Wednesday, August 27, 2014

Ouch: Portland Loses Another Jazz Venue

I realize it's still a bit raw, but I wanted to express my disappointment at the news tonight that Camellia Lounge in Portland, as of September 6th, will no longer have jazz music. I'm especially bummed because it was one of the few venues in Portland that would essential book me at will(thanks to curator Laura Stilwell) and also it was a venue where I could bring in student groups and give them valuable performing experience. Furthermore, Portland has lost a number of venues just this year; Ivories, The Blue Monk, Shaker and Vine, The Mission Theater( they decided they would make more money as a movie theater) and Quartet. It would not be exactly correct to say that they all ended because of jazz music's lack of popularity; many of these venues had a host of other problems besides trying to present something besides crappy "indie" music(which is a legitimate genre, so I'm told). In the end, business is business and the restaurant and club business is not easy.(That's why every time I think, "yeah, I'll open my own place," I then think," yeah, financial ruin would probably suck.")

I suppose what I can't figure out is that in the case of Camellia Lounge, why would they stop the music when they didn't seem to really be paying for it anyway? I always thought it was a door gig. The band took whatever came in from the door, plus tips. I never found it to be lucrative; even when the place was packed, it wasn't a huge money maker for musicians. Still, it was a place to play where the booking didn't seem to be locked up for a handful of regulars.  My question is, now, without music, do the new owners think that anybody will go there for dinner? I don't know, maybe the music drove more people away than it brought in? I would be curious to see where they are at in a few months. Maybe they will come crawling back to us, "please come back, it's dead without the music!"

One thing that drummer Sam Foulger pointed out on the positive side is that:

 It's good to remember that half the venues we're talking about didn't have live music five years ago (some of them weren't even open yet). Ordinary, but determined, people made them into performance spaces. There will be more if we make them.

This is why I'm expressing my frustration, but only so that I can get it out of my system and move on. There are still places to play and still places that could have more playing. We still need to get people to come out to shows more, and support the scene so that the venues we still have continue to thrive. I'm for hitting the streets to find some new places. Even if we have to rent a space, or have a concert at PSU, or have it in my backyard, or even in my tiny living room, I'll keep trying to find places to play. 

Tuesday, August 19, 2014

First Annual Montavilla Jazz Festival


Ryan Meagher, one of the organizers of the Montavilla Jazz Festival
I wanted to just say a quick word about a new jazz festival in Portland: The Montavilla Jazz Festival, which enjoyed it's inaugural run this past weekend. Montavilla is a neighborhood in Southeast Portland which is very near the North side of Mt. Tabor( close to where I live, actually). It's not at hip as the Mt. Tabor/ Hawthorne area, but it is an up and coming neighborhood( maybe the fact that it's less hip than Hawthorne makes it more hip? Maybe especially because I, a non-hipster, thinks it's not as hip, that would make it ironically way more hip? Oy....)The festival was a two day celebration of Portland's finest jazz musicians. I performed with two groups, my own Theoretical Planets featuring Joe Manis and Nicole Glover on Tenor saxophones, and Jon Lakey on bass( I play drums in the group). I stayed on drums with the next group, pianist Kerry Politzer's quintet featuring again Lakey, Glover, and trumpeter Thomas Barber. I got to hear a bit of the PJCE Core Sextet, which featured guest artist and  my Portland State University colleague pianist Darrell Grant on some fiery odd meter solos( after hearing him tear up the piano, I was glad I was a drummer for the day!)

Organizers Fritz Hirsch, Ryan Meagher , Aaron Heyman, and  Neil Mattson did an incredible job. The venue was packed with enthusiastic and attentive listeners, and everything was very smooth and well thought out. I was pleasantly surprised that for a grass roots effort and especially a first go around, there was a check in desk, badges, a green room, and a stage manager! I hope that this is the start of something great and I hope the Montavilla Jazz Festival will be around for a long time in Portland.

Monday, August 11, 2014

Satire


Sonny Rollins, Jazz Master
I enjoy a good joke as much as anyone. I also consider myself open minded in terms of humor. I enjoy a wide spectrum of comedy, from Monty Python to Martin Lawrence, from Jerry Seinfeld to Andrew Dice Clay, from Dave Chappelle to Ellen DeGeneres and everything in between. However, sometimes, the joke just doesn't work. Worse than a joke not working is when it's unclear whether it's a joke or not, or unclear for which audience the joke is intended. Case in point, the recent New Yorker piece, "Sonny Rollins: In His Own Words"   is supposed to be satirical( which is why the editor makes a note of it at the top of the article). The article was actually written by Django Gold, a senior writer for The Onion, which is a fake news magazine that I usually think is hilarious. Unfortunately, Gold was somehow way off on this one; writing as if it's Rollins giving an interview, Gold is more sophomoric and absurd than clever.

Jazz might be the stupidest thing anyone ever came up with. The band starts a song, but then everything falls apart and the musicians just play whatever they want for as long they can stand it. People take turns noodling around, and once they run out of ideas and have to stop, the audience claps. I’m getting angry just thinking about it.

I released fifty-odd albums, wrote hundreds of songs, and played on God knows how many session dates. Some of my recordings are in the Library of Congress. That’s idiotic. They ought to burn that building to the ground. I hate music. I wasted my life.

I can see what Gold was trying to do: make Rollins say something so extremely the opposite of what he would say that it would potentially be hilarious. As if I wrote something like, "Ronald Reagan: In His Own Words," and wrote something like:

That whole thing about "Government isn't the solution, it's the problem," was just kind of a joke. Tip O'Neil came up with it one night while we were having dinner at the Old Ebbitt Grill. We had consumed about 2 bottles of vodka between us when he blurted it out, as well as something about "trickle down economics," which was probably more to do with vodka trickling down his shirt. After I gave that silly inaugural address, Republicans took that sound byte and really ran with it. I was just trying to be funny, kind of break the ice a little bit. But everyone was taking it so seriously. I guess I was just too embarrassed to admit that it wasn't true.

Iran-Contra? Of course I knew about it. Truth be told, I went to college with the Ayatolla Khomeini. Back then , he was know as Freddie, Freddie Khomeini. We used to hang out all the time in the late 50's. Now that I think of it, he still owes me 26 dollars. So sure, 1979 rolls around, I called in a favor. Obviously, the Tehran Hostage Crisis makes incumbent president Jimmy Carter look bad, and then, bam, I got to be President for 8 years. Oliver North took the heat, saying I didn't know anything, of course, but  in truth I knew every detail. I masterminded the entire thing from day one. This is all off the record, right? 

Anyway, whether you think that's funny, or even know who Ronald Reagan was, hopefully you see my point. In my example, it's quite clear that it's a joke, and it  references in an attempt to be clever as  well as relevant. Perhaps there are a few key differences. One is the person being lampooned. Ronald Reagan is, sadly, way more famous than Sonny Rollins because he was a major political and historical figure, and people who were politically aware during the 80's would possibly get a chuckle from the specific references( trickle down, Khomeini, Oliver North, etc...). The Rollins piece has some nice references, but the tone is perhaps not consistent enough to make sense. It's so on the absurdist side of things.

The saxophone sounds horrible. Like a scared pig. I never learned the names of most of the other instruments, but they all sound awful, too. Drums are O.K., because sometimes they’ll drown out the other stuff, but it’s all pretty bad.

Now, maybe if this had appeared in The Onion, it would have been fine. I think it's appearance in the New Yorker is just confusing. Maybe also, it's a little bit too close to home because let's face it, the vast majority of people probably think the saxophone sounds horrible. In that sense it would be like a comedian trying to tell Israeli-Palestinian jokes 3 weeks from now: "TOO SOON!"  ( Although my piece may perhaps ring a bit to true for some folks as well....)

As to be expected, after this piece was published, Facebook lit up like midtown Manhattan on Christmas Eve. Jazz musicians were angry. Even Sonny Rollins himself chimed in! Spike Wilner, jazz pianist and proprietor of Small's wrote a letter to The New Yorker:

Not only was it not funny but also vague enough to be construed that it was actually “his own words”.  Mr. Rollins is one of the most beloved figures in jazz, renown for his uncompromising artistic integrity.  Why at age 83 after a lifetime dedicated to the music he loves and champions he needs to be the subject of ridicule in your magazine is beyond me.  Instead, the New Yorker should publish a profile celebrating the life and accomplishments of this great American artist.  Jazz is already a much maligned and misunderstood art form.  An article like this does a great disservice to the music and the musicians who spend their lives playing it and is beneath the stature of your magazine.

I believe Wilner hits it right on the nose. Hey, New Yorker, what other beloved elderly figures are  next on the list to lampoon? Mother Teresa? Benny Golson? Jasper Johns? Mikhail Gorbachev? Hopefully, no one is missing why this article, while not a crime against humanity, was certainly in poor taste.

As to be expected, Nicholas Payton had an understandably harsh and extremely well written view of the article:

Here’s one of the most respected American periodicals posting a picture of a somber-faced Sonny with a piece “in his own words,” rhapsodizing about how he hates music and he’s wasted his life. Where’s the humor in that?

I get that White people and Black people have cultural differences and thus a different sense of humor. Given that to be the case, White people: stick to satirizing those who get your sense of humor. Leave Black people be. You’ve done enough over the past 500 years. Black life in a world of White oppression and supremacy is satirical enough. We don’t need your help adding to it.

And maybe Payton goes off on a tangent a little in this next bit, but it's actually pretty on point:

Meanwhile in Rolling Stone magazine, a real article came out that reads like satire. Tony Bennett and Lady Gaga are doing a “Jazz” album. Tony goes on in this piece to say about Gaga, “She’s as good as Ella Fitzgerald…”
Nigga, please?! Lady Gaga ain’t fit to wear Ella’s dirty draws.

 Indeed, if somebody came out and said, " Kenny G's just as good as Charlie Parker," it would be hard not to want to kick their ass. Even if they were elderly. (I think Tony Bennett might be a little foggy on what Ella Fitzgerald actually sounded like...)

Payton's viewpoint brings it all home. Sonny Rollins as an elder statesman of jazz enjoys success which few musicians attain; however, as an African American living through decades of inequality in the United States, Rollins has endured things to which white people just cannot relate. It seems as though the younger generations, becoming farther removed from the Civil Rights Movement, are less aware of the scars of history. Furthermore, the American Idolization of our culture makes people less aware of the origins of American music as well (which is why the top R&B artists these days seem to be all white). To have to hear Tony Bennett say that about Lady Gaga is so outrageous, and yet, it seems as though nonsense is happening all around us and we've all just come to accept it. Big Corporations don't pay any taxes, innocent people die every day, incredibly mediocre actors and musicians become millionaires while ACTUAL TALENT becomes more of a liability than an asset. There's the real joke. 

You would think with all of this mishagos, the writing world would get the message: " Hey, jazz musicians find this offensive, and you are just going to piss people off. Find literally anything else to do a satirical piece on. Leave music and musicians whom are fighting for survival out of it." Well, apparently Justin Moyer didn't get the memo; his piece for The Washington Post, "All That Jazz Isn't All That Great" seems at first like trying to jump on some sort of anti- jazz bandwagon:

Jazz is boring.
Jazz is overrated.
Jazz is washed up.
Unlike a poorly received New Yorker piece purportedly written by jazz great Sonny Rollins, this is not satire.

Though Gold’s piece elicited an angry response from Rollins and outrage under the Twitter hashtag #rollinstruth, it was, as they say, funny because it was true. Jazz has run out of ideas, and yet it’s still getting applause.

I studied jazz while an undergraduate at Wesleyan University and had the privilege of learning from, at varying distances, some of the genre’s great performers and teachers, including Anthony Braxton, Pheeroan akLaff and Jay Hoggard. I appreciated that these generous African American men deigned to share their art at a quite white New England liberal-arts school. But I just didn’t get their aesthetic. Like cirrus clouds or cotton candy, I found jazz generically pleasing, but insubstantial and hard to grasp.

Moyer goes on to write a laundry list of reasons for why jazz, a kind of music which motivated him to pursue a degree,  is so boring. For example:

2. Improvisation isn’t all it’s cracked up to be.
The knowledge that great music is improvised makes it more remarkable. But the fact that music is improvised doesn’t make it great. If it did, Phish and the Grateful Dead would be better than they are.

“Even when they are not soloing, members of a jazz band have to be intimately attuned to the music at all times because they never know what direction it might take,” according to Loren Schoenberg, a conductor and saxophonist writing in conjunction with the Ken Burns documentary “Jazz.” “If you don’t, you may, as John Coltrane once put it, feel as though you stepped into an empty elevator shaft.”

Unfortunately, rather than providing the thrill of standing at a precipice, improvisation by the likes of serviceable, forgettable, uncontroversial players such as guitarist Wes Montgomery is perfect for browsing at Barnes and Noble — or piping into elevators.

Unlike the New Yorker piece, there is a clear statement that " this is not satire" within the first few sentences. You could imagine that this would create even more animosity in the jazz community.

Look, we already know, and have known for a long time, that jazz after 1940 is not universally loved. It doesn't mean we shouldn't be true to our own musical aspirations. My feeling is that these days, jazz musicians are doing it because they love it, because they believe it's important, and they love to play for the small but passionate audiences(mostly in Europe and Asia) who know and love this music and don't find it boring. We aren't doing it to get rich. We do it for what one might say are more noble reasons than many other so called "popular" styles. Indeed, so many "hip hop" artists , in a genre which at one time had an incredible political awareness, now mostly rap about how rich they are or  how rich they wanna be, or just how great they are. Many of today's music stars seem to be pretty faces that are part of a huge "music industry", and yet calling them "musicians" would seem rather ironic.

I realize we are a capitalist nation, but there is still a difference between being a professional artist on one side and being a sell-out on the other side. Why won't we read articles lampooning Katy Perry, or Kayne West? Why won't we read overly intellectual opinion pieces in The Washington Post about how today's country sucks, or about how today's pop music mostly sounds like a bunch of morons shouting over a car alarm? I really can't say. All I can say is, if you don't like jazz, DON'T LISTEN TO IT! But we are already down. STOP KICKING US!
















Monday, August 4, 2014

R.I.P. Kenny Drew Jr.


I was sincerely shocked to hear of the recent death of pianist Kenny Drew Jr. I was aware that Drew had a number of health problems, but I didn't know how serious. I don't really know what the details are but I think he was found in his home. He was only 56 years old.



I remember the first time I heard Kenny Drew Jr.; it was in the 90's at The One Step Down in Washington, D.C.  Guitarist Larry Camp had been telling me about Drew; " This guy is incredible; he can just look at a piece of music and memorize it!" I had to hear what this was all about. I'll never forget hearing Drew play "Donna Lee"; he played the double octaves probably better than anybody ever has. It was quite overwhelming from a technical standpoint. I went out and bought some of his CDs after that; I used to listen to " A Look Inside" quite a bit.

I remember running into Drew on the D train coming from Brooklyn in 1995; he was on his way to play at Visiones, and he was looking at sheet music. I remember he seemed like a cool guy- very talkative. I was a bit intimidated; the music he was looking at appeared to be pretty difficult.



I gained an even better appreciation of Drew when we worked together with the Mingus Epitaph Orchestra in 2007. I got more chances to talk to Drew in the period of time during the rehearsals and performances. Drew was fairly honest about politics, and it was entertaining to hear him rant about U.S. foreign and domestic policies.

There were two specific things that happened during that time which I will never forget. One was when Drew showed up for one of the Epitaph rehearsals with a bag of piano music he had just purchased at Patelson's Music Store. It was some 20th century Russian music; just glancing over his shoulder, it looked as though one would have to spend years to play music like this. Drew sight read it with the ease that you might read a New Yorker cartoon. I said, "How can you sight read like that?" "What, this?" he replied, as if I was joking. " No, this is very easy!" as he perfectly executed the written music which would probably have taken me decades to learn. I kid you not, and I say this as a graduate of Peabody Conservatory, which was full of incredible classical pianists: Kenny Drew was one of the best sight readers to walk the earth.



Indeed, Drew played classical music long before he played jazz. Many folks understandably know Drew because he is the son of jazz legend Kenny Drew( who played on Coltrane's "Blue Train," as well as had many great solo records), although as I understand it, Jr. did not grow up with his father at all, and didn't consider him an influence. Drew studied classical piano with his mother and grandmother. I've heard folks tell me that Drew had most of the serious classical piano repertoire memorized. Technically, he was up there with the best. A wonderful jazz musician, Drew was definitely underrated. ( I really have no idea why he was living in St. Petersburg, Florida. I don't believe that Florida is a hotbed for jazz...)



I'm getting to the second unforgettable incident during the Epitaph tour. Part of the 3 hour plus work is a piece called "Freedom," and during this piece(which is about Civil Rights, obviously), some people were getting up and shouting, "Stand Fast!" I noticed that during the first performance in New York, Drew was really seriously getting passionately into the "Stand Fast!" portion. The next concert, in Cleveland, at the same point in the work, while others in the 30 man orchestra shouted " Stand Fast, My Brothers!", Drew stood up and shouted at the top of his lungs, "9-11 WAS AN INSIDE JOB!"

I don't believe that Drew would have a problem with me telling this story. I think that's what I dug about him; Drew spoke the truth and then some.



I was touched that after that tour, Drew sent me some CDs of classical piano music, particularly, recordings of Godowsky's studies on the Chopin Etudes. Basically, they make Chopin's etudes even harder than they already are! I had given Drew a copy of my CD, " Blood Pressure, " and I remember he sent me an email kindly saying how much he enjoyed it.

I was really hoping he would have given me an interview for jazztruth, but alas, we never hooked it up. Well, it's a shame to lose another great musician. Let's spend some time listening to his music and hope he's in a better place.


Wednesday, July 30, 2014

Gratitude

It's interesting how we get wrapped up in our own problems so much that we completely lose perspective on the truth. Many of us are living a dream life, and yet we spend tons of energy whining about problems which are so insignificant. It's not wrong to want more than you have, and it's not wrong to have ambitions and aspirations. However, lack of awareness of how good we have it prevents us from enjoying our brief time on earth, and it's also kind of insulting to those out there who wished they had our problems instead of theirs.

First of all, just in terms of basic lifestyle, I'm better off than I was 5 years ago. I have a steady job, and a pretty nice house. I have HEALTH INSURANCE! WHICH INCLUDES DENTAL! I live in a safe neighborhood, and the weather here is pretty mild compared to the East Coast. I have a loving family; my son is really thriving, as long as he gets his dinosaurs and Godzilla toys. We have access to all types of food and digital entertainment at the drop of a hat(well, we usually have to go somewhere for food. Delivery service in Portland isn't like New York). I'm not rich by any means, but where I live now kind of beats the tiny apartments in which I lived in New York in the 90's, not to mention the tiny row house in Columbia, Maryland, where I grew up.

My father's ancestors were Irish. If I was born 100 years earlier(1869), I'd probably be living in a tenement in New York, probably in the Five Points neighborhood. I'd likely be working on the docks, or in a sweatshop, or who knows, maybe I'd be in a gang. If I was born 50 years earlier, I might have joined the Army and fought in World War II. If I had been born 20 years earlier, I might have been sent to Vietnam. One thing I'll say about looking at recent history is that thank heaven that I didn't have to go to war. I hope my son never has to go to war.

Sure, I would love to have more gigs and I would love to see jazz musicians get better opportunities. I would love to be more recognized than I currently am for my artistic work. However, we jazz musicians need to put it all in perspective. Let's face it, even though conventional wisdom is saying our generation has it worse than previous generations, we have it pretty darn good.

My summer resolution is to stop whining so much about what's missing. I need to acknowledge what's great about my life. It doesn't mean I'll lose my ambition, or that I will stop thinking of ways to move forward. It just means that I will retain some balance in my view. There are people in other parts of the world suffering tremendously; they wished they had my problems. Think about them the next time you complain about how long the line is at Por Que No, or complain about something trivial. We don't even know how lucky we are.

Tuesday, July 22, 2014

Catching My Breath


Joe Manis and Nicole Glover at the Cathedral Park Jazz Festival
Hey everyone. Last week was incredible; we had our third successful "The Shed" PSU Summer Jazz Camp( partnering with the Portland Jazz Composer's Ensemble) featuring special guests Alex Norris and David Ephross, as well as Portlanders Darrell Grant, David Valdez, Javier Nero, Jason Palmer, Dan Balmer, and Ryan Meagher. It was a intense, full week of masterclasses, rehearsals, and jam sessions; 9 in the morning until almost 8 pm every night. I enjoyed hearing the students as well as the faculty, and we got some great positive feedback. Admittedly, there's no pleasing everyone, and a few folks had complaints, but this is to be expected; this is only our third year, and we are still learning. Nevertheless, it was by and large a positive experience and I look forward to next year's "The Shed."

It would have made sense to plan a weekend vacation in the Bahamas, but alas, I had 5 gigs scheduled for the weekend; three on Saturday and two on Sunday. Saturday started with playing keyboard on a 4 hour wedding gig with bassist Cary Miga's group; then I hightailed it over to St. Johns to play drums with Kerry Politzer, Jon Lakey, and Nicole Glover. I was supposed to play organ after that with Joe Manis, but there was an issue with the pay, so we decided to cancel. The gigs were part of the Cathedral Park Jazz Festival; it was supposed to be a sort of after hours series. I believe that the issue was that the cover charge would pay the band, but when the venue tried to collect a cover charge at the door, no one would enter the bar!  More on that in a minute.

Sunday, I got to play twice in a row on the big stage at Cathedral Park. It was really crowded and the weather was beautiful. First, I played piano with the Jeff Baker group featuring David Valdez, Thomas Barber, Jason Palmer, and Andrea Niemiec. After that, I sat behind the drums for a great set with my band Theoretical Planets featuring Nicole Glover, Joe Manis, and Jon Lakey. It's always great to play for a big crowd in a great outdoor venue. I was pretty much running on fumes after such a long week, but I left the festival satisfied and looking forward to a quiet week of relaxation.

Again, it's always great to play music, and the Cathedral Park Jazz Festival is a great institution which I hope will continue to exist. But there were two issues which I think are worth discussing constructively. One is the idea that musicians are supposed to be paid.  In the case of the Saturday night  gig, where no one would pay 10 dollars to hear music,  I don't blame the venue( which is merely a neighborhood bar) and I certainly have nothing but kudos for the organizers of the festival ( Mary Sue Tobin, Farnell Newton and Arthur Marx, respectively) who did a lot of work to keep the Cathedral Park Festival alive. I have been told that Portland has always been a town which has trouble getting folks to pay any sort of cover charge for music. I am constantly reminding people that in New York City, you basically cannot do anything without paying at least 20 dollars. Portland, you need to accept the fact that musicians need to get paid! When you watch how much money Portlanders spend on artisanal chili dogs and then people say a 10 dollar cover charge is too much, I get a little depressed, to say the least.

Another issue was the sound during the main stage concerts. I've had years of experience playing on stages with sound people of all types. It seemed to me, on Sunday, as though the atmosphere with getting the sound, as well as people on and off the stage and so forth, was a little tense. I tried to get what I needed in the monitors, and then I just put my earplugs in and tried to get through it. I did see that David Valdez was trying to get the mixing guy's attention during the set, and I could see from where I was sitting that the mixing guy was either not hearing David, or purposely ignoring him, which is really unprofessional, no matter how you slice it.

Sound people and musicians have to work to together respectfully; we know this! Musicians cannot be rude to sound people, and sound people need to respect us as well. It's a two way street, for sure. I know for myself, in the 20 years I've been traveling internationally, I always try to be as polite as possible to the sound guys, but sometimes things like quick stage changeovers can make the atmosphere tense.(Sometimes the language barrier can make it even more challenging!) I don't know what David Valdez did to make the sound guy think that he was being disrespected. Asking for certain specific sound things in the monitor or in the house, while possibly time consuming and annoying, is not disrespectful in and of itself. However, tit for tat on the part of the engineer in this case is just juvenile. I hope there will be a different, more cooperative and less egotistical sound company next time.

I'm reminded of the first tour I did with Cassandra Wilson in 1999. Our first performance was at the Ocean Blue Jazz Festival in Japan. I remember that there were probably 20 or 30 stagehands during the sound check. They were all sprinting back and forth across the stage, making sure every musician had what they needed to hear in the monitor, making sure musicians had water, towels, or whatever they needed for optimal performance. The next week, we were in Torino, Italy. I remember  for that sound check, there were 20 or 30 stagehands, all standing around smoking cigarettes..........