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For a long time, I used to get really jealous of my jazz musician peers who grew up in musical households. So many of today’s great young players—Gerald Clayton, Anthony Wilson, Zack and Adam O’Farrill, the list goes on—come from families of jazz greats (not to mention, of course, the Marsalis Dynasty.) I remember hearing Clayton, for example, as a precocious dreadlocked teenager wowing all of us in jam sessions at the annual Port Townsend Jazz Workshop, where he is now on the teaching faculty, and his dad John is now the Artistic Director.
Even as a young player, I could tell how skillyfully these musicians soaked up new musical ideas, plugging them into a seemingly inborn musical logic. Of course, they woodshedded harder than the rest of us; still, I’ll never forget feeling like they had access to some secret formula. These guys had something special—and everyone knew that their proud papas had a lot to do with it.
What I never realized then, but have since come to appreciate since taking a dive down the Jazz Writing Rabbit Hole four years ago, is that I was getting a similar father-son transmission all along—I just don’t think that either of us knew it before. Read the rest of this entry »
On Wednesday night, I finally made it back to my favorite LA jazz club, blue whale. Pianist Tigran Hamasyan was playing a solo show, and I knew that it was going to be something that I’d regret missing. So I carpooled with two friends, Alyssa Mathias and Kristin Gierman, to check it out—and we sure weren’t disappointed! Rather than write a straight-ahead review, though, I thought I’d try something different: an improvised concert review. So after the set, I fired up my audio recorder in the car, we asked each other questions about the set, and I transcribed the result. Check it out after the jump, lightly edited, minus our typically Angeleno debate over which freeways to take home: Read the rest of this entry »
With another year of graduate coursework well underway now, I figure it’s time to take a minute to reflect here at the blog on the various writing, musicking, and writing-about-musicking activities swirling through my calendar these days.
The title of this post refers to former UCLA musicologist Charles Seeger’s apt description of musicology: that scholars of music are “in a linguocentric predicament,” that is, that we are stuck talking about music when the music expresses so much all by itself. I’ve done a lot of talking about music recently, which has been a lot of fun and has also reminded me of the stark limitations to the word’s capacity to convey musical meaning. Read the rest of this entry »
By Alex W. Rodriguez for A Blog Supreme/NPR Jazz
I wrote this about a month ago for NPR Music, and in the midst of end-of-the-year shenanigans forgot to link to it here at the blog. In case you missed it, do have a look: the piece gives an overview of six jazz presenters that are finding new ways to reach out to jazz listeners.
This weekend, NPR Music intern Emily White wrote a well-meaning (and well-written) reflection on her relationship to music — namely, the fact that she never purchased any, given the free and easy access with which she has grown up.
I, too, have purchased little music since my regular trips to the Used Jazz CD shelves at Everyday Music in high school, unless you count pre-ordering a few things through Kickstarter campaigns (the latest of which, Darcy James Argue’s new record, has four hours left and has reached its goal!) In fact, I think the last piece of music that I directly purchased was Argue’s previous album, back in 2009.
But that’s largely because I have had the good fortune of falling into the jazz journalism world, where I am given promotional copies of music for review. Given the excellent stuff that comes across my desk, I am rarely compelled to reach out and buy more.
But this strongly-worded and well-argued rebuttal to Emily’s confessional has me thinking a little bit more closely about the ethics of my music listening habits. And with your help, I’d like to publicly lay out a set of guiding principles for my future listening, and check back later to see whether or not I was able to live up to my aspirations: Read the rest of this entry »
In case you were wondering, Fred Wesley still knows how to get down. At the tender age of 68, the Funkiest Trombonist of All Time overcame a long cross-country flight and a bout with acute bronchitis to serve as the guest artist for the Oceanside Jazz Festival, an all-day celebration of local college and high school jazz ensembles.
I drove down to Oceanside to catch the final concert, which featured the Mira Costa Jazz Collective and Mira Costa Oceanside Jazz Orchestra (operating under the clever acronym MOJO) directed by Steve Torok with Wesley as the guest soloist. Read the rest of this entry »