An Obligation to Jazz

Is there an obligation to jazz? That is, is there an obligation among today's performers and promoters (and fans for that matter) to reach out to newcomers to the music; to help the music grow?
Interesting question. First some background.
This past Friday night I had the opportunity to visit a friend's house for an evening of jazz video viewing and single malt scotch tasting. He and his wife are avid jazz fans, and have done much over the years to promote jazz.
We were watching videos from the "Jazz Icons" series produced by Quincy Jones . The first was a video of John Coltrane from three performance dates in Europe. The second was a wonderful video of Sarah Vaughn (the host's favorite). The last was an absolutely wonderful 59 minutes of Art Blakey and The Jazz Messengers featuring Lee Morgan, Benny Golson, Bobby Timmons and Jymie Merritt. In between that was a great CD by the late great Jimmy McGary called "Palidrome".
During the discussion of the music, the subject of National jazz performers came up. Specifically, in the past national recording artists like Coltrane, Joe Henderson, Milt Jackson, Charlie Parker and others would routinely tour through the smaller towns and venues; allowing local jazz musicians and fans to have the benefit of their talents in the form of local concerts and late night jam sessions. With today's "stars", that rarely happens. In fact, the vast majority of today's "stars" spend their time at festivals and other mostly underwritten events; rather than playing in smaller venues around the country. The net effect has been the slow erosion of the fan base, loss of radio outlets, and an overall decrease in new RELEVANT younger artists coming up.
My friend made the rather impassioned argument that today's "stars" owe nothing to the up and coming musicians; in fact they are making a living and competing for an ever shrinking audience. Therefore the "stars" should remain as status quo; only doing the occasional educational gig for the local college music program (for an additional payday, of course), and not worry about anything else.
Well, I submit that precisely this approach has caused the overall decrease in opportunities for everyone associated with jazz, and in fact has led to the marginalization of the music in the public's perception. Yes, those chosen few will do well, but the music overall will not.
When there is a jazz "scene" in a city; that is, when there are vibrant outlets where people can go and hear innovative music routinely, then the music will flourish. The history of the music is evolution, not stagnation. The music evolved from New Orleans jazz to big band swing, to be-bop,hard bop, modal, and free by the sharing of ideas. Not by musicians only playing retrospectives at the various NY or Chicago festivals.
If every city maintains a jazz "scene" then there is an opportunity to grow the music exponentially.
Which brings me back to obligation. Lee Morgan started in Dizzy Gillespie's big band, and played in the aforementioned Art Blakey's group. Lee Morgan in turn, had Billy Harper, Bobbie Humphrey, and Bennie Maupin to name a few in his succeeding groups.
Miles Davis was legendary in reformulating core quintets and sextets. Some of the graduates of Miles' efforts include Coltrane, Cannonball Adderly, Ron Carter, Herbie Hancock, Gary Bartz, Keith Jarret, Wayne Shorter, among many more.
If Lee Morgan or Miles had the same attitude about the obligation to the music that some of these new "stars" have, then there would be no more jazz today.

We are indeed at a crossroads in jazz. I am 100% convinced that jazz continues to be a vibrant ever-evolving music that will continue to see new and relevant different changes and enhancements; while maintaining the core values of improvisation, swing, feeling, and "soul". There are many exceedingly gifted performers in the world today locally and nationally that must share their gift with future generations of musicians on a local level. Either with after hour or pre-arranged jam sessions, shared ideas through various communications (emails, etc) or just by being there for the music. Some sadly choose not to.

Several years ago, Clark Terry came to Cincinnati for a concert I was promoting. Mr Terry is such and elegant, gifted and caring individual; during the pre concert warm up, I witnessed Mr Terry giving an impromptu lesson to two of the young trumpeters on the date. There was Mr Terry, sitting on a couch, teaching these two up and coming stars. Priceless. Mr Terry gets it.
As I write this blog, a couple of musicians from here are in Cleveland recording with Benny Golson. These musicians describe Mr Golson in the same way. Mr Golson gets it.
As stewards of the music, Mr Terry and Mr Golson epitomize what is the best part of this music called jazz. They are willing to impart with knowledge that cannot be obtained in any music school whether the local school or Berklee, or Julliard.

Obligation to the music is mandatory in my opinion, if you have been blessed with talent, opportunity, and an outlet to perform. That obligation means that you do everything you can to help the music grow and flourish. Yes, I understand the bad economy, the need to "make income while you're hot", etc. etc. This does not absolve you from the responsibility of being a caretaker of the music which was passed down from King Oliver to Louis Armstrong and Sidney Bechet; to Duke Ellington and Count Basie; to Lester Young and Coleman Hawkins; to Dizzy Gillespie and Charlie Parker; to Miles and Trane, to Lee Morgan, Freddie Hubbard, and Art Blakey; to Woody Shaw, Herbie Hancock, and Keith Jarrett.
Now that the newer generation is here, is this where the legacy and innovation ends? Or do the new generation "stars" finally continue the evolution of the music like the forefathers of the past.

I am interested in feedback; whether you agree or disagree with the obligation to the music. In any event, don't stay on the sidelines if you love this music.

The Perfect Storm

The Perfect Storm: A confluence of meteorologic events coming together to produce a weather event of unprecedented energy.
Bob Case, Meteorologist of the National Oceanographic Atmospheric Administration National Weather Service's Boston office was the first to describe it about the October 1991 storm:

"The conditions were "perfect" for a monstrous storm, a meteorological time bomb that would explode in the northern Atlantic Ocean creating waves ten stories high and imperiling the New England fleet."
"It was an unprecedented set of circumstances," the now-retired weatherman said. "A strong disturbance associated with a cold front moved along the U.S.-Canadian border on October 27 and passed through New England pretty much without incident. At the same time, a huge high pressure system was forecast to build over southeast Canada. When a low pressure system along the front moved into the Maritimes southeast of Nova Scotia, it began to intensify due to the cold dry air introduced from the north," according to Case.
"These circumstances alone, could have created a strong storm," Case said. "But then, like throwing gasoline on a fire, a dying hurricane Grace delivered immeasurable tropical energy to create the perfect storm."
With all of the contributing factors coming together at just the right time, in less than 24 hours, the storm exploded to epic proportions and then headed toward the coast," the meteorologist said, adding that if any of the components were out of sync, the epic storm would not have happened."

A "Perfect Storm" occurred Saturday night (Valentine's Day) at the Greenwich club. King "Fruitbowl" Reeves, and Charlie "Bunns" Wilson led their working group Bowl and Bunns and Friends (Family) in a concert of epic proportions.
First, some background. Vibraphonist King Reeves and Pianist Charlie Wilson together have over 80 years experience in performing, composing, and touring here in Cincinnati and around the country. The duo won the 2004 Billboard Magazine jazz song of the year for the entire world for their composition and performance of the original "September 21". Reeves is truly an under-appreciated dynamo on the Vibes; his musicality is astounding. He is one of the very few Vibraphonists that has his own voice.
Charlie Wilson has no peer in the world on Piano. The vast majority of the best pianists in Cincinnati have been influenced by Wilson. Although one can hear elements of Cecil Taylor in his playing, he also has his own unique voice.
It is routine for musicians to list who they have played and recorded with; in this case, it is who has played with Reeves, and Wilson that other musicians list on their resume. They are in that class.
The "Friends" (Family) are the fiery Eddie Bayard on Tenor, the incendiary Mark Lomax on Drums, and the coolly intense Brandon Meeks on Bass.
The Perfect Storm? Think of Meeks as a Low Pressure cold front coming down from the north; Bowl and Bunns as high pressure fronts from the Midwest and southwest; Lomax as a Level 5 hurricane coming from the South Atlantic gaining strength; and Bayard as an F5 Tornado (Fujita Scale) heading toward the coast. These 5 elements meet over a receptive North Atlantic (the crowd) providing unprecedented energy!

The first song was a touching duet; a tribute to a fallen friend: "Naim's Spirit" for Greg Singleton.
This was the first time for this particular song to be performed; the duo handled it with deft understanding and civility; a moving remembrance for a loved friend.
Next up was the standard "Softly as a Morning Sunrise". This song started slowly, and built to a burning intensity fueled by Lomax's drumming. Bayard took flight, and gave a preview of the energy yet to come. Wilson kept the intensity going, in his own unique way.
"Stroke of Luck", a Wilson original, at first caught the youthful trio slightly off-guard, but they very easily followed Wilson and Reeves' lead taking this song to its expected energy level. This is when the intensity of Lomax and Bayard are increasing; they were at times feeding off each other's power... More on that later.
Following that, another original "Monkey Face" ratcheted up the energy; there was now a very palpable intensity with the crowd and the performers. This came to the forefront with the next song, "African Queen". The energy levels were off the charts; the combustion was controlled but furiously exuberant. Reeves and Wilson's solos were point-counterpoint. Both daring, exploratory, but reassuringly structured. Lomax at this time was dropping bomb after bomb; pushing all three soloists. Bayard benefited from this the most; it seemed like an energy duel between the two, fed by the crowd! Meeks had a calming, cool intensity throughout.

Next... a duet: "Footprints". Seemingly a quieter moment, but Wilson made this song his own with his interpretation. Reeves was equally expressive; one could envision footprints on a sandy beach during this interpretation...

John Coltrane has influenced countless musicians. This group was no exception. "A Love Supreme" was and is a landmark recording; it was treated with great reverence by the group.
Jon Ridley host of The Sunday Evening Jazz Show on WAIF 88.3, opened with spoken word; the words from the original message from Coltrane.
Next, Acknowledgment. The intensity level increased markedly; careening toward the final energy explosion. All soloists were pushed and prodded by Lomax; he seems to always find a way to provide just the right emphasis; the right accents; sheer lightning bolts of energy when required. Subtle burning just below the surface during quieter times. "Resolution" was just that for this event...a resolution of all the various energy forces into one sustained tsunami of sound and fury; fueled by the crowd. Reeves took the first solo; and increased the energy level markedly. Then Bayard took over.
For those who don't know Eddie Bayard, you'd be hard pressed to find a better, more energetic or expressive Saxophonist playing anywhere in the world today. (And I've heard a bunch of players, live and on record). Same with Mark Lomax; Lomax's energy level and dynamic range are on par with the best of Tony Williams, Elvin Jones, and Max Roach. During Bayard's solo, these two forces of nature dueled with and against each other; every expressive exploration was answered thoroughly by Lomax's explosive bombs. At a crucial point, there was Bayard and Lomax alone, burning through the territory, with occasional urgings from Reeves with well timed vibe notes.

And then...it was over. Two + hours of sustained fury; if Obama could find a way to bottle the energy produced Saturday night; we would no longer need foreign oil!

This group has to be heard more...if we are lucky, May or June at The Redmoor. And more after that. To hear what I'm talking about, I will direct you to two albums: "Acknowledgment", and "Live At The Hyatt" by Bowl and Bunns and Friends.

The Perfect Storm. Live in Cincinnati Valentine's Day.

The Art of The Jazz Trio

Jazz music historically has been played by musicians in a variety of group configurations, from individual solo performances and duos, to large orchestras, and big bands. The main tenets of the music throughout the years have been preserved in true jazz regardless of the configuration of the group or the variation of the musicians involved. The key determining factor has been the ability for the musician to interpret the song in their own voice; through improvisation or unique stylistic expression.
In the largest groups (big bands, for example) group identity is recognizable, although individuals are celebrated as well. In the best jazz trios, there is also a "group sound", but it is more heavily influenced by the individual performers.
When most jazz aficionados think of a jazz trio, the piano/bass/drums configuration comes to mind. However, there are many other types of trios that produce compelling music; the Eddie Bayard trio, with Eddie Brookshire on Bass, and Mark Lomax on Drums performed a wonderful concert a couple of years ago at the Hyatt jazz series. Late Tenorist Jimmy McGary had a wonderful trio with Wayne Yeager on Organ and Bobby Scott on Drums.
More recently, (two weeks ago), the Deep Blue Organ Trio performed a wonderful set at The Redmoor.
The Organ trio concept is unique in the fact that two out of the three instruments featured are traditionally used in jazz for chord structure and melody, not rhythm or pace. The organist supplies the bass lines; this provides for expanded possibilities for the organ and guitar to contribute.
Willie Smart, the drummer from the Ballettech Sunday jazz jam session said it best about the Deep Blue Organ Trio: "look in the dictionary for the definition of the jazz trio and you will see The Deep Blue Organ Trio".
Well, what makes a good true jazz trio? There are a lot of trios that sound like three individual musicians playing individually. The best trios are by musicians who first understand the concept of the group, and are able to mesh their individual brilliance within the confines of the group. Yet maintaining their individuality. Like any cohesive working group, there must be a general familiarity with each member, and there must be trust in the ability and decision making of each member. There also must be a willingness to provide support for each other; that translates to a "good vibe" for the listener. A disjointed trio sounds fractured; even the most casual listener can determine when there is friction within the group.
This was what was so great about the Deep Blue Organ Trio; their collective sound and the way the members worked together (Bobby Broom, Chris Foreman, and Gene Rockingham), it was clear they possessed all of the best attributes of a great working trio. It was a beautiful show; the music was as complex and rewarding as any show that I have heard.

In my opinion, the organ trio concept produces some of the most compelling music, regardless of size of the group, in jazz today.

There have been many organ jazz trio groups in the history of jazz; some of the best groups were led by very familiar organists; Jimmy Smith, Shirley Scott, Dr Lonnie Smith, Charles Earland, Jimmy McGriff, Jack McDuff, and Joey DeFrancesco to name a few.
Here is an example of the Jimmy Smith Trio playing "The Sermon":
http://www.youtube.com/watch?v=vqSLoxwkCYE
Quentin Warren, Guitar; Billy Hart, Drums.
Very complex music from a trio.

This is The Deep Blue Organ Trio in performance:
http://www.youtube.com/watch?v=lZflF4c7Mdk

So, the next time you have the opportunity to hear a great organ trio, don't miss it. you will be glad you took the time!
Support live music.

Clear Channel Cuts 1850 Jobs

Lost amid the media hoopla of the inauguration and associated celebrations, Clear Channel Communications, the radio and entertainment behemoth, announced they were laying off 1850 people representing 9% of its workforce. Originally it was announced that the majority of the layoffs were in the advertising departments, but now it is increasingly clear that local programmers were among the casualties in large numbers.

In Chicago, Rick O'Dell WNUA's Smooth Jazz personality for over 20 years, was given the axe:
http://newsblogs.chicagotribune.com/towerticker/2009/01/wnuafms-rick-odell-is-first-of-local-clear-channel-cuts.html
In Tampa Bay, Clear Channel's highest ranking executive, Gabe Hobbs, was let go; despite a stellar career:
http://blogs.tampabay.com/media/2009/01/tampas-gabe-hob.html
There is a full and complete list of radio people let go in Clear Channel's latest purge:
http://www.radioandrecords.com/RRWebSite/#

These economic times have crippled many major companies; (Circuit City, the consumer electronics giant, announced Friday that they are shutting their doors, for example). So it is not unexpected that major companies like Clear Channel would be struggling. However, Clear Channel actually is involved in more than radio. From their website, they are involved in TV, and most ominously concert promotion. It is estimated that they control 70% of the music venues of ALL music types in the US. This is from the Clear Channel website:

2000

Completed acquisition of AMFM, Inc. Acquired SFX Entertainment, Inc., one of the world's largest diversified promoters, producers and presenters of live entertainment events. Acquired outdoor assets of Donrey Media, Taxi Tops and Ackerley Media increasing the outdoor division's business and products. Continued expansion in radio and outdoor, bringing the total number of worldwide radio stations owned or programmed to over 1,100 and total outdoor advertising displays to approximately 700,000.

http://www.clearchannel.com/Corporate/PressRelease.aspx?PressReleaseID=1166&p=hidden

In other words, for most mid level music performers, undoubtedly you have run into a Clear Channel venue. Bottom line, as an artist, if you don't play ball with Clear Channel, chances are many desirable cities will be locked out. Similarly if you own a venue and don't do business with CC, then the majority of mid-major acts will never play your venue.

On the radio side, these new Clear Channel cuts mean that more programming will be done on a national basis. If you thought it was tough getting good jazz programming on the air before, it has now become exponentially worse. Programming locally from a national base effectively eliminates any artist not fortunate enough to be on a major label (the majority of jazz artists).
Those jazz performers signed to a major label are not immune; Clear Channel doesn't promote real jazz, or even danceable jazz (Grover Washington, Marion Meadows, Gerald Albright, Ronnie Laws, Tom Browne, etc) at any of their radio stations. If you listen carefully, their "smooth Jazz" programming is heavily laced with soft rock/pop performers such as Phil Collins, Hall & Oates, Seal etc.
Exposure, or lack thereof, is what is killing jazz now. Radio and Record Company execs are laboring very hard to push other forms of music at the expense of jazz. In my opinion, this is not done purely for financial reasons. Jazz music historically has been at the forefront for real change in this country (John Coltrane, Cannonball Adderly, Lee Morgan) and represented true freedom.

So, as people with a major interest in the future of Jazz music, Clear Channel's troubles should be watched carefully. A conglomerate this large, which controls so much of the music and entertainment market, has the capability to eliminate an entire genre of music, if we let them.

There are many things the music lover can do.
First: reject the move toward national programming by deleting Clear channel and other companies from your listening menu until their policies become more musician friendly (not likely).
Second: Make an effort to learn about the local jazz venues (or whatever music you like) in your local area, and SUPPORT them.
Third: Support those locally based stations that play music from local and national jazz and music acts. This is truly the only way to preserve the diversity of musical choice.

We as a people can dictate what music we receive and are exposed to. It does not have to be decided by Wall Street types who are only concerned with the bottom line no matter the product. If we stop listening to the canned national drivel, they will have to change.

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.

Reflections From an iPod...

The iPod is a wonderful invention. Being somewhat new to the technology, (and being woefully technology challenged), I have gone through a forced indoctrination on the various benefits of this new (to me) technical marvel.
Those of you who have had the opportunity to come to the Jazz Happy Hour at The Redmoor have heard the jazz playing in the background and between sets. This music is from my CD collection; I'm in the process of loading my CD's on to the iPod. I have loaded approximately 800CD's thus far...more to follow.
Loading these CD's, and listening to some of my favorites, has been particularly revealing to me. Over the years, I have had the opportunity to collect some pretty nice CD's. Unfortunately, time constraints and life's many challenges preclude the opportunity to sit and listen at leisure. This is really sad.
Listening to some of the CD's again causes a reflection to more happier times...remembering the first time I heard some of the albums that have affected me profoundly.
Everyone has undoubtedly heard Miles Davis's "Kind of Blue". Miles's solo on "So What" still is a fresh memory from the past.
Certain songs, even some obscure songs, can be memorable. Music in general can be uplifting; jazz music for me has been a trusted friend. A true source of strength and joy at down periods. In recent years, I had forgotten this...the iPod review of my collection has helped me become reacquainted with my past happiness...
I consider these jazz musicians "good friends". The vast majority of musicians I have not met; but I've listened to and shared their music. The recent passing of Freddie Hubbard feels remarkably like the loss of a friend, though I have never met him.
I remember being in high school and college looking for the latest Hubbard CTI release, and reliving all of his old Blue Note efforts. I remember when he left CTI, and went to Columbia Records; "Liquid Love", "High Energy" are two of the early records for that label. Still remember like it was yesterday...
Freddie Hubbard playing "Straight Life":
http://www.youtube.com/watch?v=CwY9hup3eIw
I felt a similar loss with the passing of Cannonball Adderly, Grover Washington Jr, Woody Shaw, Miles, Paul Desmond, Stanley Turrentine, Joe Henderson and Milt Jackson.
Coltrane, Lee Morgan, and Gene Ammons are musicians whose passings I don't recall personally, but through their music I have learned to become "good friends" with them.
Reviewing and replaying these CD's has also allowed me to reread the liner notes from the various CD's. When albums were the standard format, liner notes were as eagerly anticipated as the music itself. There were insights into the music and musicians that were treasured nuggets of information. Blue Note Records was especially good in that regard. Sad that the new CD format has seen less and less of the liner notes from all labels.
For those of you who know me, you know my favorite musician of all time is Lee Morgan. While I never met Lee, I have had the opportunity to meet two people who knew Morgan well.
The first person was Lee Morgan's sister. She gave a talk in my jazz history class while I was in college. I only met her briefly.
The second person is saxophonist Bennie Maupin. I had the privilege of meeting Mr Maupin when he agreed to play in a concert featuring "The Four Tenors" (Maupin, Billy Harper, Eddie Bayard and Bruce Menefield), that I promoted in January 2006.
Mr Maupin played extensively with Lee Morgan, and was on some of his best recordings.
Reviewing the CD's for my iPod has also allowed me to reread the original liner notes from CD's. One of those liner notes accompanied Lee Morgan's CD "Live at the Lighthouse". In the notes, Bennie Maupin wrote a particularly poignant note about Lee, which gave great insight into the musician and the man. In that note, Mr Maupin mentiones that the recording session of Lee Morgan's "Caramba" was one of his most cherished memories.
Caramba reminds me of a time when all was right in the world. I remember hearing Bennie Maupin's solo for the first time on that song; to this day I know every note. It was one of the defining songs of my past happiness, when times were so easier...
There are other songs and solos I have been affected by during the years: Lou Donaldson's solo on Jimmy Smith's "The Sermon", Coltrane on "Resolution", Gene Ammons on "My Way", Grover Washington on "Mr Magic", Wilton Felder on the Crusaders' "So Far Away", Lee Morgan on "Personality" among others.
The music has always taken me to a better place...over the past few years I had forgotten that. Sometimes when it seems like the world is closing in...the music can make it better for a while...that is what the iPod has reminded me of during this odyssey.
I guess the culmination of events, from Freddie Hubbard's passing to my self imposed review of my collection, has allowed me to reexamine a much happier time in my life...I will always be grateful to the music for that.
Reflections from an iPod...who knew that a modern invention could reawaken what was lost....I certainly did not.

Blues in the Night...A Metaphor for Life

Those of you who know me well know that the past two years have not been the best for me...Every once in a while, true enlightenment and inspiration can come from the depths of despair...Sometimes this revelation comes through introspection; other times with the able assistance of external voices...
Music, especially live jazz, occasionally provides such inspiration...
Being a jazz promoter and "fan", I've heard many different remarkable performances, by very talented individuals and groups. Very few reach the level of enlightenment. Perhaps it has to do with how I'm feeling at the beginning of the show; or perhaps more importantly how the individual performer is feeling. So much of a musicians' life and mood can be heard and felt in the music...clarity and honesty.
So much more than playing runs of notes...or singing words. Clarity and honesty...
Music that allows introspection...views into the soul...
There was just such a concert last Wednesday night. Eddie Bayard's Quartet was holding court at The Redmoor (formerly Jaspers Music Complex). It was an elegantly simple set: two tenor saxophones, bass and drums. Deceptive in its simplicity, but exceedingly complex musically.
There is no one on the planet more technically gifted than Bayard on the tenor; and yet his playing revealed more of a sense of an urgent impassioned calmness; never hurried but direct and revealing.
The type of music that allows for the search for answers within to difficult, insurmountable questions. For me, this show was a needed respite from an uncompromising and unforgiving world...
The other members of the group; Dudley Owens on tenor, Nate Smith on bass, and Anthony Lee on drums, maintained the appropriate amount of respect and insight for the direction and feel of the music....
Music can be quite entertaining at times; a great comfort at other times. Music affects everyone differently; what I have described was my emotions on this night from my point of reference or view. This particular show assisted me in my understanding of some terribly difficult questions. Others most likely at the show responded differently...
There were many other people at the show; all with varied responses to the music. It was gratifying to see some of the diversity of opinions and outlooks enjoying the music in their own way...
For some, perhaps rock, classical, hip hop, or country can provide that type of window to the soul...my conduit is jazz. Given my current state of blues...Wednesday night was an oasis in an otherwise somber desert... giving able assistance to personal introspection...
Maybe, just maybe...some light at the end of a very long tunnel...