Grammy's makeover?

I feel like I write this post every year, but here goes...

I made a joke yesterday, before the Grammy awards, that the more cynically I call the awards, the more likely I am to win any pool I'm in. That said, my cynicism was rocked by jazz bassist Esparanza Spalding winning the Best New Artist last night. Like most of my jazz friends, I'm delighted- she is a hip, talented, unapologetic black artist playing jazz, and anything that brings that to the mainstream can't be bad. Her work doesn't move me particularly, but woman can play, so by all means go!

However, my cynic still says that in a way that this was completely predictable, as Herbie's win for "Gershwin's World" was a few years ago. (I can't find it, but the Times had a great breakdown at the time of why he won, much like the following.) My thought- Drake and Bieber split the commercial vote, and Mumford and Florence split the hipster/alt vote, leaving Esperanza to get the old guard vote, which here was enough to win. (She is, after all, a favorite of our current president) This isn't to diminish her award, but let's put it in context. Same goes with Arcade Fire winning- not enough people were willing to vote for Eminem in the big category, Gaga and Katie Perry split the pop vote, "Need You Now" got the record, so Boom, it's "The Suburbs", album of the year. (Full disclosure, I've tried hard to warm to Arcade Fire, but I still don't like them. After multiple listens and passionate pleas from friends I respect, I still found the first two records bombastic and whiny. I'll give "The Suburbs" a shot, though) I'm happy for both acts, but I don't think this is some kind of game changer by any means.

That said, the rest of who got the awards was more than a little depressing. My gambling instincts were right on the jazz awards- Moody got it because he dies, Vijay and Danielo, thanks, come again! Maybe. Darcy lost the big band category because it was his first rodeo, despite having the best record in the category by a long shot. And does anyone else catch the irony of Esperanza winning on a night when the Best Record goes to Lady Antebellum, a generic-sounding country band named after southern Civil War nostalgia? (I've heard "Need You Now" dozens of times without knowing who it was, and honestly until last night thought it was a collaboration between Taylor Swift and some Keith Urban type. Or maybe I don't relate because I've never drunk dialed anyone) I was even disappointed by Eminem's performance- he's traded the clever sneer of "Slim Shady" for bombast, in both delivery and production, which makes him sound like every other rapper to me. Yawn...

That said, give me Cee-Lo any day. I'm remember one time Meshell N'Degeocello said onstage "D'Angelo, man... he can just lay across the cover of a record and I'll buy it!" I'm beginning to feel that way about him. Find the video on Youtube while you can. (I can't promise this link still works) I loved it!

The chorus' awful long, but it's a good refrain...

Interesting, if somewhat anachronistic piece in Wednesday's NY Times about how a new radio ratings system is changing the ratings themselves. Specifically, people who say they listen to classical stations are fibbing at least sometimes, and men listen to more soft rock than they care to admit. Color me unsurprised. A pleasant surprise is that conservative talk radio is not quite as big as we thought...

The bigger question is what, if anything, does this mean. Radio doesn't carry the same weight as it used to, especially in breaking new acts, and the industry (save perhaps sports talk, which around here is only growing.) How do you, dear readers, get word of new music, especially new jazz/creative improv/left of center pop? Word of mouth? Blogs? Pandora. (Full disclosure, I am prepping a new album, so I will use this info)

In the same section, the Times critic clearly aren't too thrilled with what's actually making it to pop radio. Go figure... This is the snarkiest thing I've read this side of Pitchfork in awhile...

a million watts of, what?

Something to keep an eye on- WGBH, on of Boston's two public media behemoths, has bought the only all-classical station on the dial. (Globe article here, WGBH's puff page here)

Two points- no matter what WGBH says, if they are indeed going to all talk, this is a net loss for music on the radio. (And really, we already have one all news/talk NPR station in Boston, are we dying for a second?) And more importantly, there is no mention in any of this press what happens to WGBH's jazz programming, which is still the most visible (well, audible) and most popular in the Boston area. In the past couple of years GBH has cut back its jazz programming, shifting the overnight show to a nationally syndicated jazz program. On the plus side, their new headquarters has a state of the art new studio, which they have been opening up for a lot of live performances and studio recordings. I want to take a "wait and see" attitude, but I fear bad things.

Any clarification or other buzz is appreciated.

Thinkin' of one thing and doin' another

One of the interesting things about being a jazz blogger, even a fairly inactive one, is the press lists you manage to get on. Sometimes it's cool- I've gotten a handful of CDs, a couple of which I've loved- randomly in the mail, and at least twice a month get other mailings asking me to consider hawking a musician, band or tour of some sort. Some days it's darkly entertaining, at best you make a find. (Case in point, Mexican singer Magos Herrera who put out a great and well-received record this summer.)

And then occasionally, you get the likes of this. Monster Cables, they who grossly overcharge you for your HDMI, USB and other computer and home entertainment cables, are dabbling in the headphone business... AND MILES F*#&@*n DAVIS' ESTATE HAS PUT THEIR NAME ON IT! I am not up on the industry buzz by any means, but even I have heard grumbles of dissatisfaction about how the Davis estate was handling Miles' name and business, most notably when the Cellar Door set was allegedly delayed by the estate's, er, cattiness. But this is on a whole 'nother level, pimping Miles name and image to sell a $500 pair of earbuds. I don't care if these f*&^#$s make turd sound like gold, and I know Miles' wasn't a saint, or shy about chasing a dollar, but of all the products to attach his name to, you pick THIS? Couldn't you at least make a deal with Bose, who we already know can make a good set of cans?

Sheesh, what did Miles say- somebody ought to pick up a sign and picket.

(P.S. If you are looking at a set of Monster cables for anything, instead check out cablewholesalers.com. I used them for stuff for my HDTV, and found them great to deal with, the product is fine, and at a fraction of the price Monster and the box store wanted.)

(P.P.S. Erstwhile press agents who send P.R. to bloggers... I know I state the obvious, but be careful what you ask for.)

on the radio, uh-oh

This comes via Eric Jackson, WGBH jazz impressario.  It is a release from Sue Auclair, a local jazz promoter.  I heard Jeff Turton's announcement on Sunday morning, but wanted to wait until I knew more to post:

 Boston-MA--May 11, 2009--Jazz host *Jeff Turton* announced today that  WFNX FM has cancelled his show, */The Sunday Jazz Brunch/*, as of his  show yesterday and after 26 years on the air on Sunday mornings.
 
 “I got a call late last week informing me that this past Sunday would be my last show. The reason being given is budget cuts related to diminished revenues at both ‘FNX and at the /Boston Phoenix/. While I wasn't surprised, given the nature of the newspaper business and radio in general, I am incredibly disappointed. I’m not sure where to go next but I guess I'll sleep in for a couple of weekends and then figure it out. I still plan on being active in some way but everything happened pretty quickly so I really haven't had much of an opportunity to figure out what's next,” noted Turton in an e-mail Monday morning.
 
 Legendary jazz concert promoter *Fred Taylor* weighed in. “I think it shows WFNX’s total lack of acknowledgement of Boston’s arts community.  To cut one lonely jazz show like this which represents a basic American art form from the station’s 24-7 programming is unconscionable,” he said upon hearing the news. 

“Jeff Turton has been a jazz resource for Boston listeners for 26 years. He hosted the go-to show on Sunday morning radio, and he will definitely be missed.” stated noted jazz writer and Marsalis Music Creative Consultant *Bob Blumenthal*. 
 

Last week came the news that WGBH FM jazz host* Ron Gill* would be  moving to South Carolina to live with relatives after 23 years on the radio here and the jazz scene held its collective breath and wondered who would be his replacement host. Then the word came that his show would be covered by a syndicated show taped on the west coast by Bob Parlocha.
 Next there was a call from WGBH 9 year veteran jazz DJ *Al Davis*. “I can’t book any guests on the show until I speak with WGBH. They’ve called me in for a meeting and it sounds serious,” said Al to publicist Sue Auclair. 
 
 Tuesday, May 15 brought the news that ALL of the */Jazz Gallery/* hosts would be departing at the end of May. That included Davis on overnight  Fridays, 15 year veteran *Kevin Ball* overnight on Saturdays and *Ron Gill*, overnight on Sundays. 
 All live-hosted weekend jazz shows will be gone, as of May 26 and the new programming will feature “Jazz With Bob Parlocha,” the program that is syndicated nationally and now already airs on 89.7 FM overnights on weeknights.

This is very bad news.  I haven't been able to listen to FNX's jazz show much, partially due to my schedule, partially because I thought he veered to poppy, too often, but both musicians and promoters say great things about him, and I have memories of him playing this crazy 20 minute Sun Ra tune almost every Sunday when I was a kid.  

I was hoping to (and still plan to) write a piece on the state of jazz in Boston right now in light of Boston Jazz Week.  I was actually feeling pretty optimistic going into it.  Not so much right this instant.

A festival of...

Since the festival scene in Boston isn't anything like what it used to be- no Globe Jazz Fest, no Phoenix produced concerts, and the Beantown fest is in May- I look south, to Newport, the great name in music festivals. And I have to say, this year's Newport Jazz Festival is really, really good. While I have no use for Chris Botti, and I look at Aretha these days with a mixture of anticipation and fear, I'm excited about just about every second act on the bill. As much as I would love to see Herbie and the Gauchos, at best I'll catch the Saturday show- I've seen Wayne's current quartet twice in its first year, and I'm really curious to see what a couple of years together has done.

If I were a folk fan, however, I can't imagine I'd be thrilled. Someone explain to me where the folk is in this year's Newport Folk Festival? In fact, while there are some cool names on the bill, Calexico notably, I'm having trouble figuring out what in the hell the festival is about.

I know that strict genre lines are way too arbitrary, and that marketing overrides all other factors in booking these days, but every time I look at that bill- Jimmy Buffett? Brian Wilson?? I just scratch my head. I'll be curious to hear the reports in August...

Tea Leaf Prophecies

After last year's debacle, I didn't stay up for the Grammys this year, so I have to admit I was a little surprised when I picked up the paper this morning and saw that the big winner last night was... Herbie Hancock. Herbie?? Anyone else know what to make of that? As the times article mentions, Herbie has won ten of them, since the Grammys seem to favor known, famous commodities over quality, though Herbie certainly offers both. And he has contributed two of my fonder Grammy moments, this really swinging bit with Natalie Cole (this was recorded just days after Tony Williams died, which apparently lent some extra push to the performance), the famous Rockit blowout. and the hilarious '85 synth medley (see Thomas Dolby's amazing post on the event.)

I've stated my skepticism of award shows, and the Grammys in particular, in these pages before, and it's rare when I'm willing to tag any record, no matter how much I like it, the "best of the year". (Note also that my most of my jazz category picks, made with no lack of cynicism, came to pass.) But what I've seen of the show, and the coverage it's getting, seems to confirm what we already know- the industry proper, even more than the rest of us, is confused as hell about how to address the changing marketplace, the "long tail" and the opportunities and challenges presented by the digital world. If you had any doubt, read the transcript of the Grammy's president. You decide to fight hard to ensure proper renumeration for traditional radio play... a piece of the economic pie which shrinks more and means less each year. You promote the grand future by... playing an Oscar Peterson tune. Way to go guys.

I did catch up with a few of the performances online, and was pleasantly surprised. I'm not exactly a fan, but Amy Weinhouse put on a monster mini-set, as did Kayne- it's unusual for me to react when a performer's charisma jumps off the screen, but his sure did. And Feist's performance, half solo, half with (somewhat half-assed) brass band was pretty happening- reminded me of Darcy's review of her set this summer, which sums it up nicely.

Look at the Globe's photo montage, with all it's diversity, and tell me how many artists, or even categories, you recognize. After the first twenty or so, save Blanchard and The Shins, I'm clueless, and I like to think I keep up. I have no idea what it all means, except maybe that the Grammys grow less relevant with each passing year.

UPDATE: read Ben Ratliff's astute take on Herbie's victory. His article from a few years back on the Diana Krall phenomenon is worth reviewing as well. And David Ryshpen as well.

take a look at my shiny phonograph...

To less hoopla than I'm used to, the Grammy nominations were announced last week. For those who care, the jazz nominations can be found here. It's hard not to imagine Herbie and Terrence Blanchard winning their categories- Herbie because he won't win the big album of the year, Terrence for sentimental reasons. (Though what I've heard of his "Levees" album is good. The playing is really solid, and the writing is good if a little drippy) I have to think that Brecker will win the instrumental album for "Pilgrimage", again for sentimental reasons. Though it may well be the best album nominated; after several listens I like it more; possibly Brecker's best solo date. Meldhau plays his ass off and then some.

Other Grammy notes

I know how the final voting goes, but can anyone tell me how the nominating process works? Many years I look at the finalists and just say "huh?" And I know with the album of the year this year including Amy Weinhouse, Herbie Hancock and the Foo Fighters, I'm not alone here.

It's interesting, and I suppose reassuring to purists, to note most "smooth jazz" now shows up in the "Instrumental Pop" category- Chris Botti, Spyro Gyra and Kurt Whalum are all there, with Herbie and a creature called Eldar, who collaborated with Ropeadope regular DJ Logic, in the "contemporary jazz" nomenclature. Biggest omission in the jazz category: Prog by TBP.

I'm rooting for Maria Schneider to win the big band category for "Sky Blue", but with Blanchard in there with her, and since they didn't give it to her for "Concert in the Garden", a superior record IMHO, how will she get it here? (NOTE: I was wrong here, as Darcy notes below. I was under the mistaken impression that the album won an award for Donnie McCaslin's solo, but not the larger category. Oops)

I'll give "River" another go- my first impressions have been lukewarm, but am I the only one that thinks Herbie hasn't made a great record in more than 20 years? They're never bad- he's too good a musician- but they're never at the level he's capable of producing, especially if you catch him on a good night live. Yet no one calls him on it, he keeps getting award nominations and lots of pub... can someone call a spade a spade? (I'll come back to this some other time, he's not alone...)

If Amy Weinhouse wins any of the awards she's up for, she should fall down at the feet of The Dap Kings, her backup band on the album and a solid outfit in their own right. I like her fine, but they make her sound.

And, no, I won't be live-blogging the Grammys this year. Once such punishment enough...

Spacing out

King Kauffman, Salon.com's sports columnist, reports today on a Chicago Cub fan myspace page being shut down without explanation or apparent cause. This reminded me of a recent note I got from Living Colour about their continuing (mis)adventures with Myspace (scroll to July 3 entry), and what they found when they dug a little.

Living Colour is not alone here among musicians I follow; Meshell N'Degeocello has had her fan page on myspace dropped several times, and a few others I follow as well. Other musicians, Living Colour and John Mayer to name two, have shifted their more candid comments to other venues. (I like Mayer's "in response to the arrest of 63 fans")

Now, Myspace is a privately owned portal, owned by Rupert Murdoch's Orwellian Newscorp; Legally it can do whatever it wants on Myspace. But that doesn't make it fair or right- not LC's comments about the power of Myspce as a marketing tool once you hit a certain tipping point- and my hunch is that the more noise that is made when it does happens, the less it'll happen. Not even fascist like bad press.

Update: Myspace has responded to Salon, and blames this one on Major League Baseball. I don't know if I buy that one...

pennies for your bytes

Modestly good news on the internet radio front: after lengthy negotiations, the new licensing fees for internet radio, which would most likely kill most web radio, have been postponed for 90 days, and most sides seem optimistic about a settlement that all sides can live with. (Boston Globe story here) I don't use web radio as much as maybe I ought- my few adventures with Pandora were positive- but as options shrink for all kinds of music on the radio band, any avenue is a good avenue.

Do they give grants for indie cred?

Much good chatter continues on the web about "the audience problem", or whatever you want to call it. See Darcy's recent post and the comments, prompted by Ben Ratliff's review of Zorn and Taylor at Lincoln Center.

One problem, it seems to me, is that there is an urge among many "jazz" musicians to be pulling in two directions at once. On one hand, we want the grants, institutions and funding that comes with "highbrow" culture, since on some level we know that our ambition for our music most often can or will not be supported by the marketplace. On the other hand, we play a music that, moreso than most "art" musics, has been tied intimately with pop culture from the get go, and indeed WAS the pop music for periods of its history. So we want Taylor Ho Bynum and Charlie Kohlhase and Jane Ira Bloom getting grants, but we want to be at the pop clubs opening for Tortoise and Arcade Fire too.

I'm not sure it's really a problem, and I certainly don't think that the two goals are mutually exclusive, but I hear both conversations tied together, and I think untangling them is useful.

When Roscoe Mitchell came to Boston he talked some about how the AACM started in Chicago. Two things struck me: 1. he made it sound fairly organic. Muhal Richard Abrams had a rehearsal large ensmemble, and groups started to grow out of that larger group. They shared common interests and common needs, and eventually started to put on concerts, etc. It was very much a bottom up enterprise, which of course later did win grants, make records, etc.
2. It started very specific to Chicago, as did the BAG (St. Louis) and other groups of that type. Thirty years later the Jazz Composers' Collective, coming from a very different esthetic, did the same thing in New York, with some real success. But again, there was a specificity of time and place.

This point is so obvious that often we miss it. You can't approach the audience in a suburban/ex-urban landscape of, say, Jacksonville or Rochester the same way you approach a hipster hot spot like Brooklyn or Berkeley. The venue in Albequerque that Doug Ramsey sites recently in his blog is a lot easier to get off the ground someplace where real estate prices are reasonable. In Boston, owning a space, even a fifty or seventy seat space, is a seven-figure investment just to secure space.

My point, if there is one, is that I don't see a "movement" coming the way many of us pine for one. Rather, if success is going to come, it's going to come one small organization, one concert series at a time. Hopefully, the web can serve as a center of communication, a display case for best practices, and a library for old and new musical ideas, but by itself it can't fuel the movement.

This conversation is more than theoretical for all of us, obviously. I look at the particular problems of the Boston scene. There is a local jazz blog, Brilliant Corners blog, that spills many words, not always coherent, about problems and bright spots of the Boston scene. I don't share his antipathy for the schools, but they do eat an overwhelming amount of the attention (Berklee) and artistic activity (NEC) that other artists want to (and deserve to) see.

I'm at a point where I'm thinking of ways to contribute beyond simply playing- I don't intend to move back to New York, and simply teaching isn't enough. My enduring feeling is that we badly need more venues, and more accessible venues. I love the Lily Pad, but Inman Square is a pain to get to, and I don't want to deal with pay for play forever. And I agree completely with Darcy that the best way to get a young audience is to show them that the music is very much alive, not a museum piece. I'm starting to kick around ideas, business plans, etc- advice and encouragement is appreciated. More soon.

Grammy liveblog

Edited Monday only for typos.

7:57- Good to go- just had the best pizza in JP (Bella Luna), great beer (Dogfish Head 60 minute), and plugged the TV into my stereo system, something I do once a month maybe… Here’s hoping it’s worth it.

Inadvertantly caught the last 15 minutes of “60 Minutes”. I’m still not used to Katie Couric in her new “face of network news” role. I still don’t buy it. But she did a nice piece with Norah Jones.

8:00 “We are the Police and we’re back!: And they’re doing “Roxanne”, my least favorite Police song. Just my luck. Sting sounds the best I’ve heard him in awhile though. The drummer looks like his head is going to explode. They’ve put a little mosh pit up front in the hopes you’ll forget that it’s mostly a bigwig affair. Nice try- doing a simulcast from a little club would’ve been better.

That said, they sound good- it had kind of a jam session feel, and they all seemed to like doing it, which you're never sure of with the Police. I hope they tour, and I can actually afford to go- looks like if you get them early in the tour it's a good show.

8:04 In the downscreen (you don’t really matter) bulliten board, Brecker wins two jazz awards, as I called, including big band.

8:05 Duo/collaboration award- what a weird amalgamation- Stevie Wonder/Tony Bennett, Bono/MJ Blige, Nelly Furtado/Timbaland. How does anyone I judge that?!! Not surprisingly, they go with the old standby, Bennett and Wonder. (At least they didn’t wait ‘til one of them died. And it is a nice recording.)

8:08 Joan Baez introduces the Dixie Chicks. For once, the connection makes sense. Thousands of TVs across the heartland are probably switching channels right now.

8:10 After all the falderal, after selling even more records, after an apparently great documentary about them (on my Netflix list), I guarantee you all the press about the Dixie Chicks tomorrow will be about their clothes. I don’t like them either, but I hope I’m wrong. (And that bridge- holy overwrought string section!) Bottom line- I like the Dixie Chicks okay, but that was not their best effort.

8:17 Prince???!! Apparently he survived the Superbowl okay. To introduce Beyonce. I’m using her phenomenally cookie-cutter power ballad to catch up on the flash-across-the-screen awards. Bela Fleck beats Sex Mob. No surprise, but that stinks. Nancy Wilson wins the vocal- yawn. Brecker wins soloist- probably best in that category, though you can make and argument for Branford. And then there’s the dying thing. To be continued. Mercifully, that was short.

8:21 Black Eyed Peas talking about Booker T and the Mgs. I didn’t know they’re back story as the Stax house band. More than deserving of the air time- wish they’d let ‘em play. Now- R&B Album award. How does Prince NOT win this one.? (He won’t win this one.) He doesn’t win; this one; Mary J. Blige does. Fan favorite, I suppose. She’s clearly overwhelmed, and has a speech prepared, and talking about herself. A lot. They’re trying to stop her- she won’t stop. Go girl. I think. (I’ll catch this one later)

8:25 Spending precious minutes hyping the Justin Timberlake contest, while cutting all the performances to 3 minutes? AAARGH!!

8:28 Commercials. Returning to the jazz awards, Chick beats Ornette, DeJohnette and Sonny. Please! I actually know a couple of people who vote on the jazz awards- to get into the Academy you need an album producer credit, a couple of connections and a screaming need to feel important, often when you’re not. Being a sharp, discerning player, producer, and/or player is sadly not a major criteria. Breckers win big band- necrophilia rules again, since I think the other four were certainly better, more artistic records. I’ll stop now.

8:32 Justin Timberlake talking about his song. Again, spare me. Either sing or shut up! Okay, he’s singing now. I should qualify, I actually kind of like Justin- he clearly can sing and dance (even if her really apes MJ), he cares about the music a lot, his band is so tight it’s sick. That’s obvious, even in what’s obviously a really tough situation to pull off. And every song he’s done (except “SexyBack, which I detest) has been at least listenable, and the latin-ish tune off the first record was actually good.

Typical Grammys- the backup band is waaaay too big, and he sounds like he’s singing in a bathroom. Now he’s got a digital video cam- I really don’t’ want to see his pores up close. (Though clearly whatever he uses for zits works better than my stuff does.)

8:37 Oops, announcers talking over each other. Now, Pink and T.I. Pink introduces the Doors’ achievement award. This is a travesty. Female B&B vocal. More Mary J. Blige. I think she’s wearing a great dress. But I need to go to the men’s room…

8:46 And now, Stevie Wonder, brought to you by God. And Target. But he’s singing, so it’s all good. He’s introducing (I, Stevie Wonder! Say these guys I’m introducing are okay!!) Corrine Bailey Ray, John Legend, and John Mayer. I’ve managed to completely miss CB Ray, so this is the first time I’m hearing her. Is that cellos behind her. I like the writing- understated. Now too much drums, and here’s John Mayer channeling B.B. King. (I’m actually okay with this. I liked “Trio” a lot.) She’s okay, in a Norah Jones but not quite as good kind of way. On the other hand, I’m pretty sold on John Legend. But now there’s way too many strings- how many arrangers did they use? It’s not a big song, don’t kill it. The vocal harmonies are nice. I don’t know anything about this song, but I can’t help but think about Iraq when I hear it. Tragic. And John Mayer is doing “Gravity”- thank God he didn’t do the “Waiting on the World” song. I almost turned in my fancard on that one (more on that in downtime). I like the B-3. I like this performance, all in all, but I don’t think it hangs together well as a medley. Maybe that’s too much to ask. That said, I’ll take it.

8:56 The blonde- I have no idea who that is- looks stoned. Best pop vocal album- again, how do you judge this crew? John Mayer wins. Does he go political? Nope- but he does thank Steve Jordan.

8:58 More Timberlake duo crap. If people haven’t voted by now, after a full month of hype, do they people care? And coming up- an Eagles tribute! I’m going to hurl.

9:02 Back to Mr. Mayer. I detest that “Waiting for the World” song- NY Times ">piece about it here. First, it’s an obvious ripoff of “What’s Going On” without the guts to actually bite into the issue of the day. But my bigger problem- in the last elections there were signs that for the first time in many moons, the 20-somethings were more politically active than some of their older brethren. Now is NOT the time to tell anyone to stand around and wait. Ghandi said it best- be the change you seek. I know that's a lot to invest in a pop song, but I think Mr. Mayer can do better. (Looking at him, I'm convinced he's going to look like Mr. Rogers at age 45.)

9:04 Shakira and Wycliff. Do either of them really sing, or just moan? But my God, look at her!

9:05 Clearly, they just went to the vocal tracks. What is that set- half Moroccan temple, half acid trip. Despite the fact that their Haitian and Columbian.

9:08 Burt Bacharach and Seal salute Herb Albert and Jerry Moss. Albert has given a ton of money to many jazz causes. Awkward announcer cut-in- can’t they get this straight? Song of the year. A hunch says Dixie Chicks win. I called it right- I’ll be offering 900 number betting advice tomorrow.

Randy Newman wins for song written for movie. He’s turned onto a one-man awards machine in that niche. They’re still good songs, but a long way from “Rednecks”.

9:17 I’m intentionally not even looking at the ads so I can finish a thought. And hold on to some semblence of sanity.

I barely recognize Alyson Hannigan (formerly Willow, the nerdgirl/witch on Buffy), who I had a crush on ten years ago. What a horrid fake tan. Honoring…. The Grateful Dead? Who planned that one? And matching them with Gnarles Barkley is... not how I would've done it. They’re dressed as airline captains; I’m never flying again. Remixed as a dirge march. No wait, that’s a live orchestra! In Mozart wigs! And choir in an outfit I can’t quite see.

Sorry, Police. So far that was the performance of the night.

9:23 Common and Kanye West start a beef on national TV. OK, not really, But they do introduce a deep rap category. I hope to God the Roots win. So they won’t win. T.I. will. Oops, or Ludicris. An Oscar and a Grammy- that's a good year. Nice line about cutting his hair. A long list of thank yous. Thanking Oprah and Bill O’Reilly- further proof that any publicity is good publicity.

9:26 Did I mention there’s a contest to sing with Justin Timberlake? And YOUR vote matters. Unless you live in Ohio, northern Florida or poor neighborhoods of Boston.

9:33 Terence Howard onstage. I wish I could wear a vest like that. Introducing an award for Maria Callas. Long overdue, but a nice presentation. And introducing Mary J. Blige, speaking of divas. (“This song is very important to me, let me talk about me some more…)

I’ll be honest, as I said, I don’t get it. She sings fine, but not any better than Beyonce or a host of others. She talks about herself in the third person. She’s hyperdramatic. Okay, this is more a reflection of me than her- I’ve seen so many people get caught up in their own drama. Even when the drama moves in a positive way, it’s still drama, and only invites more drama. Maybe songwriters need that. She is playing the diva to a hilt.

9:38 “Soon to be seen in “vacancy”, I love these product placements. Best country album. Dixie Chicks will win again. But I hope Willy Nelson does, because… well, do I even need to explain? I’m right again!! I wish there were NFL games to pick this week. Now do they go political? Nope. Allusions, but nothing about Wubba. Damn.

9:47 Reba McIntyre introduces the Eagles tribute. But first she talks about the Texas Playboys, again richly deserving of all praise. (There’s a great bit about them in Ratliff’s 100 Best Jazz Albums, which again is worth the read)

First, though, Carrie Underwood sings a Playboys tribute, with their fiddle player. I’ve missed her completely, due to my intentional avoidance of anything Idol. If this performance is any indication, she’s not very good- she clearly respects the music, but it’s obvious she hasn’t really lived with it, as the really good ones in any genre have to. (To be fair, it could be nerves. That’s a pretty nerve-wracking situation, and she’s still real young.)

Now the Eagles stuff. I really dislike the Eagles- everything I don’t like about 70s rock. Okay, not everything- the Eagles were never overtly racist. Henley seems the opposite. So I’ll abstain from this mess- if you can’t say something nice, etc. I want Sly Stone back.

9:59 Natalie Cole and ORNETTE COLEMAN?? And Ornette gets a big hand. (Would it be too much to give him a real Grammy. He did make probably The best jazz album of last year.) Gets lifetime achievement honor. He deflects the attention himself to an award featuring five musicians who couldn’t carry his mouthpiece- totally Ornette. Very beautiful, and a great lesson. Also, a great suit. Best new artist- Carrie Underwood will win. She wins. (If someone just performed, she’ll win the next one. That’s the formula.) I’m just kind of glad James Blunt didn’t win. You’re beautiful. You’re beautiful! You’re *&$^#%^n OVERPLAYED!

10:08 Sam Jackson on R&B. He has become the safe shorthand for soulful. With Cristina Ricci, the whitest beautiful woman I’ve ever seen. (Great dress). An R&B medley- Smokey, Chris Brown, and Lionel Richie. Smokey sounds okay- not his 60’s best, but not bad- but looks like he’s a victim of waaay too much Botox. And he’s too low in the mix- you’d think with their budget they could fix this crap.

“Hello” by Lionel Richie. This was the musical accompaniment to a slideshow at my cousin’s wedding in 1983 or so. And I’m sure he and his (fantastic) bride aren’t the only ones. This is technically R&B I know, but can’t we do any better than this in a “tribute” medley?

Oooh, feedback. Other than that, Lionel is in good voice.

And Chris Brown steps with a whole crew dressed like a cross between a frat boy and Freddie Krueger. Complete with cute 5 year old who dances his ass off- tacky. Putting him behind Smokey and Lionel Richie just drives home how overproduced, badly written and piss-poor commercial R&B is right now. No melodies, too many word is each line that don’t really say anything. (See also, Beyonce’s current single, and several others whose names I don’t want to know) I have seen R&B sir- Stevie Wonder, Marvin Gaye, Sly Stone... and you, sir, are NOT great R&B. Child CAN dance, though.

This does NOT deserve a standing O. No way in hell.

10:16 Cut right to Christina Agulera singing… “It’s a Man’s World”. Now, I know there had to be a James Brown tribute, it’s only right. But she’s not the first person I would’ve thought of at all. That said (okay webbies, ready, aim) I think she’s pulling it off. I really wish they would’ve had Maceo or someone from that crew front and center. More cred.

Okay, Christina just did her make-dogs-bark squeal. I take back most of that last paragraph. And she was doing so well. (sigh…)

I'm running out of gas. I just don't care THAT much.

Darcy pointed this out a couple of years ago- when someone signs up for Idol, they literally sign their whole life, and afterlife away. (I think Smoking Gun has the contract. Will link someday) Is it really necessary to gushingly thank them? Will you still be thanking them when you’re forty and hustling on the Holiday Inn and cruise ship circuit?

10:25 Ooh, my favorite part, the president of the Academy! The man whose public approach to piracy reinforces the idea that the industry has it head up it’s #$s. Now pimping two teenagers to ask people to support music education and hype the Grammy Foundation. This piano player is clearly happening, and rushing like crazy. (I can’t imagine how nervous he must be right now.)

That said, working in a public school system, I know this pitch to contact your elected officials is painfully necessary. And appreciated.

10:28 The list of those now gone. Don Alias is missing. I didn’t know Toure had died this year. Was Buck Owens in “Nashville” and “Blues Brothers”? Nice JB footage, nicer cut to a dancer onstage- I think JB would’ve been okay with that one. I always love/hate this montage. It’s always very well done, and a sad reminder of the fact that nothing is permanent. (And, no Don Alias is just not fair!)


10:37 Make David Spade go away, please? (Though his one-liner was not bad) Introducing Ludicris + Mary J Blige + Earth Wind and Fire. I had no idea this song (“Run Away Home”) was his. I think it’s a little heavy handed, but not bad. Again, the mike is hot. I have friends who could do a better job with the sound here, given the budget!

Someday someone will write a hip-hop tune that’s socially conscious and not heavy handed. (Public Enemy gets a pass) This one ain’t it. Then they bring out kids with candles, in case they didn’t drive home the point.

What a waste of Earth, Wind and Fire.

10:42 James Blunt dedicates his performance to Ahmet Ertugn (sp?) Nice touch. Here it is,- You’re Beautiful. You’re Beautiful. You’re Painfully Overexposed. (It really isn’t a bad song, There’s one like this every year.)

I’ll take this pause in the action to note that there was not one classical OR jazz performance this year, and I don’t see one coming. The last time I watched the show through they at least threw a bone and had Chick play with Foo Fighters. The industry eats its young…

Not to belabor the point, but Blunt’s vocal mike just made a really funny hiss- amateur hour.

10:52 “Your Grammy moment.” Robin somebody. Justin is covering the great Bill Withers tune “Ain’t No Sunshine”. This girl, in her big one-shot moment, is not in tune. Really not in tune. The voters do know how to pick ‘em.

10:54 Okay, we’re on safer ground now- Justin’s tune “My Love”. As my mom would say, that’s a nice dress she’s almost wearing.

All that hype… for THAT?

10:58 Tony Bennett and Quinten Tarentino. Odd couple indeed. QT saying “sumpin sumpin” is just weird. Record of the year. I don’t know on this one. (QT has a future as a basketball arena announcer. This is the most animated moment of the evening so far.)

Dixies win again- where was all this industry support when people were burning them in effigy? Still no politics- I’m so disappointed.

Chris Rock introduces the Chili Peppers. Damn you, Grammy producers. You know I’d stay for that!

11:09 Walk away for ten seconds and miss Chris Rock. Couldn’t have been that good. Have the Chili Peppers become a cruel parody of themselves? They still play well, but there’s no edge to the music anymore. Thoughts? (I was never invested in them, so I can’t care that much)

I just noticed their little grafitti sign- “Love to Ornette Coleman”. I can dig that.

Pan to the crowd- they are SOOO ready for the afterparty.

11:13 Al Gore and Queen Latifah???!! To hear him praising the musical community (and presenting the best rock album) in just surreal. I want “John Mayer Trio” or Tom Petty to win. So neither will- the Peppers will. And do. Please let them, let SOMEBODY say something that people will talk about tomorrow morning. And they don’t- who threatened these people with what before the show? (Yes, I’m getting tired. I’m getting snarkier) I blame Dick Cheney- why not?

11:19 I’ll break my commercial pledge. I just saw a cruise ship X commercial- new, even cheesier music (probably done by one of the company’s singers and show bands, yes they’re that cheap), same footage, same tagline. In my experience, it doesn’t look like that in real life.

11:22 Finally, album of the year. Scarlett Johannsen is recording an album? Lord save us. They almost pulled that one-liner off. My hunch says Dixie Chicks win. Gnarls Barkley should, and certainly won’t. I’m right again. I’d rather not be right.

And it’s over. What a boring show- no major slip-ups (unless you count the sound guy) No overt politics. Some good performances, some less good, no great ones. I remember the first year I watched the grammys through- I think it was 1988, the year Tracy Chapman won Best New Artist and Bobby McFerrin won Best Album for “Don’t Worry Be Happy”. I don’t remember who else was there and playing, but I do remember being inspired by a lot of the music and musicians I heard, and the energy they created. I know that was probably an unusually good year, and I know I was a lot younger and greener, but I guess I keep watching the Grammys in the hopes of seeing an energy like that again. I’m still waiting.

Good night, everybody!

old lady awards

Edited 12/9, to add the arranging categories. Will try to make it neater soon)

Passing over the fact that the allegedly hippest award in entertainment sounds like me calling for my father's mother at age five, it's Grammy time again! What it says about the state of music today, didly squat. But for those keeping score at home, the "jazz" categories this year are:


Best Contemporary Jazz Album
The Hidden Land- Béla Fleck & The Flecktones[Columbia]
People People Music Music- Groove Collective[Savoy Jazz Worldwide]
Rewind That- Christian Scott[Concord Jazz]
Sexotica- Sex Mob[Thirsty Ear Recordings, Inc.]
Who Let The Cats Out?-Mike Stern[Heads Up]

Best Jazz Vocal Album
Footprints- Karrin Allyson[Concord Jazz]
Easy To Love- Roberta Gambarini[Groovin' High/Kindred Rhythm]
Live At Jazz Standard With Fred Hersch- Nancy King[Maxjazz]
From This Moment On- Diana Krall[Verve]
Turned To Blue- Nancy Wilson[MCG Jazz]

Best Jazz Instrumental Solo (For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter's name is in parenthesis for identification. Singles or Tracks only.)
Some Skunk Funk- Michael Brecker, soloist Track from: Some Skunk Funk (Randy Brecker w/Michael Brecker)[Telarc Jazz/BHM]
Paq Man Paquito D'Rivera, soloistTrack from: From The Heart (Hilario Duran And His Latin Jazz Big Band)[Alma Records]
Freedom Jazz Dance Taylor Eigsti, soloist Track from: Lucky To Be Me[Concord Jazz]
Hippidy Hop (Drum Solo) Roy Haynes, soloist Track from: Whereas[Dreyfus Jazz]
Hope Branford Marsalis, soloist Track from: Braggtown[Marsalis Music/Rounder]

Best Jazz Instrumental Album, Individual or Group
Ornette Coleman- Sound Grammar [Sound Grammar]
The Ultimate Adventure Chick Corea[Stretch Records]
Trio Beyond — Saudades Jack DeJohnette, Larry Goldings & John Scofield[ECM]
Beyond The Wall Kenny Garrett[Nonesuch]
Sonny, Please Sonny Rollins[Doxy Records]

Best Large Jazz Ensemble Album
Some Skunk FunkRandy Brecker With Michael Brecker, Jim Beard, Will Lee, Peter Erskine, Marcio Doctor & Vince Mendoza conducting The WDR Big Band Köln[Telarc Jazz/BHM]
Spirit MusicBob Brookmeyer — New Art Orchestra [ArtistShare]
Streams Of Expression- Joe Lovano Ensemble [Blue Note Records]
Live In Tokyo At The Blue Note- Mingus Big Band [Sunnyside/Sue Mingus Music]
Up From The Skies — Music Of Jim McNeely- The Vanguard Jazz Orchestra [Planet Arts Recordings]

Best Latin Jazz Album (Vocal or Instrumental.)
CodesIgnacio Berroa[Blue Note Records]
Cubist MusicEdsel Gomez[Zoho]
SimpáticoThe Brian Lynch/Eddie Palmieri Project[ArtistShare]
Absolute QuintetDafnis Prieto[Zoho]
VivaDiego Urcola, Edward Simon, Avishai Cohen, Antonio Sanchez & Pernell Saturnino[CAM Jazz]

Composing/arranging

Best Instrumental Composition
(A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.)

Argument
Taylor Eigsti, composer (Taylor Eigsti)
Track from: Lucky To Be Me
[Concord Jazz]

A Concerto In Swing
Patrick Williams, composer (The Henry Mancini Institute Orchestra & Big Band)
Track from: Elevation
[Concord Records]

A Prayer For Peace
John Williams, composer (John Williams)
Track from: Munich — Soundtrack
[Decca Records]

Sayuri's Theme And End Credits
John Williams, composer (John Williams, Yo-Yo Ma & Itzhak Perlman)
Track from: Memoirs Of A Geisha — Soundtrack
[Sony Classical]

Valentine
Fred Hersch, composer (Fred Hersch)
Track from: In Amsterdam: Live At The Bimhuis
[Palmetto Records]

Best Instrumental Arrangement
(An Arranger's Award. (Artist names appear in parenthesis.) Singles or Tracks only.)

Attack Of The Killer Tomatoes
Gordon Goodwin, arranger (Gordon Goodwin's Big Phat Band)
Track from: The Phat Pack
[Immergent]

Three Ghouls
Chick Corea, arranger (Chick Corea)
Track from: The Ultimate Adventure
[Stretch Records]

Three Women
Gil Goldstein, arranger (Gil Goldstein)
Track from: Under Rousseau's Moon
[Half Note]

Tom & Eddie
Patrick Williams, arranger (The Henry Mancini Institute Orchestra & Big Band)
Track from: Elevation
[Concord Records]

Up From The Skies
Jim McNeely, arranger (The Vanguard Jazz Orchestra)
Track from: Up From The Skies — Music Of Jim McNeely
[Planet Arts Recordings]

Best Instrumental Arrangement Accompanying Vocalist(s)
(An Arranger's Award. (Artist names appear in parenthesis.) Singles or Tracks only.)

For Once In My Life
Jorge Calandrelli, arranger (Tony Bennett & Stevie Wonder)
Track from: Duets: An American Classic
[RPM Records/Columbia]

Good Morning Heartache
Gil Goldstein & Greg Phillinganes, arrangers (Chris Botti & Jill Scott)
Track from: To Love Again — The Duets
[Columbia Records]

My Flame Burns Blue (Blood Count)
Vince Mendoza, arranger (Elvis Costello With The Metropole Orkest)
Track from: My Flame Burns Blue
[Deutsche Grammophon]

Stardust
Slide Hampton, arranger (Dizzy Gillespie All-Star Big Band)
Track from: Dizzy's Business
[MCG Jazz]

Suninga
Gil Goldstein, arranger (Gil Goldstein)
Track from: Under Rousseau's Moon [Half Note]

taken from the Grammy site.

Congrats especially to Ornette (way past due) and Bob Brookmeyer, though I think both are at the point where voters feel compelled to nominate them if they put something out. (Don't get me wrong, both albums are excellent) To Sex Mob as well, the only useful entry in their category. And I love Fred Hersch's tune "Valentine", both the vocal recording with Norma Winstone and the nominated version. (Fred makes a cameo at Do the Math this week)

Who the hell is Taylor Eigsti? Two nominations??!! I know I'm not as well versed as I used to be, but damn...

I have no special beef with Mike Stern, and he's a helluva guitar player, but "Who Let the Cats Out" could well be the Worst. Album. Title. Ever.

My two cents- I'd say a better than average year for both the vocal category, even if we all know Diana Krall is going to win, and the instrumental album category as well. My heart and brain say Ornette, my gut says Chick... !~$#%@n popularity contests.

Current listening: "You Can't Have Everything" from Winter Truce (and Home Blazes)- Django Bates. Seemed appropu.

The unfairer festival

(Via Darcy) Jazz @ Lincoln Center presents the Second Annual Diet Coke Women in Jazz Festival.

Put aside the annoying product placement for a second, and assume that festival this is a good idea. Look at the bills. C'mon, people, this is why so many musicians and more forward looking fans get so pissed at Wynton et al so often, even as their rhetoric cools. The booking shows a general failure of imagination. There's an overabundance of mainstream singers (is it a requirement of jazz singers to do a set at least once a week with "very special friends"?), and with the exception of the "Europe night" (I plead ignorance on these artists), the artists they present do okay on their own. Why not pair Elaine Elias with Ingrid Jentsen's group (to name one), or Marian McPartland with the IAJE's Sisters in Jazz group? Why not expiriment with presentation, invite someone like Nancy Ostrovsky or dancers? If you're going to take a chance beyond your usual booking policy, why not, you know, take a chance?

And I know this is a LOT to ask of Lincoln Center, how about representing some of the stylistic diversity in the music today? We're far past the point where just having a latin group (and Spirits of Havana is a damn good one) shows the breadth of the music. Off the top of my head, where are Susie Iberra, Mary Halverson, Patricia Barber, etc? Anyone, anyone?

I should hold off, I know- the late night sets are TBA, and surprisingly affordable for J@LC. But as other "art music" organizations, up to and including many symphony orchestras, find new and interesting ways to present and promote music, the few jazz organizations that do exist, especially J@LC, seem to be stuck in a time warp.

(Oh, the sponsorship. Darcy clubs it, and justly. But maybe I'm just cynical at this point, but if Coke wants to throw money at the arts, they can call it the jolt cola edible undergarments festival for all I care. The music still gets played.)