Rifftides and Take Five: The Public and Private Lives of Paul Desmond are drawing responses from a cross section of jazz people in the United States and around the world, some from as far away as Australia and New Zealand. Norman Davis sent a message from the eastern Hungarian village of Sirok, … [Read more...]

My publisher, Malcolm Harris, and I dropped by Jim Wilke’s Jazz After Hours studio in Seattle the other day for a long chat about Take Five: The Public and Private Lives of Paul Desmond. As always, Jim’s depth of knowledge and his focus led to a rewarding conversation. The hour interview, with … [Read more...]

I may post something more today, or I may just flop into the long Fourth of July weekend and emerge on Monday or Tuesday. When you see, e-mail or telephone your friends, be sure to tell them about Rifftides. We need all the Rifftiders we can get. … [Read more...]

Ending our survey of a few of the CDs that piled up while Take Five: The Public and Private Lives of Paul Desmond was occupying the author, here are brief observations on three more. Mulgrew Miller, Live At Yoshi’s, volumes one and two. One of the most consistently interesting pianists in jazz, … [Read more...]

I have just been informed that WNYC radio in New York archived my June 23 appearance on The Leonard Lopate Show. It was a zippy thirteen-minute discussion of Take Five: The Public and Private Lives of Paul Desmond. You can listen to it here. It’s the second item from the bottom of the page. Joe … [Read more...]

My ArtsJournal colleague Terry Teachout points to a development in German publishing that he says should be of concern to all writers. I agree. It should also disturb readers dependent upon authors free of interference with their work. The situation involves a new biography of Carl Jung, the seminal … [Read more...]

Benny Carter died on July 12, 2003. His absence is made a little easier to bear with EMI’s reissue of a rare 1960 album originally on United Artists. The CD is Sax a la Carter, with Jimmy Rowles, Leroy Vinnegar and Mel Lewis. The programs begins with “And The Angels Sing” in shuffle rhythm, … [Read more...]

Yesterday I declared at an end the discussion of alternative approaches to improvisation, with a proviso: "Unless someone out there has a new take on this matter." If you're just joining us, the focus of the dialogue (or diablog) was the late tenor saxophonist Bill Perkins. The inquiry was into how … [Read more...]

It's time to put a wrap on the discussion about whether Bill Perkins knew the chord structures of pieces on which he improvised. You may recall that vibraharpist Charlie Shoemake, who played with Perkins, wasn't convinced either way. Critic Larry Kart thought that Perk probably did know the chords … [Read more...]

We're still catching up with CDs that appeared while I was writing Paul Desmond's biography. If you don't have your copy of the book yet, hurry. ORBITAL DUKE Columbia/Legacy is systematically reissuing (again) everything it has by Duke Ellington. In the case of Blues In Orbit, it has done so with … [Read more...]

Reissuing important music in impeccably produced editions, Mosaic Records continues to thrive. Its most recent box set is The Complete Clef/Verve Count Basie Fifties Studio Recordings. I just finished a long review of the album for Jazz Times. Watch for it in the September 35th anniversary … [Read more...]

When I stay with my friend Jack Brownlow(page 267 in The Public and Private Lives of Paul Desmond), he often comes up with special entertainment. Yesterday, it was a couple of episodes of The Beiderbecke Connection, a 1988 series from Granada, the British TV network. Jack's daughter checked it out … [Read more...]

You may knock New York if you like. I won't. I lived there in the seventies, when it was truly knockable. Let me tell you three things about the couple of days I spent in Manhattan last week. 1. On the glorious day that was last Thursday, I sat blogging on my laptop in City Hall Park, a free … [Read more...]

I first heard Rick Trolsen in New Orleans (Never The Big Easy, please, unless you want to be considered a tourist cornball unduly infuenced by bad movies; calling it The Crescent City is okay). He was in Al Belletto’s big band. I loved his unreservedly tromboney solos. Trolsen is not a young hot … [Read more...]

The latest on tenor saxophonist Bill Perkins's solo methodology: critic and historian Larry Kart responds to musician Charlie Shoemake's pondering the other day on the nature and origin of Perkins's harmonic choices. I understand what Charlie Shoemake says up a point, but then I don't understand it … [Read more...]

The trombonist and singer Eric Felten chimed in the other day on the proposition that listeners deserve the break of being given something familiar to hang their ears on before the improvisation starts. I enjoyed your post on the question of writing new tunes, versus playing something recognizable. … [Read more...]

Today, I'll have the pleasure of being a guest on The Leonard Lopate Show on WNYC, New York, 93.9 FM. I'm scheduled sometime around 12:30 or 1:00 pm. WNYC streams on the net here. Later (much later) at 1:00 am Friday, I'll talk about Take Five: The Public and Private Lives of Paul Desmond with Joey … [Read more...]

Here is a possibly prejudiced assertion: Jazz albums should have program notes. Listeners want and deserve information about the music. It seems that years ago someone in record company accounting decided that since rock albums sold in the millions without notes, why not treat jazz albums the same … [Read more...]

Ken Dryden’s long review for All About Jazz of Take Five: The Public and Private Lives of Paul Desmond notes an aspect of the book with which I took some pains. Ramsey avoids the use of psychobabble to explain Desmond’s relationship with his mentally disturbed mother, his reluctance to make long … [Read more...]