Remembering today, and fixing the hole

A few months after 9-11, I went to a talk by Buddhist monk and peace activist Thich Nhat Hahn. Thay (his nickname, translates loosely as “teacher”) said early in the talk that were he given the opportunity to talk to Bin Laden, the first thing he would do is listen, and let Bin Laden air his grievances. Only then would he speak, and try to address him and the horror that he has directly or indirectly created. (Here he explains that comment, and what he’d say to America) Even for a very sympathetic crowd, this was a hard statement to swallow. He was called on it in the Q&A portion of the talk, and didn't change his tune an inch. He believes fervently that a radical non-violence, rooted in listening and compassion, is ultimately the only way out of the violence we're in, personally and societally.

I don’t care to a lot of time or space resurrecting 9-11. But I’ve been thinking a lot about Thay’s talk, and what it still means five years later. I don't know what I'd say to Bin Laden, or Bush for that matter, but I doubt I'd be able to be so equanimous. What I, and I think many of us here in the States do remember most about 9-11 is first the horror of the day, but then the remarkable way that Americans opened their hearts in the days following. In all of the fear and pain, we reminded ourselves of the amazing human potential to love, to reach beyond ourselves in service of a bigger whole.

… And then, collectively, we promptly forgot. Perhaps because we’re jaded, perhaps because we weren’t sufficiently asked*, perhaps because it all seemed so big and overwhelming, we allowed our nation to take a policy of creating a big terrible “them”, (first the Taliban and Al Queda, then Hussein and the Iraqi insurgency) rather than really probing difficult questions about our problems and culpability. We allowed politicians, particularly but not exclusively Bush and his ilk, to exploit our fear and anger into an unprovoked, reckless war with no end in sight. We went back into the Middle East with too many bombs and not enough butter, and didn’t even to attempt to understand things from a Muslim perspective. We forgot the adage of keeping our friends close and our enemies closer, and that the less enemies you make, the less time you spend fighting them.

I don’t pretend to have answers to the big questions this anniversary poses, of security versus personal liberties, of how to allocate resources, of how to leave Iraq without further destabilizing the region. But I believe deeply that the only way out in the long term is if we, individually and collectively, operate from a place of love, open our hearts and listen to the suffering of the victims of 9-11 and its aftermath- American, Afghani, Iraqi, whoever- even the ones we find odious, even the ones who want to destroy us. I know this sounds tremendously naïve to many, and I don’t mean “love” in a hippie or Hallmark way; I mean the ability to face the truths about ourselves, and to operate with compassion- not pity, not denial- towards ourselves and others. When we do that, when we wake up, positive change is possible. We saw it five years ago, and we let it slide away. We can see it again.

Another way of putting it, from old friends at Spiritus Christi in Rochester (pdf file):

"Fighting terrorism has become the rational for a myriad of actions including bombing cities, killing innocent people, locking people up without telling them the charges, dumping shampoo bottles at airports, and most importantly, securing access to oil. I believe we need a different national goal than fighting terrorism. What if our actions were designed instead to “create peace”? Would we choose a different means to achieve that end? Would our military strategy be different? Would the terrorists have less effect on young men and women if we were known as a peaceful country? Please reflect on this and share your thoughts with your congress people. The world cannot afford our silence."

* Aside- I think the single biggest political missed opportunity since 9-11 has been on the issue of energy independence. We had both the opportunity and the rationale to put forward a program on the scale of the Marshall Plan or the man on the moon to make America energy independent, and to rapidly accelerate the development of “alternative fuels”. This would go a long way towards bolstering our national security, making our biggest adversaries less potent by making them less crucial to our economy, and oh, yeah, saving the planet. Instead, it’s taken five year, Iraq, Katrina, and $3 a gallon gas to even put these issues on the table a little bit. It’s not surprising, given both parties connections to and fiscal dependence on big oil, but it’s no less shameful. On a personal level, here’s a starting point.

Other links:
The most interesting and useful reflections I've seen has been the lead in this week's Boston Phoenix. Other thoughts, suggestions and links always welcome.
Alex Ross on music and the days following 9-11.
Sasha Free Jones

It Should've Happened a Long Time Ago

(Edited 12/7/06 to add Coon Bid'ness and Dixon's November 1981)

The hivemind has spoken, and The Bad Plus has dutifully put it all out there. Ethan's list, and the subsequent web chatter has resulted in a tremendous outpouring of lists, opinions, commentary and (for me, at least) eye-opening musical revelations and reminders. It's a great (if vast) jumping off point for the overcriticized, underappreciated recent history of jazz and improvisation.

Since the list over there is a little unwieldy (I'm amazed Ethan & co. got it up so quickly as it is), and since I have way too much time on my hands temping this week, below is the cliff notes version of the combined lists on TBP site, plus everyone else (that I know of) who has chimed in. (It was either this or obsess over the football games this weekend, and I think this is a trifle more useful.) It lacks the passion that goes along with so many of the individual lists, but I think it's interesting, and handy, to have everything just splayed out in one place

First a disclaimer: this was just an elaborate cut and paste job; I cannot guarantee the accuracy of the information here, and I'll correct, amend and revise it it as best I can, if the need arises. Appearance on the list does not necessarily mean a record is endorsed, by me, TBP, or anybody else for that matter. (Well, it was endorsed by at least one person, that's why it's there.) I did knock a few off the list because they fell outside the '73-'90 parameters Ethan set.

To be as democratic as possible, and to keep myself from throwing the monitor out the window, the list is alphabetical according to first name . A (*) indicates a record that was mentioned more than once (always a good sign), and a link is to particularly interesting commentary about that record. Also, I know the spacing and caps is a little erratic; I couldn't fix everything , and the spacing is only to make it a little more legible.

So, here 'tis:

Abdul Wadud - By Myself (1977, Bisharra)
Abdullah Ibrahim, Johnny Dyani, Echoes from Africa (Enja, 1979) (also see Dollar Brand for Abdullah)
Air – Air Time (Nessa), 80º Below ’82 (Antilles), Open Air Suit (Arista), Air Lore
al cohn-jimmy rowles, heavy love, 1977, xanadu.
Al Di Meola, John Mclaughlin,Paco De Lucia, Land of the Midnight Sun 1976, Gypsy 1977, Splendido Hotel 1978
Alex Schlippenbach Quartet- The Hidden Peak (FMP) *
Allan Holdsworth- Metal Fatigue 1985 Enigma, 1989 Intima
Alterations – Up Your Sleeve (!Quartz)
Alvin Queen-Jammin’ Uptown (Nilva)
Andrew Hill- Shades (Soul Note), HOMAGE 1975, EAST WIND.
Andrew Cyrille- Nuba (1979)
Anthony Braxton - Dortmund (Quartet) 1976 (Hat Art) *, For Trio (Arista), Montreux/Berlin Concerts (Arista), Quartet 1989 (Leo), Creative Orchestra Music 1976 (Arista) *, Montreux/Berlin Concerts (Arista), Alto Saxophone Improvisations 1979 (Arista), Five Pieces 1975 (Arista) *

Anthony Braxton/Derek Bailey Duo – Wigmore Hall Concert (Emanem)
Archie Shepp and Horace Parlan - Trouble in Mind (Steeplechase), goin' home 1977, steeplechase.
archie shepp trio, steam 1976, enja.
Area Crac (Cramps)
Area Maledetti (Cramps)
Art Blakey and the Jazz Messengers- Blue Night (Timeless)
Art Ensemble of Chicago - Fanfare for the Warriors (Atlantic, reissued by Koch Jazz and 4 Men with Beards), Full Force (ECM), Live in Berlin (West Wind), Nice Guys (ECM) *, The Third Decade (ECM).

Art Farmer - Something to Live For (Contemporary) TO DUKE WITH LOVE, 1975, EAST WIND
art pepper quartet, landscape; 1979, galaxy, thursday, friday, saturday live at the village vanguard; 1977, contemporary,living legend1975, los angeles, contemporary records.

Arthur Blythe - Basic Blythe (Columbia), Illusions (Columbia, reissued by Koch Jazz) *, Stones, Bush Baby

Barry Altschul group, you can't name your own tune; 1977, muse.
Barry Harris- Plays Tadd Dameron, Live in Tokyo
BEAVER HARRIS 360 DEGREE EXPERIENCE, BEAUTIFUL AFRICA; 1979, SOUL NOTE.
Bela Fleck and the Flecktones 1989 Warner
Bennie Maupin – Jewel in the Lotus (ECM) 1974 *
Bill Bruford Feels Good to Me (EG)
Bill Dixon – Considerations I, November 1981
Bill Evans - I Will Say Goodbye (1977), Will Meet Again (Warner Brothers) *, THE FINAL VILLAGE VANGUARD SESSIONS 1980, MOSAIC.
TONY BENNETT-BILL EVANS ALBUM, 1975, FANTASY.
Bill Frisell Band, Lookout For Hope (ECM).
Billy Bang; Butch Morris – Dust to Dust;
Billy Cobham- Spectrum (1973) *
Billy Harper Black Saint (Black Saint), Capra Black (Strata East)
Billy Hart – Enhance (A&M) *, Oshumare (Gramavision).
Blue Notes in Concert Vol 1 (Ogun)
Bob Brookmeyer - Mel Lewis Orchestra - Live at the Village Vanguard (1980), Make Me Smile (1982)
Bob Brookmeyer / Stockholm Jazz Orchestra - Dreams (1988)
Bob Brookmeyer- Back Again (Sonet).
Bob James – 3 (Tappan Zee)
Bob Moses- When Elephants Dream of Music (Gramavision)
Bobby Bradford- Love’s Dream (Emanem), LOST IN LA 1983, SOUL NOTE.
Bobby Hutcherson- Cirrus (Blue Note), Knucklebean (Blue Note)
Bobby Naughton – The Haunt (Otic)
Bobby Previte - Empty Suits (Gramavision)
Branford Marsalis, Royal Garden Blues (Columbia).
Brecker Brothers – Heavy Metal Bebop (Arista) *
BUCK HILL QUARTET- SCOPE-1979, STEEPLECHASE.
Burt Bacharach and the Houston Symphony "Woman", 1979.

Carla Bley, Social Studies (1980)
Carmen McCrae- Fine and Mellow: Live at Birdland West (1986)
Cassandra Wilson - Point of View (JMT)
Cecil Taylor - 3 Phasis (New World), Berlin '88 (FMP), Looking (Berlin Version) (FMP), Silent Tongues (Freedom), Cecil Taylor Live in The Black Forest (MPS), Cecli Taylor Unit Live in Bologna (Leo), For Olim (Soul Note), Spring of Two Blue Js (Unit Core/J-for-Jazz), Fly! Fly! Fly! Fly! Fly! (1980, MPS), The Garden (1981, hatART)

Cedar Walton "Eastern Rebellion" (Timeless) 1975 *, Naima (Savoy)
charles brackeen quartet- worshippers come nigh; 1987, silkheart.
Charles Gayle – Touching on Trane
Charles Mingus - Changes One (1974), Changes Two (1974)
Charles Tolliver Impact (Strata East) 1975 *, Live in Tokyo (Strata East)
Charlie Haden – Quartet West (Verve), Golden Number (A&M) *
Charlie Haden/Carla Bley, The Ballad of the Fallen (ECM).
Charlie Haden/Paul Motian featuring Geri Allen, Etudes (Soul Note).
Chet Baker and Paul Bley, Diane (Steeplechase).
chet baker- peace; 1982, enja, blues for a reason; 1984, criss cross, Symphonically (Soul Note)
Chick Corea - "Mirror, Mirror" 1980, Three Quartets 1981 *
Chick Corea/Dave Holland/Barry Atschul- The Quest (Palo Alto)
chico freeman- the outside within 1978, Tradition in Transition (Electra Musician), Chico Hamilton & the Players (Blue Note)
Chris McGregor’s Brotherhood of Breath Live at Willisau (Ogun)
clifford jordan- glass beads vol2; 1973, strata east *, repetition; 1984, soul note.
Collin Walcott, Don Cherry, Nana Vasconcelos, Codona 3 (ECM).

Dave Holland – Triplicate (ECM)*, Seeds of Time (ECM, 1984), Jumpin’ In (ECM) *, The Razor’s Edge (ECM) *

Dave Liebman/Richie Beirach- The Duo Live (Advance Music).
David Murray Octet - Ming (Black Saint) *, Murray’s Steps (Black Saint).
David Sanborn– Straight to the Heart (Warner Brothers)
David Sancious and Tone Transformation (Epic)
Derek Bailey- Notes (1985, Incus)
Derek Bailey- Aida (Incus, reissued by Dexter's Cigar), New Sights, Old Sounds (Morgue) and Time (Incus)
Derek Bailey and Evan Parker- Compatibles (1985)
Derek Bailey and Tony Oxley - Soho Suites (Incus)
Derek Bailey, George Lewis and John Zorn - Yankees (Celluloid, reissued by Charly) –
Dewey Redman and Ed Blackwell- In Willisau (Black Saint).
Dewey Redman- The Ear of the Behearer (Impulse), Struggle Continues (ECM)

Dexter Gordon Generation (Prestige), Homecoming (Columbia) *, Sophisticated Giant (Columbia), The Other Side of Round Midnight (Blue Note).
dizzy gillespie sextet- the giant; 1973, accord.
Dollar Brand Duo (w Johnny Dyani)
Dolo Coker Dolo! (Xanadu)
Don Byron - Tuskegee Experiments (1990-1991)
don cherry- art deco1988, a&m, BROWN RICE1975, A&M, Relativity Suite
Don Pullen- New Beginnings (Blue Note), CAPRICORN RISING 1975, BLACK SAINT.
Don Pullen/George Adams Quartet - Breakthrough (Blue Note), Live at the Village Vanguard (Soul Note)
Donald Brown, "Sources of Inspiration" Check out Progress Report. 1989.
duke jordan quintet, duke's delight; 1975, steeplechase

Ebenhard Weber- Later That Evening (1982, ECM)
Eddie Harris – That is Why Your Overweight (Atlantic)
Eddie Henderson Realization (Capricorn), Sunburst (Blue Note), Inside Out (Capricorn)
Egberto Gismonte/Charlie Haden/ Jan Garbarek, Magico, Folk Songs
Elton Dean- Boundaries (Japo)
Elvin Jones- Earth Jones (Palo Alto) *
Enrico Rava Quartet (1978, ECM)
Evan Parker - Saxophone Solos (Incus, reissued by Chronoscope,) Atlanta (Impetus)

Frank Lowe - Black Beings (1973, ESP)
Frank Zappa “Jazz from Hell” (1986), The Grand Wazoo 1973 Ryko
Fred Anderson - The Missing Link (1979, Nessa)
Fred Hersch, Sarabande (Sunnyside).
Freddie Hubbard Keep Your Soul Together (CTI), Red Clay, Straight Life, Sky Dive, Super Blue (Columbia), Outpost (ENJA)*, The Griffith Park Collection (Electra Musician)

Gary Bartz –Music Is My Sanctuary (Capitol)
Gary Burton- New Quartet (1973), Matchbook (1974), Dreams So Real (1976), Passengers
Gary Peacock- Guamba (ECM).
Gary Thomas – By Any Means Necessary (JMT)
Gateway - Gateway (1975), Gateway 2 (1977)
GEORGE LEWIS- HOMAGE TO CHARLES PARKER 1979, BLACK SAINT.
George Russell: Electronic Sonata for Souls Loved By Nature (1980)
Geri Allen – In The Year of the Dragon (JMT)
Gil Evans - Svengali (1973), Plays The Music Of Jimi Hendrix (1974), Priestess.
Globe Unity Orchestra - Hamburg '74 (1974, FMP reiss. Atavistic/UMS); Improvisations (1977, Japo), Compositions (1979, Japo), Special Evidence (FMP)
Graham Collier Portraits (Saydisc)
Grover Washington – Feels So Good (Kudu)
Günter Christmann / Paul Lovens / Maarten Altena - Weavers (1979-80, Po Torch)
Günter Christmann & Torsten Müller - Carte Blance (1985, FMP)


Hampton Hawes and Charlie Haden. As long As there's Music
Hampton Hawes, At The Piano (Contemporary) Survival of the Fittest (Arista).
Henry Threadgill – You Know The Number (RCA Novus) *, Just the Facts and Pass the Bucket (About Time), When Was That? (About Time), Rag Bush and All

Herbie Hancock - Man-Child (1975), Sextant (Columbia), "The Piano" (1979?), Thrust (Columbia), Headhunters (Columbia), V.S.O.P. (Columbia).

Horace Silver Silver ‘n Brass (Blue Note)
horace tapscott quartet, The Dark Tree, vol1&2*; 1989, hatart, live at lobero, vol1&2; 1981, nimbus

Irene Schweizer & Rudiger Carl - The Very Centre of Middle Europe (1978, Hat Hut)
Jack DeJohnette - New Directions (ECM), Edition (ECM), New Directions In Europe (ECM), Timeless 1974 ECM

Jaco Pastorius (self titled), Word of Mouth (Warner Bros) *
Jamaaladeen Tacuma, Jukebox (Gramavision 1988); cheesy in the best way.
James Blood Ulmer - Odyssey (Columbia) *
James Newton- Suite for Frida Kahlo
James Newton, Anthony Davis and Abdul Wadud - I've Known Rivers (Gramavision) -
Jan Garbarek-Bobo Stenson Quartet: *Witchi-Tai-To* (ECM, 1974).
Jane Ira Bloom - Slalom (Columbia, reissued by Koch Jazz)
Jeff Beck- Blow By Blow 1975 Epic
Jim Hall "Live", 1975, "Jazz Impressions of Japan"
Jim McNeely - East Coast Blow Out (1989)
JIMMY LYONS-ANDREW CYRILLE DUO, BURNT OFFERINGS;, BLACK SAINT.
jimmy raney trio, live in tokyo; xanadu.
Joanne Brackeen Fi-Fi Goes to Heaven (Concord)
Joe Henderson – The State of the Tenor Vol 1 & 2 (Blue Note) *, "Relaxin at Camarillo", Mirror (MPS), An Evening with Joe Henderson, Charlie Haden, and Al Foster (Red).
Joe McPhee - Tenor (1976, Hat Hut)

John Carter- Dauwhe, Castles of Ghana, ** Dance of the Love Ghosts, Fields, Shadows on the Wall, A Suite of Early American Folk Pieces for Solo Clarinet (1979, Moers)

John McLaughlin- Apocalypse (1974 Columbia), Shakti (1976, Columbia?)
John McNeil: Embarkation
John Scofield – Loud Jazz (Grammavision), "Time on my Hands"
John Zorn, George Lewis and Bill Frisell - News for Lulu, More News for Lulu (Hat Hut)
John Zorn, Naked City (Nonesuch), The Classic Guide to Strategy (1983-85, Lumina/Tzadik)
JOHNNY DYANI QUARTET, SONG FOR BIKO;1978, STEEPLECHASE.
Joint Venture - Ways (Enja)
Joni Mitchell- Don Juan’s Reckless Daughter, Mingus, Shadows and Light
jr montrose-tommy flanagan duo, a little pleasure; 1981, uptown.
julian priester ensemble, love love; 1973, ecm*
Julius Hemphill and the JAH Band - Georgia Blue (Minor Music) -
Julius Hemphill, Blue Boyé (Screwgun), Coon Bid'ness

Keith Jarrett American Quartet- Fort Yawuh (1973, MCA-Impulse) Backhand (1974, MCA-Impulse) Treasure Island (1974, MCA-Impulse) Death and the Flower (1974, MCA-Impulse) Shades (1975, MCA-Impulse) Mysteries (1975, MCA-Impulse) Eyes of the Heart (1976, ECM) The Survivor's Suite (1976, ECM) Byablue (1976, MCA-Impulse) Bop-Be (1977, MCA-Impulse) *
Keith Jarrett European Quartet - Belonging (1974), Personal Mountains
Keith Jarrett- Shades (Impulse) *
Keith Jarrett Standards Trio, Standards Live (ECM), Standards, Vol. 1 and Vol. 2 (ECM). Changes (ECM, 1983)

Keith Tippett’s Ark Frames (Ogun)
ken mcintyre quartet- hindsight; 1974, steeplechase.
Kenny Garrett- Introducing Kenny Garrett Criss-Cross feat. Woody Shaw--1985
Kenny Werner- Introducing the Trio (Sunnyside).
Kenny Wheeler - Deer Wan (1977), Around 6 (1979), Double, Double You (1983), Flutter By, Butterfly (1987), The Widow In The Window (1990), Music for Large & Small Ensembles (1990) Gnu High *

khan jamal quartet- dark warrior; 1984, steeplechase
Kip Hanrahan - Desires Develops An Edge *, Conjure I and II, Days and Nights of Blue Luck Inverted, Music for the Text of Ishmael Reed
Kirk Lightsey Temptation (Timeless)

Larry Young – Lawrence of Newark
Last Exit - Cassette Recordings '87 (Celluloid)
Lee Konitz and Red Mitchell- I Concentrate on You 1974, satori; 1974, milestone.
Lester Bowie The 5th Power (Black Saint)
Louis Moholo Octet – Spirits Rejoice (Ogun).
Lounge Lizards - Voice of Chunk (Lagarto, reissued by Strange and Beautiful)

Mahavishnu Orchestra Between Nothingness & Eternity (Columbia), Birds of Fire (Columbia)
Mal Waldron The Git Go-Live at the Village Vanguard (Soul Note), What It Is (ENJA), You and the Night and the Music (ProJazz).
Mal Waldron/Steve Lacy, Sempre Amore (Soul Note), One Upmanship (Enja)
Marc Johnson’s Bass Desires, Second Sight (ECM). *
Marilyn Crispell- "Concert in Berlin" (1983, FMP/SAJ)
Michelle Rosewoman - Quintessence
Mark Helias, The Current Set (ENJA).
Marty Ehrlich Quartet - The Traveller's Tale (Enja)
Marvin “Smitty” Smith Keeper of the Drums (Concord)
mary lou williams trio, free spirits; 1975, steeplechase.
Max Roach and MBOOM ENSEMBLE, RE.PERCUSSION1979, COLUMBIA.
max roach quartet, scott free; 1984, soul note.
max roach-abdullah ibrahim duo, streams of consciousness;, baystate.
max roach-archie shepp duo, the long march part 1&2; 1979, hathut.
McCoy Tyner – Song of the New World (Milestone), "Trident" 1975, Fly With The Wind (Milestone), 4 x 4 (Milestone), Supertrios (Milestone), Atlantis (1974)
Michael Brecker – Michael Brecker (Impulse) *
Mike Mantler – Hapless Child (Watt)
Mike Stern – Time in Place (Atlantic)

Miles Davis - Agharta (Sony Japan), Amandla (Warner Brothers) *, Aura (Columbia), Big Fun (Columbia), Black Beauty (Columbia), Get Up With It (Columbia), Live Around The World. * Tutu (Warner Brothers)*, We Want Miles (1982), Decoy, Star People
Milford Graves – Babi Music (IPS)
milt jackson quartet, ain't but a few of us left; 1981, pablo.
Misha Mengelberg/Han Bennink same time. Einepartietischtennis (FMP)
Muhal Richard Abrams Orchestra Rejoicing With The Light (Black Saint), Blues Forever, (1982)
Mulgrew Miller The Countdown (Landmark) *, Trio Transition (1987)

National Health Of Queues and Cures (Charley)

Old and New Dreams Playing (ECM) *, Old and New Dreams (Black Saint).
Oliver Lake, Gallery, (Gramavision), Heavy Spirits (Arista-Freedom).
Ornette Coleman – Opening the Caravan of Dreams (Caravan of Dreams), In All Languages (Caravan of Dreams), Of Human Feelings (Antilles),
Ornette Coleman and Prime Time, Dancing In Your Head (A&M/Horizon) * and Body Meta (Artists House), Virgin Beauty (Portrait/Columbia).
Ornette Coleman & Charlie Haden- The Golden Number, Soapsuds

Pat Martino Joyous Lake (Warner Brothers)
Pat Metheny - Bright Size Life (1975) *, Rejoicing (ECM), 80/81 (ECM)
Pat Metheny Group - Pat Metheny Group (ECM) *, The First Circle (ECM), Offramp (ECM). *
Pat Metheny, Dave Holland, Roy Haynes, Question & Answer (Geffen, 1990);
Pat Metheny/Ornette Coleman – Song X (Geffen)*

Paul Bley, The Nearness of You (Steeplechase).
Paul Bley/John Surman/Bill Frisell/Paul Motian – Fragments (ECM)
Paul Motian/Joe Lovano/Bill Frisell - It Should've Happened a Long Time Ago (1984), One Time Out (Soul Note).
Paul Motian – On Broadway Vol 1 (JMT) *, On Broadway vol 2 (JMT 1990), The Story of Maryam (Soul Note)

Paul Rutherford - The Gentle Harm of the Bourgeoisie (1974, Emanem)
PEPPER ADAMS QUARTET, THE MASTER1980, MUSE.
Peter Brötzmann - 14 Love Poems (FMP)
Peter Kowald - Duos: Europa - America - Japan (1984-90, FMP)
Pharoah Sanders - Journey to the One (Theresa, reissued by Evidence), Deaf, Dumb, Blind (1970) and Journey to the One (1980
Phil Woods- Live at the Showboat- 1977
Phillip Wilson/Olu Dara (Hat)
Philly Joe Jones Advance (Galaxy), Dameronia (Uptown), Stop and listen; 1983, uptown, tadd with love, 1982, uptown.
Polly Bradfield - Solo Violin Improvisations (1979, Parachute)
Power Tools - Strange Meeting (Antilles)

Ralph Peterson V (Blue Note)
Ran Blake - Film Noir (1980)
randy weston orchestra, tanjah; 1973, verve.
Rasaan Roland Kirk Bright Moments 1973 Rhino, The Case of the 3 Sided Dream (1975)
Rashied Ali/Leroy Jenkins – Swift Are Wings of Life (Survival)
Return to Forever- Light as Feather 1972, of the Seventh Galaxy 1973, Where Have I Known You Before 1974, No Mystery 1975, The Romantic Warrior 1976 *

Revolutionary Ensemble - The People's Republic (1975, A&M)
Richie Bierach, George Mraz and Joe LaBarbera. "Live" with 1977
Ron Carter with Herbie and Tony Williams "Third Plane" 1977.
Ron Carter, Etudes (Elektra/Musician), PICCOLO;1977, MILESTONE
Ronald Shannon Jackson and the Decoding Society - Barbeque Dog (Antilles) *
Roscoe Mitchell and the Sound Ensemble - Snurdy McGurdy and Her Dancin' Shoes (Nessa), Nonaah (Nessa)

Sam Jones Changes and Things (Xanadu), Something in Common (Muse)
Sam Rivers – Streams (Impulse) *, The Quest (Red), Crystals and Hues (Impulse), contrasts; 1979, ecm, Colours (Black Saint), Trio Sessions (Impulse).
Santana – Lotus (Columbia).
Shamek Farrah – First Impressions (Strata East).
Sir Roland Hanna- Swing Me No Waltzes (Storyville).
Sonny Clark Memorial Quartet - Voodoo (Black Saint)
Sonny Rollins’ Milestone albums- "Milestone Jazzstars in Concert" (1974?)
Spontaneous Music Ensemble- Face to Face (Emanem) Trevor Watts/John Stevens.
stan getz quartet, serenity/anniversary; 1987, emarcy, The Master (Columbia).
Stan Tracey Quartet –Captain Adventure (Steam).
Steve Coleman, Black Science (Novus).
Steve Gadd and Steve Khan- Tightrope (Columbia)
Steve Grossman Some Shapes to Come (PM), Way Out East (Red)
Steve Kuhn, Life’s Magic (Black-Hawk).
Steve Kuhn/Sheila Jordan Quartet - Playground (ECM)
Steve Lacy – Clinkers (Hat), Momentum (RCA Novus), The Crust (Emanem), Morning Joy (Hat Hut), The Window (Soul Note, 1987), Axieme (Red), The Way (Hat Hut) and NY Capers (Hat Art).
Steve Lacy, Roswell Rudd, Beaver Harris, Kent Carter, Trickles (Black Saint).

Strata Institute – Cipher Syntax (JMT) (Steve Coleman, greg Osby et al)
Sun Ra- Of Mythic Worlds (Philly Jazz) *, Lanquidity (1978) Nuclear War, 1982, Lanquidity, St. Louis Blues, Disco 3000, Sun Ra - Voice of the Eternal Tomorrow (1980, Saturn)

Terence Blanchard and Donald Harrison New York Second Line (Concord)
Thad Jones/Mel Lewis -- New Life (1976)
The Great Jazz Trio, Kindness, Joy, Love, and Happiness (Inner City)
Tommy Flanagan, Thelonica (ENJA), JAZZ POET; “TOMMY FLANAGAN 1989”, TIMELESS.
Tim Berne Mutant Variations (Soul Note), Fractured Fairy Tales (JMT) *, Sanctified Dreams (Columbia) *, Songs and Rituals in Real Time (Empire).

Wallace Roney "The Standard Bearer" 1990, “Verses” (Muse)
walt dickerson trio, steeplechase, 1978.
Warne Marsh, Star Highs (Criss-Cross).
Wayne Horvitz - This New Generation (Nonesuch) -
Wayne Shorter Atlantis (Columbia), Joy Ryder (Columbia), Native Dancer (Columbia) *
Weather Report- Phantom Navigator (Columbia), Black Market (Columbia), Mysterious Traveler (Columbia) *,Heavy Weather (Columbia).
Willem Breuker Kollektief - In Holland (BVHaast)
Woody Shaw- Lenox Avenue Breakdown *, Rosewood (Columbia), *Setting Standards (Muse), Steppin’ Stones (Columbia), United (Columbia) *, Little Red’s Fantasy (Muse).

World Saxophone Quartet Live in Zurich (Black Saint), Revue (Black Saint), Steppin’ (Black Saint), Rhythm and Blues (1989, Nonesuch)
Wynton Marsalis Black Codes (from the Underground)(Columbia),* Live At Blues Alley (Columbia).

Yellowjackets'- Self titled,1981 Four Corners 1987
Zentralquartett - Zentralquartett (Zong, reissued by Intakt)
zoot sims quartet, if i'm lucky (Pablo)

Random thoughts- records that made the most blognoise- Keith Jarrett, Belonging, John Carter- Castles of Ghana et. al. In general, there was a lot of noise for the Pat Metheny Group stuff (more than I, at least, expected), the various Braxton and Lacy stuff (there’s so much, and it’s so diverse, that it’s hard to settle on one album).

And I’m sure every fan who reads the list will think about at least two of the following, so:

Records on the list I most want to run out and by tomorrow: Air- Air Time, the Konitz/Mitchell duo album, Castles of Ghana
Record on the list I own but never, never listen to: World Sax Quartet Live in Zurich. (I much prefer Rhythm and Blues, so I added it)
Records on the list I listen to most: Later that Evening, Brookmeyer/Lewis- Live at the Vanguard, Jaco- Word of Mouth
Who the hell is THAT- Johnny Dyani, Chris McGregor’s Brotherhood of Breath Big Band (mentioned twice, which makes me very interested. Can anyone help here, maybe, say, Destination Out?)
Oh, yeah, I forgot about that one. It kicks ASS!: Power Tools, Don Cherry’s Art Deco,

First record I’d strike from the list: Wallace Roney, Standard Bearer

Ethan's wrapup is here I point out this comment (italics mine):

"I told Lewis Porter about this list. Lewis knows jazz like few others do (he’s the author of an excellent, musician-friendly biography of John Coltrane), so I asked him about great “mainstream” records of the 1970’s by a few key artists like Art Blakey, Dizzy Gillespie, and Sonny Rollins. Without researching it, nothing leapt to his mind. He brought up how many commercially-oriented albums were made by older jazz musicians in that decade. Most of them are pretty unlistenable today. (Even Dizzy made below-par electric records.) Some decry rock music as an influence in jazz, which is obviously silly. As Reid likes to say, “It doesn’t matter what you love, as long as you really love it.” The problem is that a lot of great jazz musicians made rock-influenced records without really loving rock. Some jazz fans, musicians, and critics still haven’t recovered from those 70’s blunders. They keep on blaming the backbeat for something that was strictly the fault of jazz players (and their producers)."

That, to me, sounds like a nice way of saying "selling out". And I think it's what distinguishes more recent albums that incorporate rock influences, from TBP to the zillions of artists covering Radiohead and other current pop and indie bands (my current favorite is Jeremy Udden covering the Bangles "Eternal Flame". It should be either awful or soupy, and it isn't either) But I think it's another good explanation for why the 70s is perceived as a dirth time. Other thoughts here and here)

TBC...

Taking Up Serpents Again

One of the great joys of being back in Boston is the ability take yoga classes. As with so many things, doing it in a group, rather than by yourself as I have been for months, intensifies and buoys the experience. We often get to things together that we never get to on our own. Darcy mentioned it recently in the postmortem to his last gig:

“…one of the biggest rewards of running a big band is the chance to have your music realized by a staggering variety of incredibly talented musicians who each bring their own personality to bear on the music. (Actually, (bassist) Ike (Sturm) emailed me after the gigs to say: "It's so great to have an excuse for the community to congregate and make music together," which pretty much made my year.)”

For all the advantages, and all the community that the hivemind can create, its no substitute for real people in real time. The Buddha, no fool when it came to matters of happiness, taught Three Refuges for the noble seeker- the Buddha (God/Creative Consciousness/Divinity/callitwhatyoulike), the Dharma (holy/wisdom teachings) and the Sangha (the community). You can’t have too much sangha, ever.

To that end, why not build community around good music? Saturday offers two goodies to discerning Bostonians:

Jonatha Brooke @ the Hatch Shell, Saturday 5pm. Part of the Riverfest, put on by local AAA radio hub WXRV. I was hipped to Jonatha’s first incarnation in The Story about ten years ago, and fell in love with that music. Her work since they broke up has been a little more uneven (particularly on her last album, Back to the Circus, featuring a couple of fantastic songs- "No Net Below", "Better After All", both audible on her site), but she’s more than worth a listen anytime, and is always good live. Brandi Carlisle and James Hunter are also on the bill, but I have no ideal who the hell they are. I’m not crazy about just any singer-songwriter.

Curtis Eller @ the Lily Pad, 7:30 pm. Old friend Curtis, America’s leading exporter of Banjo Music for Funerals (his term, not mine), makes one of his occasional trips to Boston to dole out morbid songs about Elvis’ ghost, carrier pidgeons, and raging elephants. Good (and not-so good) fun will be had by all, I humbly assure you. With the Ambitious Orchestra, who promise a future opera about Dungeons and Dragons on their website. Curtis has always had, er, unusual twinbills.

More Things to Come from those Now Gone

(Heavily edited, hence the new date)

While I was away, Ethan Iverson of The Bad Plus stepped up to Dave Douglas's plate and hit one out into the river. (Okay that was forced, but I finally get back to Red Sox Nation, and they're in their worst tailspin this side of 1978? Throw me a bone, sheesh.) Anyhow, responding to Dave's post-'73 history posts, Ethan listed the many highlights of his record collection, 1973-90, and invited all comers to edit, add, delete, or rant on the topic. So, as usual late out of the gate, here I am.

First, the list is fantastic, thorough in both its breadth and depth. I'm with Darcy- it boggles my mind that he had even half the '70s albums by the time he was 18. Like Darcy, by the time I was 18, despite collecting jazz records for five years (and having my dad's small but high quality collection) I think I knew maybe five of these records- Tutu, Live at Blues Alley, State of the Tenor, etc. By the end of college I sort of knew maybe thirty more- that do say something about jazz education, don't it?

If you saw the film version of High Fidelity, you'll remember the scene where John Cusack's character is leaving messages on a cute magazine reporter's phone, frantically editing and revising a list of top-10 all time songs. I feel a little like that right now- how the hell did I miss "Power Tools"? Was "Music for Large and Small Ensembles in the time period? etc. I think that's been the beauty of watching this list unfold- one individual's passion sets of the collective's memory, and the process recylces itself daily. So...

Here, then, is a (heavily edited) synopsis of what I've read elsewhere, then mine:

Steve Smith's whole list is amazing, and I'll echo his passionate plea for John Carter (see below), though I don't know the music nearly as well as he does. Oddly enough, when I was in college, the Rochester Public Library became my primary "out jazz" resource, introducing me to Old and New Dreams, John Carter, Muhal, and many others that Eastman didn't seem to care about. Sigh...
I'd also highlight Zorn et. al's News for Lulu and More News for Lulu. For many of my peers, Zorn was the jazz gateway drug of choice, partially due to his association with Mike Patton, who at the time was fronting a little band called Faith No More. (This album now goes for $215 on Amazon. Sheesh!)

Likewise, Darcy's addendum is worth reading by itself (He stole about half of my suggestions) I'd highlight:
Brookmeyer/Mel Lewis band- Live at the Village Vanguard. This record by itself made me a big band writer, something I still give Bob crap about on the rare occasion I see him.
Changes Oneand Changes Two. I'm with Darcy here. Takes you by the throat and doesn't let go. Charlie Rouse has received much due praise in recent years, leaving George Adams as my pick for the greatest tenor player nobody thinks about.
Okay, I'd actually highlight 80% of what Darcy wrote, so onward...
(godoggo) John Carter- Castles of Ghana. John Carter is one of the quintessential overlooked composer/players
Suite for Frida Khalo. Ditto for James Newton, criminally underrated. Thankfully, James is still around.
(Destination out) Muhal Richard Abrams- pick one, there are 17 from this period, 15 of which I don't know at all, and 2 I know barely. Another guy who you overlook at your own peril- I'm more familiar with the "One Line Two Views" vintage. I saw him live a few years ago- I often have the same reaction to Braxton. He'll start to bore me, then he plays two minutes of music that sets my hair on fire. They like "Blues Forever", and have the posts to prove it.
(Ryshpen) Herbie- Thrust, Michael Cain calls this his "eureka" record. Sextant would be my add, but it misses by a year.

Now my adds (links to follow):

Keith Jarrett- Belonging I add my vote for the European quartet, especially this one. (I really love Personal Mountains as well, the rest are take it or leave it for me.) This album was a huge influence on all of us at Eastman when I was there.

Don Pullen/George Adams- Live at the Village Vanguard (1983). (Two volumes, available seperately) This quartet with Danny Richmond picks up in many ways where the last Mingus quintet leaves off. The sheer ferocity and energy of the music blew me away the first time I heard it. A hurricane in a bottle.
Ebenhart Weber Later That Evening. Another record that turned me upside down the first time I heard it, but for very different reasons. "The ECM Sound" gets disparaged, sometimes rightly, sometimes not, as too cold, too pristine, too... too. This to me is that sound at its best, careful, clean, but full of emotion. And the band is a young Frisell, Lyle Mays, and Paul McCandless take Weber's spare writing and spin it into something extraordinary. (Again, $40 on Amazon? Sheesh. Also, a lot of the ECM catalog has yet to appear as a commercial download. This, I think, is a shame. Merits exploring later...)

Egberto Gismonte/Charlie Haden/Jan Garbarek- Folk Songs and Magico (I think they're from the same recording sessions) Again, for me, everything that's right about ECM. The tunes are beautiful, Garbarek is piercing, not cloying. "Polhaco" on Magico is still one of my favorite tunes of all time.

Braxton Quartet- I lost albums in a move; there are three or four in the mid-80s featuring Gerry Hemmingway and Marian Crispell (Six Quartets, for example). Some feature Braxton music, some bebop, in a way I've never heard bop before or since. There's also an album of that vintage of Monk compositions with Mal Waldron on piano. Don't know it, but especially in light of the great Lacy/Waldron work of that period it merits exploring.

I'm missing at least ten records, certainly- that's the best part of this exercise. I look forward to seeing Ethan's revisions...

Finally, Dave Douglas himself has chimed in with a commentary on this exercise. If you look at the names of all the people on the lists we've put together, the number of names of brilliant players and composers who "the canon" of jazz history somehow forgot, it's staggering: Hemphill, Abrams, Carter, Threadgill, Pullen, Braxton, and some names I haven't seen yet- Steve Kuhn, Paul Bley. I don't know if I can buy into Larry Blumenfeld's vast right-wing conspiracy theory, but I can't dismiss it either.

As for the moving forward part, that's for another post. And I haven't forgotten about the Cruise Ship X wrap-up. But I have little worries like finding work and writing a new band book too, so bear with me...

Dewey Redman, RIP

via Darcy and The Bad Plus.

Sadly, I think we knew this one was coming, but that doesn't make it any easier. I would rank Dewey as one of my five biggest influences as a player. Not for his sound- as big as Texas, where he was born- or for any particular way he played, but for the weight and depth of everything he played. Every solo of his I've ever heard makes me feel like time stopped. Right now I'm listening to his solo on the Anthem of the African National Congress on Charlie Haden's Dreamkeeper record. Warm, approachable, and at the same time heartstopping.

Dewey grew up in Texas in the days of the laughing barrels, and his playing channeled both the warmth of the south and the barely masked fury of growing up watching the elders in your community still being called "boy". If we can occasionally tap into 5 percent of the spirit he was channeling 100 percent of the time, there's hope for our music too.

Beyond the great recommendations TBP make, and Dreamkeeper, a brilliant record, I'd note "Dark Metals", Anthony Cox's great quartet recording of '92 featuring Dewey, Michael Cain and Billy Higgins. Some remarkable music.

fifteen minutes in steel town

I honestly was not expecting much to blog about in Pittsburgh (technically, in Carnegie, pronounced car-NAY-gee, a decaying western suburb of Pittsburgh named for, yes, that Carnegie) The trip has been great for family gossip and catching up on sleep, and little else. Except…

On Wednesday I made a trip into town to see the Andy Warhol museum, and to catch a Pirates game in the new PNC Park. (Conveniently, they are within three blocks of each other.) Warhol, born Andrew Warhola, was born and raised in Pittsburgh. He left for New York at about age 18 and, well, became Andy Warhol. The building is a renovated factory (fitting for someone whose workspace was dubbed “The Factory”) Seven modest-sized floors accommodate five floors of Warhol art and artifacts and two rotating exhibitions. The Warhol stuff includes a fairly representative sampling of his career, including a wall montage of InterView magazines (I'd no idea that was his baby), a set of punching bags with Jesus on them he created with Basquiat, and a room of Chagall-ish cat drawings created by his mother (signed, conveniently enough, “Andy Warhol’s Mother”), and a collection of the time capsules he was apparently constantly creating, revising and storing away. The first floor includes a theatre where two or more of his films are shown daily, and a rotating large “important” work, this time around “Twelve Elvises”. The rotating exhibits were a large collection of Downtown and Punk art from New York, which I spent some time parusing, and a gallery called “The “F” Word (female, feminist, feminism)”, which I didn’t.

The word that kept coming up, both in my head and in the literature about Warhol on display, was “obliterate”. Warhol is most famous in his work for obliterating lines between high and low art, commercial and artistic imagemaking, gender distinctions, class lines, etc. And making himself famous in the process. (Some of my favorite pieces in the museum were photo portraits he took of the people he hung out with, famous and not-so. His eye for capturing something very essential in his subject as a photographer is terribly underrated, or maybe just overshadowed my everything else he did and was.)

I had a music history teacher in college who compared some of Warhol’s silkscreens (especially the more violent ones, i.e. Hiroshima) to early minimalist music. By repeating and recasting one image eight or a dozen or more times, he mutes the extrinsic values or meanings of the object, much as a composer blunts the functional or theoretical meanings of a chord or scale by repeating it ad naseum. I don’t know if I completely buy that- I’m not big on reading too much ideology into an image, or a scale- but it’s interesting to think about when you’re looking at an image like “Twelve Elvises”, twelve purplish silkscreen images of Elvis pulling a gun in one of his westerns, some fuzzed up or abstracted more than others, set on a blank grey background. By pulling Elvis completely out of context, he look even more absurd (I always found Elvis absurd to begin with), but it asks you to take stock of your perception of Elvis, in a way that you never would if there were tumbleweeds, or a band behind him. Always a useful notion, I think. (I also think Warhol would never talk this way, which makes me leery about writing this way)

Another unexpected find in the museum were original scores of songs Lou Reed wrote for the Velvet Underground. (I didn’t know that Warhol was an early advocate for them, “presenting” them at downtown clubs along with his films, pushing them toward the limelight.) Reed wrote the tunes, even the simplest, out on big pieces of manuscript paper, in ballpoint pen with phenomenally neat penmanship. I didn’t sing along as I looked at them, but even if I didn’t know the tune (and most of the time I didn’t) I could have. In all, more than worth the time and money if you’re ever, well, somehow in Pittsburgh.

The Pirates game was another unexpected pleasure. The new stadium, which hosted this year’s All-Star Game, is a gem, intimate, well laid out, all the good adjectives we use about post-Camden Yards ballparks. People are friendly without meaning to be, something I’m not used to at all. The whole day cost me $25, including food and a decent beer, a mere fantasy in Boston. And the team, despite its horrible record, wasn’t bad. They won in 11 innings, using a combination of hit and runs, good defense, and even a suicide squeeze (the first one I’ve ever seen in person) to beat a rather hapless Cubs side. Nothing abstract about it; with three more decent arms, this team is competitive in the (I admit, rather pathetic) NL Central next year. And pigs will fly too.

Up goes the flaps, down go the wheels...

RIP Maynard Ferguson (via Darcy). Doug Ramsay has a nice tribute here It's funny, on Cruise Ship X every week we have this daredevil balancing act, who does a big chunk of his routine to Maynard's version of Birdland. It's nice, if kind of painful, to be reminded of a time when hearing jazz in these kinds of settings was a normal thing. Also, Maynard was a presence on the scene of artists and thinkers involved in psychedelia in the 60s- there's a great scene in the Ram Dass video "Fierce Grace" where he is on the roof of Dass' house in New England, high on something, blowing his tail off. A larger than life presence who will be missed.

On a more personal note, I am taking a week or so off from ye old blog. As I may have mentioned once or twice, I sign off Cruise Ship X on Monday, and I'll head to Pittsburgh to visit my grandmother (great food, great people, no internet) for a few days before heading back to Boston. I plan to be back then with some final, and less guarded, commentary on cruise ships in general and cruise ship X in particular. Until then, please frequent the blogs to the right, and enjoy the last bit of summer!

Get down, dog

(NOTE: In wrapping up my side job as a yoga teacher on Cruise Ship X, I promised some of my students I would give them some follow-up. This is the easiest way to do it. If this is useful to anyone else, take it for what it's worth. Otherwise, go ahead and scroll down to the snarky stuff below...)

Dear fellow voyagers of the damned,

Thank you again for your time and work in our yoga classes. It was a great joy to teach you, and I can guarantee you that I got as much or more from the experience as you did. Some of you asked me "is it safe to do it on my own?", or "how can I keep going?" The answer is yes, and go. Most of you have enough knowledge to keep a basic practice- sun salutations, warriors, gentle backbends, shoulderstands, shavasana (ALWAYS shavasana, aka corpse pose)- going without help. There are also many great resources out there to help you along. I recommend:

BOOKS:

Journey Into Power, by Baron Baptiste: The practice in this book it the closest to the one I taught in the classes. Baron is, I admit, a little full of himself a lot of the time, but this is an excellent breakdown of both the poses we learn, the flow we do them in, and the structure, both physical and philosophical, being the poses. He has several DVDs out, but I think the live ones are the best.

Yoga: The Spirit and Practice of Moving into Stillness, by Eric Schiffman. This is probably my favorite yoga book on the market, mostly for the first four chapters. Eric breaks down, without any fancy words or karmic mumbo-jumbo, the spiritual aspect of yoga, what doing asana (poses) with our body and breath transforms our whole being, if we let it. He has a fluid, approachable writing style, with many easy breathing and meditation exercises. The asana stuff is pretty good also, but if your interested in something beyond the poses, this is the best book I've seen.

Yoga: Poetry of the Body, by Rodney Yee. This was the first yoga book I bought. (and the price on Amazon is down to $7, a good deal) Rodney has a very playful way of explaining poses and a practice, which I try to incorporate into how I teach (and fail most of the time, frankly) The advantage of this book is it gives photos of several modifications for every pose; there's always one you can do.

DVDs:

Yoga Shakti, by Shiva Rea. The most complete DVD on the market, this video lets you customize a practice from over 4 hours of teaching materials, at a variety of levels. It also has several preset classes, which I'd recommend starting with. The photography is beautiful (it's filmed in India), and Shiva's explanations are for the most part very clear.

One WARNING: Shiva is one of the most physically gifted yogis I've ever seen. She is naturally athletic, she's spent twenty years or more studying with some of the great masters of yogasana, and she's both very strong and very bendy. (See the "Shiva flows" excerpt on disc two to see what I'm talking about.) This can be really inspiring for some people, or really deflating for others. More importantly, it can sometimes lead people to try to do to much, in trying to look the way she does on the video. Remember, always go slow and trust what your body says, no matter what you see on the screen or in a class.

CLASSES

The best way to learn yoga is in a class setting, with a good teacher. Yoga Journal online has a huge directory of yoga studios and teachers all over the world. I did a quick search, and found studios in every major cruise port city (except Mobile). If you're porting in Boston, New York, Miami or Vancouver there are some good studios nearby, very worth the $10 or $20 to check out. E-mail me if you want more details.

I deal in dreamers and telephone schemers

(Via Darcy) Fortune magazine asked, “Who needs record companies, anyway?” Well, most of us, according to one disgruntled reply, and another.

For the rest of us, I think we need to modify the question somewhat. The question now becomes “Do I need a label?”

Five years ago I made a record with No Sale Value, called Nu Currency, in it collaboration with a small Boston label. It seemed like a pretty good deal- we both put up some money, I handled most of the production end (and kept the masters), the label was to handle the marketing, relying heavily on the internet, we split any profits. I still feel very good about the album- we made a quality, really interesting, well-produced (and, I think, pretty cool) album for less than $6,000, including duplication costs. (The guys in the band were very generous with their time, but even if they hadn’t been, the album would've come in under $10K.) The label, well, didn’t exactly come through. Most of the distribution didn’t happen, they didn’t help us land any gigs of note, or with much radio play or media. Plus, three members of the band moved, making touring a near impossibility. In other words, no buzz, no interest, no sales. Two years later, after some court proceedings, we split ways. (The label folded not long after.) I left the whole experience with (900 copies of) a good record, a bad taste in my mouth and a little more savvy about making records. (Note I haven’t made one since.)

The CD is still available, actually much more available than it was five years ago. In 2004 I put it on CDBaby, and through them it’s on ITunes and Rhapsody. Anyone anywhere with a computer and a modem can download my music, and I actually get a bigger cut than I would if they bought it at Virgin, and a helluva lot more than if the album were released through Sony, or even Fresh Sound or (insert indie label here). This is good, right?

Not so much. We’ve been downloaded exactly ten times in the past year, at a net profit of about $7. Which is one sandwich at Cosi, last time I checked. (Yup, even on ships I can get at that ridiculous bread.) Maybe if we were gigging more, it'd be different, maybe not. (The primary reason Ani DiFranco et al have been so successful as completely independant artists is the same reason the Bad Plus and MMW have been successful as first small, then big label artists- they gig their assess off. They got there by word of mouth.)

If I had it to do again, I know I wouldn't go with that particular label. But I'm honestly still not sure if I'd have tried to get a label to bite, or done it myself, hired a publicist, etc. I still think if I had been a little smarter, and everyone had been a little less busy, we could've made that album work.

What is/was the advantage of making music on a label? One, they have the equipment to record you. Two, they can get your music to where it can be sold. Three, they can promote you to a far larger audience than you could ever reach yourself. Until recently. Technology has almost completely nullified the first two advantages. And blogs and networking sites like MySpace call the advantage of using a label for the third into question.

The digital economy presents both an opportunity and a problem for any content provider, but especially musicians. The opportunity- you can reach anyone anywhere with your music, for a lot less money than ever before. The problem- so can everyone else. The sheer volume of information available is greater than at anytime in history, and the quality of available music is more uneven than ever before. It takes a lot to cut through the clutter in any meaningful way.

This is the effect of the Long Tail, a book I mentioned in a couple of recent posts, and finished last week. The subtitle of the book is “How the future of business is selling Less of More.” Basically, he says that with this new abundance of content of all sorts, digital and real, the future of financial success is in selling a little of many personalized things than there is in selling a lot of a few mass-market ones. (This essay distills much it better than I can) The author, Chris Anderson, spends most of his time and energy thinking about the implications of this phenomenon on businesses- Ebay, Amazon, KitchenAid, etc. And I think he’s spot on. But he spends no time examining the Long Tail from the point of view of the small content provider, especially one in the arts. But I think he offers us some clues. (All ideas from here on out are influenced by the Long Tail idea, but are entirely mine. Don’t blame Anderson; if he put his mind to this I’m sure he’d figure it out smarter than I will.)

Maybe I’m overly optimistic, but I think artists, not just big ones, need record companies less and less. Through the internet we can do all of the things that a record company can. Some- people who can’t or won’t handle the business end of their lives- still may need labels. But I think the labels, whose margins are already shrinking drastically, won’t hold that advantage forever there either. The time and planning commitments to DIY are daunting, but a lot less daunting than we thing. And the margins are so much better. Some things to consider. (Only because, between my work on Ran Blake’s forthcoming book and N$V’s run at a big resurgence, I’m pondering them myself):

1. I think most of us savvy music types think instinctively that digital networking is critical. If we didn’t, all we'd need is the story of the Arctic Monkeys, who went from garage band to blog and MySpace darlings to SNL guest artists in six months flat. But does that guarantee their album any success, or their career any footing, on a large scale? I for one doubt it. (But I never liked their music, so…)

One of the messages of the Long Tail is that it’s not the quantity of people you reach in the new economy, it’s the quality; the web allows you to more easily reach the people who may actually be interested in what you’re doing, and willing to support it in a meaningful way. For instance, Darcy’s success to date with his big band is based on 1. the obvious quality of his work, and 2. the visibility with a likely audience- musicians, thinkers, bloggers, critics, and fans- that his presence on the web has provided. And he only averages 130 hits per day on his blog- a number I’d kill for, but not that many in the grand scheme of things. Would hitting 300 a day allow him the visibility to sell an album, or tour? (Well, if it weren’t a big band?) 500? IObviously, every band has a tipping point, where word of mouth can translate into some measure of success for the band. (Measured, again, largely by a band creating realistic expectations.) The web makes that tipping point more easily attainable faster. Not easily, but more easily.

(Aside, is MySpace, for all it’s hype, that powerful a tool for content providers? Do MySpace friends translate into record sales, or asses in the seats at gigs? Maybe they do, I sure hope so, but I’m not sold.)

2. Define success for you. I agree with the statement that we’re all looking for the big hit- a gold record, a spot at Boneroo or Caramoor, or whatever. Often what we need to succeed, or at least subsist, is a lot smaller than that. Maria Schneider went to Artistshare for her last album not because she thought she could sell more records there- quite the contrary. But she knew the hurdles to a profit would be much easier to clear there than they ever would have been at a traditional label, and the business process much more transparent. I know Maria is something of a niche superstar who comes in with obvious advantages over band X, but I think the model can work, albeit on a smaller scale, for many more musicians who don’t share her notoriety. After all, if you can make and market a record for $10,000, if you do it yourself you break even at 1,000 or so sold. Not easy (especially for a jazz record) but not impossible either.

I think the answer to “who needs record companies” hinges on the more basic question of “What are you trying to do with your record?” Most jazz musicians, at least, don’t make the bulk of their money on CD royalties. The CDs serve as a foot in the door with clubs, festivals, schools, and other power brokers, which allow them to actually make money. (Well, occasionally.) Does being on a label significantly help that process along or not?

More soon- this post still needs some cleaning up, and a revision is coming. 'Til then, fire away...

10 Days left on Cruise Ship X (yippee!), which means it's time for the:

Top Ten signs you've been a Cruise Ship Musician for Too Damn Long:

(note: I did my damnedest to do a list that had the fewest possible cruise ship in-jokes. I failed.)

10. You see a comedian come on stage, and recite his routine along with him verbatim.
9. Mexico feels more like home than Manhattan.
8. "Greasy Rubbery Grade-C Steak Night" in the mess qualifies as an exciting event.
7. A room with a nine-foot ceiling feels really, really spacious.
6. Gorgeous half-naked dancers prancing around backstage have no effect on you whatsoever.
5. You sing your favorite song the way it appears in a production show.
4. You're accustomed to taking orders from someone who tells fart jokes for a living.
3. You devolve into a sputtering drunk who hates music.
2. You no longer order your drinks in English.
1. You walk down the street yelling "Ciao!" to random passersby.

By six of these measures, I've been on a cruise ship for way too damn long. But you knew that already.

Dead Sox?

Both the Boston Globe and the Boston Sports Guy spend ink writing off the Red Sox today- not a good sign. On the bright side, I get to see the Yanks/Sox game on Sunday, my first of the year. (I´m predicting they lose tonight, and lose 3 of 5 to the Yanks, whereby it´s officially over.)

Early returns: I bought Thom Yorke´s Eraser on ITunes this week. Still undecided, but as an album it´s not killing me. Too much of one thing, even if it´s a great thing, is still too much of one thing.

Both the Tipping Point and the Long Tail are recommended reading. I´m putting together a long post about this, in relation to all of the talk about record labels popping around the blogosphere.

And rock nostalgia is the order of the week- Bad Plus for videos, Darcy for sax solos. I never had MTV as a kid, so I abstain.

Hassle my Hoff

There's bad, there's truly bad, there's awsomely bad... and then there's David Hasslehoff. I don't know how else to put it. And now, thanks to the magic of YouTube, the Hoff's video library, in all its bluescreened glory, is online. Let me point you to to the, er, highlights.

Hooked on a Feeling- The king of all Hasslehoff videos, by far. He flies, he walks on water, and he has a male chorus singing "ooga chaka". What more could anyone ask for.

Jump in My Car- note the one spot where he's wearing a T-shirt that says "Don't Hassle the Hoff." That will be making an appearance at a No Sale Value gig this fall- you better believe it.

Secret Agent Man. James Bond via Pokemon, if you ask me.

Wings of Tenderness- this one is just straight cheese, I'm afraid. Who writes this crap?

If NBC weren't quite so tight-assed about liscencing (another post is due on this topic) the capper would be the Hoff's cameo appearance on the West Wing, where Donna Moss drools all over him at a cocktail party. Can anyone help me here?

(via Latitude 44.2)

calling all frogs

In my inbox this morning, from Andrew DiMola, booker at the Lily Pad, the anything goes music venue in Cambridge:

IMPORTANT!!

the lily pad - boston's beloved forum for original, creative music - has been forced to cancel all shows until further notice. due to noise complaints, the cambridge licensing board is obligated to follow the letter of the law in serving the lily pad with a 'cease and desist' order. the lily pad needs YOUR help urgently to survive. we need to show the city that the lily pad is a vital cultural center that serves a valuable function by providing a forum for creative musical expression. by showing our overwhelming support we can help overturn the order.

what you can do to help RIGHT NOW:

1. write a letter of support for the lily pad, stating that the venue is a vital asset that is necessary to the community, and that it does no harm. letters can be sent by mail to the following address:

Richard V. Scali, Chairman
Cambridge License Commission
831 Massachusetts Avenue
Cambridge, MA 02139-3068

or via email:

license@ci.cambridge.ma.us

I am looking forward to both hearing and playing music at the Lily Pad in the future- it's the last place in Boston that gives artists the freedom to pretty much do what they want. (Mind you, we pay up front, which doesn't thrill me, but...) Andrew and Gill, the owner, are two striaght up good guys in a business that discourages any decency, and my letter goes in the mail tomorrow.

Wagging the dog

Links o'the day:

(via Darcy)- Who needs record companies?, and a depressed response.

See also The Long Tail, (via Dave Douglas). I'm getting the book version from the library, and will have more to say on Monday.

Vaguely related- Lach's Antifolk Festival hits the East Village (again). Like literally thousands of musicians, I've met Lach a few times, because he booked me at the Sidewalk Cafe in the East Village. Site of some of the best, and worst, singer-songwriter performances I ever heard in NYC. Nice to see he's still doing it, probably grating everyone in the room as he does it.

Completely unrealted: Destination Out has a cut from the remarkable, out of print Dogon A.D., mentioned recently in my 70's post. Fan-bleepin-tastic. I almost feel silly mentioning them every week, bt the posts are that good, consistently.

Finally, I am a bit of a MySpace junkie, I'm embarrased to admit. (more on this in Monday's post) Highlight of the day- a friend comment from one pretty 20-something girl to another. (I don't know either one):

"hey babycakes!!!!!!!!!!!!!! get ready to be stalked by men named DA BOMB and EL GUAPO. "

For the non-Bostonians, El Guapo is a reference to a Red Sox relief pitcher of about five years ago, real name Rich Garces, who was 5'8" and at least 270 pounds. And at his prime, a half-decent pitcher, but nobody really cared about that. He became something of a folk hero in these parts (his nickname loosely translates as 'the handsome one'). So to a Boston townie, this is high comedy.

Lo Joe

We interrupt this blog to talk politics for a moment. My sincere apologies.

It was interesting to follow the Lieberman-Lamont Senate campaign from a distance. (If I were in Boston I'd be getting more of the local angle) Instead, I got most of my information from CNN and Salon, which almost balanced each other out. My impression of Lamont is none too positive- like Corzine with better hair- but I'm glad he won. If you're a progressive Democrat, this now becomes THE most important race of the year- if Lamont loses, I think it shows that the left is nothing but a political niche capable of being stomped by the Republicans anytime they want.

However, I think one can overstate Lieberman's loss. Glenn Greenwald is filling in at War Room this week, and I think he nailed it:

"It cannot be argued in good faith that Democrats are intolerant of any elected official who supported the war in Iraq or that such support is some sort of "litmus test." There are scores of pro-war Democrats who are not being ejected from the party or even being challenged electorally. Lieberman went far beyond mere support for the war, and repeatedly adopted the most demonizing and extremist rhetoric used by Bush's supporters to equate opposition to the Bush administration's foreign policies with anti-Americanism and support for America's enemies. It should surprise nobody if the people whom Lieberman has been attacking and demonizing in this manner decide that they would like to have a different senator. "

I think the Dems need to be mch more raucous, and much more creative, in their efforts to push Bush and cronies fully onto the defensive this fall. Lamont could be a step in the right direction. In my mind the jury's still out.

And, to attempt fair and balanced, there is now a politically conservative jazz blog on the web,

I would sail away home...

21 more days on the voyage of the damned...

David Ryshpien, former voyager and pianist/composer, has a nice piece on his blog about the ongoing post-'73 jazz conversation. Highly recommended. Also, I now have a cameo on Dave Douglas' blog. Validation is always nice.

One thing that strikes me there, I can't get over the fact that in the early 70's Braxton was signed to Arista, a huge label. I guess it just goes to show exactly how much the game has changed. And Braxton himself is an interesting case, one I hope to talk about more soon. Destination Out has some really cool big band stuff he did in the 70's at present.

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.)

buzz beep buzz

24 days until Cruise Ship X starts to fade into memory... Help me start reintegrating into musical life again, please.

Seriously, I'm trying to reorient my ears to what's going on in the ambient/electronica/bleep, blurp and groove scene. (Okay, I don't know if there is such a scene, but there ought to be.) I know Squarepusher drops an album next month, (preview track here) My last few purchases in this realm were old Sigur Ros (love it), and old We (mixed bag, mostly good) Assume I know nothing about it, except that I'm interested- I used to know something, but that was when I was in NYC. For a college town, Boston is a surprisingly thin scene.

Any advice? I'll follow up with reviews of the best and worst. Thanks in advance.

Meantime, having nothing to do with the above. Song of the day is "War" by Jonatha Brooke. That about says it all. The original version with Joe Cocker is nice too (link doesn't work, sorry).

No Sale Value

My long dormant almost-pop project No Sale Value is making plans to come out of hibernation and start playing in New York this fall. Baby steps to start, beginning with our own MySpace page. There´s some photos and sounds up, and I´ll try to get it pretty on Friday. As always, advice and feedback are most welcome...

Meanwhile, after some torrential rains, the sun in shining in Playa Del Carmen. And since the weather says we´re wading into a hurricane this weekend, I´d better go enjoy it while I can...

Yup, these are our customers.

On the bandstand of Cruise Ship X, during the dance set. A woman, who looks like a wax museum version of Zsa Zsa Gabor, comes up and asks, with a thick Latin accent:

"Could you play 'Begin the Beguine'? Oh, that is the story of my LIFE!"

I think I'll wait for the movie to come out. We didn't play it, opting for "Tico Tico" instead.

Oh, the MySpace is working again- techincal difficulties on their end, no doubt. I'll be doing a seperate MySpace for No Sale Value soon, as we attempt to resurrect ourselves. More soon.

In the meantime, ManahManah.