The latest selection of Doug's Picks is posted in the center column, featuring a treasured vocal-piano collaboration, a new young trumpeter, an old free jazz band, a bassist at the helm of an exciting quartet, and a book that recaptures a special place at the end of New York's last golden age of … [Read more...]

If you are a fan (sic) of the kind of language misuse eloquently exposed by the poet Taylor Mali in this recent Rifftides piece, you may enjoy the following video, a commercial for accountants. Thanks to Bill McBirnie for calling that to our attention. … [Read more...]

I was unable to cover the Portland Jazz Festival this year, to my regret. For reasons of economy, the festival came in compact form; one week instead of two. Jack Berry of Oregon Music News tells me he thinks that smaller was better. Berry wrote about two of the festival artists. This is some of … [Read more...]

As a young adult, Paul Breitenfeld adopted the last name Desmond. Over the years, to amuse himself and confound others, he concocted several reasons for the change. He sometimes said he did it because he thought that in the event that he ever made records, the shorter name would fit better on 78 rpm … [Read more...]

After three years of keeping his alto saxophone in the closet, in 1974 Paul Desmond finally succumbed to the exhortations of the Canterino family and agreed for the first time in a quarter of a century to play a club date as leader. The Canterino's club, the Half Note, had moved from lower Manhattan … [Read more...]

The Rifftides Department Of Language Reform (DOLR) has been neglecting its duties. Its members claim that their failure to stop the misuse of "absolutely" and "no problem" (see this archives post) discouraged them. At a staff meeting on the subject, the DOLRers moaned that they despair of succeeding … [Read more...]

The finest language is mostly made up of simple unimposing words. -- George Eliot But if thought corrupts language, language can also corrupt thought. -- George Orwell What words say does not last. The words last. Because words are always the same, and what they say is never the same. -- Antonio … [Read more...]

In April of 2009, a Rifftides review of a Daryl Sherman CD failed to mention the album's lead song, "S'Mardis Gras." It also perpetuated the tray card's mis-naming of the bass player. Correcting those shortcomings is a fine excuse to again call attention to a CD that deserves more of it. Daryl … [Read more...]

It seems there's a new development every day in the saga of London's Abbey Road Studios. Today, the building is off the block - if it was ever on - saved by designation as a part of history. The Los Angeles Times has the story with a splendid recent photograph of the building and the crosswalk the … [Read more...]

The Village Vanguard is observing its 75th anniversary this week. Joe Lovano and the band he calls Us Five are playing there through Sunday. I wish that I could attend. But I shouldn't be greedy; in my New York years, I was fortunate to be in the club often. I heard music there that echoes in my … [Read more...]

According to Norman Lebrecht, the proprietor of artsjournal.com's Slipped Disc, financial tap dancing led to reports that Abbey Road studios was--or might be--for sale. That does not invalidate the sonic issues raised in this February 21 Rifftides post. It may relieve the anxieties of audiophiles … [Read more...]

Unexpected and welcome news from a Danish web site: Denmark's once legendary jazz club Montmartre re-opens in May 2010 in its original premises in Copenhagen. During the 1960's and 70's the club served as a European home for American giants like Ben Webster, Dexter Gordon, Stan Getz, Kenny Drew and … [Read more...]

Jazz At Lincoln Center has just announced the artists posthumously inducted into its Nesuhi Ertegun Jazz Hall of Fame for 2010. They are Bill Evans, Bud Powell, Billy Strayhorn and Sarah Vaughan. Those honored are chosen by vote of a panel of experts from 17 countries. Jazz at Lincoln Center will … [Read more...]

In the right hands, the accordion can be a wonderfully evocative instrument. To name a few jazz masters of the accordion: George Shearing, Joe Mooney, Eddie Monteiro, Pete Jolly, Ernie Felice, Angelo DiPippo, Tommy Gumina, and Sivuca, whose harmonic and rhythmic use of the accordion enhanced so much … [Read more...]

For more on the sound quality issues raised in the following exhibit (February 21), see the comments that piece has stimulated (click on the Comments button at the end of the item). Also, go here for a golden oldie updating news about Roy DuNann, a late-20th-century hero of recorded sound. That … [Read more...]

In their list of priorities, most serious listeners put music's content before the quality of its sound. In one of our listening sessions at my house, I apologized to Paul Desmond for the scratchy surface of the old vinyl LP I was playing for him. "I don't care if it's recorded on cellophane … [Read more...]

Rifftides reader Lauren Kesner O'Brien writes from New Orleans: I'm the founder of a new video magazine, www.telegraph21.com, and am contacting you because all week we are featuring great videos about jazz and New Orleans. In particular I thought today and tomorrow's video feature, The Sound After … [Read more...]

If it has been a while since you've heard these exemplars of modern New Orleans music, now in their 32nd year, here's your chance. It's Astral Project on the road last fall at the Artists Quarter in St. Paul, Minnesota. The band is Tony Dagradi, tenor (and at the end soprano) saxophone; Steve … [Read more...]

(All right, the headline is a cheap play on words. I tried to resist.) Speaking of Dawn Clement (see the next exhibit), Jim Wilke will broadcast her trio in concert next Sunday, February 21, at 1 PM Pacific Standard Time. It will be on Wilke's Jazz Northwest program on KPLU-FM, the Seattle-Tacoma … [Read more...]