterious. Their duo numbers on this album are among their finest work. In the trio pieces, Alisa Horn complements their magic. She does not sound like a newcomer to improvisation.
The Inventions Trio will be a part of The Seasons Fall Festival next month, along with James Moody, Miguel Zenon, David Friesen, Karrin Allyson, Matt Wilson, Martin Wind, the Finisterra Trio and the Yakima Symphony Orchestra. I look forward to hearing them in live performance.

Two of the leading pianists in modern jazz are now man and wife. Bill Charlap and Renee Rosnes were married last week. For details go to this New York Times story. The Rifftides staff offers hearty congratulations.

Announcing the publication of Poodie James the other day, I included an excerpt from the only episode in the novel in which Poodie reacts to music. To read it, go here and you will see that the music, at a dance, is “Caldonia,” played by Woody Herman’s band. After it became a hit in 1945, Herman kept the piece in his book for the rest of his life. As frequently happens to music that stays in a band’s repertoire, “Caldonia” got faster and faster as the years went by.
By 1964, “Caldonia” was jet-propelled. In this video, the music is going by so fast that no improviser could achieve profundity in his solo. Who cares. The point at this tempo is to swing and make people happy. Watch Woody as a succession of his soloists tears into the blues, and see how happy they make him. In order, you’ll see and hear the upstate New York terrors of the tenor saxophone Joe Romano and Sal Nistico, trumpeter Billy Hunt, trombonists Phil Wilson and Henry Southall, and bassist Chuck Andrus. The astounding drummer is Jake Hanna. Take a deep breath and click on this link.
When you have recovered, go here and listen to the 1945 recording of “Caldonia” by Herman’s First Herd.

Mr. JazzWax, aka Marc Myers, tracked down the venerable baritone saxophonist Danny Bank, one of the few Charlie Parker sidemen still with us, to talk about Bird. Among Bank’s anecdotes:

“One morning, sometime in 1951, I think, I took out one of the Sonatas for Woodwind by Hindemith and used it to practice. That night, after I played on two or three recording dates that day, I went to Birdland to hear Charlie play.
“As soon as he saw me come into the club, he started to pay the Hindemith Sonata I had played earlier while laughing through his mouthpiece. Bird had been listening to me through the walls! His ear was so amazing that he played what I practiced from memory when he saw me that night.

I just discovered that I had a defective link to Ethan Iverson’s Do The Math, the blog of The Bad Plus. I fixed the link. Use it to see Iverson’s tribute to the late British critic Richard Cook and read Cook’s evaluation of one of Horace Silver’s milestone recordings. I was startled to see how young Cook was. Dead at fifty. Enjoy life, folks.
The veteran Pennsylvania jazz broadcaster Russ Neff has launched a blog. Like his program, it’s called My Favorite Things. Neff’s first postings are based on archive interviews with George Shearing and Ray Brown.
Other Matters
If you’ve had nothing better to do, you may have been following every detail of the mens-room adventures of Idaho Senator Larry Craig and the apparent suicide attempt of film personality Owen Wilson. Society of Professional Journalists President Christine Tatum doesn’t mention Craig in her most recent Freedom Of The Prez posting, but this paragraph applies to his ordeal.

I completely get the public personality-or-official lecture delivered in Media Law 101. Heck, I even get the far more advanced versions gleaned over the course of my career. You cast yourself into the limelight or get yourself elected to public office, and you ask for the scrutiny. You ask for the criticism, the leering, the praise, the fawning, the constant flashbulbs, the boatloads of letters and e-mail and the stupid guy begging for an autograph while you’re in a public restroom. Once you enter that white-hot public spotlight, you can’t leave it whenever you choose.

She deals directly with the unfortunate Mr. Wilson’s being circled not only by the tabloid sharks but also by an appalling number of supposedly responsible journalists.

But journalists. What’s their responsibility when an Owen Wilson has a breakdown and asks the media (and, by extension, the general public) to allow him to heal in private? He’s no Paris Hilton, Lindsey Lohan or Nicole Ritchie driving under the influence on public streets. He’s not even a Britney Spears, who has an incredible knack for taking her wackiness public.
Might this be a time when we let a prominent person who apparently struggles with depression have the solace and privacy he needs? I certainly hope so.

So do I. To read all of Tatum’s posting, go here.

For a long time, the Doug’s Books section on the right side of your screen ended with:

His next book is a novel that has nothing to do with music.

The section now begins (bells, whistles, horns, raucous whoops and shouts, please):

Doug’s most recent book is Poodie James, a novel published in 2007.

The official publication was a few days ago. The book is now available. Preview readers have been extraordinarily kind. You can see some of their comments if you go to this page at the publisher’s web site. In a convenient coincidence, that is also the place where you can place an order for Poodie. Please do. If you order directly from Libros Libertad, a pioneering new house in Vancouver, British Columbia, you will support their efforts to make a difference in the way writers of serious fiction and poetry reach their readers. In other words, if you buy from Libros Libertad, the publisher makes a little more money.
At the Libros Libertad site, you’ll find an excerpt from Poodie James and a link to a longer biography of the author than you’ll see on Rifftides. I wrote earlier that the book has nothing to do with music. That is true in the sense that music is not a central theme and no central character is a musician. It is unlikely that any book of mine could avoid music altogether. Here is a short excerpt from a scene in which Poodie, who is deaf, attends a dance.

The rhythm surging through his body made him happy. Poodie wondered if the dancers got the sensation from hearing the music that he did from feeling it, radiance in the belly, warmth around the heart. The first piece ended. Poodie applauded with the others.
Now the leader was singing into a microphone. The first words went by too fast for Poodie to see them, but then the man sang, “Caldonia, Caldonia, what makes your big head so hard?” On each syllable the drummer hit the bass drum with the pedal and a smaller drum with his sticks. When the words came around again, Poodie laughed. Seeing him, the drummer laughed too. During slow pieces, Poodie could feel just a thump now and then, but on the fast ones the thunder of the drums rolled against him. Sometimes, when all of the men played at once, a wave came through the air and along the floor. It pushed into his chest and up through his feet and made his heart beat faster.

Fair warning: Poodie James has no car chases. It has a terrific train wreck, though.

Rifftides reader Wade Nelson of River Forest, Illinois, writes:

After reading a piece about George Russell, I hauled out a 1957 LP by Hal McKusick called Jazz Workshop that I hadn’t listened to in many years. Arrangements by Russell, Giuffre, Evans, Mandel, Albam and Cohn. Very fine music.

I couldn’t agree more. McKusick was in an elite cadre of musicians during a golden age of jazz in New York in the late 1950s and early ’60s. He had a distinctive tone on alto saxophone and a personalized adaptation of Charlie Parker’s style. He worked often with George Russell, recording with Russell and in various combinations with Art Farmer, Bill Evans, Eddie Costa, Paul Chambers, Milt Hinton, Barry Galbraith and others. He is the alto soloist on George Russell’s seminal recording of “All About Rosie.” There is a good cross-section of McKusick’s small groups from 1957 and ’58 on the compilation CD Now’s The Time.
Through the late fifties until 1978, McKusick was a CBS staff musician. I encountered him as a member of the band on the Arthur Godfrey radio program when I was doing a television news story about Godfrey. Godfrey’s band also incuded pianist Hank Jones, guitarist Remo Palmieri and trombonist Lou McGarity. I don’t know how they felt about Godfrey’s singing or his ukelele playing, but they all seemed glad to have the work. That kind of employment for New York musicians no longer exists. Since studio work ended, McKusick, now eighty-three, has made his living as a private teacher.