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To celebrate Django Reinhardt’s 100th birthday this past Saturday, I am pleased to bring my friend Paul Brady on board to write the first guest column for Lubricity!
Paul is an expert on all things Django: he is currently completing his M.A. in Jazz History and Research at Rutgers University, where he has written a thesis entitled “Django Reinhardt The Jazz Musician: His Abilities; His Influence; His Legacy.” Paul is also a member of the Hot Club of Detroit, a group of young musicians dedicated to furthering Django’s legacy by combining his music with contemporary jazz. Their new record, It’s About That Time (Mack Avenue), will be coming out in April. In this essay, Paul offers some criticism to those who have created the mythology of Gypsy Jazz at the expense of historical fact and the spirit of jazz improvisation: Read the rest of this entry »
This year has blessed me with a series of steps forward for which I am very grateful, many of them related to my work in jazz documented here from May through September. I thought that a look back at this past year, the first in which I have really found a home in the jazz community, would be a good way to start my 2010 blogging odyssey anew.
2009 began with a big move: just after Christmas, I drove from California to New Jersey, arriving on January 2nd. Along the way, I stopped for lunch in Vernon, TX, Jack Teagarden’s hometown, which I learned was completely in the absolute middle of nowhere and smells like cow pies. My girlfriend Marina joined me for the trip, and we celebrated the new year inauspiciously at a Days Inn in Roanoke, Virginia. Read the rest of this entry »
Happy New Year, everyone!
If you’re reading this, that means you’ve figured out that my “lubricious hiatus” is officially over — call it my “New Year’s Resolution” to return to the blogging life.
For now, I expect things to be about the same as they were before my break in October: posts about once a week, short essays on whatever is inspiring me to contribute to the online jazz discourse.
Since my retreat into academia, I’ve developed a keener sense of my commitment to academic discourse about jazz. This semester, I’m going to be especially engaged in academic analysis that explores the history of how jazz has been represented in writing — in particular, the career of that goofy-looking trombonist on the Down Beat cover, Jack Teagarden.