Tag Archives: Institute of Jazz Studies

A PARTY FOR DAN MORGENSTERN

If you read JAZZ LIVES and the name Dan Morgenstern doesn’t ring an entirely lyrical bell, then something in the cosmos is surely out of synch.

I can only speak for myself — as someone who, since the early Seventies, read his liner notes so closely as to unintentionally memorize them, someone who looked for his articles and reviews in books and jazz magazines, someone who tuned in to WBGO on Sunday nights to hear his presentations on “Jazz From the Archives” as a special treat.

And everyone I know in the field — musicians and writers — shares my enthusiastic gratitude to Dan during his illustrious work (since 1976) as the director of Rutgers-Newark’s Institute of Jazz Studies in Dana Library.  And the larger world has noticed, too — Dan has won eight Grammy awards.

It’s always especially rewarding to be able to celebrate someone while that person is around to hear the tributes in person . . .

On Tuesday, April 17, 2012, from 4-8 PM, at the Newark Club, One Newark Center, 22nd Floor, Newark, New Jersey 07102, there will be a celebration of Dan Morgenstern’s Life in Jazz — with cocktails, hors d’oeuvres, music, and entertainment.  The Institute of Jazz Studies at Dana Library at Rutgers University – Newark will commemorate Dan’s contributions to jazz and the university with a retirement event in his honor.

Dan’s musical friends — Randy Sandke, Daryl Sherman, Anat Cohen, Joe Peterson, and Dan Faulk — will be performing through the evening, and there will be three special musical tributes.  The price of a single ticket is $75.00, and you can RSVP by contacting Elsa Alves at 973.353.3798 or emailing Merve Fejzula at fejzula@andromeda.rutgers.edu.  If you can make it, please let Elsa or Merve know as soon as possible — and you might also want to make a contribution to support the Dan Morgenstern Endowment Fund (completely tax-deductible).  Checks should be made out to Rutgers University, and sent to

Elsa Alves, Institute of Jazz Studies; John Cotton Dana Library; Rutgers, the State University of New Jersey; 185 University Avenue; Newark, New Jersey 07102-1814.

Dan has done so much for us and for jazz — !

May your happiness increase.

JOSH DUFFEE / CHAUNCEY MOREHOUSE: Institute of Jazz Studies at Rutgers, March 23, 2011

JAZZ LIVES readers know Josh Duffee — or have been depriving themselves of a great pleasure if they don’t. 

Here he is, bespectacled, serious, dapper, and swinging hard — off to the right behind a minimalist drum kit.  (Who needs more?)  I caught this at the 2010 Whitley Bay International Jazz Festival:

Now you can see this young fellow is a wonderful drummer: he’s in there, as they used to say.  His friends are Andy Schumm, cornet; Paul Munnery, trombone; Norman Field (becoming Tesch, wonderfully), clarinet; Jeff Barnhart, piano; Jacob Ullberger, banjo; Frans Sjostrom, bass sax. 

But Josh also shines when he’s not moving around or making one object come into contact with another, rhythmically.  He is a great natural scholar of the music — without academic pretensions or hauteur — and one of his subjects is the masterful and under-celebrated Chauncey Morehouse, a thoughtful force of nature. 

I saw Mr. Morehouse at either the 1974 or 1975 New York Jazz Repertory concert tributes to Bix . . . he wailed!  I also tape-recorded the concert and know where the tapes are . . . but no longer have a reel-to-reel recorder.  Any suggestions?

Here’s Chauncey, featured at his tuned N’Goma drums as a member of the 1938 Saturday Night Swing Club radio program.  On film!  With Leith Stevens directing the house band, Paul Douglas as master of ceremonies, and some people named Bobby Hackett, Pee Wee Russell, Georg Brunis, and Eddie Condon joining in for the closing “jam session” on THE DIPSY DOODLE:

So I will be at Rugers this coming Wednesday, March 23.  You come, too!  It’s free and worth the trip.  And (just as an aside) I won’t be videotaping Josh’s two-hour presentation to put on JAZZ LIVES — for a variety of reasons, none of them ominous.  So you should take the bus, the train, or even drive to Rutgers.  My experiences with Josh — as a percussionist, thinker, and generous person — are all the evidence I need.

JOSH DUFFEE PRESENTS CHAUNCEY MOREHOUSE

Jazz Research Roundtable

The Institute of Jazz Studies
Department of Visual and Performing Arts
Faculty of Arts and Sciences
Rutgers – Newark

Since 1995, IJS has hosted its monthly Jazz Research Roundtable meetings, which have become a prestigious forum for scholars, musicians, and students engaged in all facets of jazz research.  Noted authors, such as Gary Giddins, Stanley Crouch, and Richard Sudhalter have previewed their works, as have several filmmakers.  Musicians who have shared their life stories include trumpeter Joe Wilder, pianist Richard Wyands, guitarists Remo Palmier and Lawrence Lucie, trombonist Grachan Moncur III, and drummer/jazz historian Kenny Washington.

All programs are free and open to the public, and take place Wednesday evenings from 7:00 to 9:00 pm in the Dana Room, 4th floor, John Cotton Dana Library, Rutgers University, 185 University Ave., Newark, NJ.  Refreshments will be served.

For further information, please call (973) 353-5595.
Financial support for the Roundtable is provided by the Rosalind & Alfred Berger Foundation.

Institute of Jazz Studies
Rutgers, The State University of New Jersey
John Cotton Dana Library
185 University Ave.
Newark NJ USA 07102
Tel: (973) 353-5595
Fax: (973) 353-5944

CLICK HERE TO GIVE BACK TO THE MUSICIANS IN THE VIDEOS (ALL MONEY COLLECTED GOES TO THEM):

 https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=VBURVAWDMWQAS

THE MYSTERIES OF JACK TEAGARDEN

Although he would have been astonished if you had told him he was in any way mysterious, Jack Teagarden is difficult to unravel.  For one thing, Jack (or Big Tea or Mr. T.) was regarded as perhaps the finest trombonist of his time by musicians in and out of jazz: how about counting as your fans and colleagues Coleman Hawkins, Bing Crosby, Johnny Mercer, and Louis Armstrong? 

If you go by the rules or the expectations that lead people to create them, Jack should have sounded and played differently.  A White musician of German ancestry born in Texas in 1904 could have been a trombone virtuoso, but one you would have expected to have come to jazz through the side door.  Other White musicians heard their jazz from recordings of the ODJB or the NORK, but Jack seems to have been improvising at an astonishing level before he heard jazz in any “official” fashion. 

Teagarden astonished all the musicians who heard him uptown in 1927.  And he kept astonishing them, including Bob Brookmeyer, until his death in 1964. 

Teagarden came up in a “hot” tradition, where you were supposed to raise the temperature of the dance band recording with your eight-bar bridge (safely hidden in the last minute of those grooves).  And he was a superlative stimulus to musicians as secure in their own identies as Benny Goodman, Pee Wee Russell, and Bix Beiderbecke. 

But Teagarden never seemed to work hard: his playing and singing looked as if anyone could do it.  Other musicians of his generation and beyond who sweated and strained dramatically got more attention and accolades.  Because Jack had a half-dozen “hits,” he became identified early on with that narrow repertoire.  He now often seems like a man imprisoned by BASIN STREET BLUES in front of a fairly well-behaved small group.     

How did he become Jack Teagarden?  What was it like to be Jack Teagarden?   

A variety of scholars, including the late Richard M. Sudhalter, have nibbled away at these mysteries, but they are being taken up again by the young jazz scholar and trombonist Alex W. Rodriguez. 

And Alex will be sharing his insights at Rutgers University on Wednesday, April 21, 2010, during a “Jazz Research Roundtable” sponsored by the Institute of Jazz Studies: WHITE AND BLUE: THE JAZZ LEGACY OF JACK TEAGARDEN.  

The Roundtables have been going on since 1995, with many distinguished musicians and scholars as guests, including Gary Giddins, Stanley Crouch, Richard M. Sudhalter, Joe Wilder, Richard Wyands, Remo Palmier, Lawrence Lucie, Grachan Moncur III, Randy Sandke, Marty Napoleon, Larry Ridley, Nicki Parrott, and Kenny Washington.

All programs are free and open to the public, and take place Wednesday evenings from 7:00 to 9:00 pm in the Dana Room, 4th floor, John Cotton Dana Library, Rutgers University, 185 University Ave., Newark, New Jersey.  Refreshments will be served.  For more information, call (973)353-5595.

To read more about Alex, check out http://www.npr.org/blogs/ablogsupreme/2009/09/jazz_now_alex_rodriguez_lubric.html.  And, better yet, visit his intriguing blog: http://lubricity.wordpress.com/about/

I hear you saying, “LUBRICITY?  What in the name of Tricky Sam Nanton is LUBRICITY?”  Alex can tell us:

“Lubricity is the quality of shiftiness or slipperiness, the ability to resist definition, and the capacity for reducing tension.  To me, it’s a perfect descriptor for jazz as it lives in our world today.  It’s also a tribute to the bebop musicians like Charlie Parker and Thelonious Monk who had a fascination with obscure multisyllabic words like “Epistrophy” and “Ornithology”.  Finally, it’s a tip of the hat to my instrument, the trombone, which requires a lubricious slide in order to be played effectively.  Join me in discussing the definition-resistant musical tradition we call jazz through my perspective as a young trombonist and aspiring jazz historian.”

That fellow Rodriguez has a voice, doesn’t he?  An encouraging sign in anyone, scholar, musician, or not.

CHARLES ELLSWORTH RUSSELL, PAINTER

Beauty and the Beast

Beauty and the Beast

The National Jazz Museum in Harlem held a six-hour program yesterday in honor of Frank Newton and Pee Wee Russell, one unknown and the other under-acknowledged — two of my dearest jazz heroes.  George Avakian, George Wein, Nat Hentoff (via telephone), Loren Schoenberg, Dan Morgenstern, Bill Crow, Morris Hodara, and Hank O’Neal spoke.  Those who couldn’t make it uptown will be happy to learn that the audio portion of the presentations is, I am told, going to be accessible at the JMIH website — check my blogroll.

But while the presenters were presenting, my attention was caught by a painting on an easel at one end of the room.  It clearly looked like one of Pee Wee’s: he took up painting late in life, following his own whimsical genius.  (The winding lines and bright colors are, to me, visual representations of his playing — and perhaps of his patterns of thinking and perceiving.)

Hank O’Neal generously brought his prize Russell painting, and allowed me to photograph it and share it with my readers.

Pee Wee painted it in October 1966, called it BEAUTY AND THE BEAST, and gave it as a gift to Eddie Condon.  Here are some details of the painting.  Drink in its energy and colors.

dsc00024

A detail.

dsc00023Another piece of the puzzle.

dsc00026Take me as I am!

dsc00022The Master’s signature.

(The Institute of Jazz Studies, which operates out of Rutgers University, has perhaps thirty-five Russell canvasses, much of his oeuvre.  Worth a trip!)

RAY BRYANT IS THRIVING

I can’t recall the first time I heard a recording of pianist Ray Bryant — perhaps because he was captured so often and so well during the Fifties and onward.  Was it with Miles or Sonny Rollins?  No, more probably it was as a member (along with brother Tommy) of the Jo Jones Trio.  Or as a sideman on any number of Prestige swing-to-bop sessions.  I even recall finding a used copy of his Columbia record THE MADISON TIME, which featured Buddy Tate and Benny Morton, among others.  Then he made some records for Norman Granz (a solo album, one with Zoot Sims, among others) but he didn’t have as high a profile as other pianists.  That struck me as odd, because Bryant’s approach to the piano was expertly orchestral, without any narrow definitions.  He struck me as a musician, a pianist rather than someone limited to a single approach. 

ray-bryant1Thus it is a great pleasure to report that there is a new solo piano CD by Bryant and that it is even better than I thought it would be.  It’s called IN THE BACK ROOM and appears on the Evening Star label — a label known for its beautifully done CDs featuring Benny Carter, Joe Wilder, Phil Woods, Randy Sandke, among others.  Prodcer Ed Berger has a long association with the Institute of Jazz Studies at Rutgers University– he is one of the finest jazz scholars we have — and all of the twelve performances on this CD were recorded at the university in 2004 and 2008, some during a Fats Waller Centennial celebration.  Five tracks are Waller compositions, and one is IF I COULD BE WITH YOU, by his teacher James P. Johnson.  The other tracks include EASY TO LOVE and ST. LOUIS BLUES — and, most importantly, four Bryant compositions.   

Most pianists have the same difficulty considering Fats Waller’s music that trumpet players asked to pay tribute to Louis do, I assume: the musical personalities are so strong, their effect so definite, that the musician paying homage might be tempted to imitate the model.  This isn’t terrible in itself: if I knew someone who could play POTATO HEAD BLUES or AFRICAN RIPPLES at will, I would have them come to my apartment often.  But the wiser course might be to honor the durable melodies as improvisatory material and go from there.  With Waller, however, the risks are immense: what can a player bring to HONEYSUCKLE ROSE that is reasonably authentic and still new? 

No one need worry.  Bryant is a mature artist, wholly comfortable with his own identity so that he relaxes into his own style — which, one notes immediately, is not built on well-worn figures and pianistic cliches.  Rather, he seems to love the way the piano can be made to sound, full and rich, without straining for effect.  He is happy to play the melody, to ornament its harmony subtly.  His solos sing; his rhythm is relaxed yet consistent.  And he is a master of the small variations possible within medium tempo. 

Although Bryant is known for his deep immersion in the blues and his originals such as “Little Susie,” the most moving music on this CD comes when he plays his own compositions.  One of them, “The Impossible Rag,” is a tour-de-force that pianists might find it hard to reproduce, but Bryant’s virtuosity is more a matter of deep feeling.  It comes out most strongly in “Lullaby and” “Little Girl” (the latter dedicated to his wife Claude).  “Little Girl,” an almost grieving meditation, sounds cantorial in its minor harmonies: in it, we hear someone considering the possibilities of simple melodic motifs — eloquently and sorrowfully.  I didn’t think of jazz when I heard it; rather, of Dvorak.  “Lullaby” also takes an apparently simple idea and explores it, gently and sweetly — with contrasting brief sections balancing against each other.  Both pieces stayed in my memory for a long time, which says a good deal about Bryant’s powers to evoke emotions.  Even if you think you know Bryant’s work, this CD is worth searching out.  And if the Evening Star label is new to you, delights await.  Visit http://www.bennycarter.com/common/eveningstar/