Since We Should/Must Stay Inside, Make The Best of It!

Viewing & Listening Tips for those who need to learn patience (and soon):

1) - Fred Hersch is posting a video everyday at 1 pm on his Facebook and then it is archived––check it out.

www.facebook.com/fredherschmusic/.

You can tune in at 1 p.m. or find the link to his daily mini-concert.

Plus, you should follow the link to "The Ballad of Fred Hersch" – created by the team of Charlotte LaGarde and Carrie Lozano, the documentary was released in 2016 and, like his 2017 autobiography "Good Things Happen Slowly: A Life In and Out of Jazz" (Crown Archetype), paints a honest picture of the pianist's life , his coming-to-terms with AIDS, and the coma that nearly claimed his life in 2008. The movie contains a number of long musical performances plus shows the composers hard at work at recovering and creating "My Coma Dreams", his 2014 jazz/theater piece only available on DVD.

Here's the link:
https://vimeo.com/145825359

2) - Just discovered this morning that, for the next two weeks (through 4/7/20), you can view for free "Rambling Boy", the 2009 Charlie Haden documentary created by Reto Caduff. Haden was the essence of "Speak softly but carry a big stick" in that he had a a quite voice but his bass and music stood up against tyranny at home (the United States) and and the world world.  Haden left many legacies including his musical family, his work with Ornette Coleman, Pat Metheny, Keith Jarrett, Old & New Dreams as well as the Liberation Music Orchestra.

Here's the link to the movie:
https://vimeo.com/399832399

3) – The number of music documentaries, concerts, and daily musical interludes on YouTube, Amazon Prime, Netflix, NPR.org, etc is amazing. Jazz at Lincoln Center announced they'll post free videos every week starting today with the JALC's shows about Miles Davis, South African Music, and a Family Concert: "Who is Chick Corea?"  Go to https://www.jazz.org for more information.

4) - Podcasts: While you're hanging about or out for a walk/jog/run, there are a slew of podcasts (seemingly more everyday) for your distraction/entertainment. Check out my friend Jason Crane (you'll see links in the right-hand corner of this blog page) plus the often-brilliant "A Noise From the Deep" (trumpeter Dave Douglas's monthly conversations with modern musicians/creators––go to https://greenleafmusic.com/podcasts/). Make time for Leo Sidran's "The Third Story"podcast to be found at www.third-story.com as well as trombonist/label owner Nick Finzer's "Outside In Music Podcast" at www.outsideinmusic.com/podcast. Of course, there are a ton more––if you have a favorite, send me a link at richard_b_kamins@snet.net.

Stay safe!

Music for the 21st Century, For Today

I do not receive Blue Note albums to review - I buy the ones I really want.  Over the past decade, trumpeter and composer Ambrose Akinmusire has caught my ear and mind, not only on his own recordings but also his work with David Binney, Walter Smith III, and Wolfgang Muthspiel (to name but three).  His own recordings stand out for the width and breath of his imagination. Yes, he's a fine musician yet it's the 36-year old Oakland California native's compositions and arrangements that truly set him apart.  Akinmusire absorbs all he hears on the bandstand, in concert halls, in practice room, on the radio, and in the streets, adding those myriad sounds to what he reads in books, essays, and in the daily papers.

"Origami Harvest", his fourth album for Blue Note Records, is, arguably, his most ambitious sonic adventure.  The six original compositions feature two members of his Quartet, pianist Sam Harris and drummer Marcus Gilmore, plus vocals from rappers Kool A.D. and LmbrJck_t as well as impressive string work from The Mivos Quartet.  I have yet to hear the entire album - still, judging from the fascinating video below, this is a major work.  Filmed in the streets and from the sky above his native city, the film compiles excerpts from the entire album, with natural images interspersed with impressionistic choreography and the powerful vocals. Experimental? Yes!  Thought-provoking?  Absolutely! Let this music soak in. Art has the power to disrupt even as it entertains.

For more information, go to www.ambroseakinmusire.com.



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It would be remiss of me not to mention that Jason Crane and The Jazz Session is back.  You can see that in the right-hand corner of this blog.  In a bit of shameless self-promotion, I was fortunate to be interviewed by Mr. Crane as I am a sponsor of his work on Patreon and he asked if I would contribute to his "subscriber Bonus Material" by talking about one of my favorite albums.  Readers of this column how hard it is for me to pick a Top 10 every year (some years, as high as 42) but, for the sake of sanity, I chose two and went with a third, "Freedom Suite" by Sonny Rollins, his ground-breaking recording from 1958 featuring drummer Max Roach and bassist Oscar Pettiford.  I invite you to listen (click on the link) as that post is open to the public and I urge you to be a Patreon subscriber.  There are few interviewers, if any, more engaging than Jason Crane and you'll learn a lot about some fine creative artists.

Culture, Music, Fusion, & Emotion

Photo: Jimmy Katz

If you have closely followed the career of Miguel Zenón, you'll know it's been quite a journey from his early recordings with the Either/Orchestra and tenor saxophonist David Sánchez as well as his 2002 debut as a leader (the aptly-titled "Looking Forward" which featured, among others pianist Luis Perdomo and bassist Hans Glawischnig, both of whom are still members of Quartet).  Zenón is also a founding member of the SFJazz Collective, an octet organized in 2004 currently in its 15th season (which will be the saxophonist's final one with the ensemble).  Go back and listen to the early recordings and you'll hear he's already has his signature sound and that his original compositions were (and still are) inspired by the folkloric and popular music of his native Puerto Rico.  What has changed from those initial recordings is that his writing has matured in wonderful ways.

His latest project and album, "Yo Soy La Tradición", is his fourth album on his Miel Music label.  Zenón has created a collection of pieces inspired by classic Puerto Rican songs as well as elements of musical styles from different cities and towns on the island.  Scored for alto saxophone and string quartet. Zenón's partners on the project are the Chicago-based Spektral Quartet (violinists Clara Lyon and Maeve Feinberg, violist Doyle Armrest, and cellist Russell Rolen). Recorded during the horrific days when Hurricane Maria struck Puerto Rico (and elsewhere in the Caribbean and United States), the results are an amazing blends of styles, melodies, harmonies, interactions, and rhythms. Rhythms?  String quartet?  O, yes, a number of these works are based on "dance" songs and all five musicians play "percussive" melodic lines and, in the case of the strings, plenty of pizzicato.

Photo: Robert Watson

Five weeks ago, I wrote a preview of the album and there is no need here to go through every track (I included several cuts to listen to - click here).  But, let's look at "Rosario", the song that opens the album. It's based on a Catholic Church tradition in which every segment of the Rosary is presented to the congregation with a musical piece to accompany it.  The piece opens slowly with a melody that has traces of the Shaker Hymn from Aaron Copland's "Appalachian Spring" (the melodic echo appears several times during the performance) with the alto saxophone leading the strings into the music.  They come together and move apart throughout the piece yet it's those strings that add the tension and percussive elements to the piece.  Zenón hands the lead position to viola, violin, and cello as well as keeping a section to himself.  The blend of his saxophone with the strings is impressive throughout and while it seems as if he is the "front man", this music is a true collaboration.

Photo: Brian Jackson/Chicago Tribune

"Yo Soy La Tradición" is brilliant, an entrancing, attractive, intelligent, and often stunning collection of songs that blur the lines between classical, folk, jazz, and popular music. In fact, throw out any and all labels. The insistence on labels only insults the intelligence of the audience.  Instead, focus on how beautiful - yes, beautiful - this music is.  Listen deeply, smile with it, be moved by the passions and the emotions, and enjoy how seamless the arrangements are throughout.  This is not "background music"; instead, this album will resonate for as long as you give yourself fully to the experience.  Kudos to Miguel Zenón and the Spektral Quartet!

For more information, go to miguelzenon.com and to spektralquartet.com.

Enjoy "Promesa":



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One more thing. If you look up at the right hand side of the blog, you'll notice that there are new episodes of "The Jazz Session", the excellent series of interviews with musicians conducted by, arguably, one of the best, Jason Crane. You will learn so much from listening to Mr. Crane and his guests and it's fun!  Very good to have him back - there are still so many musicians out there deserving of the Jason Crane approach! For more information, go to thejazzsession.com.

Happy 50th Anniversary Vanguard Jazz Orchestra

It was 50 years ago, on Monday night February 7, 2016, that the Thad Jones/Mel Lewis Jazz Orchestra played its first notes in the famed Village Vanguard in New York City.  College student, jazz aficionado, and recording engineer George Klabin was seated at a smalltime near the stage with a 2-track tape machine and a 4-channel mixing board capturing every sound with 6 microphones place strategically around the various sections of the band.  Messrs. Jones & Lewis used the tapes to get a recording contract while Klabin was allowed to play the music on his radio show on WKCR-FM at Columbia University.

When Thad Jones (pictured left) left the Count Basie Orchestra in 1963 (where he had been a featured soloist on trumpet and flugelhorn as well as an arranger and composer), he had a number of pieces that he had never used. Just a few months before the end of 1965, Jones got in touch with long-time friend and drummer Mel Lewis (who had earned his stripes in the large bands of Stan Kenton and Bill Holman as well as dozens of small-group recordings) to create a rehearsal band to play these pieces.  By February of 1966, they were ready to face an audience and both the Thad Jones/Mel Lewis Jazz Orchestra and a long-standing gig were born.

Klabin's tapes have long been "bootlegged" and never available to the listening public but all that changes on February 19 of this year. That's when Resonance Records, owned and operated as a non-profit by Mr. Klabin, releases "All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard", a 2-CD set that includes not only the best of the cuts from the February 7th gig (several that never appeared on any bootleg) but also music from a Monday night 6 weeks later (March 21).  If you have any of the previous Resonance releases, you'll know that the packages always include several essays, great photos, and stories from participants.  This new CD will have a package that includes a 92-page booklet with numerous essays and never-before-seen photographs.

And, check this out from the press release for the album: "....on Monday, February 8, 2016, the Village Vanguard along with Resonance Records, will commemorate this golden anniversary with a CD release celebration. On this evening, the Vanguard Jazz Orchestra will perform compositions from "All My Yesterdays" to celebrate opening night back in 1966. Although they normally play this material weekly, this evening will serve as a special tribute. Orchestra leaders John Mosca, Douglas Purviance and the Village Vanguard's Lorraine Gordon have joined together with Resonance to celebrate this milestone in American jazz history."  In fact, the VJO will be in residence at the Vanguard from February 1 - 8 so this should quite a week of great music old and new (not that Thad Jones' music ever sounds old.)  

To find out more about performance, go to www.villagevanguard.com/#!schedule/c1enr.  To find out about the upcoming CD, go to www.resonancerecords.org/release.php?cat=HCD-2023.
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Take a look in the top right-hand corner of the blog and you'll see that The Jazz Session is...well, it's back in session. Its proprietor, Jason Crane, is now living in State College, PA, where he is the program director and show host on 98.7TheFREQ-FM.  For those of us who have listened over the past 8 years, this is great news. Mr. Crane is an enthusiastic and well-informed interviewer who has helped to bring artists to the attention of an avid audience. Now, go to thejazzsession.com and take joy in his return and the music!

Old and New Dreamers

Approximately 47 years separate these 2 recordings but one can hear the plethora of threads that underpin Black American music.

Charles Lloyd, born in Memphis, Tennessee , was educated both in the classrooms of USC and on the bandstand with the Gerald Wilson Big Band as a music director of the Chico Hamilton Quintet. In 1964, he joined Cannonball Adderley's band and performed on that group's "Fiddler on the Roof" CD for Capitol Records.  A year later, he left that group and moved to New York City - he had already released 2 Lps as a leader on Columbia Records, the second of which, "Of Course, Of Course", featured his band mate Gabor Szabo (guitar) who he had worked with in the Hamilton Quintet.

"Manhattan Stories" (Resonance Records) is a 2-CD set recorded in July and September 1965, and finds Lloyd with Szabo, bassist Ron Carter and drummer Pete La Roca Sims.  The September gig, recorded live in Judson Hall, across the street from Carnegie Hall in New York City, took place just 6 months before Lloyd recorded "Dream Weaver", his debut Lp for Atlantic Records and the first to feature the quartet of Keith Jarrett (piano), Cecil McBee (bass) and Jack DeJohnette (drums).  This is his legendary Atlantic group that stayed together (save for Ron McClure replacing McBee) through the end of the decade.

CD 1 is actually the later gig and is taken from the tapes Resonance head George Klabin made as a student at Columbia University. The concert he recorded was part of Charlotte Moorman's Festival of the Avant-Garde. When the engineer and co-producer Zev Feldman sought permission from Lloyd and his wife Dorothea Darr to release the tapes, not only did the saxophonist/flutist agree but gave the duo the tapes that make up the second CD, recorded at the legendary Slugs', 242 East 3rd Street in the East Village. The Saloon/jazz venue closed in 1972, just weeks after trumpeter Lee Morgan was shot to death by his wife.

photo by Lee Tanner

The music is delightful, 3 lengthy tracks on both disks (the longest is "Sweet Georgia Bright" at just under 18 minutes and the shortest is the following track "How Can I Tell You" at just under 12 minutes - both from the Judson Hall show), and filled with references to Lloyd's love of the blues, his study of classical music, Szabo's musical influences (ranging from Indian scales to blues to gypsy melodies).  Kalbin and Fran Gala did a super job restoring the Slugs' tapes, the "bright" mix allowing Carter's tasty bass work to stand out.  La Roca Sims does a splendid job as both the time keeper and interacting with the soloists. Szabo's piece "Lady Gabor", appears on both disks - it's a tune the guitarist brought to the Chico Hamilton ensemble.  Both versions stretch out nicely, Lloyd's flute introducing the melody, taking the first solo which leads (on both versions) to Szabo's raga-like solo.  Carter's counterpoint is notable, creating a drone of his own. The leader's flute playing really stands, especially for its bluesy quality. On the Slugs' CD, Lloyd picks up the maracas to add to the mesmerizing percussion.  Also from Slugs' is the debut reading of "Dream Weaver" - it's fascinating to note the similarities to the long "jams" the Grateful Dead would go on to create in the next several decades in San Francisco and beyond.  When the piece was recorded for Atlantic Records nearly 9 months later, the composer added a new beginning but the basic rhythms were the same (sounding much like a predecessor to "Forest Flower.") Another treat is the totally improvised "Slugs' Blues", created on the spot for the gig.

"Manhattan Stories" may not be aurally pristine but has a spirit, a grit, and fire that one hears in much of the music Charles Lloyd has created over the 5+ decades of his career.  From the beginning, he's been an explorer, always moving forward, going down different paths yet always being himself.
Kudos to Resonance Recordings for this great package (excellent booklet as well). In addition, the label is making a limited edition 10" vinyl version of the "Live at Slugs'" - go to www.resonancerecords.org/release.php?cat=HLT-8016 to find out more.

In late December 2012, composer, trumpeter, and conceptualist Wadada Leo Smith went into Avatar Studios in New York City to "The Great Lakes Suites" (TUM Records).  Joining him was the rhythm section from several of his Golden Quartet recordings, drummer Jack DeJohnette and bassist John Lindberg - to round out the ensemble, he invited Henry Threadgill to play alto saxophone, flute and bass flute. Smith and Threadgill are part of Muhal Richard Abrams' Experimental Band but their history goes back to the late 1960s, to Chicago and the AACM (Association for the Advancement of Creative Musicians) - DeJohnette was involved with that group back at its formation, as well.

photo by Jules Allen

The music Smith has composed for the Quartet plays into each musician's strength. The leader plays with great clarity, focus, a sound that cuts through the speakers with power and articulation.  Threadgill's alto sound can be so tart and clipped while his flute work sings - he is a such a unique player, one never really knows what to expect. Lindberg, at 55 the "baby" of the group (at the time of the recording, both Smith and DeJohnette had already entered their 8th decade while Threadgill was 14 months shy of 70), is one of the most impressive bassists playing in the arco style (using his bow).  DeJohnette plays with extraordinary power and subtlety throughout this music, very much in the "driver's seat"; his creativity is unrivaled, reminding of the work that Max Roach created from the 1950s through the early 2000s.

"The Great Lakes Suites" takes its name from the 5 interconnected freshwater lakes that border the United States and Canada. The 5 tracks named for the Great Lakes are dedicated to Petri Haussila, producer and founder of TUM Records.  The composer added Lake St. Clair to the "Suite", the body of water to the northeast of Detroit that borders Michigan and Ontario Province, connecting Lake Huron to Lake Erie; the lake is used for both recreational and commercial ventures.  "Lake St. Clair" is the cut that closes the program and is dedicated to saxophonist/composer Oliver Lake.

"Lake Michigan" opens the program and is the longest track at 22 minutes. The multi-sectioned rises and falls on the various melodic elements plus the brilliant work of the rhythm section.  Threadgill's alto blends sweetly with the trumpet on the opening and closing themes; elsewhere, the saxophonist's lines weave in and around the other musicians while Smith often serves as both the leader and "town crier", his bright high notes serving as a wake-up call.  There's a serious call-and-response in the opening minutes of "Lake Ontario" for the flute and trumpet plus the bass and drums. Lindberg's furiously bowed bass alongside DeJohnette's "conversational" drums is a magnificent 3-minute adventure before the bass drops out and Smith engages with the drums.  When they finish, it's Threadgill's turn but suddenly the drummer becomes coy, just dropping in a few sounds before the trumpet and bass play a series of long tones. There's a hint of Julius Hemphill's "The Hard Blues" in the opening minute of "Lake Superior" but soon subtlety turns to fire as DeJohnette goes into hyperdrive, pulling his bandmates along (the melody Threadgill and Smith are playing moves slowly atop the fiery percussion.)  The trumpet and alto sax solos serve to remind the listener how creative both musicians can be, pushing against the rhythm section to carve out their own space. Lindberg's pizzicato work supplies as much as heat as his battery mate.

CD 2 has its own pleasures and surprises, none more moving than the stunning unaccompanied bass flute music that opens "Lake Erie" - it's a wonderful mix of sounds, from Native American to South Indian Carnatic music but not beholden to either music. The first to join in is DeJohnette and his work sparks the conversation but he soon steps back to allow Lindberg to interact with Threadgill. The music takes a more dramatic shift when Smith's muted trumpet joins the flute to play a stolid melody. Soon, the trumpet begins a duet with the bass and now the mood has definitely changed, Smith's sonic experiment adding fire where once the meditative flute had been. DeJohnette enter and the intensity level spikes higher. There's much more that happens as the work develops through several more sections, including a marvelously understated drum solo.

If you are fan of Wadada Leo Smith's music, "The Great Lakes Suites" is a must own.  Just to hear these 4 master musicians wend there way through this highly charged yet impressively melodic audioscape gives one hope in uncertain times.  Kudos all around to Wadada Leo Smith, Henry Threadgill, John Lindberg and Jack DeJohnette, to sound engineer Robert Musso, to the liner notes of John Litweiler, to the art work of Markus Kontinnen that graces the covers and others. For more information, go to www.tumrecords.com/041-2-the-great-lakes-suites.

Jason Crane (pictured left) not only turned 41 this week but also returned to radio.  He's now the host of "The Jazz Session" (sound familiar?) Friday morning from 9 - 11 a.m. on The Lion 91.7 FM in State College, PA, the home of the Nittany Lions (ok, Penn State.)  Yes, he is still the host of "The Jazz Session" podcast where his interviews with musicians are notable for the depth of questions (and occasional silliness) and now he gets to play the music he loves to talk about.  If you go to thejazzsession.com/radio-playlists/, you can see just how much territory his fertile imagination and music collection covers.  You can also still sign up to support Jason Crane in his quest to keep "The Jazz Session" in motion.  So, you can listen to his show online (did not see any archives) on Friday or check the great interviews by clicking on the right hand side of this blog post.

Saddened to read of the recent passing of pianist/composer Joe Sample at the age of 75.  I actually heard The Crusaders before I realized there was a Jazz Crusaders - DJ Don Imus used the band's "Put It Where You Want It' as a theme song, a track from their 1972 debut on Blue Thumb Records.  A funky little ditty, perhaps better known for bassist Wilton Felder's hearty tenor saxophone solo and Larry Carlton's slinky guitar riffs, yet it's the 6-note Fender Rhodes figure Sample plays to open the cut (and throughout) that hooks you from the  word "go!"  Over his career, which spanned 5 decades, he worked with artists as diverse as Eric Clapton, Steely Dan, Joni Mitchell, and Willie Nelson, not to forget his work with Quincy Jones and hits with vocalist Randy Crawford.  Born in Houston, he worked steadily in the Los Angeles studios and and a touring performer before health issues slowed him down as he moved back home in the early 2000s.  Joe Sample recorded many CDs under his own name, the most recent being a live 2008 recording with Ms. Crawford released in 2012. He played with grace and style, rarely if ever showing off.  Joe Sample will be remembered as a good musician and a great man.

Summertime and the Music is Smoking!

Week # 2 for the 2014 UMOJA Music Series in Hartford features the energetic rhythm master Ralph Peterson Jr & The Unity Project Friday 6/27 at 6 p.m. in the Pumphouse Gallery, 60 Elm Street in Hartford.  This is the first of several appearances this summer for the drummer/composer/arranger and this band will not disappoint.  Joining him will be Hartford-area native Josh Evans (trumpet), Myron Walden (tenor saxophone, also appearing twice next week at The Side Door - more about that subsequently) and Pat Bianchi (Hammond B-3 organ).  This is a group that blends the fire of hard-bop with the blues-drenched soul of jazz-funk; in other words, they "bring it and bring it good!"

Opening the show will be the Jovan Alexandre Group, led by the fine young tenor saxophonist originally from Wallingford, CT.   The concert is free and open to the public. In case of rain, the show moves indoors to Greater Hartford Academy of the Arts Recital Hall, 15 Vernon Street.  For more information, go to umojamusic.com.

The Side Door Jazz Club in Old Lyme has 2 excellent shows this weekend.  On Friday night, the Door opens to the David Kikoski Trio.  Pianist Kikoski (whose credits could take up the rest of this post but includes the Mingus Big Band plus a score of strong recordings as a leader) brings the dynamic rhythm section of Ed Howard (bass) and Adam Cruz (drums).  Kikoski displays his knowledge of the history of jazz every time he sits at the piano and is a fearless improviser.  Doors open at 7:30 for the 8:30 first set.

 On Saturday, the fine tenor saxophonist Jimmy Greene brings his Quartet to the Old Lyme venue.   The Bloomfield, CT, native, currently on the Music faculty of Western Connecticut State University, has a big, flu, sound that can rattle the doors yet has a gentle side that can caress a ballad as sweetly as any musician (on any instrument.)  Not sure who's in the group but this evening promises to be one the avid listener is sure to enjoy.

For more information, go to thesidedoorjazz.com or call 860-434-0886.  Do it now, tickets are moving quickly!

I trust you are keeping up with Jason Crane & The Jazz Session - it's so easy to do as the links for the 3 most recent shows are to the right of this (and every) post near the top. Our recent weekend away from home gave me the opportunity to catch up and I do recommend you listen.  There are few interviewers as knowledgable or curious about the music and musicians he presents on every program - Mr. Crane keeps you in touch with both established artists as well as ones you may have yet to discover.  Give The Jazz Session a whirl - you'll be glad you did! Go to thejazzsession.com.

 Take a moment and give a thought to drummer/composer Matt Wilson, whose wife Felicia passed away earlier this month.  Mr. Wilson, who has brought so much joy and music to people of all ages around the world, is one of the true gentlemen in the world, always willing to teach or give an intrusive reviewer/writer an in-depth interview.

Life is fragile, even in the best of times.  Music can be a vehicle that removes one from the strife and insanity of daily existence and/or a reminder how we need to, as a caring community, continue to work on creating a just society for all.

Our thoughts and prayers go to Matt Wilson and his children.

He's Back....+ Monday Nights in Bushnell Park

The news came as a bit of a surprise.  Jason Crane had closed his podcast "The Jazz Session" in October of 2012 hoping to find gainful employment out in the real world (those of us who write  about or broadcast Black American Music know full well it's not a growth industry.  That writ, there are plenty of fine young writers and radio people involved with the music and its people.)

"The best-laid plans...", as they say, don't always pan out and Jason, while he did find a job and did create a new radio program (not to forget the fine poetry he has written in the past 8+ months) is now out of that job.  His missive, which arrived via email, reads (in part):

Why do musicians do what they do?

Answering that question was at the heart of the 417 episodes of The Jazz Session that aired from 2007-2012. My guests included Sonny Rollins, Ron Carter, Maria Schneider, John Abercrombie, Robert Glasper, Marian McPartland, Darcy James Argue and hundreds of others. I loved asking questions that got beyond the mechanics and uncovered the passion, the thought, the inspiration behind the music.

Let's do it again. 

So many of you helped me keep the show going in its first five years. Now I'm asking you to help me produce 12 new episodes -- one per month for a year. The money raised in this campaign will send me to New York for a week to conduct the interviews, and it will help pay for the production costs and the server space for the show. That server space alone is getting very expensive, given the show's 2.5 million downloads (and counting). 

But let's do even more.

The centerpiece of each episode will still be an in-depth interview with a jazz musician. But each episode will also have an extra segment. It might be a jazz book or CD recommendation; a short talk with an author or writer about a particular jazz-related topic; or maybe a look behind the scenes at a special event. One thing is for sure: there will be even more jazz info in each and every episode.

You don't have to wait to hear a new show.

Visit http://thejazzsession.com right now to hear a brand new episode featuring pianist Geoffrey Keezer talking about his new solo piano record. It's my way of saying "thank you" for your support, and I hope it makes you want even more episodes. And no, this doesn't count toward the 12 new shows. So really, you're getting 13. 

If you love jazz ... if you love music ... if you care about documenting history as it happens, please help me bring back The Jazz Session.

CLICK HERE TO SUPPORT THE CAMPAIGN.

Check it out and see what you think.

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Summer has certainly arrived in Connecticut, especially with the news that the "Monday Night Jazz in Bushnell Park" series is resuming on Monday July 8 and running through August 12.  The arts scene in Hartford has really come back to life in the past year and it's great to see that this series, which began in 1967 and was curated by bassist Paul Brown, continues to bring quality music to the city and region for free!

Mario Pavone, the gentleman resting on his bass violin above, kicks off the 2013 series and he's bringing his Orange Double Tenor Septet. The ODTS features Connecticut natives Jimmy Greene and Noah Preminger on saxophones, Dave Ballou on trumpet,  and long-time Pavone associates Peter MacEachern (trombone), Steve Johns (drums) and the great Peter Madsen on piano. Pavone is also appearing this Friday July 5 at Cafe Nine, 250 State Street in New Haven - everyone but Jimmy Greene will appear on that night. (For more information, go to cafenine.com.) The Bushnell Park show kicks off at 6 p.m. with Rahstet, saxophonist Rich McGhee's tribute to Rahsaan Roland Kirk.  

The series continues on July 15 with a double bill featuring the Stanley Cowell Quartet (the pianist is pictured left) with the Nita Zarif Quintet as the opening act. July 22, the series hosts the Jay Hoggard Quintet with the Norman Gage-Kenny Reed Quintet opening the festivities.  July 29 will have a serious Latin feel when the New Cuban Express led by pianist Manuel Valera and featuring saxophonist Joel Frahm come to the Insurance City. The opening act that evening Hartford's own Tropiijazz.  The 2 shows in August feature the Will Calhoun Trio with the Orice Jenkins Septet (8/05) and harpist Brandee Younger's Quintet featuring Hartford native Dezron Douglas on bass with the Shenel Johns opening the evening.  Did I mention this is free?  The rain venue is the Asylum Hill Congregational Church, 814 Asylum Avenue.  For more information, go to www.hartfordjazzsociety.com/mnj-schedule.html.

And, if that's not enough live music for you, you can head over to Black-eyed Sally's, 350 Asylum Street, for its "Jazz Mondays" series.  Scheduled to appear in July are the Haneef Nelson Sextet (7/08), the Lauren Sevian Quartet (that's Ms. Sevian above and she's in the Park on 7/15), the Larry Willis Quintet featuring Steve Davis and Mike DiRubbo (7/22) and Radam Schwartz & Organ-ized featuring drummer Ralph Peterson (7/29).  All this is sponsored by the Charter Oak Cultural Center.  For more information, go to www.charteroakcenter.org/index.php/category/jazz-mondays or call the venue at 860-278-7427.

Two Lively Crews + CD Pick + more

Summer is a good time for road trips, even if gas prices are high (you just don't go as far.) If you're willing to head to the (Litchfield) hills on Tuesday July 10, you can catch a free concert at The Hotchkiss School's Katherine M. Elfers Hall featuring the Michael Musillami Trio.  The guitarist/composer, who teaches at the school during its normal schedule, brings his good friends Joe Fonda (bass) and George Schuller (drums, hat) and they'll play music that spans the decade the Trio has been together.  The compositions are filled with intelligent melodies, strong harmonies and plenty of room for the musical give-and-take that is a trademark of the MM3. Over the 10 years, the Trio has released 6 CDs (all on the guitarist's Playscape Recordings label), 3 with expanded lineups.

The concert starts at 7:30 p.m.  For directions, go to hotchkiss.org. 

Clogs, the musical ensemble that began its existence in New Haven nearly 13 years ago, comes home to play at Firehouse 12, 45 Crown Street.  The group - consisting of original members Padma Newsome (piano, ukulele, violin, voice), Rachael Elliott (bassoon), Thomas Kozumplik (percussion) plus guests Ben Cassorla (guitar) and Lorne Watson (percussion) - will be playing music from its latest project, "Shady Gully", music inspired by the area around composer Newsome's hometown of Mallacoota, Victoria, Australia. Normally a quartet (guitarist Bryce Dressner, the other original member, is away for this tour), the band came together at the Yale School of Music, creating original music that had roots in classical, folk traditions, indie rock and more.  The earlier recordings contained mostly instrumentals but they added vocals for "The Creatures in the Garden of Lady Walton" project in 2010 (they also produced a recording of instrumentals, "Veil Waltz", as a prologue for the project.) You can hear all of their recordings by going to clogs.bandcamp.com.  To purchase tickets for the Firehouse 12 date, go to firehouse12.com or call 203-785-0468. 

Trombonist-composer-educator Steve Davis teaches at Hartt School of Music's Jackie McLean Institute and The Artist Collective.  Mentored by saxophonist McLean, Davis (born in Binghampton, NY and raised in Worcester, MA) stayed in Hartford but has traveled around the world.  He was in the final edition of Art Blakey's Jazz Messengers, toured and recorded with Chick Corea's Origins band and is an original member of One For All.  "Gettin' It Done" is his 3rd CD for PosiTone and does not stray far from the hard-bop swing that animates much of the trombonist's recordings.  It marks the 9th time Davis has led or co-led a session with alto saxophonist Mike DiRubbo.  Also featured on the recording is several other long-time associates, pianist Larry Willis and bassist Nat Reeves.  Rounding out the crew is 24-year old drummer Billy Williams and recent Hartt School alum Josh Bruneau on trumpet and flugelhorn.

The title tell its all - the band "hits" from the first note and never loses its focus.  Opening with John Coltrane's "Village Blues" (from the 1960 "Coltrane Jazz" Lp), the music is blessed by the leader's warm tones and willingness to share the spotlight.  Willis's rich chords lead the piece in, Reeves and Williams lock into the grooves and the front line presents the sweet melody (which would have sounded out of place on "Kind of Blue.") The leader takes the first solo; his winning combination of his sweet tone and smart improvisations lead to DiRubbo's mellow-with-an-edge alto solo. But the surprise here is the dynamic work of young Mr. Bruneau.  Throughout this program, his clear, clean, sound and feisty attack is a treat.  His funky approach on Davis's "The Beacon" shows the influence of Freddie Hubbard while the "groove" should remind listeners of The Crusaders.  Williams does not settle into the groove; instead, he pushes the piece forward while Reeves' strong bass support along with Willis's bright chords gives the piece its shape.

Other highlights include the sprightly "Sunny" (yes, the tune by Bobby Hebb) with its joyful interplay of trombone and trumpet as well as the lovely and lyrical "Wishes" that closes the program. The latter opens with the leader and DiRubbo playing the handsome theme leading into a long piano excursion from Willis.  The pianist is a masterful accompanist while every one of his solos seems to dance atop the beat with glee (he puts the dance steps into "Steppin' Easy" and the fire into "Longview.")

Steve Davis is one of the people who makes music that reflects his true being;  to wit, the music on "Gettin' It Done" is bright, highly rhythmical and melodic, never pushy or condescending.  The band is sharp and attentive, the solos almost always impressive and one feels quite satisfied after spending tine with this music.  For more information, go to www.stevedavis.info.

Here's the title track for you to download, courtesy of PosiTone Records and IODA Promonet:
Gettin' It Done (mp3)

I trust you are keeping up with The Jazz Session, the fine music interview podcast produced by Jason Crane (the 3 most recent posts are on the top right of this column.)  Then, you are quite aware of his "Jazz Or Bust" tour that has finally reached New Orleans, the ultimate destination of the initial leg of the venture.  My recommendation is that you go to jasoncrane.org to read his posts about the sights, sounds, and emotions of a journalistic hiker in search of the people who create the music we know and love as jazz.  But there's more to his writing than music - Mr. Crane is a poet, a musician with words as his instrument.  In other ways, this journey is one of self-discovery, not often easy or satisfying but educational for the soul.  Give him an ear and an eye; there's much to hear and see.