Live From Germany, It's Jazz From The 50s + 60s

The Jazzhaus label, located in Halle, Germany, owns the rights to all the video and audio recordings from the archives of Sudwestrundfunk (SWR);  we are talking 3000 hours of footage featuring over 400 ensembles and soloists playing all styles of jazz (just look at the 4 examples in this column.)

First up is the Duke Ellington Orchestra, recorded in March of 1967 in Stuttgart.  The band was in the midst of a long tour which would be interrupted 2 months later by the death of Billy Strayhorn.  The band features a number of its long-time stalwarts, from saxophonists Johnny Hodges, Paul Gonsalves and Harry Carney to trumpeters Cat Anderson and Cootie Williams plus the silky smooth clarinet of Jimmy Hamilton and splendid trombone of Lawrence Brown.  This digital mix moves the rhythm section of bassist John Lamb and drummer Rufus Jones as well as the impressionistic piano work of the leader. As for the material, it covers a wide swath of the Ellington/Strayhorn songbook, from the tried-and-true "Tutti for Cootie" to newer pieces like "Swamp Goo" (with a raucous solo from Russell Procope on  clarinet.)  Strayhorn's "Blood Count" is presented as "Freakish Lights" and there is a splendid take of French composer Raymond Fol's "Salome" (Cat Anderson hits some seriously high notes on the climax of the song.)

Yes, there are plenty of Duke Ellington recordings on the market but there always seems to be room for one more, especially one as well-done as this live document.  Duke Ellington and the Orchestra spent so much time "on the road" that one might expect that the musicians could phone in the concert.  That's certainly not the case here.  It's easy to understand why this music remains so popular - it's vital, emotionally rich and, much of the time, loads of fun.

Most of us who discovered trombonist Albert Mangesldorff did so through a series of Lps released by the MPS Records label. Those recordings included several solo recordings in which the German-born trombonist showed off his skill playing multi-phonics (split notes) - he went on record with the likes of saxophonists John Surman and Lee Konitz, bassist Jaco Pastorius and drummers Elvin Jones, Ronald Shannon Jackson and Han Bennink. This recording features his working Quintett from 1964 including Heinz Sauer (tenor sax and soprano sax), Gunter Kronberg (alto sax), Gunter Lenz (bass) and Ralf Hubner (drums). At the time of this recording, the group had returned for a tour of Asia and it shows in the music.  This group would go on to record "Now Jazz Ramwong" later in the year - it's the opening track on this CD and one can hear the languid yet loping (hypnotic) groove that would also show up in John Coltrane's Quartet recordings several years later.  The ensemble also understood swing - you can hear that on "Set 'Em Up" but the majority of the music reflects the sounds they heard interacting with other musicians on their Far East tour.  "The rhythm section takes center stage on "Raknahs" (a tribute to Indian ragas - turn the title around) - later on in the program, they perform the sitar master's "Theme From Pather Panchali" digging deep into the Indian rhythms without abandoning a Western beat. "Far Out Far East" is a bass spotlight for Lenz, who acquits himself impressively.  On the closing track, "Es Sungen Drei Engel", the Quintett truly struts its stuff with strong ensemble playing and a rousing trombone solo.

Of all the Jazzhaus recordings I have heard so far, the Albert Mangelsdorff Quintett CD is the most revealing, giving one the true insight into the trombonist's development of his music and playing. This is highly recommended. 

This live date from saxophonist Zoot Sims (1925-1985) dates from 1958 and came about after Sims met fellow saxophonist Han Koller while on tour with the Benny Goodman Orchestra.  With the help of producer Joachim-Ernst Berendt, the reed players organized a band and a concert to take place in Baden-Baden, Germany.  Along for the ride are trombonist Willie Dennis (4 tracks), flautists Adi Feuerstein and Gerd Husemann (2 tracks), baritone saxophonist and flautist Helmut Brandt (3 tracks) and the rhythm section of Hans Hammerschmid (piano), Peter Trunk (bass) and the great Kenny Clarke (drums).

As opposed to the first 2 recordings, this one has a looser vibe yet there are moments where everyone and thing falls into place.  Pianist Hammerschmid's "Blue Night" swings pleasingly and the horn arrangment, bolstered by Brandt's baritone, is smart. The bari player gets the spotlight on "I Surrender Dear" while Dennis gets the honor on "These Foolish Things." - both do a fine job and I like the way it breaks up the the order. Sims and Koller break out their clarinets for Hammerschmid's "Minor Meeting for Two Clarinets" (you can hear that both players paid attention to the afore-mentioned Mr. Goodman.)  Clarke sparks the saxophonists on Denzil Best's romp titled "Alan's Alley" and swings like mad on Koller's reading of Richard Rodger's "Falling In Love."  Sims' mellow tenor leads the way on the classic "Tangerine", playing a most melodic solo.

This recording seems to get better with each listen. There is a lot to pay attention to (the rhythm section, the smart arrangements, and the majority of good solos) - if you like your jazz "straight-ahead", this CD is a pleasurable experience.

John Birks "Dizzy" Gillespie was one of those musicians who never failed to make his listeners smile.  A sparkling yet playful trumpeter (who can' forget those cheeks) as well as a influential vocalist, Gillespie was one of the pioneers in bring bebop as well as Latin Jazz to a wider audience.  This recording comes from 2 concerts in late November 1961 features a band that Leo Wright (alto sax, flute), Bob Cunningham (bass), Mel Lewis (drums) and the pre-movie and television soundtrack composer Lalo Schifrin on piano. The program commences with a swinging take of Duke Ellington's "The Mooche" - stretched out to just over 16 minutes, everyone gets plenty of time to solo.  Wright digs in nicely while Dizzy gets pretty funky.  Schifrin takes a wide-ranging solo, displaying a bit of his classical upbringing and a good dollop of the blues as well. Wright's flute leads the way with a sometimes lilting, sometimes gritty solo on "Willow Weep For Me" (the trumpeter sits this tune out.) The leader shows off his blues chops on "I Can't Get Started" and brings out the mute for his Middle-Eastern tinged "Kush." Wright takes flight on the latter tune with a solo that begins in a Charlie Parker mode before taking a turn to the Eric Dolphy side.  Lewis and Cunningham really push the soloists (dig the drummer behind the pianist) and, though the song stretches to nearly 16 minutes, there is not a boring moment.

There are 2 versions of Gillespie's "Con Alma" (recorded 2 days apart) and, while the structure and solo order is the same, it's interesting and instructive to compare the solos.  Can't say that I like one over the other but Leo Wright really shines on the second version.

The late 1950s and 1960s were a fertile time for jazz, especially as it marched across the globe. These 4 CDs cover a lot of musical territory and each has rewards for jazz lovers.  For more information, go to www.jazzhaus-label.com.

2 x 2 To The New Year (Part 2)

Bill McHenry is a saxophonist/composer who impresses one by always being himself in any musical situation. His latest Sunnyside release, "La Peur Du Vide" (fear of the void) features his latest quartet including Orrin Evans (piano), Eric Revis (bass) and drum master Andrew Cyrille (McHenry's previous quartet recordings featured Paul Motian.) Recorded live at The Village Vanguard in March of 2012, the group's second such engagement in 6 months.  All the music on the CD was written for this band - Cyrille is a much more forceful player than Motian was (in his later years) so several of these pieces have more fire than one might be used to on a McHenry recording. "Siglo XX" sounds like the classic John Coltrane Quartet with the pounding piano chords, Revis's melodic counterpoint behind the soloists and Cyrille's hearty swing.  The following track, "Today", is as quiet as the opener was fiery yet the interplay of the musicians is just as vital.  Cyrille and Revis lock into the groove on "In Sight", freeing both Evans and McHenry to have fun.  The pianist swings with abandon while McHenry alternates between melodic fragments and long, flowing, lines.

The title track is a quiet meditation, opening with the saxophonist, pianist and bassist moving in and around each other.  Revis, who plays alongside Evans in Tar Baby and also is a mainstay in the Branford Marsalis Quartet, displays his most melodic qualities on this track, especially during the impressive piano solo. Cyrille's brushwork stands out beneath the bass solo and his presence throughout the song adds subtle coloring.  "Trillard" closes the program; there is a splintered melody that leads to a series of solos.  Revis goes first, sticking to his bow and creating a multi-colored experience.  Evans digs in for his solo atop the clamor of the rhythm section. McHenry joins them for moment before taking off for his own exploration. There is a bluesy edge to his playing, at times, but when he and Cyrille take the spotlight, he creates a most playful solo. Cyrille's spotlight takes its time to build up, allowing him to explore different rhythmic patterns and colors.

"La Peur Du Vide" is honest music, without frills, ripe with creativity and melody. McHenry's choice of band members really pushed in new and, perhaps, unexpected directions.  Rewarding for him and the eager listener.   For more information, go to www.billmchenry.com.

Steve Lacy (1934-2004) first played Dixieland jazz before discovering Thelonious Monk; it was the influence of the latter that reverberated throughout Lacy's career.  He was also an influential soprano saxophonist, with a sound that had little to do with that of John Coltrane. Yet, you can hear his influence on contemporary players such as Jane Ira Bloom.

He spent the better part of 3 decades living in Europe (1970-2002) working with his own groups as well as working with pianist Misha Mengelberg and drummer Han Bennink.  Bennink is in the drum seat for "The Whammies Play the Music of Steve Lacy" (Driff Records), a sextet that also features Jorrit Dijkstra (alto saxophone, lyricon, co-producer), Pandelis Karayorgis (piano, co-producer), Jeb Bishop (trombone), Mary Oliver (violin, viola) and Nate McBride (bass). You can't help but hear the Monk influence in the loping rhythms of the opening 2 tracks, "Bone (to Lester Young)" and "As Usual (to Piet Mondrian)" as well as Monk's "Locomotive" that closes the CD. Given the pedigree of the musicians (plus the fact that Bennink is on the drums), this is not reverential music; instead, the sextet plays with fire, humor, and joy.  "Ducks (to Ben Webster)" opens with Dijkstra and Bishop doing their best duck calls.  When Bennink and Karayorgis enter the fray, the piece becomes a sparring match, with the drummer smashing away in the middle between sax (left channel) and trombone (right channel.)  Later on, the pianist takes a ride on the drummer's waves of sound. The playful melody line of "Dutch Masters (to Spike Jones & The City Slickers)" doesn't replicate the madness that Jones was able to conjure from his music, instead opting for what that band might sound like if it played mainstream jazz.

The band takes its name from a Lacy composition dedicated to trumpeter Fats Navarro; here, it is a rollicking free-for-all that features Bennink flailing away pushing Dijkstra to play his most intense solo followed by Bishop, who also feels the drummer's fire, his lines jabbing, bobbing and weaving in a most playful.  The Whammies do Steve Lacy justice without imitation - they feed off the composer's creative fire, the example of his life well-lived.  For more information, go to www.driffrecords.com.

2 x 2 To The New Year

I have several opportunities to hear Sinan Bakir in the 3 years since his debut CD "On My Way" was issued.  He has always had impressive technique but his 2nd release "Tales and Stories" (ASLAN Records) illustrates how the Turkish-born Hartford CT resident has matured as a composer and arranger.  It really helps that he has had several weekly  gigs to develop these pieces. Another positive factor in the success of this project is the work of Thomson Kneeland (bass) and the splendid drummer Mark Ferber, both of whom appeared on Bakir's debut. Joining them is pianist Warren Byrd (The Afro-Semitic Experience), a musician who has the talent to play just about anything.

The quartet explores the 12 original pieces with grace, fire, wit, and emotional intensity, displaying intuitive interaction throughout.  Bakir continues to mine the music he heard as a young person growing up in Ankara - he blends Turkish folk melodies into pieces such as "East West" with its rubato opening that leads to a hearty guitar solo.  After a short break for several rock chords, the band drops into a rocking groove (perhaps their interpretation of the "West" in the title.)  Yet, there are also songs built off of chords that reflect the influence of Pat Metheny and John Abercrombie - one can hear that on driving pieces such as "Up" and the sweet title track.  Other works stand out for the band's original approach like the handsome ballad "Dreams", with Kneeland's forceful bass work and Byrd's lyrical solo. When Bakir enters, the song resembles George Harrison's "Something."  Bakir's solos are impressive throughout but, to these ears, he saves his best for last.  "Kites (for Don)" begins as a reverie for piano and guitar, with a straight-forward single-note melody that continues to expand as the guitarist moves forward and the rhythm section enters.

"Tales & Stories" is head-and-shoulders above Sinan Bakir's impressive debut CD.  His melodies are stronger, his playing more varied and assured plus the addition of Byrd gives the pieces more emotional weight. Just let these sounds wash over you; good music can excite and soothe and this is good music.  For more information, go to www.sinanbakir.com.

Vancouver, Canada-based cellist Peggy Lee has a new CD, "Invitation", released on the Drip Audio label.  It is the second release to feature her accomplished octet of Brad Turner (trumpet, flugelhorn), Jon Bentley (tenor saxophone), Jeremy Berkman (trombone), Andre Lachance (electric bass), Dylan van der Schyff (drums, co-producer) and 2 guitarists Ron Samworth and Tony Wilson. Many listeners know Ms. Lee as an "avant-garde" player yet she is som much more than that. Her original music for this ensemble, known as the Peggy Lee Band, blends so many different styles of music it's truly best to go with flow (the cellist composed all but 1 of the 11 tracks).  After a raucous, jittery, guitar intro (reminiscent of Captain Beefheart's music), "Why Are You Yelling" breaks into a hard-edged groove - in the middle of the tune, the band drops out for an unaccompanied trombone solo before Ms. Lee's shivery high notes leads the "groove" riff back in. Yet, it doesn't come all the way back as the song closes with an extended slow, rubato, coda. "Chorale" is also a multi-sectioned composition, opening quietly on van der Schyff's unaccompanied solo, with shimmering cymbals and movement around the trap set  Long chords from the brass, cello and guitars lead into the next section of the work, also fairly quiet bit with different voices stepping up for short statements before a more "formal" ending.

Turner's fine trumpet stands out of "Path of a Smile" as does the strong melodic turn from bassist Lachance (excellent drum support beneath him as well.) The lullaby-like ballad "You Will Be Loved Again" (from the Canadian composer Mary Margaret O'Hara) is the prettiest work in the program, a slow, dreamy, song with country harmonies.  In her notes, Ms. Lee mentions both Canadian playwright and librettist Tom Cone as well as drummer/vocalist Levon Helm (both of whom passed in 2012) as influences on this music.  One can hear shades of The Band in the lovely "End Waltz" (the guitar work is ethereal).

"Invitation" invites the listener to a world where sound, melody, harmony and expression is displayed in myriad ways.  Rom Samworth's 12-string guitar solo on "Little Pieces" has a West African feel, abetted by the horn interjections while "Not So Far" opens with noise such as scraping guitars, bows hitting cellos and drums interjections before one guitar begins a lovely chord progression and, slowly, a melody rises out of the background.  "Warming" closes the program on a bluesy note with a fine guitar solo, a melodic horn arrangement ahead of and beneath the short trumpet solo and an insistent rhythm.

The previous CD by The Peggy Lee Band (2008's "New Code", also on Drip Audio) introduced listeners to a band that seems to have infinite capabilities and "Invitation" proves the earlier recording was no fluke.  Ms. Lee does not hog the spotlight, blending her rich cello tone in with the horns or rising above the twin guitars.  Take your time with this music and you will be richly rewarded.

To hear "Your Grace", click on the following link:
https://soundcloud.com/drip-audio/the-peggy-lee-band-your-grace.

The Ones That (Almost) Got Away + Remember

Invariably, I forget to list a CD (or 4) among my "Favorites" because it was loaned to someone and not returned or I moved it out of one pile into another (my desk can take on the form of an archaeological dig, at times) or, most often, I forgot.

Such is the case with the delightfuand irreverent mini-CD from trombonist/composer Jacob Garchik.  Clocking in at just over 28 minutes, "The Heavens: The Atheist Gospel Trombone Album" (Yestereve Recordings) is a funky exploration of faith, belief, and social responsibility that will rock you to the core.  Garchik overdubs sousaphone, baritone horn, slide trumpet and alto horn to aid and abet his trombone.  What you get is a healthy dollop of New Orleans, trad jazz, James Brown, the blues, shades of Jewish liturgical music, dance music and much more.  If you have yet to partake in this sweet slice of earthy and earthly delights, go to www.jacobgarchik.com.

I did not have the opportunity to review "By A Little Light" (Greenleaf Records), the 4th CD from bassist/composer Matt Ulery. Blending classical elements with jazz and folk music, this music enters one's brain and won't let go.  This music is not geared towards one audience; instead, it's a deeply personal experience with the composer speaking through various soloists, including pianists Rob Clearfield or Ben Lewis and violinist Zach Brock (whose 2012 CrissCross CD "Almost Never Was" deserves to be noticed as well).  Ulery also contributes a fascinating group of lyrics, most sung by Grazyna Auguscik (the composer sings harmony as well as takes the lead on 1 track.)  This 2-CD set will continue to grow on you as you listen because the music is so smart and there is so much going on (without the songs ever feeling cluttered.)  To find out more, go mattulery.com.

Pianist Luis Perdomo, who can often be seen and heard pushing, prodding and propelling the music of saxophonist Miguel Zenon, released 2 CDs in 2012.  "Universal Mind" (RKM Music) received numerous good reviews (deservedly so) but it was "The Infancia Project" (CrissCross Records) that really shook the house.  With a quintet featuring tenor saxophonist Mark Shim, percussionist Mauricio Herrera and the splendid rhythm section of Ignacio Berroa (drums) and Andy Gonzalez (bass), Perdomo plays original music plus classics from Miles Davis ("Solar"), Ornette Coleman ("Happy House") and Bud Powell ("Un Poco Loco") and plays them all with such joy and verve that it's hard not to get hooked.  It's a special pleasure to hear the woefully under-appreciated Mark Shim flying over the fiery rhythm section.  To find out more, go to www.luisperdomojazz.com.

The trio of Sam Rivers (tenor saxophone, soprano saxophone, flute, piano), Dave Holland (bass) and Barry Altschul (drums) reunited in 2007 to perform for WKCR-FM's Sam Rivers Festival.  They had not played together in over 25 years and hit the stage for 2 continuous sets of totally improvised music.  "Reunion: Live In New York" (Pi Recordings) is the document of those 2 sets.  Mr. Rivers was 83 &2/3rds years old at the time of this concert (he died the day after Christmas in 2011) and, dear me, sounds as vibrant, creative and full of fire as he did during the Trio's time together in the 1970s.  Holland and Altschul are equal partners in this venture, giving this music a foundation that "frees" Mr. Rivers to go wherever his spirit takes him.  Delightful, challenging, raucous and impressionistic, this "Reunion" is a great union of the "spirits."  Go to www.pirecordings.com for more information.

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I must admit to missing "The Jazz Session", Jason Crane's wonderful podcast that he shut down in late October of this year. He seems to be in good mental shape and there's hope he will return to his journalistic endeavors but his podcast still can (and should) be accessed at www.thejazzsession.com.   It remains a pleasure to read the writings of Peter Hum, Doug Ramsey, Nate Chinen, Ethan Iverson, David Adler,  Patrick Jarenwattananon at NPR's "A Blog Supreme", and other fine jazz journalists who all write with great passion and understanding of the music and its role in this country and the world.  And, if you need to explore the "freer" side of music, "Chilly Jay Chill" and "Prof. Drew LeDrew" of the blog "Destination: OUT" continue to teach and preach the joys of great improvisational music.

It's been 11 days since the horrific events in Newtown, CT, and we are still reeling from the aftershock. There are plenty of words being thrown around about gun control, mental health issues, and school security; one hopes that real progress can be made to make such incidents as the ones in Columbine, Virginia Tech and Newtown as rare as possible.  Madness abounds (and seems to be worse when guns are involved) and, while we reel from all these horrible events, we lose sight of the fact that millions of children go to bed hungry every night, that their parents can not find meaningful work and that educational systems around the country are struggling to keep these young students from succumbing to fatigue and burnout.

In the meantime, there are numerous ways to remember the victims of the December 11, 2012 shooting.  If you wish to remember and support the family of Ana Grace Marquez-Greene (pictured above), the daughter of Nelba Marquez and saxophonist/educator Jimmy Greene, you can do so by going to anagracefund.com.   And, then, you should call your legislators, speak to your community leaders and become an activist for change in this nation.  We'll never completely stop violent attacks on innocent people (freedoms such as we in the United States often come with wretched side-effects) but we can and should help bring about an end to hunger and recognize the need for better education for all of our young people.

The Rest Of The Best Of....

"Ten Freedom Summers" (Cuneiform Records), the 4-CD masterwork by composer/ arranger/trumpeter Wadada Leo Smith, is a sprawling, introspective, abstract on the Civil Rights Movement in the United States in the 1950s and 60s.  Scored for both Smith's Golden Quartet/Quintet and the 9-member Southwest Chamber Music ensemble, the music pays tribute to, remembers and reminds us of both the everyday heroes and famous people who made the attempt to bring equality to African-Americans a century after the Emancipation Proclamation.  Along the way, Smith pays tribute to September 11, 2001, to the Vietnam Memorial in Washington, D.C., to Dr. King, Rosa Parks and much more.  There are no lyrics or poems only the titles to jog our memories or teach us a period History books often gloss over.  The music has a fascinating pull and I imagine this powerful work is even more so heard live with the graphics behind and above the musicians

Solo saxophone recordings are not unique but few have the blend of intellect, melody and invention that permeates "The Art of the Soprano: Vol. 1" (self-released), the latest exploration of saxophonist Sam Newsome's chosen instrument.  By shuffling 3 suites ("The Ellington Medley", "A Love Supreme", and "Soprano de Africana") Newsome illuminates the similarities and differences in the music as well as exhibiting his mastery over the soprano saxophone.  Yet, this is no technical exercise (although his technique is mighty impressive) but a wonderful journey into imagination.  To find out more, go to www.samnewsome.com.

Alto saxophonist/composer Ted Nash pays tribute to both the comic book imagination of his youth and the amazing Ornette Coleman Quartet of 1958-1962 on "The Creep"(Plastic Sax Records). Powered by bassist Paul Sikivie and drummer Ulysses Owens plus aided by his faithful, full-toned, trumpet sidekick Ron Horton, Nash's music is an absolute treat, his alto lines flying above the exciting rhythms.  This project has the feel of a summer vacation, throwing caution to the wind and just having a great time.  While you dig the music, you should go to www.tednash.com and read his fun blog; one gets quite the view of a working musician dealingwith everyday life.

In the aftermath of the December 14, 2012, school tragedy in Newtown, Connecticut, I could understand how hard it becomes to listen to music.  "Be Still" (Greenleaf Music) is Dave Douglas's assignment from and tribute to his mother - she asked that he create a program of music for her memorial service. Blending traditional American folk music with jazz is nothing new but rarely has the music had the clarity that this project displays from beginning to end. The rhythm section of Linda Oh (bass), Rudy Royston (drums) and Matt Mitchell (piano) gently yet solidly supports Douglas, saxophonist Jon Irabagon and the emotional vocal work of Aoife O'Donovan.  Peaceful, probing, and honest music that deserves many listenings, even when life is at its happiest, "Be Still" exhibits the power of continued creativity.

In a recent interview in Keyboard Magazine (which you can read in full by going to www.fredhersch.com), the pianist talks about his approach to his Trio music; "I want danger. And this trio to me has the requisite amount of danger, and at the same time, the requisite amount of respect and depth, in equal parts." Fred Hersch, along with bassist John Hebert and drummer Eric McPherson, really does come "Alive At The Vanguard" (Palmetto Records) and this CD, recorded several years after the pianist's nearly-fatal illness, bustles with life and shines with quiet joy.  Melody swims alongside harmony, rhythms jump, dance and caress while solos are trenchant and heartfelt.   

Whether organizing and leading the Captain Black Big Band or fronting a piano trio, Orrin Evans creates music that is as engaging as it is challenging.  Evans is a musician whose musical vocabulary seems limitless.  "Flip The Script" (Posi-Tone Records) features the interactive trio of Evans, Ben Wolfe (bass) and Donald Edwards (drums) moving through a program where rhythm, harmony and melody move in and out in a manner that belies slickness; one can intuit how comfortable and free the musicians feel with each other and the material. Yes, there are countless piano trio recording to choose from  - many of them impressive (see paragraph above) - but Orrin Evans and company make the time spent listening well worth it.

"Suite of the East" (Anzic Records) may have been recorded 6 years ago but this music feels fresh, invigorating and contemporary.  Composer/bassist Omer Avital assembled this ensemble of Omer Klein (piano), Joel Frahm (tenor saxophone), Avishai Cohen (trumpet) and Daniel Freedman (drums) knowing the musicians could interpret his blend of Israeli, North African and African-American music so that the listener would concentrate on the creativity and the power (this music hits many incredible climaxes) within his ideas.  Plus, Avital is a very impressive bassist, such a melodic and rhythmic force, that one is easily swept up in this journey.

Yes, there will be one more column dedicated to 2012 that will be concerned with several other recordings (most of which I did not get to review) that resonated deeply over the year.  In the meantime, have a peaceful Holiday season, one in which the music you love can help soothe the wounds caused by the (often) uncaring world.

Remembering Adrienne Cooper

Hard to believe it's been 12 months since the great Yiddish chanteuse and composer Adrienne Cooper passed away.   Seemingly in the prime of her career, Ms. Cooper had just issued her finest CD, "Enchanted: A New Generation of Yiddish Song"(Golden Horn), and a few months later, she was gone.

A slew of her friends and collaborators are gathering this Saturday December 22 (sorry for the late notice) at 8 p.m. in the Kaye Playhouse of Hunter College, 695 Park Avenue at 68th Street in New York City.  The notice I received earlier today read thusly:

"The celebration will feature performances by Mikveh (Alicia Svigals, Lauren Brody, Susan Watts and Nicki Parrott), The Klezmatics, Eleanor Reissa, Zalmen Mlotek, Sarah Gordon, Michael Alpert, Basya Schechter as well as international artists such as SoCalled, Shura Lipovsky, Psoy Korolenko, Marilyn Lerner, Theresa Tova and Daniel Kahn along with authors Michael Wex, Jenny Romaine, Jeffrey Shandler and Michael Cooper.  Leading the large orchestra and chorus will be Frank London and Michael Winograd."

If you cannot attend, the concert will be livestreamed on http://new.livestream.com/dreaminginyiddish/akholem.  If you want ticket information, call 212-772-4448 or go online to www.brownpapertickets.com/event/303476 - there are only 20 tickets left as of 11:30 p.m. Tuesday night.

Senseless, senseless

Over the next few days, scores of tributes will be written to honor the lives of those slain inside (and out of) the elementary school in Newtown, CT.  Though few of the names have been published, we know that the daughter of Nelba and Jimmy Greene, Ana Grace, was one of the students who perished...who was slaughtered by some person who had no value for human life.  By all accounts, Jimmy Greene (pictured left), saxophonist/composer/educator, is one of the genuinely good people in the world.  Deeply religious, thoughtful, a caring member of every community he comes in contact with, Greene expresses his love of life through his music and in the way he teaches others to express their inner truths.

Over the next few months, editorial pages will be filled with countless words about gun control, about regulations, and about personal freedoms.  Those words will, probably, do little or nothing to comfort those who lost their loved ones in the school; or on the streets of our cities and towns or anywhere in the world where these events happen every minute of the day.  Writers will say that it's finally time to sit down and really confront this issue.  And those of of us who sit and watch them posturing, whether they be politicians or lobbyists, will realize that we live in a world that is reactive, not proactive.  Like poverty, early childhood education, like universal health care, like the unchecked greed of many of our corporations, many people can only sit and ponder why, in a country that proclaims to be caring and responsive to the needs of all of its citizens - young and old - so many of those with the loudest voices and widest reach are so sheepish, unwilling to act. Even as President Obama fought back tears in his comments on Friday, too many people certainly felt frustrated by his administration's and our government's inability to remove the weapons of mass annihilation from the hands of those who know how to shoot first and never ask questions.

Whether you know anyone whose family have been touched by this or any of the senseless killings that occur all around us or whether you are just continually sickened by what you read and hear, raise your voice in sorrow and tell those who have the power to make a difference, whether they be politicians, clergymen, educators, journalists, whoever, the time for inaction is over.  We have waited too long, come too far, seen too much, to let these young children (or anyone who is a victim of a senseless crime) be forgotten.