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Small town newspapers sometimes provide surprisingly interesting coverage of world-traveling jazz artists who pass through or live in their communities. For decades, Marvin Stamm and his wife Nancy have been residents of the Westchester County town of North Salem, an hour north of New York City. This week, the North Salem Daily Voice interviewed the trumpeter about why he lives there. This is some of what he said:

I tell people in my travels about our town, but they find it difficult to believe that I live in such a quiet space, affording reflection and renewal, while being so close to one of the largest cities in the world. . . I always look forward to coming home. I never tire of the reservoir, the hills and the woodlands. . .

To read all of the interview with Stamm, go here.

Pianist George Cables talked with the Daily Astorian in Astoria, Oregon, way out west where the Columbia River flows into the Pacific. He told about what he learned from Art Tatum, his favorite instrument other than the piano, and what it was like when he and alto saxophonist Frank Morgan played for prisoners.

We went to San Quentin and played. If you think being there locked-up is life-changing … being there a matter of hours is life-changing. You get to meet some of the people. Alto player Grace Kelly came with us and played “Somewhere Over the Rainbow” and there were tears in the hardened prisoners, an audience full of teary-eyed big guys that were locked up.

You’ll find all of the Cables story here.

Here’s a followup to the Sarah Vaughan birthday post of March 27. In his Crown Propeller’s Blog, Armin Büttner published a picture of the great singer in interesting company at the Crown Propeller Lounge in Chicago. The club thrived as one of the city’s most vital nightspots from the late 1940s through the 1950s. It specialized in jazz and R&B and booked some of the leading lights in both fields. Here we see world heavyweight boxing champion Joe Louis with Sarah and trumpeter King Kolax. Crown Propeller owner Norman Schlossberg is behind Louis and Vaughan.

Armin has not yet identified the women on either end. If you know who they are, send a comment and I’ll pass it along to Mr. Büttner. Go here to visit his fascinating blog, see other photos from the Crown Propeller’s heyday and hear music of the period, including a track by Kolax’s excellent little band. Thanks to Armin and the Schlossberg family for permission to use the picture.

The next logical step is to listen to Sarah in a recording from the same era. We might as well wrap our spring theme into this exercise in nostalgia and musicality. The trumpet player who introduces the piece is Miles Davis, a week before his 24th birthday. The rhythm section is Jimmy Jones, piano; Billy Taylor, bass; and J.C. Heard, drums. The clarinetist who joins at the end is Tony Scott. This was May 19, 1950.

All eight of Sarah’s sides with the George Treadwell All-Stars are in this box set of four CDs. In addition to the musicians you heard on “It Might as Well be Spring,” the band included guitarist Mundell Lowe, trombonist Bennie Green and saxophonist Budd Johnson.

We are back from vacation, and look what sprang while we were gone. We’ll have apricots.

There is regrouping, listening, reading and blogging to do. Stay tuned. But, how do we live up to that headline? Ah…of course; Stan Getz, Lou Levy, Monty Budwig and Victor Lewis, 1981.

I was saddened to learn this morning of the passing of Anthony Lewis, the New York Times columnist and, earlier in his career, nonpareil Supreme Court reporter. Lewis had a nearly unmatched ability to make complex issues clear and understandable. He set standards. For a comprehensive obituary and review of his life, see this Times article.

Journalist, trombonist and bandleader Eric Felten continues his multifaceted ways. He has added internet television to his repertoire, presenting, interviewing and sometimes sitting in with prominent jazz artists. His latest Wall Sreet Journal op-ed piece recalls how a tax rule now nearly forgotten had a dramatic effect on popular music and the evolution of jazz. It begins:

These are strange days, when we are told both that tax incentives can transform technologies yet higher taxes will not drag down the economy. So which is it? Do taxes change behavior or not? Of course they do, but often in ways that policy hands never anticipate, let alone intend. Consider, for example, how federal taxes hobbled Swing music and gave birth to bebop.

To read Felten’s full story of the cabaret tax that kicked in near the end of the second world war, go here.

The Voice of America is best known for its shortwave radio broadcasts overseas. But the VOA is also active on the worldwide web with, among other things, its Music Alley webcasts. Felten hosts Beyond Category, a series of half-hour visits with jazz musicians who live in or visit Washington, DC, his home base. Recent guests have included Larry Willis, Donny McCaslin, Tia Fuller, Eldar Djangirov and Gary Smulyan. His latest subjects are pianist Bill Mays and bassist Tommy Cecil. Here is the entire segment.

For links to previous episodes of Beyond Category or to see the Mays-Cecil segment again, go here.

No sooner do I review the new Ian Carey album (see the previous exhibit) than “Nemuri Kyoshirō” pops up on YouTube with moving pictures of another installment of that Evan Francis (tenor sax)-Kasey Knudsen(alto sax) blues chase and fresh solos by Carey and pianist Adam Shulman. We get a bonus (?)—occasional shots out the window of Oakland at night.

If you are wondering about the name of that tune, Nemuri Kyoshirō is the hero of a series of novels by Renzaburo Shibata. He is described as, “a sleepy-eyed outlaw swordsman, the son of a Japanese mother and a foreign father, who was conceived during a Black Mass.

It’s time to catch up with a few of the CDs that make their way into my house from what is often described, puzzlingly, as the dying jazz scene. If jazz is dying, the people recording and distributing all this music haven’t noticed. Hey, at least I got the piles of recordings off the floor. Now they’re in cardboard boxes and a wicker basket crowding one another off the coffee table in the music room, and there’s no room for a coffee cup.

Ian Carey Quintet + 1, Roads & Codes (Kabocha)

Carey writes lines that flow on astringent harmonies. His trumpet and flugelhorn keep the listener’s attention not through volume, velocity and extended sorties into the stratosphere, but with story telling and a burnished tone. Kasey Knudsen, the +1 of the band’s new name, spells Evan Francis on alto saxophone, leaving Francis to concentrate on tenor sax and flute. With the audacity of her conception and sound, Knudsen is a stimulant. The series of blues choruses and phrases that she and Francis exchange on “Nemuri Kyoshirō” is an album high point. The three-horn front line expands Carey’s arranging palette beyond that of his 2010 CD Contextualizin’, allowing richer ensembles and deeper voicings in figures behind soloists. Pianist Adam Shulman, bassist Fred Randolph and drummer Jon Arkin constitute one of the San Francisco Bay Area’s finest rhythm sections. Carey acknowledges that nearly half of his compositions are under the influence of his heroes Charles Ives (“West London”), Igor Stravinksy (“Andante”), John Coltrane (“Count Up”) and Neil Young (“Dead Man [Theme]”). The influences are points of departure for the individualism of Carey’s writing.

Carey is a commercial artist whose graphics company shares the name of his record label, Kabocha. He created the CD’s package. The digipak features comic strip art that wryly describes the frustration in sending yet another album into the flood of new releases. Here is one panel.

I don’t know what it means, either. I’ll take the CD with me on my next trip to New York and see if the music sounds as good there as it does in the west.

Charles Mingus: The Jazz Workshop Concerts 1964-65 (Mosaic)

For half a century, remnants of the electrifying music that Mingus made with his mid-1960s quintet and sextet have shown up in a jumble of LPs, CDs, cassettes and DVDs. The music is sublime, but the quality of reproduction was often abysmal, and many of the recordings quickly became impossible to find. Now, Mosaic, the National Archives of jazz record companies, brings together 38 performances by the bassist and a collection of sidemen that included some whose power and influence were as nearly great as their leader’s.

Four of the discs have trumpeter Johnny Coles, alto saxophonist Eric Dolphy, tenor saxophonist Clifford Jordan and the rhythm section of Mingus, pianist Jaki Byard and drummer Dannie Richmond. They present the April 4, 1964 Town Hall concert in New York that preceded the sextet’s European tour and a concert six days later at the Concertgebouw in Amsterdam. As I wrote in a 2007 Rifftides piece about this band, “Dolphy the incredible flutist (and saxophonist and bass clarinetist) was a primary source of Mingus’s satisfaction, but far from the only one. This was a unit attuned and interlocked, every soloist in his creative prime, the band’s power and responsiveness at a peak.”

The set begins with relative calm, Byard’s stunning solo tribute to Art Tatum and Fats Waller, then a Mingus bass solo on “Sophisticated Lady” before the sextet uncorks its power in “So Long Eric.” The piece was titled in recognition of Dolphy’s plan to stay in Europe at the end of tour. That power, even in the ballads, rarely subsides through nearly four hours of concert performances.

Dolphy (pictured right) did leave the the band at the end of the tour and within weeks was dead in Germany following an episode of diabetic shock. Mingus went into depression. He recovered, and although his career had further periods of distinction through the sixties and seventies, none of his bands, large or small, reached the heights of this sextet.

Nonetheless, the reorganized sextet with trumpeter Lonnie Hillyer and saxophonists Charles McPherson and John Handy in for Coles, Dolphy and Jordan, was formidable by comparison with nearly any other small band of the day. Their performances at the Monterey Jazz Festival and the Guthrie Theater in Minneapolis are top flight. When Mingus doubles the size of the group at Monterey with the addition of six premier west coast musicians for “Meditations on Integration,” the band reaches a level of excitement that inspires an extended ovation from the festival audience.

Even without its five tracks of previously unissued music, this set would have been important. With them, it is indispensable.

Duke Ellington: Newport 1958 (Mosaic Singles)

Columbia Records’ LP, and its later CD allegedly of Ellington’s ’58 Newport appearance, was a deception. Eight of the ten tracks were not recorded at the festival but later in a studio. Columbia tacked on real introductions from Peabody Park and mixed in festival applause and crowd noise. Such foolery was not uncommon in the ’50s and ‘60s. The results were nearly always obvious. In this case, the music was so good that generations of listeners put up with the fakery. Mosaic reissues the studio tracks identified, unadulterated and with sound improved through remastering. To those eight pieces, plus “Just Scratchin’ the Surface” and “Happy Reunion” they add four other tracks recorded at the festival but never before issued.

So much for the backstory. The late-period Ellington band is in fine shape, sounding happy. There are superior solos by Johnny Hodges, Clark Terry, Jimmy Hamilton, Paul Gonsalves, Shorty Baker, Ray Nance, Russell Procope, Cat Anderson and Sam Woodyard. This version of “El Gato” has one of the most gripping four-trumpet chase sequences ever recorded, Hodges’ work on “Multicolored Blue” can inspire deep sighs, and the stylistic spoofery in “Jazz Festival Jazz” is great fun. It’s good to have this album cleaned up, expanded and reclaimed.

The Brubeck Institute Festival—underway since Monday—gets into full swing tonight in Stockton, California, with a concert by the Tom Harrell Quintet. Other major musicians involved include The Brubeck Brothers Quartet, Gunther Schuller, Wynton Marsalis and Joe Gilman. Paul Conley reports about the festival for Capital Public Radio and KXJZ in Sacramento. To hear Paul’s story about the first major Brubeck Institute event since Dave’s death in December, click here.

For a compete festival schedule, go here.

…it’s another; in this case that pesky gremlin. Rifftides finally banished him after two weeks of intermittent computer attacks, so he moved on to disrupt power to the western data center that provides the energy artsjournal.com blogs need to get on the internet. Rifftides was out of business for several hours today and inaccessible to thousands of readers. The hosts have it fixed. (Fingers crossed.)

Most of my thinking about gremlins lately has been confined to cursing them, but it occurred to me that there might be gremlin music. Sure enough, there is. It’s by the prolific film composer Jerry Goldsmith for a movie called—what else?—Gremlins. Here, a suite from the score is played by the Tenerife (Spain) Film Orchestra, conducted by Mark Snow.

It turns out that since 2007 Tenerife, in the Canary Islands, has hosted an important film festival.

Twitter and I are not strangers, but I recognize the addictive potential of tweeting and try not to get hooked. Still, occasional Rifftides announcements via Twitter turn up followers whom I, in turn, follow. A new one is Ken Pickering, the artistic director of the Vancouver, Canada, Jazz Festival. He liked an item he found in the archive and tweeted about it. It was from this blog’s Neolithic era, about the late composer, arranger and bandleader Rod Levitt.

Mr. Pickering’s tweet reminded me how much I miss Levitt and how jazz now could use his rare combination of solid musicianship, adventurousness and wit. Levitt’s recorded work is increasingly hard to find. Here is that piece, revised slightly and illustrated.
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From January 15, 2007

Rifftides reader Russell Chase writes:

Last night, my wife and I watched the 1933 movie 42nd Street on TV. I promised myself that I would listen to Rod Levitt’s LP with the same title today. I wound up playing all of the four Levitt LPs that I have. They have always rated very highly among my favorite things. Such consistently interesting writing and fine playing over a span of four LPs is hard to match.
When your name popped out of the notes of the Insight album, you were immediately nominated as the person with whom I would share my elation at having a non-CD day, and the reason why.

Well, Mr. Chase, now you have shared your elation with all of us, and that’s good; Levitt’s music deserves recognition. Rod Levitt played trombone in the Dizzy Gillespie big band that that toured Latin America and the Middle East in 1956, and in Gil Evans’ orchestra. For a time, he made a dependable living in the orchestra of the Radio City Music Hall. But he had a compulsion to write music, and in the early 1960s, he began turning out ingenious arrangements for an eight-piece rehearsal band. Levitt made use of audacious harmonies and spacious voicings, and many of his horn players doubled instruments, so that the octet often sounded twice its size. He adored Duke Ellington, and reflected Ellington’s influence. Yet, without embracing free jazz, he also managed to impart a rambunctious feeling of abandon, and Down Beat included him in a survey article about nonconformist composers. All of the other subjects of the piece were card-carrying members of the avant garde. I remember Levitt’s being amused, if surprised, by the company in which the magazine put him.

Over three or four years in the mid-sixties, he turned out the four albums Russ Chase mentions. They comprise a body of recordings that are fresh, evocative and enormously entertaining forty years later. The writing was daring, finely crafted and marinated in wit. Most of his players were top studio professionals who were superb improvisers. Among them were the trumpeters Rolf Ericson and Bill Berry, the pianist Sy Johnson and the saxophonists Buzz Renn and Gene Allen. Levitt’s gutsy, often raucous trombone was at the center of many arrangements, but he also fashioned delicate woodwind ensembles. None of Levitt’s three RCA Victor albums has been reissued on CD. Five tracks made it onto a 1988 RCA compilation CD with other works by Hal McKusick and John Carisi. The disc is difficult to track down. Amazon continues to list it, but as “currently unavailable.” Trolling the web may now and then turn up vinyl copies of Insight and Solid Ground, but 42nd Street seems to have evaporated.

For the most part, the demand by a modest-sized core of listeners for reissue of Levitt’s albums has fallen on deaf ears (also known as recording company accounting departments), but there is a happy exception. Before his company sold itself to Concord Records, Ralph Kaffel, the president of Fantasy, Inc., succumbed to years of entreaties from pesky critics and reissued Levitt’s first album on Riverside as a CD in the OJC series. That was 1963’s Dynamic Sound Patterns. In his 2003 National Public Radio review of the CD, Kevin Whitehead said, “He liked blaring harmonies and primary colors,” and that’s true, but Levitt also fashioned delicate woodwind ensembles. He knew how to use space. He was a master of balance among the sections and a creator of droll surprises. The enthusiastic cadre of admirers he accumulated with those LPs wasn’t big enough to earn him a renewal with RCA. Now that the Victor catalogue has been absorbed into the massive Sony empire, chances of the Levitts being reissued seem small. By the early seventies, possibly discouraged but a cheerful realist, Levitt began making a living writing music for advertising and turned out some of the hippest background music ever to grace TV commercials in New York. He kept the octet going as a rehearsal group, playing occasional concerts and, sometimes, simply hiring musicians to play his charts for fun. He also played for a time in the 1970s in Chuck Israels’ National Jazz Ensemble, a pioneer jazz repertory orchestra. For the NJE, he expanded the arrangement of “His Masters Voice,” Levitt’s evocative tribute to Duke Ellington. Happily, it is available in a splendid reissue CD on the Chiaroscuro label. For the past several years, Rod Levitt has been living in Vermont, largely inactive in music.

A sidebar to the story: When I was anchoring and reporting television news in Portland, Oregon, in the mid-sixties, I was addicted to Dynamic Sound Patterns. Levitt came to his hometown to visit his parents, I invited him to be a guest on a series I put together, a hybrid documentary and discussion program. It was called Insight. I told Levitt the broadcast needed theme music and asked, with trepidation, what it would cost to commission him to write it. He named what I thought was a reasonable figure. The program manager approved the deal. When Levitt got back to New York, he wrote the music, recorded it with his octet, notified me that it was ready and sent an invoice. The management reneged. They wouldn’t pay the bill. I was angry and embarrassed. When I told Levitt, he said not to worry, he would make use of the music. It became the title tune of his next album. In the liner notes, he mentioned me and the station, kindly. That’s class.

The piece stands alone, but it was also perfect for its intended use. In the unlikely event that I ever go back into television, I’ll do a documentary series, call it Insight, use that music and see that Rod gets paid for it.
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Rod Levitt died less than six months following this post, on May 8, 2007.