Please visit Doug’s Picks in the right-hand column for recommendations of two CDs, two DVDs and a book. Thanks for your patience; these have been a long time coming.

Alerting the Rifftides staff to this combination, Bill Kirchner wrote, “Yes, you read that right.” There may have been less likely tenor saxophone encounters, but I doubt if they were captured on camera. The third tenor player–the one we see but don’t hear–is Lew Tabackin.
The house of the good old blues in F has many mansions. Here’s proof. YouTube doesn’t disclose the year, but from the youthful appearance of the principals, I’d guess this was a good two decades ago.

Most customers, by the time the musicians reach the second set, are to some extent inebriated. They don’t care what you play anyway.–Charles Mingus
The boppers flat their fifths. We consume ours.–Eddie Condon
I’m all in favor of getting grants for musicians. Or any other good brand of Scotch.–Pepper Adams

As you may have surmised from the paucity of substantial postings the past few days, I am still working my way through an accumulation of professional obligations, some connected with music, some not. Nonetheless, I try to give you items that I hope will keep you coming back to Rifftides.
So, here is a link to a rarity–video of the sublime singer Carol Sloane. It was made in New Orleans in 1979. Sloane was in town with her friend Jimmy Rowles, who was the pianist in Ella Fitzgerald’s trio. Keter Betts was the bassist, Bobby Durham the drummer. Ella had the night off from her engagement at the Blue Room of the Fairmont Hotel, so Sloane borrowed her rhythm section and accepted the invitation of the talented director John Beyer to tape a show at WYES-TV, the public station. I’m hoping to track down the entire program. For now, all that is to be found is a clip on YouTube. Ignore the faulty credit blurb; the year was 1979, not 1984. It is probably unlikely that Ella knew Carol was using her musical support staff. All of the above information is courtesy of the gracious Ms. Sloane, who says, “Knowing Ella, I doubt she’d have been upset in the least.” Especially if she could have heard the result.
To see and hear a memorable Carol Sloane ballad performance, click here. I suggest listening to it at least twice, once concentrating on the riches of Rowles’ accompaniment to “My Ship.”
Don’t forget to visit Sloane’s blog. It’s terrific. It is linked in the Other Places section of the right column, but this direct link will take you there. No extra charge.

On his blog Pop Musicology, Michael J. West discloses that he has joined the ranks of reviewers for Jazz Times. He was recommended by Nat Hentoff, a fine way to be launched. In the Other Places department, I am adding a link to Pop Musicology.
The subtitle of Mr. West’s blog is:

Popular music treated seriously. Damnedest thing, ain’t it?

It is.

I asked bassist Bill Crow what he remembered about the Gerry Mulligan Sextet concert that is the subject of the next exhibit, posted yesterday. Here is his response:

I was delighted to see and hear the sextet again. That was such a good band. I had forgotten about the large orchestra behind us. I think it was a concert, but it could also have been a TV show. We went over on the Andrea Doria (the year before it sank) to Naples, then played Rome, Milan, Bologna, and Genoa, and then a small Mercedes-Benz bus took us to Paris, where we were one of the acts on the bill at the Olympia Theatre for three weeks. On our off nights they ran us out to Lyons, Rouen and Roubaix for concerts in movie theaters. We returned home on one of the Queens, and the sextet finished the album we had begun before we left, played a couple of more nightclubs on the circuit, and then Gerry and I had a disagreement in Providence and I left the band.
He called me again later when he formed the quartet with Art Farmer, and I left that group when they went to California. I rejoined when the Concert Jazz Band came back from Europe and Conte (Candoli) and Buddy Clark left to go home to California. Stayed with the quartet with Brookmeyer until I left after another disagreement with Gerry in Chicago, and that was the end of my time with Mulligan groups. It was a great experience, and I was glad to go on and do some other things.

You will find a link to Mr. Crow’s web site in the Other Places section of the right-hand column. It is always worth a visit.

As noted in this Rifftides post last November, Gerry Mulligan remarked more than once that of all his achievements, the sextet he led from 1955 to 1958 gave him the greatest satisfaction. No wonder. His sidemen in the front line were tenor saxophonist Zoot Sims, valve trombonist Bob Brookmeyer and trumpeter Jon Eardley. The rhythm section was Bill Crow on bass and Dave Bailey on drums.
If it was generally known that film existed of the sextet, the fact eluded me until about a week ago. As if from out of nowhere, three videos of the Mulligan Sextet popped up on YouTube. They were filmed in Rome in 1956. We see the sextet in front of a sizeable orchestra complete with strings. The orchestra is not identified and does not play; its members are an appreciative audience.
In most appearances, on at least one tune Mulligan played piano in his engagingly rustic style, as he does here in “Ontet.” Click on the following links to see and hear living documents of a remarkable band:
Bernie’s Tune
Ontet
Walkin’ Shoes
After being too long out of circulation, all of the audio recordings of the Mulligan sextet are available in a boxed CD set. To find it, go here. The set is also available here. It is called The Fabulous Gerry Mulligan Sextet. The hyperbole is justified.

We are pleased to report that Rifftides has been nominated in the 2007 Jazz Journalists Association awards program as Best Website Concentrating on Jazz.

Nick Moran, The Messenger (CAP). I mentioned Moran’s guitar playing nearly two years ago in one of the first Rifftides postings. The piece was about a visit to The Garage in New York’s Greenwich Village. It included this observation:

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.

Perhaps because the occasion is a recording, not a jazz club performance, Moran’s solos here are shorter and crisper. It is good to hear him again with Ed Withrington. In this case, however, Withrington’s keyboard is a Hammond B-3, giving the group the fashionable organ trio sound but less of the crisp interplay with Moran that I heard when Withrington was on piano and the group had a bassist at The Garage. Withrington supplies bass lines with his foot pedal. Drummer Andy Watson has a chattery style and a nice feel for snare and cymbal accents.
The repertoire is nine pieces by Moran. Combined with the instrumentation, the uniformity of compositional style produces a restful, if moderately enervating, listening experience. That may be precisely what Moran was aiming for, but this listener would have welcomed relief in pace and atmosphere, perhaps by way of a familiar standard or two or more of the adventurousness the group displays in the final track, “Shorter Steps.”
I’ll be following Moran’s development with interest.

Have you ever wondered why Buddy Rich was called the world’s fastest drummer?
Go here.
Have a good weekend.

Rifftides correspondent John Birchard sent a link to this remarkable video with the comment, “It ain’t jazz, but it is certainly extraordinary work.”
Amen. The playing by an unidentified cellist is extraordinary, too.

The tenth edition of The Commission Project’s Swing ‘n Jazz event in Rochester, New York, was a canny three-day blend of fund-raising, concertizing and education. Initiated fifteen years ago by Ned Corman, the project sends musicians into schools across the country. As I wrote last year in explaining Swing ‘n Jazz,

It is a piece of a cultural mosaic that, for its variety and vitality, would be remarkable in many larger cities. TCP’s mission description reads that it shall foster “creativity through music education by bringing students together with professional composers and performers in schools and communities nationwide.” Swing (as in golf) ‘n Jazz is built around a tournament attracting well-heeled contributors who provide the money that keeps the nonprofit TCP running. Some of the musicians swing both on the stand and the links. But, mostly, they work with students and those who educate students, to improve understanding of how to make jazz.

For all of that posting, go here.

Again, trumpeter Marvin Stamm was the music director. He and Corman assembled a playing-teaching staff that included well known national musicians. Clarinetist Paquito D’Rivera, bassists Jay Leonhart and Mike Richmond, drummers Akira Tana and Rich Thompson, guitarist Steve Brown, trombonist Fred Wesley, trumpeter and composer Paul Smoker were among the volunteer faculty. All of the musicians donate their time and talent. They include a galaxy of performers from the Rochester area, many of them seasoned professionals who teach at the Eastman School of Music and other higher education institutions.

A major concert for the public on Saturday night involved nearly all of the two dozen or so musicians. Smaller fund-raising performances on Friday and Sunday evenings, both at country clubs, entertained donors and prospective donors who keep the nonprofit TCP afloat. At one, called Bassists’ Night Out, Leonhart was in charge of eight bassists accompanied by Brown on guitar with Tana and Thompson alternating on drums. Four of the bassists were the veteran music educator Malcom Kirby, Sr., and his three adult children Caroline, Elliott and Malcolm, Jr. Mike Richmond, Jeff Campbell and Aleck Brinkman also played. The evening may have been bottom heavy, but it was light hearted, especially when Leonhart did a couple of his celebrated songs accompanying himself. I’ve heard him do “Nukular” a half-dozen times, and it still affects me deeply. Unfortunately, President Bush was on his way to Prague to speak of things nuclear and couldn’t be in the audience.

Because they were all scheduled at the same time, I could attend only one of the six Saturday workshops held in Rochester schools. It was at the School of Arts, a part of the Rochester public school system. The perfomers and faculty were Stamm, D’Rivera, Brown, Leonhart and Thompson. In the course of the morning, they played three pieces and coalesced into a chamber group of rare balance and musicality. It was an ad hoc gathering of artists who developed immediate sensitivity to one another.

From the first piece, Cole Porter’s “I Love You,” the quintet melded into a blended perfection that bands seldom achieve short of weeks playing together. In “Morning of the Carnival,” Stamm, D’Rivera and Brown had a mutuality of spontaneous thematic development that sometimes happens in jazz at the highest level. D’Rivera, a brilliant clarinetist, reversed a phrase of Stamm’s and Brown echoed one of of D’Rivera’s, all within the parameters of Luis Bonfa’s ravishing melody. When the solos began, D’Rivera increased the intensity, then Brown imparted a blues feeling. Stamm began his improvisation outside the harmonic pattern of the piece and flowed through his solo with melodic inventiveness and lack of apparent effort that could almost lead one to believe that the trumpet is easy to play. Leonhart bowed his solo, vocalising in unision. He and D’Rivera collaborated in a chorus of counterpoint. Then, harkening back to the idea Stamm had planted, they all joined in a chorus of free playing before sliding back into the closing statement of the melody.

“That was fun,” D’Rivera said. This group should definitely record.

Their singleness of mind and purpose extended beyond the music into discussion with the audience. “What do you think about when you’re improvising,” a youngster asked.
“Motivic ideas,” Steve Brown said. “To me, it’s all about conversation with other people.”
That led, over the course of the morning, to a chain of related ideas.

“It’s an amazing physical, mental and emotional process,” Jay Leonhart said.

“You must listen to all kinds of music,” D’Rivera said.

“If all you know is rock, which is loud music, what you would play in reaction in this setting would not be appropriate,” Thompson said.

“If you don’t listen to this music, to jazz, no matter how much technique you have, you can’t play this music,” Stamm said. “It’s like speech. You learn to speak by ear. You accumulate vocabulary. If you listen to the right music, your phrasing will develop.”
“How do you balance theory and natural musicality?” an older member of the audience asked.
“There is no conflict between intuition and technique,” Stamm said.

“But,” D’Rivera said, “You must read music. You think you can get by on your great ears? Play me Beethoven’s 9th Symphony.”

“The audience knows when you’re communicating,” Stamm said. “You can’t be condescending to the audience.” On the importance of subduing peformer’s ego for the benefit of the music, he returned to Brown’s thought about music as attentive conversation. “There’s no one up here who isn’t ready to give it up for the others.”

That is a music lesson that goes beyond music.

By way of “All the Things You Are,” the quintet demonstrated its point about listening and conversing, and the workshop ended, two hours of wisdom through teaching and playing by five musicians who were uncommonly effective in both areas. It was a small, memorable example of what The Commission Project achieves.

School systems under budget pressure eliminate music and arts programs first. That has been the case for a couple of decades. It is damaging the United States and it is an indictment of priorities and values in our society. The Commission Project is doing something about that failing. It deserves substantial help. I have seen the program in action two years running, watched the light go on in young minds. Go to the TCP web site and learn where you can send support. The Commission Project is a national program. It is based in Rochester, but there is no reason that most of its financial support should come from there. Your help will be welcome. The children need it.

The eminent trumpeter and early morning runner Marvin Stamm responded to the recent Rifftides post about T.S. Eliot and television.

I couldn’t agree with you more. you are right on the money – 4:00 am or no. Beautifully written!
I will take issue with you regarding Stewart and Colbert. Sid Caeser, Jackie Gleason, George Gobel, et al, were a different ilk. Unbelievably brilliant, but in their way, with what they do. So, too, in my opinion, are Stewart and Colbert. They are just very different, doing what they do in very different times. Wouldn’t it be great to see how Caeser, and the others would do today!

If Caesar were around, anything he might do would be fine with me. As you watch this sketch with Caesar and Nanette Fabray, keep in mind that it was done live before an audience, not on videotape. You don’t have to know much about television production to admire not only the obvious genius of Caesar and Fabray but also the skill and timing of the director and cameramen, who were wheeling enormous RCA studio cameras on massive carriages.

The young veteran broadcaster Jason Crane podcasts from his interesting site The Jazz Session. During my visit to Rochester, he was kind enough to ask me to join him for an extended conversation about jazz, news, Rifftides and other things. To hear it, click here.