Who Knew? Jazz History in An Unlikely Place

The wonderful thing about jazz is that you never know when you will have the opportunity to witness history. It can be at a concert, or a setting as routine as a jam session. Even a simple conversation can be very enlightening.
I consider myself reasonably familiar with the jazz happenings globally, and uniquely familiar with jazz happenings locally in Cincinnati and the Midwest. So, clearly I did not expect history at the Sunday jam session at Ballet-Tech Cincinnati this past Sunday.
First, some background. I have described the Sunday jam session at the Ballet-Tech Cincinnati in a previous blog (Kids: The Future of Jazz). On this Sunday, the moderators announced that there would be local Cincinnati jazz legends in attendance.
The usual scene was present; great local players playing with the group and several incredibly talented youngsters holding court. A very nice happening overall.
However, during this session, a Cincinnati Jazz legend was called to the stage. What was unusual was that this particular lady, Jay Albright, was a national jazz icon living anonymously in Cincinnati!

Ms Albright grew up in Harlem, NY. She told personal accounts of Billie Holiday befriending her; helping her gain admission to the Apollo Theater, and helping her career in the early days. She also told of her group "Three Dukes and a Duchess"; how this group and the players were helped and encouraged by Max Roach and others in the Harlem jazz scene at the time; and how Charlie Parker and other luminaries were common fixtures in their life.
And then...she sat down at the keyboards and played! Her daughter accompanied her on the drums. It was abundantly clear that she had distilled all the influences and experiences in her playing. Her phrasing; her nuanced, logical, intuitive playing; not flashy, but compelling nonetheless, was quite revealing. Thoroughly wonderful!
The duo played an unknown original, and two standards: "Summertime" and "Take The A Train". These two songs were punctuated by her daughter "Punky" doing a superb job on drums and vocals. The duo joined the jam session group for "Now's The Time".
At the end of their time on stage, I asked her daughter "Punky" where they were playing locally; she explained they mostly do private parties in town....
Someone with such compelling history, talent, and still so much to give being relegated to the cocktail party circuit is sad indeed. Perhaps that will change soon.

This episode reminds me of my time in college at The University of Virginia several (LOL) years ago. At the time, I was the director of jazz music for the campus radio station WUVA; I had a Sunday afternoon jazz show for three years. During one of my many forays to the local record shop (Back Alley Records), I met a gentleman named George "Big Nick" Nicholas. He was the man John Coltrane wrote the song about. Big Nick was living in obscurity in a small apartment on Jefferson Avenue in Charlottesville, Va. We used to listen to many records; he was particularly fond of a singer named Mabel Mercer. He told me great stories about Dizzy Gillespie's big band, Billie Holiday, and others during that time.
I eventually did an interview with him on my radio show; he began to play the Tenor sax again and was invited to give a seminar in my jazz studies class at the university. Much later I learned he eventually went back to New York, and recorded again! He influenced another generation of Tenor sax players....
Jazz history, in obscurity in Charlottesville Va. Who knew?

So, if you have the opportunity to go to a jam session, visit a record store, or go to a concert, you just might be exposed to jazz history!

Kids: The Future of Jazz

There is a question about the future of live music, especially jazz. In the face of so many new distractions vying for the public's attention, like multiple satellite TV channels, video computer games, and a numbing array of musical choices on TV and radio, it is easy to see how jazz could be shuttled to the background.
Indeed, it is increasingly hard to find jazz on the radio, TV or performed live. There are many reasons for this; not the least of which is the systematic consolidation of the radio broadcast industry, resulting in few of any true jazz music outlets. And the few"jazz" stations that are left program a variant called "smooth" jazz; a very bland distant cousin of the real thing. Put on top of that the record labels are complicit in relegating real jazz to the back burner, and it is clear there has been a concerted effort to diminish the true impact of real jazz.
So not surprisingly, the audience for real jazz is dwindling. Is it because the music is dying? No, of course not. The music is as vibrant as ever. It is just that the conglomerates that control access to the music rather push other, more intellectually bankrupt forms of music in the name of profit. A lot of these popular music forms don't even require true musicianship; just a turntable or guitar, and a catchy beat or two. Some pop "musicians" actually don't perform at all; they pantomine to pre-recorded tracks during their shows.

History teaches that in the past, some totalitarian governments sought to control their populations more easily by limiting access to higher art forms.

So...what can we, as jazz fans, do about this state of affairs? One direct way to affect the future of music is to pass on the knowledge we possess to our most valuable resource, our kids.
Well, how can that be accomplished? The standard answer is to develop yet another school or teaching program to introduce the music to schoolkids. Perhaps they will learn in school; more likely the kids will compartmentalize jazz as a part of education, not continuing entertainment. While there is merit in jazz education, the kids trained in this musical approach don't really learn the essence of the music. Besides, not every jazz fan is a music educator; and would not have access to the didactic music education approach for kids.

This evening, I had an opportunity to see perhaps the best way to affect the health and well-being of jazz. I had a chance to attend a jam session. Not just any jazz jam session, however. The jam session at the Ballet Tech Cincinnati on Montgomery Road, here in Cincinnati which occurred this Sunday, the third Sunday in January. Marvel Gentry, the Executive Director of Ballet Tech, along with lead musicians Willie Smart (drums), Eddie Brookshire (bass), Michael Goecke (trombone), and Ryan Wells (alto sax), hosted what Mr Smart describes as a "kinder, gentler jam session".
First, some explanations. In the past, jam sessions were opportunities for younger musicians to play with more seasoned veterans in a informal but intense stage experience. The youthful musicians would learn how to play from the seasoned vets; not just the notes, but how to PLAY. This was common in the 50's and 60's; not so much today. Today's jazz professionals in some cases, do not stop to reach back and help the young ones in an informal setting. The big "stars" are great in going to academic music clinics in the various towns and cities where they tour; but they by and large do not participate in the jam sessions with younger musicians. Typically, among the modern stars, it is no longer about the music; it is about "getting paid". No one begrudges a musician for getting fair compensation for a live musical performance; however as stewards of the music, there should be a natural enthusiasm in sharing the music with the younger kids.
That was what was so refreshing about tonight's jam session. First of all, there were kids there listening to and enjoying the music. Second, the musical leaders on stage were greatly encouraging and nurturing of the kids; exactly the way the early sessions were back in the 50's and 60's. It was refreshing, even inspiring, to see so many kids taking the stage and playing. Equally inspiring was the way the seasoned vets interacted with the kids. On the last selection, Maiden Voyage, there was a prime example of this experience. Eddie Brookshire, the bass player, noted that the youthful keybordist didn't feel comfortable with playing the song. This young man was exceedingly talented; he had not been exposed to this song in his past education. Mr Brookshire gently guided the young musician through the various chord progressions while on stage playing the song. The young man was so adept at learning that he performed a quite credible solo on the song! The same thing happened during the song when Mr Goecke, the trombonist, performed the same function for the young guitarist who also sat in. These kids could not have been older than 15 or 16; they had the opportunity to really learn how to play the music, from vets who excelled in sharing the knowledge and history of the music.
In the audience, there were a number of kids, non-musicians, who also enjoyed the music. I have always contended that the music is alive and vibrant; just under exposed. Tonight was further validation of this concept.
This jam session occurs every third Sunday evening from 6 to 9pm. It is perfect for kids to attend; kids are welcome. For further info, the website is: http://www.ballettechcincinnati.org

We can conquer this so-called death of jazz one kid at a time. Take the time to expose the kids in your life to live jazz; kids are ALWAYS welcome at Thursday Jazz at The Redmoor. You can also expose kids to jazz CD's; trust me, they will listen if you start early enough.
Jazz music is fun, energetic, and alive. It doesn't need to be "smoothed out" or dumbed down to be palatable. It needs to be portrayed as fun music; because it is! We can show our kids how fun the music is, if we want the music to survive.