Click the image for a larger version.

I posted this poem earlier today. It was a free-writing exercise — exactly what came into my head, no editing after the fact. As I was explaining the references to two friends, I thought it might be fun to make an annotated version of the poem for everyone to read. I’ve numbered the lines and put the notes at the bottom. Enjoy!

/ / /

skreeks & skronks

plectrum scraping against metal wire [1]
string theory: indeterminate length [2]
you take two bodies & mash their atoms [3]
collisions yielding energy / heat / light [4]
what if I gave you this & you kept it? [5]
one note in the bass arpeggio above [6]
we assimilate Italian terms because we [7]
have no adequate words to describe this [8]
aural multiverse through which we’re flying [9]
add drums bring to boil reduce heat simmer [10]
there are saved onions in the fridge [11]
they’ve accepted Jesus into their cores [12]
peeled away the layers of freewill [13]
acknowledged their eventual dicing in service [14]
of the Lord & his supper table [15]
bring me the head of Robert Fripp & [16]
five white people who can clap on two & four [17]
then lay me down in sheets of sound [18]
John Coltrane has my blood on his hands [19]
from when he slipped & I caught him [20]
he hovers above the bed in judgment [21]
waiting for his ascension when he’ll be [22]
seated at the right hand of Earl “Fatha” Hines [23]
“if all you can play are squeaks & honks [24]
then you’re not really free” [25]

10 April 2012
Brooklyn NY

NOTES (not all the lines have notes)

[1] This is a reference to some sounds coming from Terrence McManus’s Brooklyn EP, which I was listening to while writing this poem.

[2] A reference to this video.

[3] A revision of a line from the Paul Simon song “Hearts & Bones” combined with the science-y bit from the previous line.

[4] The previous line made me think of the Large Hadron Collider.

[6] Another description of the music from note [1].

[7] e.g. “arpeggio”

[10] The record changed to a duo album with Terrence McManus and drummer Gerry Hemingway called Below The Surface Of.

[11] Factually true, then “saved” becomes a play on words for converting to Christianity.

[16-17] These two lines came to me months ago but I never used them. They popped into my head while I was writing this poem. Robert Fripp is the founder and leader of the band King Crimson, among other things. The “two & four” thing is a classic jibe at white folks who are stereotypically more likely to clap on the first and third beats of a measure. If memory serves, Fripp once edited some performances in the studio to make drummer Bill Bruford’s playing sound more in 4/4 time than Bruford had played it.

[18] A revision of a line from Elton John’s “Tiny Dancer” (“lay me down in sheets of linen”). When I got to “sheets of” I thought of John Coltrane’s “sheets of sound”.

[19-20] A mounted poster of Coltrane is hanging in my bedroom. When I hung it, I dropped it and cut my hand while catching it. I bled on the poster and have never cleaned off the blood stain.

[22] Ascension is an album by John Coltrane.

[23] “seated at the right hand of the father” is a line from the Apostles’ Creed, which I can still stay from memory despite not having been to a Catholic mass since the early 80s. Earl “Fatha” Hines was a jazz pianist.

[24-25] This is a paraphrase of something said by drummer Barry Altschul when I interviewed him earlier this year.

skreeks & skronks

plectrum scraping against metal wire
string theory: indeterminate length
you take two bodies & mash their atoms
collisions yielding energy / heat / light
what if I gave you this & you kept it?
one note in the bass arpeggio above
we assimilate Italian terms because we
have no adequate words to describe this
aural multiverse through which we’re flying
add drums bring to boil reduce heat simmer
there are saved onions in the fridge
they’ve accepted Jesus into their cores
peeled away the layers of freewill
acknowledged their eventual dicing in service
of the Lord & his supper table
bring me the head of Robert Fripp &
five white people who can clap on two & four
then lay me down in sheets of sound
John Coltrane has my blood on his hands
from when he slipped & I caught him
he hovers above the bed in judgment
waiting for his ascension when he’ll be
seated at the right hand of Earl “Fatha” Hines
“if all you can play are squeaks & honks
then you’re not really free”

10 April 2012
Brooklyn NY

/ / /

It’s National Poetry Writing Month! A poem a day, each day in April. This poem is a piece of free writing, written while listening to Brooklyn EP by Terrence McManus and Below The Surface Of by Terrence McManus and Gerry Hemingway.

From Myra Melford's Snowy Egret at The Jazz Gallery

Myra’s bubble

like squeezing a bubble
from the top of a shampoo bottle
            slowly
                        slowly
                                    slowly

draw the fingers in toward the palm
            gently
                        gently
                                    gently

waiting for the inevitable burst
air through the dream-thin membrane

it will never happen
            exactly
                        this way
                                    again

it can’t be accurately described
or recreated / can’t be
passed down the line from
mother            to            child

there is no line

there is only this NOW
the only-ever-all bubble
the one that will
            always
                        get away

/ / /

I wrote this poem tonight while listening to (and watching) Myra Melford’s new project, “Snowy Egret,” at The Jazz Gallery in New York. The photo above is of the dancer, Oguri, in front of the band. The music and dance were stunning. I felt lucky to be there and tried to capture the sense of tension and impermanence of the performance in this poem.

song for Oscar

a canary-yellow miner
rummages beneath the Rubin
for the molten core of music

light jumps from the stage
to the keys of his clarinet
then out into the crowd

like the fierce glare
of a headlamp
worn to stave off the dark

it’s a long trip from Tucson
to 17th Street, with a lot of
empty space along the way

miles of desert air filling
his lungs, breathed out
into the room like the

oncoming night that spills
into the bowl of mountains
around The Old Pueblo

there were a million reasons to stay
to become just another uncle
who unpacks his horn at the holidays

to the groans of the young ones
“just sit there while Uncle Oscar
plays a song” she would have said

but in a town with a dried-up river
he learned to swim against the stream
all the way to this refuge on the estuary

now on a Saturday night at Barbes
you’ll hear the brass banda smashing
through the walls, forcing

the dancers to take to the floor
spinning, laughing, weeping
with memory and ecstasy

beneath the black cowboy hat
is a brain that can pick its way
between the cracked stones

at the end of the sidewalk
where the music comes
in splinters and shards

/ / /

I’m a big fan of saxophonist and clarinetist Oscar Noriega and have wanted to write a poem about him for a while. When I learned that he’s from Tucson, a place very dear to me, this is what resulted. I’ve seen him in a number of contexts. The images in this poem come primarily from a recent show with Tim Berne and also from his band Banda Sinaloense de los Muertos.

original black

three men in white
investigating black
all-caps BLACK

digging at:
        the roots
        the rhythms
        the rhymes

blood samples
lined up against
blue-black bodies
strands of DNA
leading to Pryor’s
“original black”

Andrew Lamb
(“The Black Lamb”)
lives behind this poem
his saxophone weeps
for New Orleans
salty tears running
down black cheeks
saliva on cane reed
sweat on his brow

there were two black
kids in my high school
out of twelve hundred
one Cambodian girl, too
(“a boat person”)

“the thing I like about you”
John said to me
“is that you talk
to black people
just like other people”

just.
like.
other.
people.

/ / /

This poem was inspired by two things: going to see Vernon Reid’s Artificial Afrika at Dixon Place last night and then listening to Andrew Lamb’s brilliant album New Orleans Suite again this morning.

Photo source

sing me a Haitian song

sing mules and horses on the mountainside
          a calabash of river water to wash in
          another to drink

sing to me of the climbing tree
          four uncles on the summit waiting
          for the return of the prodigal nephew

sing me an African rhythm
          drawn from the source of the one true river
          that became the ocean and surrounded the islands

sing to me of proud women with straight backs
          burdens atop their heads as they appear and disappear
          on the peaks and in the valleys

sing me a policeman’s song
          a wide-brimmed hat his badge of office
          his horse weary from climbing

sing me a Brooklyn dance, no music but the drum
          to remake their lost island in an old meeting hall
          filled with vegetable stew and mountain stories

sing me sixty-odd years since then
          the boy once mesmerized by the drummer
          returning to old ground as a man of the drum himself

/ / /

This poem is inspired by an interview I conducted with drummer Andrew Cyrille. You can hear the interview here.

Listen to this poem using the player above.

/ / /

Tonight I went to see Foolish Hearts, a duo with Peter Eldridge and Matt Aronoff. They were amazing — a master class in musicianship at the highest level paired with an incredibly emotional connection with the crowd. As I often do, I wrote a poem while listening to them. This is an acrostic poem. Not a format I often use, but it seemed like a fun place to start. I took several photos tonight, too, which you can see here.

From

poems for foolish hearts

1.

picture me
even now, waiting
till you arrive
even now
remembering the last time
even now
looking toward the back of the room
darting ever-so-casual glances
ready to wave you over
I have to confess I
didn’t expect to be here alone
giving myself over to the music
even now

2.

meet me
at Cornelia Street
tonight, wearing
that dress
ask me to
remember
or kiss me
now before
one of us
falls to earth
from this narrow ledge

Listen to this poem using the player above.

I saw Mark Turner play at Jazz Standard a few months back and wrote a poem while watching him. The poem was longer than this version and I kept trying to figure out what else to add. Finally, after being away from it for a while, I not only decided not to add anything, I decided to take things away. Here’s the result.

/ / /

the king’s clothes

corduroy-suited tenorman
plays non-clichéd blues
in clichéd suede shoes

on his furrowed brow
the image of a lotus

I wrote this brief poem tonight while listening to Darius Jones play at iBeam in Brooklyn. The photo is also from tonight’s show.

/ / /

Click for a larger version.

Listen to this poem using the player above.

I went to see Amy Cervini sing at the 55 Bar in New York tonight. She was joined by many guests, including vocalist Nicky Shrire. I got the idea for this poem from their duet performance.

/ / /

a cappella
(for Nicky Shrire & Amy Cervini)

she waits at the bar
till her name is called

then sings her way to the edge
of the cliff / kept from falling

by the sound of four hands clapping
two voices wrapped like vines

a cappella — from the Italian meaning
“in the manner of the church”

surely this is prayer / sent up
through the tin ceiling

to where she imagines
her ancestors to be

I wrote this poem tonight while listening to pianist Matt Mitchell and drummer Ches Smith at Korzo.

From Matt Mitchell & Ches Smith at Korzo – 6 Sept 2011

danger

you were dangerous and angry
red wrists and flashes of light
in the Hungarian bar
with $5 goulash

After careful study, I’ve decided that my life
needs an extra day and a cloning device
or a world without rock stars
and foreign bars

the reds are oppressive
walls, neon Czechvar sign
you
the red star in the center of the universe

I know this sounds like a love poem
but it isn’t
I don’t write those anymore
I’ve lost the knack

instead I take black-and-white photos
try to preserve these red nights
with the ink from a cheap Bic
and the rush of blood in my veins

I went tonight to hear Petr Cancura‘s Lonesome Quartet with Petr on banjo and saxophone, Kirk Knuffke on cornet, Garth Stevenson on bass and Tyshawn Sorey on drums. I was very impressed by the music. Petr told a story about a trip he made that inspired this poem. I took a few bit of his story, changed the details and imagined the rest.

From Petr Cancura's Lonesome Quartet at Cornelia Street Cafe (7/7/11)

soil

there’s a farm outside Memphis where a hog is roasting / and the old brass-band leader’s kinfolk will welcome you to the party / even if your accent don’t quite fit

this is soil country / rooted / each one can trace from the branch all the way into the earth / you can’t play brass band music if your feet don’t touch the ground

in the old farmhouse is an even older hutch / in a cabinet in the hutch is an ancient Bible / full of blood and memory / the names are a hymn / a holy call into hallowed ground

out by the roasting pit / they’ve cleared a space for dancing / little girls standing on their fathers’ feet / young boys shoved into the arms of cousins / “come now, child, dance with her – it won’t kill you”

the old brass-band leader is right where he’s been all these years / waving his mail-order baton / cajoling music from a bunch of coots as old / as the dirt they’re standing on

later / when the kids are asleep and the band is done / the oldest of the men takes out a banjo / plucks the stars alight

there’s a farm outside Memphis / where all are welcome / this is soil country / rooted

This poem is dedicated to the trumpeter Eli Asher. In addition to being an inspiring musician, he came up with the phrase “Gumbo Sutra,” which inspired the rest of the poem. I started this weeks ago and finally finished it tonight. Thanks, Eli.

From Buddha In The Modern World (Ongoing Photo Essay)

The Buddha of New Orleans
(for Eli Asher)

The Buddha of New Orleans
plays trumpet on the weekends
with three guys from the Legion hall
and two oyster house waiters
who moonlight as dancers.

Clap hands, here comes Gautama!
He’s lost weight and looks more like
the Tibetan image than the Chinese version.
He swings like a gate, too.
(gate, gate, paragate, parasamgate)

He plays with time, shifting the beat.
No two members of the band
are ever in exactly the same place.
The dancers ignore them, whirling
around the stage in time to the low buzz
from the PA system.

After the gig, the band goes back to his house.
He cooks for them,
recites the Gumbo Sutra.
This has been going on for years
and they still never understand a word he says.

But something about
the way he says it
– so calm, so caring –
makes them smile over their bowls
of rice and beans.

I went to Jazz Standard tonight to see Ben Allison’s band with Michael Blake, Steve Cardenas, Jason Lindner and Rudy Royston. I wrote this poem during the show, inspired by things in the club, phrases I heard, song titles and my owned fevered imagination. The first quotation in the poem was said from the stage by Michael Blake.

Photo by jazzmix.org

new york basement blues

1.
grab your jazz hat
meet me in the bent-note basement
Jackie’s back of the bar
sloshing the occasional beer
on the tongue-colored tile

the Dutch couple near the stage
look trapped, unsure
told, perhaps, that this would be

something else

(close your eyes, dear,
and think of Holland)

2.
there was a monk on San Juan Hill
who could tell your fortune
in two bars of three

he could stop on a dime:
and give you nonsense and change

“you and me baby” he’d say
“let’s start our own country
and nobody will come”

(he had a sign in his window / it said:
MY BOSS IS KAREN CARPENTER)

3.
later, as the sleepy-eyed theater boys
slowly regain their senses
a sidewalk prophet in plaid and denim
hands us a poem by William Blake

on which he’s drawn a caricature
of Barrack Obama
hugging Margaret Thatcher

“April is the cruelest month” he says
“except for February, which I’ve never liked”

This poem was inspired by seeing vocalist Fay Victor and bassist Dominic Lash perform together tonight at the Evolving Music Series. Here’s an album of photos from the event, which also included Theo Bleckmann & Jay Clayton, Charles Gayle’s Forgiveness and more.

fireflies

my mouth is full of fireflies
a spring night jack-o-lantern
with glowing cheeks
my honeyed ears hum
with the soft songs of bees
and their dancing maps
there are dogs and bears and tragic lovers
haunting the April sky
a night woodsman thunks his axe into a stump
I hear a grumbling ostinato in the trees
the song of an unseen singer
calling me homeward toward my little room
filled floor to ceiling with jars of fireflies
damp with saliva

I wrote this tonight at Bar Next Door while listening to James Shipp, Mike LaValle, Rogerio Boccato and Jo Lawry.

song without words

there is a way you sing
this song without words
that reminds me of
water touching sand

the bell falls to the ground
like a baby’s eyes opening

your fingers tap the chorro
I taste warm maté

what if we never get past
this slowly revolving door?

never get to the sunshine lands
where children play big drums
and dance without fear?

I saw Amy Cervini‘s “Jazz Country” band at 55 Bar tonight. Amy was joined by Steve Cardenas, Anat Cohen and Ike Sturm. The music was gorgeous and this poem was inspired by the first song they played. I won’t name the song so you won’t have the melody and lyrics running through your head when you read the poem. And I shouldn’t have to point out, but I will, that although this is written in the first person, this is not a love poem from me to the happily married Ms. Cervini. Cool? Cool. There have been enough jazz feuds without me starting another! Anyway, enjoy the poem and go see this band.

From Amy Cervini's "Jazz Country" & Victor Prieto Trio

no fences
(for Amy Cervini)

if you had a horse
and I had a horse
we could ride horses
through our crooked village
with our clarinets
making all the children laugh
you in your circled dress
me in whatever a nearsighted fool
wears on a horse
no steeplechase for us
because our village has no fences
just streets that meet at oblique angles
and plenty of space for the angels
of our better nature to sally forth
with the sun on their wings
and clear water in their canteens
there may not be mountains
but we can see the tall buildings
and they’ll do

I wrote this poem while listening to Ben Allison, Mark Guiliana and Steve Cardenas at Kush. In defense of the trio’s reputation, I was not actually an “audience of one” as it says in the poem.

From Ben Allison at Kush – March 22, 2011

the streets

are my private space
where I go to get away
to be alone with all the others
who are alone together

walking the Bowery
is a moving meditation
a reminder that ill fortune is
as fleeting as anything else

I’m an audience of one
in a darkened club
talking to my faraway sons
on the phone before the band starts

really, it’s getting a bit ridiculous
I go from coffee shop to art house
to sushi bar to jazz club
no bongos, no beret, no one beside me

I waited a couple days
then gave up on this Zen bullshit
and sent the message anyway
broke a rule known only to me

let’s be honest:
no amount of playing it cool
matters at all
and who has the time?

pull up a pillow
let’s huddle around this candle
as the snare drum echoes
off these fake-middle-eastern walls

let’s all play guitars
or take photographs of dogs in sweaters
or paint ambitious murals
with no thought of tomorrow

let’s learn to hula-hoop
or juggle points of view
ride unicycles past
the unworthy gazes of businessmen

tonight I spoke with the one man
in all of New York who knows
how to use “vonce” in a sentence
and can play Al Green backwards

I’d like to dance in tiny circles
like they used to do in San Juan Hill
before the boxes
replaced the real people

I’d like to live in a tiny studio
eat rice and play records
with no space for anything
but room enough for everything

I took a crazy series of trains and buses from Manhattan to Brooklyn tonight to see a solo set by bassist John Hébert at Sycamore, a tiny basement music spot at 1118 Cortelyou Road. As it turned out, there was also a solo set by drummer Billy Mintz. I wrote this piece during Hébert’s set.

From John Hébert & Billy Mintz at Sycamore

sycamore

I am not Bob Dylan
you are not Bob Dylan’s girlfriend

here in this Brooklyn basement
we are all making eye contact
over the bulging body of the bass
filling this quaint cave with mumbled rhetoric

as if on cue all the women
on the bench close their eyes
right legs crossing left legs
as a single bead of sweat
drops from the bassist’s nose
to the threadbare rug

you know who you are
all the men have sensitive beards
you know who you are

I planted a sycamore in the backyard
so we could sit beneath it and remember

I planted a willow in the front yard
so we could sit beneath it and regret

Yesterday I saw Chris Washburne and SYOTOS at El Museo del Barrio. I wrote this during the gig. Some of the poem is based on the performance and things that were played and said during it, and other lines are paraphrased from the brilliant book The Mambo Kings Play Songs Of Love by Oscar Hijuelos. The last two lines are instructions given to me back when I played latin jazz for a living.

barrio music

this is sacred ground
church on Saturday
we should be dancing
led down the aisle by El Rey
like a victory parade
hips swaying, laughing
we are praying to the holy trinity
the mambo, the rumba
and the cha cha cha
James Brown, Machito and Schoenberg
this isn’t music for sitting down
when you play the clave, play the clave
and clap like your mama’s making tortillas

Hard as it is to believe, I went to my first show at the Village Vanguard in New York tonight. The band was Terrell Stafford, Bruce Barth, Tim Warfield, Peter Washington and Dana Hall. I wrote this in the dark during the set. I wanted it to seem a bit noirish, thus “the blond.” I’m not sure if that’s OK.

Friday night at the Vanguard

there’s something about the way the blond
is tilting her head, laying it back
against the cushions like she’s dreaming

– stop —

now we’re in church and a “go ‘head”
comes from stage left
where the trumpeter sits snapping his fingers
in what would be a cliche in other circumstances

the blond leans forward
she has a cleft in her chin like an action hero
on her it’s intriguing

– can I get an “amen”? –

it’s a ballad again
she leans over so far you’d think
she had a stomach ache, but she’s smiling

I went to Small’s in the Village tonight to see Bruce Barth. I ran into several people I knew and some I’d never met in person. The whole experience felt like a poem, so it seemed only fitting to make it one.

One of my favorite movies is An American In Paris. At the beginning of the film, Gene Kelly does some narration and mentions that he went to Paris because the great artists before him had gone there. I feel that way about New York and poetry, and also New York and jazz. I didn’t change any names in this poem to protect the innocent, either.

9=3+3+3, or, A Night At Small’s

on the train, this:
if you don’t change direction,
you may end up where you’re headed

huh

the sage is sleeping soundly
slumped over against the pole
if this were Japan, someone
would wake him at his stop

or more likely he would awaken
as if by magic
some shared ethnic telepathy
connecting all Japanese to their destination

but this is New York
no such enlightenment
is forthcoming

Louis Armstrong is smiling
in argyle socks
a black Buddha before bebop

Rebecca has blood-red nails
that look jet-dark in this dim light
her double-jointed pinky bent on the bar
her name is alliterative, as is the artist’s
who guesses it

and, for that matter, the piano player’s
(and his title)

the Japanese photographer says
he is ready to go home
twenty-four years is long enough

meanwhile the boy from Pasadena gets the seal
of approval from the boy from Brooklyn
it’s official: he’s a New Yorker now

the mirror next to the piano is reflected in another mirror
looked at from the right angle
there are an infinite number of piano players
(writing Hamlet?)
and an unending row of archers

people clap when they’re supposed to
like a ritual prayer that’s lost its meaning
in the observance

even the photographers look like musicians
and the temperamental cat is not a euphemism

/ / /

whale song

she goes each day to the ocean
to look for the whales, she says
that’s why she stays
despite the pull of the opposite shore
the all but inescapable magnet
tugging on the keys of her saxophone

of a morning she is crouched there
at the boundary, eyes narrowed
searching for shadows on the surface
a spray of spout-water above the waves

one day she knows she will hear them singing
on that day she’ll put lips to reed
feel the air move from her lungs
and she’ll join them in their song

(I finally missed a day, so I’m one stone behind on my 365-straight-days plan. Ah well…)

/ / /

late night Sun Ra fills my empty apartment
with the whirling sound of Saturn

Today marks four years since I launched The Jazz Session, my jazz interview program. Grant Stewart, my guest on the first show, returns today for the fourth anniversary. Listen to today’s episode — and every episode — for free at http://thejazzsession.com.

Listen to this poem using the player above.

Inspired by “Fee Fi Fo Fum” from The Complete Novus And Columbia Recordings Of Henry Threadgill & Air.

Threadgill’s birds

an ocean of crows flows overhead
wings beating black against the coming night
I see them in small sections through
the window, missing its valance

Henry Threadgill plays the flute
and a disembodied woman’s voice is singing
notes looping around one another like
sparrows swooping after unseen bugs

Listen to this poem in Japanese using the player above.

This one was harder for me to write than yesterday’s and I’m a bit less certain that I’ve accurately conveyed the meaning.

/ / /

Miles Davis わ “All Blues” を弾きます
正しい考えでも現在の状態わそんあに悪くないです

Miles Davis plays “All Blues”
it’s the right idea but things aren’t that bad

/ / /

part of a river of stones

Listen using the player above.

/ / /

I wake up to the clarinet and trombone
go to sleep to the cornet and saxophone
in between I feel the rhythm of the drum
as I wait for what’s coming to come

/ / /

part of a river of stones

Listen to this poem using the player above.

I went to see Jeff “Tain” Watts, Robert Hurst and Steve Coleman tonight at Jazz Standard. I ended up chatting with Coleman and John Szwed, author of the definitive book on Sun Ra. I put into this poem bits of our conversation, song titles and phrases inspired by the setting and performance.

in which we cross east 27th street at high tide

ancient ways, gold days & spaceways
with an iced tea & a side of fries

how’s the weather in Bahia?
here in New York the street-corner
gutter is a river with no ferry boat

so we turn the string bass on its side
use the bow as a paddle
& since Michael isn’t around
Robert rows us ashore

to the warm lands
where we will know despair no more

(catch the Hail Mary as it spills from her lips)

“how ’bout a hand for the band, the guys?
it ain’t me — we’d play all night”

Listen using the player above.

/ / /

Gerald Cleaver is in my ears
talking about Uncle June
and the Great Migration

I’m making a smaller journey
home from the post office
where I checked for word from you

/ / /

part of a river of stones

Several things happened today that reminded me how we’re all connected.

First, a poem I wrote ended up on a show I love, The Basketball Jones. The poem was inspired by a line one of the hosts said on the show and I Tweeted him about it. I certainly never expected it would be read on the show. The reading was hilarious, as were the hosts’ comments afterward.

Second, in the comments for that episode of the show, one of the viewers said that in addition to The Basketball Jones, his other favorite show is The Jazz Session. How crazy is that?

Finally, I went to a job counseling meeting yesterday that was part of the requirements for my unemployment benefits. Today I got an email from a guy saying that he was sitting behind me at the session yesterday and that he’s a fan of RocBike.com and follows me on Twitter.

Totally crazy.

Poem #10 for the November Poem-A-Day challenge. Today’s prompt was to write a love poem.

A Love Poem

John came
                     down
                               the
                                     stairs

SMILING

holding A Love Supreme

Alice knew
it was a day
unlike other days

In August, several of my friends participated in an event during which they wrote a poem a day on a postcard and mailed it to someone. They in turn received postcards from other poets. That was all too much for me, but the “poem on a postcard” idea was a good one, so I started writing the occasional short poem and sending them to friends. I sent this one to jazz critic Richard Kamins:

Click image to enlarge.

Listen to this poem using the player above.

The music in the audio version of the poem is “Buddy Bolden’s Blues” performed by Sidney Bechet.

I never heard Buddy Bolden say a goddamned thing

never saw Count Basie swing
never felt Duke love me madly
never heard Prez bend a note so sadly
never saw Miles though I was alive
never watched Mingus struggle to survive
never danced round and round with Monk
never moved to Lockjaw’s roundhouse funk
never smelled the flower in Billie’s hair
never tasted Coltrane’s thickly burning air
never swung my girl to Chick Webb’s drums
never stared amazed at Tatum’s thumbs
never laughed as Ella made up the words
never cried as Lacy called down the birds
never asked Jackie what made him tick
never nursed Charlie when he was sick
never bopped when Dizzy beed
never copped what Dexter’d need
never thought they had it made
never forget a note they played

Listen to the show using the player above.

More photos:

I had the pleasure tonight of performing a featured poetry set with the Poets Jazz Trio — poet Dan Wilcox on saxophone and percussion, poet Tom Corrado on bass, and me reading my poems and playing saxophone and percussion. We played as part of the Dan’s Third Thursday Poetry Series at the Social Justice Center in Albany. Many fine poets came out for the open mic and it was a joy to see them all. In this post, you’ll find photos from the event taken by poet Alan Catlin, along with an audio recording of the set that you can listen to with the player at the top of this post.

Thanks to Dan and Tom, and to Jason Parker of oneworkingmusician.com for his transcription assistance.

Tonight’s show was dedicated to the late jazz organist Gene Ludwig and to his wife, Pattye.

Organist Gene Ludwig passed away yesterday, July 14, 2010. I didn’t know him well, but he was a guest on The Jazz Session in August, 2009, and we spoke several times in person and by phone and email. Gene and his wife Pattye were extremely kind to me and to everyone with whom I saw them interact, particularly during Gene’s performance last year in Schenectady, NY. My thoughts are with Pattye and with their families at this time.

Gene’s Schenectady gig inspired a poem that appears in my book, Unexpected Sunlight. You can read the poem here at jasoncrane.org.

Listen to this poem using the player above.

Art Pepper is my favorite alto saxophonist and one of my favorite musicians, period. I wrote this while listening to Stuttgart May 25, 1981 – Unreleased Art Vol. V. Art’s wife, Laurie, has been on The Jazz Session twice. If you’d like to learn more about Art, please listen to her appearances in 2007 and 2009.

Photo (c) Laurie Pepper

The Truth About Art Pepper

Art’s life is Synanonymous with art, the making of
with the alto saxophone, the playing of
with Ginsberg’s angel-headed hipsters, the slaying of

Art’s sound is a soaring cry that no bird of prey can outshine
he is a misty-morning muezzin atop the minaret calling the faithful
to the temple of pure emotion, architecture without artifice

Art is the inmate released, outpouring pent-up desire
archetype of the madness that bound those bound by the 50s
survivor of the plain old lives that crashed in the purple mountains

Art for Art’s sake, one foot hokey-pokeying on the ledge
the people like ants – aren’t they always? – far below
(although Art was never one to put himself above the people)

Art could play a ballad like he had Cupid’s arrow lodged between his ribs
could play the blues like he’d been struck down on a dusty road
could blaze like the nucleus of the sun, irradiating the audience with love

Art was the original Comeback Kid, cutman in his corner dabbing
his sweaty brow with a towel, handing him a new reed soaked
in the jar of blood and guts beside the ring

Art could take a punch, roll with it, let the kinetic energy of the blow
travel from his gut to his spine, slide up to his brain
there to spark the next invention, the next flight of fancy

Art is beauty and beauty is truth and therefore Art was the truth
he was the news that stays news, the last dispatch from the battlefront
Art could make the shooting stop, could arrest breath and pause time

Art’s most magical reality was that he was purely human
not carved from marble by a holy sculptor with a careful eye
but made from the same clay as we all, gifted with the breath of music

Listen to this poem using the player above.

A poem dedicated to the jazz musician Sun Ra, written after reading an article by Nate Chinen.

to swing you in the arms of the stars

you don’t need a rocket to get there
there wouldn’t be any there there if you got there
anyway

but HE would be there in a long robe
dime store rhinestones a glittering milky way
HE is a high priest with a congregation of everyone

arms lifted to create a horizon, the sun medallion
set into HIS space pope’s mitre
your eyelids are getting heavy, it’s all getting heavy

doo-wop be-bop swing and free
Space Is The Place for you and me
and HE and we and Muhammad Ali

the Black Christ descends from the highest peak
of the Andes, looks around slowly, sees
nothing of interest, climbs back to the summit

for some, it is just too much chaos
but there was order, too, and beauty, and reason
a cover story for those long kept under the great white thumb

isn’t the homesickness of 746 million miles
better than the sickness of a home in Alabama
where being a little green man would be preferable to being what HE is?

sure, HE had a name, HE was her man, her little boy
a baby from a womb not covered in stars
but released in blood and tears like all the rest

pushed into a world not of HIS choosing, HE chose not to be of this world
adopted for HIMSELF a new birth in the undiscovered country
fell from a new womb with the slight bounce of nine percent less gravity

as has been previously noted, we are spinning on a marble
that is whirling around a fire
the hole in the middle of the universe surrounded by black wax

HE pressed grooves into that wax and drew forth sound from the needle
while the tables turned – the polarity reversed – up was down
the black man was a cosmic prince, the king of the moonlit desert

couldn’t Pat Patrick wail over this awakening?
couldn’t John Gilmore swing you in the arms of the stars?
couldn’t HE tell you what your blood knows but your brain fears?

on the summit of the highest peak of the Andes
the Black Christ is clearing brush to make a landing place
for the ninth rocket, the one that will carry him away

we travel the spaceways from planet to planet
humming a tune born of a south too deep to bear
midwifed in stardust and held up in the harsh light of the sun for all to see

Listen to this poem using the player above.

I wasn’t going to write about the passing of jazz pianist Hank Jones until I saw this article in the New York Times.

UPDATE: Hank Jones’ manager, Jean-Pierre Leduc, posted this in response to the NYT article:

Hank had a huge farm up in Hartwick, NY, and he had most things he needed. He was not unhappy or hermit-like. I wish he had treated himself to a bigger space (he could have lived anywhere), but it was clean and right where he wanted to be — Upper West Side. On tour he had the best suite in the best 5-star hotels, and he was on tour a lot, even very recently. The article in The Times was a clear invasion of privacy.

I considered making revisions to the poem based on this, but I don’t think that’s necessary.

(Rafa Rivas/AFP/Getty Images)

91

“On the cluttered night-table was a book of Sherlock Holmes stories.”
– From a New York Times article on what was found in jazz pianist Hank Jones’ tiny one-room apartment after his death.

the detective used the violin
as a tool to sharpen his thoughts
the pianist practiced on an electric keyboard
using headphones so he wouldn’t disturb the neighbors

91 years is a long time
to be good at something so few understand
unlike Holmes, Hank never got a chance to stand in the parlor
to explain how he’d figured it all out
how he’d arrived at the real answer

he had to depend on ears and brains and beating hearts
to understand the messages pushed into ivory
by two hands, ten fingers, a billion synapses firing

when he died they broke into his room with a hammer
it was locked from the inside
a detail the detective would have appreciated
they found rumpled sheets, accolades
long ago forgotten and newly given
manifestations of his talent not sufficient
to encapsulate the world-altering beauty of it

there is nothing elementary
about 91 years of a black man playing the piano
no sidekick to remark on just how heavily
the odds had been stacked in opposition

could even the most talented sleuth
have pieced together the long road from Detroit?
inspected the dust of a thousand thousand footsteps
and traced the route from segregated hotels
to the grandest stages in the world?

91 years is a long time to breathe in and out,
to push down on the keys, to bear the weight of memory
the memory of waiting for his time in the spotlight

yet he could have walked down any street in America
and no one would have looked twice
he was a king, an 88-keyed deity who could
swing you into the ground and could pass
completely unnoticed among the multitudes
more concerned with the camera flash

in the end he went out playing
in a world that was richer for his footsteps across the stage,
his particular selection of notes
his attention to detail, elegance
and the long slow curve of 91 years of history

Listen to this poem using the player above.

Amputee

“don’t you miss it?”
that’s always the first question

for so many years
that metal was part
of my body, wedded
to my fingertips

I would wiggle my digits
and the conjured spirits
would wail and cry

“not really” I say
fixing my expression
to sell the lie

I’m an amputee, still
feeling the ghost limb

my appendage sits in a case
that the cat peed on
in the room where
I record the voices
of women and men
who would never dream of
allowing the doctor
to complete the operation

they would leap from the table
shove past the nurse’s grasping
hands, trailing the ends of
their open hospital gowns
and screaming “not that!”
as they plunged through the
double doors into the street

me, I catch sight of it
out of the corner of my eye
feel my fingers twitch

Listen to this poem using the player above.

Oh Lord

Don’t Let Them Drop That Atomic Bomb On Me
When Charles wrote that,
the (magic) mushroom
seemed like a very real possibility.
Like there could be a day
when there were no more days,
when spring would jump
straight to winter
and the switch would get stuck.

Now his words sound quaint and old-timey,
like interring the Japanese
or smallpox blankets
or the city of gold that was exchanged
for dark flesh. Like bomber blackouts
on the West Coast and ships
in Davey Jones’ locker,
sent there by folks flapping their gums.

We don’t worry ’bout that no more.
We have seen the enemy and they are winning.
With friends like we’ve got, it’s just as well
Dastardly Dan leaves that girl tied to the tracks.
She’d better pray the train kills her,
because her insurance won’t cover just
losing a limb or two. That’s an act of God,
they’ll say. The Big Guy doesn’t like it
when you don’t pay your rent.

Photo (c) Andrzej Pilarczyk

Thanks to the wonderful Albany arts & culture site Nippertown for featuring my poem “Gravity,” inspired by Matthew Shipp:

“Gravity” at Nippertown

Listen to this poem using the player above.

Inspired by Matthew Shipp’s April 1, 2010 performance in Troy, NY.

Gravity
(for Matthew Shipp)

Matthew has to force his hands
back down to the piano
stop them from floating away
maybe from carrying him away, too

when it’s quiet you can hear the machines
tearing up Green Dolphin Street
they smash through the tarmacadam
down to the cobblestones

but then something goes wrong
some failsafe fails, and the machines
plunge on, grinding
into clay and on into the crust

a rock shelf gives way
there’s a long metallic groan
as the biggest digger spirals down
into the molten core

Matthew stands up from the piano bench
when the crashing subsides, then
he pushes against the piano,
forearms lean and tight,

really putting his back into it
slowly, so slowly you almost
don’t notice it at first,
the piano starts rolling

Matthew is sweating now,
his brow damp, his jaw hard
the narrow end of the piano
hits the crash bar and the door opens

flooding the theater with red light
a few dollops of lava
are already cooling on the remnants
of the pavement outside

Matthew pushes the piano through the door
to the edge of the hole
gets down on his hands and knees
and listens, peering into the pit

when he’s sure it’s time, he rises,
pushes the piano again
until the front wheel
clears the edge of the hole

Matthew plays one final chord
as the keyboard lifts off the ground
then watches as the piano tumbles
end over end into the pit

leaning out over the hole
he follows the piano’s path until it’s out of sight
and it’s only then that Matthew realizes
he’s not quite touching the ground

so he lifts his arms to the sky
and the clouds accept him as he rises
welcoming their returning son
as he breaks the tether of gravity

Listen to this poem using the player above.

This poem is the sixth in a series of pieces inspired by bass clarinetist Thomas Savy’s new CD, French Suite (Plus Loin Music, 2009). This particular poem came from his composition “Ouverture.” You can learn more about Thomas Savy at his MySpace page. I’ll be posting more poems in this series in the coming days. You can also read and listen to the first, second, third, fourth and fifth poems in this series.

toujours l’ouverture

cymbal crown church bell
assembles the faithful
center: two dancers
basso profundo
et Fili et Spriritus Sancti
screech strike rumble
circle ’round the cobblestones
white scarf around the waist
falls to the street as he spins
lightly, lightly now
dip and circle, bob and weave
“trouve moi la mélodie, mon amour”
one then another then another
until the street is clear
and the breeze carries the scarf away

Listen to this poem using the player above.

This poem is the fifth in a series of pieces inspired by bass clarinetist Thomas Savy’s new CD, French Suite (Plus Loin Music, 2009). This particular poem came from his performance of Duke Ellington’s “Come Sunday.” You can learn more about Thomas Savy at his MySpace page. I’ll be posting more poems in this series in the coming days. You can also read and listen to the first, second, third and fourth poems in this series.

worship

come, Sunday
and make of us
believers
through the power
of your melody
and the glory
of the chord

Listen to this poem using the player above.

This poem is the fourth in a series of pieces inspired by bass clarinetist Thomas Savy’s new CD, French Suite (Plus Loin Music, 2009). This particular poem came from his composition “Ballade de Stephen Edward.” You can learn more about Thomas Savy at his MySpace page. I’ll be posting more poems in this series in the coming days. You can also read and listen to the first, second and third poems in this series.

Stephen Edward

writes his cramped
letters in a worn
notebook, sitting
everyday at the
same table, making
his single glass last
sometimes he leans
back, letting the sun
hit him full in the face
at other times he’s
hunched and indrawn
the world shut out
his thoughts swirling
he’s filing reports
for a nonexistent
newspaper, one whose
readers all live in the
same house, between
two ears and exposed
to the rain under
Stephen’s sparse hair
whoosh

Listen to this poem using the player above.

This poem is the third in a series of pieces inspired by bass clarinetist Thomas Savy’s new CD, French Suite (Plus Loin Music, 2009). This particular poem came from his composition “Stones.” You can learn more about Thomas Savy at his MySpace page. I’ll be posting more poems in this series in the coming days. You can also read and listen to the first and second poems in this series.

Stones

like the ones
my grandfather
painted flowers
on, found near
the water
where the pilgrims
landed, stepping
onto the big stone
and calling out
thanks to their god

Listen to this poem using the player above.

This poem is the second in a series of pieces inspired by bass clarinetist Thomas Savy’s new CD, French Suite (Plus Loin Music, 2009). This particular poem came from his composition “My Big Apple.” You can learn more about Thomas Savy at his MySpace page. I’ll be posting more poems in this series in the coming days. You can also read and listen to the first poem in this series.

My Big Apple

every tune about New York
rushes forward this way
even the ballads
the kinetic energy of the city
is just too strong to resist
and before you know it
a laconic melody about
the Hudson has turned
that river into the Mississippi
at flood stage
the skyscrapers floating by
at 45 degrees to the horizon
businessmen doing the
backstroke off the Battery

Listen to this poem using the player above.

This poem is the first in a series of pieces inspired by bass clarinetist Thomas Savy’s new CD, French Suite (Plus Loin Music, 2009). This particular poem came from listening to his performance of John Coltrane’s “Lonnie’s Lament.” You can learn more about Thomas Savy at his MySpace page. I’ll be posting more poems in this series in the coming days.

the bass clarinet

reaches down, scoops
out your intestines
causes your brow
to furrow, your eyes
to narrow then shut

lamentation, an old
fashioned word
from before these sounds
existed, before this
Frenchman was born

John William burned
his lament onto the wax
as he had inscribed it
onto the paper
black ink to red fire

Show #150! Crazy, ain’t it?

Multi-instrumentalist Sadigursky just released Words Project III: Miniatures (New Amsterdam, 2010), the third in his series of releases combining contemporary poetry with improvised and through-composed music. In this interview, Sadigursky talks about his decision to use poems as an inspiration for composition; which texts lend themselves to his work and why; and what the various vocalists on his albums bring to the music. Learn more at samsadigursky.com.

LISTEN: The Jazz Session #150: Sam Sadigursky

If you’d like to buy this album, you can support The Jazz Session by purchasing it via the link below:

Photo by Ben Johnson, Sr.

I saw organist Gene Ludwig in concert earlier tonight, and wrote these three pieces while watching the show. If you’d like to know more about Gene, listen to my interview with him on The Jazz Session.

Gene Ludwig

1.

Gone deep inside, he slides
effortlessly across the organ keys,
never losing the sense of weightlessness
every earthbound mortal
longs for.
Unlike most, he isn’t held
down by gravity, not forced to
wear the chains of step-by-step,
inch-by-inch. Instead, he
gently leaves the earth, smiling.

2.

Perhaps he’s the local mortician,
skin made alabaster through
affinity with those he serves;
or an accountant, toiling away
until life’s energy winds down
like the gold watch they’ll give him;
he could be any one of a hundred
buttoned-up Rotarians in grey flannel suits,
friends with the mayor or with
the chief of police.
Then he sits down at the organ, and
joy springs from those ivory fingers.
He strips off the grey shell,
revealing the light at his core.
That light is the only thing
that reaches us faster
than his sound.

3.

Grabbing two handfuls of
electricity, he
naturally believes that life is beautiful, that
everyone has ready access to this
level of presence, this certain
understanding of the melody.
Doubtless, they all
would trade places
if they could, exchanging
Gene’s grace for their own.

I’m thrilled to announce the launch of a new partnership with All About Jazz, the world’s most visited jazz Web site. AAJ founder Michael Ricci and I have been working together for several years now, with AAJ hosting transcriptions of the interviews that appear on The Jazz Session.

Now we’ve decided to combine forces. That means The Jazz Session will be featured on the home page at allaboutjazz.com. We’ll also be working together to visit festivals on behalf the new TJS/AAJ partnership, starting this summer with the Tanglewood Jazz Festival and others. The idea is to conduct interviews right in front of the crowds who come to see the artists. Then we’ll bring these interviews to you after the festivals.

We’re also launching a widget for The Jazz Session that will allow you to display the latest episode right on your blog or Web site. I’ll be mentioning the blogs and sites that do this on episodes of the show, and also linking to them from this site. So if you decide to link to The Jazz Session, please let me know at jason@thejazzsession.com.

For more information on the new partnership, and for instructions on adding the widget to your site, please read the press release.

The Jazz Session hits 200,000 downloads

On the very same day that The Jazz Session announced its new partnership with All About Jazz, the show hit 200,000 downloads. I’m so proud of the show and grateful to all of you for supporting it. This is a true labor of love for me, and I hope it shows in the interviews.

PLUS:

Jason Crane interviews trumpeter Hugh Masekela about his 2009 album Phola (Times Square Records). The album finds Masekela in a quieter, more reflective mood — a decision he credits to producer Erik Paliani. Despite the more reserved surroundings, Masekela’s flugelhorn playing is as intense as ever. In the interview, Masekela discusses Miriam Makeba, music as a political force, and why he doesn’t play for fun.

LISTEN TO THE SHOW

Jason Crane interviews saxophonist David Sanborn. Sanborn is one of the few jazz players whose name is known even outside the jazz world. It’s fitting, then, that he’s using his new album Here & Gone (Decca, 2008) to bring a lesser-known jazz saxophonist into wider awareness. Here & Gone celebrates the music of Hank Crawford, a saxophone player and the principal arranger for the Ray Charles “little big band” of the 50s and 60s. Crawford’s playing had a huge impact on Sanborn, and Sanborn repays the favor with this thoughtful and soulful tribute.

LISTEN TO THE SHOW

Jason Crane interviews vibraphonist James Westfall, bassist Dan Loomis and drummer Jared Schonig, known collectively as The Wee Trio. Their first record, Capitol Diner Vol. 1 (Bionic Records, 2008) features original music, jazz standards … and Nirvana. The trio explores the music they love through the lens of collective improvisation, and the results are fresh, fun and worth repeated listening. Find out more at theweetrio.com.

Listen to the show.

Jason Crane interviews the members of the trio Fly: bassist Larry Grenadier, drummer Jeff Ballard and saxophonist Mark Turner. Fly is very much a collective effort — the group operates with a leaderless philosophy in which everyone contributes equally. As a result, the trio has come up with some fresh and exciting sounds as they try new combinations and new ways to balance their respective instruments. All three musicians are very much in demand as sidemen, too. A full transcript of this interview is available at AllAboutJazz.com.

LISTEN TO THE SHOW.

Jason Crane interviews organist Barbara Dennerlein about her pipe organ recording Spiritual Movement No. 2 (Bebab Records, 2008). The album was recorded at one of Germany’s most famous churches in front of a very appreciative audience. In this interview, recorded before a concert in Pittsfield, Massachusetts, Dennerlein discusses jazz on the pipe organ; why organists should use their feet; and how she adapts to the challenge of seldom having her own instrument on stage.

LISTEN TO THE SHOW.

My latest article for The Island Packet newspaper on Hilton Head Island, SC, is about singer Rebecca Kilgore and pianist John Sheridan. Read the article.

THE JAZZ SESSION #52: MARILYN CRISPELL. Jason Crane interviews pianist Marilyn Crispell about her album of solo piano pieces, Vignettes (ECM, 2008). Crispell made an early name for herself with Anthony Braxton, and she’s since amassed an impressive list of recordings that include composed and freely improvised pieces. In this interview, Crispell talks about the nature of improvisation, the particular challenges of solo playing, and the joys of Woodstock, NY.

Listen to the show at thejazzsession.com.

My latest article for the Island Packet newspaper is a short biographical sketch of Bucky Pizzarelli. The posted piece is significantly shortened, but you’ll get the idea.

• Bucky Pizzarelli: Jazz Guitar Hero

Jason Crane interviews vocalist Kate McGarry. Her new album, If Less Is More … Nothing Is Everything (Palmetto, 2008), explores everything from spirituality to The Cars in McGarry’s typically atypical style. McGarry is joined on the record by guitarist Keith Ganz, organist Gary Versace, bassist Reuben Rogers, drummer Clarence Penn, saxophonist Donny McCaslin, percussionist James Shipp, and vocalists Peter Eldrige and Jo Lawry.

Listen to the show.

CONTEST: Win Kate McGarry’s new CD! To enter, send an e-mail to contest@thejazzsession.com with “KATE” in the subject line. And remember — if you’ve won in the past 30 days, sit this one out, OK? Good luck!

BONUS TRACK: Listen to Kate sing Joni Mitchell’s “Chelsea Morning” at the 2008 Tanglewood Jazz Festival.

Jason Crane interviews saxophonist Sonny Rollins. He’s just released Road Shows Vol. 1 (Doxy Records, 2008), a compilation of live performances spanning 20 years. Gary Giddins calls it “one of the finest Sonny Rollins albums ever released.” In this interview, recorded on Election Day 2008, Sonny talks about everything from the prospect of an Obama presidency and the crisis of global warming to the mystery and beauty of jazz improvisation.

LISTEN

I posted this today at The Jazz Session:

Hi friends,

One of the beautiful things about having an online show is that I’m not bound by the restrictions that accompanied the radio version of my show. And so, I’m going to use this forum just this once to ask you to help get out the vote for Barack Obama. THERE IS STILL TIME for you to make a difference.

The easiest thing to do is to make calls from your own home. To get started, visit the Obama training page.

You can watch some short training videos there, or just click the GET STARTED link to start making calls. You’ll get a simple script that’s very easy to use. I just made 40 calls to supporters in the Philadelphia area to give them their polling locations and to remind them to vote.

Most of you know my politics, and you know that I’m a progressive. I don’t think Barack Obama is the perfect candidate. But I DO think he’s the far better choice — not simply the lesser of two evils, but actually someone I can support with enthusiasm and a clear conscience. And given that the next president is likely to appoint as many as three Supreme Court justices, we can’t afford to be complacent.

So please, take 30 minutes or an hour TODAY and make some calls for the Obama campaign.

And then CELEBRATE ON ELECTION DAY by listening to my interview with saxophone legend SONNY ROLLINS. I’ll be talking with Sonny at 5 p.m. on Election Day, and I’ll post the show that same evening at The Jazz Session site.

That’s right: OBAMA/ROLLINS in ’08! (The Obama/Rollins logo is courtesy of my good friend Jeff Vrabel.)

Make some calls, enjoy some jazz, and take back our country!

Thank you very much.

Peace and love,

Jason

p.s. — If you need a little boost of inspiration, here it is:

(Thanks to poet and jazzer David Budbill for the links!)

Jason Crane interviews Polish pianist and composer Marcin Wasilewski. His new recording, January (ECM, 2008), features his own compositions alongside those of Gary Peacock, Carla Bley, Ennio Moricone and … Prince. Wasilewski’s trio is very much a part of the new European piano trio renaissance, featuring inventive material played democratically.

LISTEN TO THE SHOW

CONTEST! The Marcin Wasilewski Trio starts a U.S. tour on November 1 in Seattle, with stops in San Francisco, LA, Chicago, Milwaukee, Philadelphia, Baltimore and Columbus. I’ve got two tickets to Marcin’s show at the Jazz Bakery in LA on Monday, November 3. To win, be the first person to send an e-mail to contest@thejazzsession.com with “Marcin” in the subject line. Listeners who have won in the past 30 days need to sit this one out. Everyone else — good luck!

On the new episode of The Jazz Session, I interview pianist and composer Satoko Fujii. Fujii has released four new recordings in 2008, her 50th birthday year. These records find her with her New York trio; on accordion in the avant-folk-jazz group of her husband, trumpeter Natsuki Tamura; in a quartet with some of Japan’s most talented improvising musicians; and in a second trio with both American and Japanese musicians. Far from slowing down in her middle years, Fujii seems to be pushing herself even more relentlessly, searching for new and exciting ways of expressing her musical ideas.

Listen to the show.

For Henry Grimes

Henry sits
in a plastic chair on
the balcony,
drinking water and watching
the lake.
Below the surface,
roiling motion.
Outside,
reflected sky.

Henry waits
to be surprised,
never knowing where
this note — here —
will take him.
Sometimes
he doesn’t find his way back
for a long time.

Henry talks
with his hands,
plucking and bowing his message,
going to the ritual and
inviting all to follow.

I posted three new episodes of The Jazz Session this week:

• The Jazz Session #41: Eddie Daniels
• The Jazz Session #42: Jo Lawry
• The Jazz Session #43: Spencer Day

All About Jazz

All About Jazz published my interview with saxophonist Donny McCaslin and my coverage of the 2008 Tanglewood Jazz Festival.

Other news

And today, I hung out with my good friend, trumpeter Satoru Ohashi, for the first time in years. Satoru is in Troy tonight with Tony Clifton and His Katrina Kiss My Ass Orchestra for a performance at Revolution Hall.

My latest article for All About Jazz is an interview with percussionist and educator Bobby Sanabria:

Bobby Sanabria is a living museum of Afro-Cuban music. Sanabria is a percussionist, drummer and educator who is at the forefront of Afro-Cuban music—particularly the frontier where it intersects with jazz. In 2007, Sanabria released Big Band Urban Folktales (Jazzheads, 2007), an album he says takes the music “beyond the 21st century.” Jason Crane, AAJ contributor and host of The Jazz Session, sat down with Sanabria in May 2007 to talk about the history of Afro-Cuban music, Sanabria’s own career, and “The Ugliest Man In America.”

• Read the entire article.

On Feb. 25, The Jazz Session celebrates its first anniversary. One year ago, I sat down with saxophonist Grant Stewart to record show #1. It’s been a great ride since then.

As a matter of fact, TJS hit its 50,000th download today! Thank you very much to all of you for the amazing support you’ve given me. That goes out to all the artists, labels, PR folks, jazz broadcasters and writers, and especially the listeners.

As you know, TJS has been on a hiatus recently because of my ongoing relocation to Albany, NY. I’m still working in Albany five days a week and commuting back to Rochester on the weekends as we get our house ready to sell and look for a new home in Albany. New shows will be on a less-than-regular schedule until that gets straightened out.

But never fear, a new show is here! Trumpeter Avishai Cohen joined me to talk about his album After The Big Rain. The interview is available right now, so check it out!

I’m also getting back into the swing of things with All About Jazz. I’ll have several interviews out soon (I promise, John K!), so look for those at AllAboutJazz.com.

Thanks again for all your support, and for making The Jazz Session more successful than I ever imagined. Onward into 2008!

• Ingrid Jensen — Viking Spirit
• Steve Swallow — The Poetry of Music

You can read the entire list at AAJ’s site.

From Lois Gilbert at JazzCorner.com:

George Cables Healing Fund

As many of you know, George Cables received a liver and kidney transplant in early October 2007. His recovery is going very well, but of course, bills are mounting. We have set up the “George Cables Healing Fund” to help offset some of George’s expenses. The money will go directly to George with no operational costs (except what PayPal takes out) or administrative costs. George will also get a copy of every donation made, and you have an opportunity to write a short note with your donation.

To donate, visit GeorgeCables.com and click on “Healing Fund.”

If you prefer sending a check, please make it payable to:
GEORGE CABLES
c/o JazzCorner.com
245 West 25th St. #2F
New York, NY 10001

You can learn more about George Cables and his relationship with Art Pepper on The Jazz Session #34: Laurie Pepper on Art Pepper

On the new episode of The Jazz Session, Jason Crane interviews Laurie Pepper, wife of the late alto saxophonist Art Pepper (1925-1982). Laurie has recently put out two sets of previously unreleased live recordings by Art Pepper — Unreleased Art, Vol. 1: The Complete Abashiri Concert — November 22, 1981 (Widow’s Taste, 2006) and Unreleased Art, Vol. 2: The Last Concert (Widow’s Taste, 2007). Both concerts show Pepper at the height of his emotional expression, and still very much in command of his instrument. In this interview, Laurie Pepper talks about the concerts and the process of releasing them, and also gives insight into the troubled and triumphant life of her husband.

LISTEN

THE JAZZ SESSION #32: TORD GUSTAVSEN: Jason Crane interviews pianist and composer Tord Gustavsen. His most recent recording, Being There (ECM, 2007), is part of a trilogy of records exploring the intimate territory traversed by the pianist and his trio. With bassist Harald Johnsen and drummer Jarle Vespestad, Gustavsen delves deeply into the rich musics of the world, filtering the results through a contemplative lens. Being There is an album that rewards repeated listening, and the interview makes it clear that a lot of thought and passion has gone into the music.

• LISTEN

THE JAZZ SESSION #33: KATE MCGARRY: Jason Crane interviews vocalist Kate McGarry about her new album, The Target (Palmetto, 2007). It’s yet another stellar album in a career that has seen her working with everyone from Fred Hersch to Maria Schneider. On The Target, McGarry is joined by her husband Keith Ganz on guitar, Gary Versace on organ and piano, Reuben Rogers on bass and Greg Hutchinson on drums, along with guest appearances from saxophonist Donny McCaslin and Theo Bleckman on voice loops. On both American songbook classics and impressive new compositions, the band finds an organic chemistry that brings something new to the old tunes and makes the new tunes sound familiar.

• LISTEN

Master drummer Max Roach died today at the age of 83. Here’s the story from the New York Times:

• Max Roach, a Founder of Modern Jazz, Dies at 83

Jason Crane interviews percussionist, bandleader, composer and educator Bobby Sanabria. Sanabria is a living link to the great Afro-Cuban jazz tradition. He’s played with just about everyone, including Dizzy Gillespie, Tito Puente, Paquito D’Rivera, Charles McPherson, Mongo Santamaria, Chico O’Farrill and Mario Bauza. He’s also a Grammy-nominated solo artist and a powerful force in bringing the Afro-Cuban tradition into the 21st century. This interview features a sneak peek at his new album, Big Band Urban Folktales (Jazzheads, 2007), which hits stores in June.

LISTEN

My most recent article for The Guide on Hilton Head Island is about singer Marlene Ver Planck, who performs there this weekend. Enjoy!

On the new episode of The Jazz Session, Jason Crane interviews drummer Jeff “Tain” Watts. You might know him from his years with Wynton Marsalis, or his years with Branford Marsalis, or his stint as the drummer on The Tonight Show with Jay Leno, or from his many, many recordings as a leader and sideman. Tain’s new album is Folk’s Songs (Dark Key Music, 2007). It features his band The Ebonix with Marcus Strickland on saxophone, David Kikoski on piano and Christian McBride on bass.

LISTEN

On the new episode of my weekly interview podcast The Jazz Session, my guest is saxophonist and composer Christine Jensen. Based in Montreal, Jensen has recorded three albums. Her most recent project is Look Left (Effendi, 2006), the result of a half-year spent studying and writing in Paris. The Globe and Mail called Jensen “one of the most important Canadian composers of her generation.”

Check out the show at TheJazzSession.com.

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Show #6: MISHA PIATOGORSKY. Jason Crane interviews pianist Misha Piatigorsky. Misha fled with his family from Russia during the height of the Cold War and ended up in New Jersey. A classically trained pianist, he discovered jazz and fell in love with the music, ending up at Rutgers studying with Kenny Barron. He won the 2004 Thelonious Monk Composers Competition. He’s also the pianist and musical director for singing legend Mark Murphy. Misha’s new trio with bassist Hans Glawischnig and drummer Ari Hoenig is a fusion of hip-hop grooves with his non-traditional jazz compositions. Their new record is Uncommon Circumstance (MISHAMUSIC, 2007). :Listen to the show.

Show #7: WAYNE ESCOFFERY. Jason Crane interviews saxophonist Wayne Escoffery about his life and his new album, Veneration (Savant, 2007). Escoffery was born in London and moved to New Haven, Connecticut as a child. He sang in a boys choir and then got introduced to the saxophone. Choosing the latter, Escoffery moved into the orbit of legendary saxophonist Jackie McLean, eventually attending McLean’s Artist Collective and his jazz program at the Hartt School of Music. In addition to his own band, Escoffery currently performs with the Mingus Big Band, Tom Harrell, Ben Riley’s Monk Legacy Septet and in a band with his wife, singer Carolyn Leonhart. Listen to the show.

Show #8: DAVID TORN. Jason Crane interviews David Torn, a man of many talents. He’s a film composer whose music you’ve heard in Friday Night Lights, Believe In Me, and The Order. He’s also contributed tones and textures to films like this year’s Best Picture winner, The Departed, and the 2000 hit Traffic. Before his film days, he was known for daring musical collaborations on albums such as Cloud About Mercury (ECM, 1987). And he’s worked as a guitarist and/or producer for everyone from David Bowie and David Sylvian to John Legend and Tori Amos. David Torn has returned to ECM after two decades for prezens (ECM, 2007), an adventurous record that features Tim Berne, Craig Taborn and Tom Rainey. Listen to the show.

Composer and multi-instrumentalist Ornette Coleman won the Pulitzer Prize for Music for his album Sound Grammar (Sound Grammar, 2006). In a rare move, the Pulitzer committee chose someone who wasn’t nominated.

NPR has the story and audio selections from the album.

Show #5: Jason Crane interviews Japanese pianist Toru Dodo. Born in Tokyo, Dodo started playing piano at age 4, then gave up his dream of concert piano for the economics department at Tokyo’s Meiji University. He found jazz at Meiji, and eventually came to the United States to study at Berklee College of Music. Since moving to New York City in 1998, Dodo has released three CDs and performed with Kenny Garret, Benny Golson, Curtis Fuller, Ruth Brown and Terumasa Hino. His new album is Dodo 3 (Jazzcity, 2006). Listen to the show.

Read my article on the Jazz at Lincoln Center Orchestra, featuring an interview with trumpeter Marcus Printup.

Tyrone Hill, trombonist with the Sun Ra Arkestra, died March 11 at age 58.

Read the full story.

Joe Vella has been merging jazz and technology for decades, starting with early Internet bulletin boards, founding JazzOnline.com, and then moving into the world of podcasting. As a podcaster, he’s produced series on everyone from The Beach Boys, for the fortieth anniversary of Pet Sounds (Capitol, 1966) to Pat Metheny. Now he’s turned his attention to one of the towering musical figures of all time—saxophonist John Coltrane. Vella’s Traneumentary is a multi-episode exploration of Coltrane’s music and influence. It features a who’s who of jazz luminaries, from musicians such as McCoy Tyner, Billy Taylor and Jimmy Cobb to writers and producers such as Joel Dorn and Ashley Kahn.

You can read my interview with Joe at All About Jazz.

Then check out the Traneumentary.

Show #3: John Abercrombie
John Abercrombie’s forthcoming record is The Third Quartet (ECM, 2007). Abercrombie has been on more than 50 ECM recordings as a leader or sideman, including sessions with Charles Lloyd, Kenny Wheeler, Jack DeJohnette, Dave Liebman and Dave Holland. This interview features several excerpts from the new CD in advance of its April 3 release. You’ll also hear Abercrombie’s moving remembrace of lifelong friend Michael Brecker.

Several years ago, I celebrated Dr. Seuss’s birthday on my radio show by combining his talents with those of another singular American genius, pianist Thelonious Monk. Today is the good doctor’s birthday, so I bring you my version of his classic Green Eggs And Ham mashed up with Monk’s Blue Monk. Enjoy!

Listen: Green Eggs And Ham (mp3)

Bassist Steve Swallow and poet Robert Creeley were friends for 30 years. Swallow first read Creeley’s work in the 1950s, and instantly fell in love with what Creeley had to say and the way he said it. Twenty years later, a chance meeting with Creeley led to a personal and professional relationship. Creeley’s work inspired two of Swallow’s albums — Home (ECM, 1980) and his most recent recording, So There (XtraWATT/ECM, 2006).

I talked with Swallow about So There and his relationship with Creeley. Swallow proved himself to be as consummate an appreciator of poetry and life as he is a master of the electric bass. You can read the interview at All About Jazz.

I do not usually promote someone else’s website. However, this is pretty cool. Just launched this AM on vanityfair.com.

Annie Leibovitz’s Film Noir photo montage of Hollywood’s A-list features the music of the Bob Sneider/Joe Locke Film Noir Project. John Sneider’s “Black Dahlia” is set to the multi-media slide show (featuring Paul Hofmann, Joe Locke, Grant Stewart, Bob and John Sneider, Martin Wind, Tim Horner and Luisito Quintero). This track is on an upcoming release titled Nocturne For Ava Gardner (release date not set).

The behind-the-scenes video of the Leibowitz photo shoot has “Rumblin’” (Bob Sneider) throughout. This is performed by John Sneider (trumpet), Bob Sneider(guitar) and the late great Bob Stata(bass).

Stay warm,

Bob

MICHAEL BRECKER MEMORIAL
Tuesday, February 20th
Town Hall
123 West 43rd Street
6:00-7:30pm
General Admission
Public Invited
Doors open at 5.15pm

Here are obituaries in the New York Sun and The Washington Post.

Jazz fest expands to bigger market
Owners of Rochester event plan a similar gig in Baltimore

Jeff Spevak
Staff music critic

The powerful chords struck by the Rochester International Jazz Festival in its first five years have reached Baltimore.

John Nugent and Marc Iacona, co-owners of the Rochester event, are co-producing a similar festival at Baltimore’s Inner Harbor.

Attendance soared to an estimated 80,000 jazz fans last year at the critically acclaimed Rochester event, which will be the model for the new PAETEC Jazz Festival — named for the Perinton telecommunications company, the primary sponsor of the Aug. 9-11 Baltimore event.

“He likes what he’s seen and what’s been developed in the Rochester event,” Nugent said of Arunas A. Chesonis, the chairman and CEO of PAETEC who is a Baltimore native.

And it may not stop there: “We went to a bunch of different cities, most that we didn’t have any name recognition in PAETEC,” Chesonis said. “Our biggest issue is just to get people to recognize who we are. We found a city eager to embrace us, in a large market. If we can’t get that place rocking as the first pilot program, we have no business trying to get it going anywhere else, which is our intention.”

Baltimore’s Inner Harbor includes a 4,400-seat open-air shed. But much of the event will probably have the same feel as Rochester, with extensive use of music clubs and free outdoor concerts.

The Inner Harbor is operated by another company with local ties, the Baltimore-based management company Cordish Co. Earlier this week, Cordish said that it had agreed with Rochester officials to terminate its contract to run the High Falls Entertainment District. Mayor Robert Duffy confirmed Tuesday that the city and Cordish are parting ways in High Falls.

PAETEC was a small sponsor of previous years of the Rochester festival, and it was the rapid ascent of the event in the jazz world that convinced Chesonis to jump on board with Nugent and Iacona. There are no plans to increase sponsorship locally.

“They’re both good businessmen, very successful not just in Rochester but in a number of other events. They built Rochester from a small festival to a nine-day extravaganza. And Rochester is a wonderful town, but it’s a small market. There are a lot of markets out there with much greater potential.”

Big money at stake

At Wednesday’s news conference in Baltimore, promoters of the new jazz festival noted that last year’s Rochester International Jazz Festival generated $10 million locally.

“If we don’t make a $10 million impact in three days in Baltimore, we’d be very disappointed,” Nugent said, according to the Baltimore Sun. “But we’re looking to bring $20 million to the city.”

Iacona, president of Simcona Electronics, is also an investor in PAETEC and first began working out the details of the jazz partnership with the company five months ago.

No performers’ names were offered at Wednesday morning’s news conference in Baltimore’s City Hall. That is expected to happen in May.

Now in its sixth year, the June 8-16 Rochester International Jazz Festival will announce in April its lineup for the nine-day event, the bulk of which takes place in the East End Entertainment District.

Since 2000, Nugent has also produced the Stockholm Jazz Festival, whose 24th season is July 17-21. It drew 50,000 fans last year.

“We’ll have some big plans to announce for Rochester,” he said by phone from Baltimore on Wednesday. Those plans are expected to include expanding the festival beyond the East End District.

“Marc and I hopefully will be doing some good stuff around the country as well,” Nugent said.

Nugent, who has lived most recently in Toronto but holds dual citizenship, is also reinforcing his personal commitment to Rochester. He’s buying a house in Brighton and is expecting to close the deal on Friday.

“I’m excited to be in town and hopefully contribute to the local arts scene,” he said.

The original story is here.

Again, I couldn’t be happier at the success of the Rochester International Jazz Festival, or at its migration to Baltimore. I have family in the Baltimore area, and I’ve spent a fair amount of time at Inner Harbor. It’ll be a great site for a jazz festival.

I also think John Nugent’s decision to move here to Rochester is a strong sign of his committment to this town and to the RIJF.

PAETEC Jazz Festival to Premiere in Baltimore August 9-11, 2007
Baltimore-born Entrepreneur to Bring the Music Home!

Rochester, NY-January 31, 2007-Get ready Baltimore! The nation’s newest major jazz festival, PAETEC Jazz is coming your way, promising to heat up the music scene this summer for three music-packed days August 9-11.

Festival officials announced the new event at a news conference this morning at Baltimore’s City Hall hosted by newly elected Mayor Sheila Dixon.

“Considering the enduring history that jazz has in Baltimore, this is indeed a great day for the City,” said Mayor Sheila Dixon. “I’m proud to partner with the PAETEC Jazz Festival’s producers, John Nugent and Marc Iacona, and commend Arunas Chesonis of PAETEC, Inc. for helping showcase Baltimore through this great new event. We’re inviting jazz lovers from around the globe to experience a musical encounter unlike anything that’s ever happened in Baltimore. From Billie Holliday to Cab Calloway, jazz has set the musical tone for Baltimore for decades and the PAETEC Jazz Festival gives us yet another opportunity to highlight the offerings of our world class city.”

PAETEC Jazz Festival Baltimore, will be held in multiple indoor venues and outdoor stages set against the impressive backdrop of Baltimore’s Inner Harbor and downtown area. A diverse program of more than 40 concerts will embrace all genres of creative improvised music and feature Grammy-winning headliners as well as some of the world’s finest emerging artists. Venues confirmed to date include Pier 6 and Power Plant Live! The complete artist lineup, schedule, and ticket sale information will be announced in May.

PAETEC Jazz Festival Baltimore was conceived by PAETEC Communications, Inc., Chairman and CEO Arunas A. Chesonis, the Baltimore-born entrepreneur whose telecommunications and information technology company has achieved remarkable growth since it was founded in 1998. PAETEC is headquartered in Rochester, NY, and has offices from coast to coast including in Baltimore and nearby Washington DC.

To produce PAETEC Jazz Festival Baltimore, Chesonis, 44, has tapped the rising star festival producer team of John Nugent and Marc Iacona, who have carefully nurtured two growing and highly successful festivals. The Rochester International Jazz Festival, now in its sixth year and attracting record audiences topping 80,000 in 2006, and the Stockholm Jazz Festival, now entering its 24th year, drawing more than 50,000 music fans, have brought significant positive recognition and economic impact to the host communities.

“Baltimore has always been an important market for PAETEC as well as being the home of one of the most beautiful waterfronts in the nation,” said Chesonis. “We’re honored to be a part of what should become an anticipated cultural event in Baltimore, and I personally look forward to hearing some amazing music while enjoying what this city has to offer.”

“We are very excited to bring PAETEC Jazz to the great city of Baltimore,” said Marc Iacona, Co-producer and Executive Director. “John and I are extremely impressed with Arunas’s vision and leadership in helping establish this important new event. Baltimore is a thriving urban center, alive with activity, and will be a spectacular setting for our diverse festival lineup. We look forward to delivering a top level event that will also have a positive economic impact on the region.”

Artistic Director John Nugent said, “Having produced festivals in different parts of the world, my focus and my joy is in putting together talent – creating a musical painting that meshes new musical ideas from emerging artists with music that is familiar and loved. That is what helps build a festival atmosphere that is electrifying. We have been fortunate to create that in Rochester and Stockholm, and now look forward to accomplishing the same high-level quality event for Baltimore. There is so much talent and so many broad creative styles of creative improvised music to choose from. When our new festival canvas comes together in Baltimore, it will be special.”

Sponsor Opportunities

A variety of sponsorship opportunities are available. For information visit www.paetecjazz.com or contact Marc Iacona at marc@paetecjazz.com.

News Alerts

Sign up to receive the latest PAETEC Jazz Baltimore news at www.paetecjazz.com.

About PAETEC Communications

PAETEC Communications, Inc., is an innovative supplier of communications solutions to medium and large businesses and institutions. With the belief that every customer has unique needs, PAETEC offers personalized solutions that include a comprehensive suite of Voice over Internet Protocol (VoIP) services delivered over its Private-IP MPLS network. With more than 1,100,000 access line equivalents in service, PAETEC serves more than 15,000 core business customers across the U.S. by offering a full line of telecommunications and Internet services, enterprise communications management software, security solutions, and managed services. The company was the recipient of the 2005 American Business Ethics Award for a mid-size company, presented by the Society of Financial Services Professionals. PAETEC is headquartered in Fairport, N.Y.

About the Producers

PAETEC Jazz Festival Baltimore is Sponsored by PAETEC Communications Inc and produced by John Nugent, Artistic Director, and Marc Iacona, Executive Director, principals in RIJF, LLC, based in Rochester, NY. The team also produces the critically acclaimed and growing Rochester International Jazz Festival, which will feature more than 600 musicians and more than 120 concerts during the nine day event June 8-16, 2007.

Nugent also produces The Stockholm Jazz Festival, which this year celebrates its 24th year July 17-21. As a performer, Nugent, a noted tenor sax player, has traveled the world with many jazz artists including Tony Bennett, Ella Fitzgerald, Rosemary Clooney, Clark Terry, The Woody Herman Orchestra and The Vanguard Jazz Orchestra.

Iacona, a business and community leader, avid trumpeter and philanthropic supporter of the arts, is also President of Simcona Electronics Corporation, a leading electronics distributor based in Rochester New York with offices serving the eastern US, Canada and Asia.

]]> http://jasoncrane.org/2007/01/31/paetec-jazz-festival/feed/ 0 http://jasoncrane.org/2007/01/31/rijf-producers-launch-new-festival/ http://jasoncrane.org/2007/01/31/rijf-producers-launch-new-festival/#comments Wed, 31 Jan 2007 13:54:00 +0000 Jason Crane http://jasoncrane.org/2007/01/31/rijf-producers-launch-new-festival/ This morning, my inbox contained this message from the producers of the Rochester International Jazz Festival:

Media Advisory

For release January 31, 2007

Rochester International Jazz Festival Producers and Baltimore Mayor to Announce Major New Jazz Festival at Press Conference in Baltimore Wednesday

Rochester Companies to Play Key Role

WHAT

Announcement of a Jazz Festival in the Inner Harbor and areas of downtown Baltimore
in August 2007.

WHEN

Wednesday, January 31, 2007 – 9:30 A.M.

Mayor Sheila Dixon will unveil the Festival’s official name and logo, introduce the
event’s two producers and corporate sponsor. The festival’s producers, as well as the CEO of the corporate presenting partner, will be available following the press conference for interviews.

WHERE

Mayor’s Executive Conference Room – 2nd Floor of Baltimore’s City Hall, 100 N. Holliday Street, Baltimore, Maryland 21202

WHO

• Baltimore Mayor Sheila Dixon
• John Nugent and Marc Iacona, Co-producers and Partners in the Rochester-based
  company, RIJF, LLC

• Rochester-based Corporate Presenting Partner

As you may already know, John Nugent produces the Stockholm Jazz Festival in Sweden. Now it looks like he’s adding another U.S. festival to his growing production company. That’s exciting news for jazz fans, and exciting news for Baltimore.

I wrote yesterday about the benefits for Rochester of the jazz festival. It looks like Baltimore has already realized the potential of a major cultural event. I’m glad to see their mayor out in front. I was also glad to see Rochester Mayor Bob Duffy at the RIJF press conference last year. Our mantra should be: Remember Montreal!

]]> http://jasoncrane.org/2007/01/31/rijf-producers-launch-new-festival/feed/ 1 http://jasoncrane.org/2007/01/23/my-interview-with-harry-allen-at-all-about-jazz/ http://jasoncrane.org/2007/01/23/my-interview-with-harry-allen-at-all-about-jazz/#comments Tue, 23 Jan 2007 13:32:14 +0000 Jason Crane http://jasoncrane.org/2007/01/23/my-interview-with-harry-allen-at-all-about-jazz/

Tenor saxophonist Harry Allen was born in Washington, D.C. in 1966, but he grew up in California and Rhode Island. His father was a drummer who played jazz records for Allen before kindergarten, and that early exposure set the course for his professional life. Unlike many saxophonists of his generation, Allen chose not to emulate John Coltrane’s sound, choosing a mellower path. The result? Decades of touring the world and recording albums. His latest album is called Hey, Look Me Over (Arbors, 2006). I talked with Harry Allen in December 2006, following Allen’s two-night stand with the Bob Sneider quartet at the Strathallan Hotel here in Rochester, NY.

You can read the full interview at All About Jazz.

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