Farewell, Ira Sabin, a Major Force in the Jazz World

ira sabinFarewell to Ira Sabin, a jazz drummer who turned his attention to jazz journalism. In 1970, Sabin founded the publication that became JazzTimes. For nearly a half-century, the magazine* has been a major force in jazz, documenting the music and along the way influencing the art form.

Sabin, who also made a mark as a record-store owner and promoter, died of cancer at age 90 on Sept. 12, in Rockville, Md.

“He performed in some of Washington’s first integrated jazz groups and sometimes entertained at private parties at the Georgetown home of Sen. John F. Kennedy (D-Mass.) before he became president,” Matt Schudel writes, in a piece published in the Washington Post.

“By the late 1950s, Mr. Sabin was producing concerts and other performances, featuring such acclaimed musicians as Count Basie, Duke Ellington, Miles Davis and Oscar Peterson. In 1962, he bought out a brother-in-law who had a record store, renaming it Sabin’s Discount Records. The store, at Ninth and U streets NW, was in the heart of Washington’s thriving jazz district, within walking distance of two theaters and six jazz clubs. The shop carried one of the country’s largest collections of jazz recordings, and musicians often stopped by to shop and chat.”

JazzTimes began as a four-page newsletter for Sabin’s record-store customers, and included contributions by some of the country’s best jazz critics, Schudel writes. In 1970, he called the publication Radio Free Jazz, and it eventually grew to 28 pages. Dizzy Gillespie was the publication’s first paid subscriber. It was renamed JazzTimes in 1980, and become a glossy monthly in 1990.

Read the entire Post story here.

Also:

“Ira Sabin, JazzTimes Founder, Dies at 90” (JazzTimes — by Michael J. West)

Ira Sabin, Founder of JazzTimes Magazine, is Dead at 90 (New York Times — by Richard Sandomir)

“Ira Sabin: Cool Daddy-O!” (JazzTimes — by Dan Morgenstern, published in 2000)

*I’m a longtime contributor to JazzTimes.

 

 

Goodbye, Clark Terry

cterry

So sad to hear of the passing of the great Clark Terry, although he has been ill and in failing health for a long time.

Terry was a superb trumpeter and flugelhorn player, a technically brilliant instrumentalist, sublime improviser and high-impact teacher whose playing always exuded real joy, and great and infectious good humor. A veteran of the Duke Ellington and Count Basie bands, he was also part of the “Tonight Show” band; he was the first black musician on staff at NBC.

I was a teenager when I first heard and met Terry, playing with the house trio at the old  Buena Vista Village lounge near Disney World. I treasure the elaborate autograph he gave to me, writing his name and a little trumpet figure in red ink on the inside of a double-record live recording on the Pablo label.

Terry’s sound was instantly recognizable — that lilting, effervescent tone, those speedy lines, witty quotes, and musical jests. His collaborations with Oscar Peterson were among Terry’s best work, IMO.

As it’s Oscars night, I’ll recommend a documentary ignored by the Oscars, the very moving “Keep on Keepin’ On.” It’s an account of the ailing Terry’s friendship with young blind pianist Justin Kauflin. It doubles as a tale of friendship and an overview of Terry’s remarkable rise from poverty to a position as one of the world’s greatest jazz musicians.The film was directed by Alan Hicks, a drummer and a former student of Terry’s.

Clark Terry was a great musician, and a great man. He won’t soon be forgotten.

Christian McBride Trio at the Mahaffey Theater (Concert review)

(Recently published in JazzTimes; direct link)

(photos by Bridge Burke)

What kind of double bass tone does Christian McBride pursue? It’s the sound of chopping wood, as the then-young bassist described it to me for an interview at the dawn of his career as a solo artist.

Two decades later, McBride, justifiably the most recorded and most honored jazz bassist of his generation, still boasts that appealing sound on upright, a voice heavily influenced by Ray Brown and Ron Carter but now uniquely identifiable as his own. His beefy, earthy tone, often jaw-dropping technical abilities, and skills as an improviser, composer and bandleader were well displayed during a Nov. 2 concert at the comfortable, well-appointed Mahaffey Theater in St. Petersburg.

Christian McBride, backstage at the 2012 Newport Jazz Festival

McBride was joined by a pair of strikingly talented young musicians, pianist Christian Sands and drummer Ulysses Owens Jr., for two impressive sets’ worth of standards and original compositions. Sands, 23, throughout displayed astonishing chops that were sometimes reminiscent of the likes of Oscar Peterson, and he also showed a lighter, more genteel touch, in the vein of the late Billy Taylor, one of the New Haven, Conn., native’s early teachers. Owens, 29, originally from Jacksonville, Fla., demonstrated precise, intuitive trap set work, throwing unexpected accents and bomb drops into the mix, sometimes switching to brushes, and at one point playing barehanded.

Unlike some recent electric-jazz ventures, on which McBride has incorporated bass guitar and fretless bass, his new trio emphasizes acoustic bebop, hard bop and swing. Much of the evening’s music was drawn from McBride’s new CD, due early next year on the Mack Avenue label.

The trio offered standards and familiar pieces: “Monk’s “I Mean You,” featuring a furious opening unison riff and a trading-fours section; “The Most Beautiful Girl in the World”; “My Favorite Things,” limned with cascading piano; Billy Taylor’s aptly titled “Easy Walker,” with Owens’ derring-do on brushes; “I Have Dreamed” (from the musical The King and I), on which McBride bowed the melody; and, on the encore, Benny Golson’s “Killer Joe.”

McBride, too, brought smartly turned originals, including laidback, starting-stopping opener “The Duhty Blues” and “I Guess I’ll Have to Forget,” a ballad (originally recorded for his 2000 Sci-Fi album) on which his solo started slowly, in a melodic, folkish, vein before speeding up for a bluesy feel. The trio also offered a nod to funk and R&B, near the end of the show, courtesy of a version of Johnny Taylor’s “Who’s Making Love” that also referenced Michael Jackson’s “Gonna Be Starting Something” and Queen’s “Another One Bites the Dust.”

McBride, of course, was the show’s star, alternating robust walking grooves with speedy runs, chords, slides and plucked harmonics clusters, and taking time for friendly chats with the enthusiastic audience. He never disappoints, and his latest band, like its predecessors, is worth seeking out.

RIP, Herb Ellis

The great jazz guitarist Herb Ellis, probably best known for his work in pianist Oscar Peterson‘s celebrated trio with bassist Ray Brown, passed away on Sunday night.

Ellis, a Texas native and Charlie Christian disciple who settled in Southern California to pursue session work, also worked with Ella Fitzgerald, and was part of the Great Guitars group with Barney Kessel and Charlie Byrd.

Jazz critic Doug Ramsey‘s thoughtful blog post on Ellis is here.

Jazz at the Grammys; and props to Lifetime Achievement winner Clark Terry

The Grammy Awards — particularly as demonstrated by its biggest categories — remains the music industry’s overblown high-school prom, a chance for the year’s most popular and/or most attractive rock, dance, hip-hop and country artists to toast each other’s success on the charts and in the media spotlight.

Last night’s ceremony, in that respect, was mostly the same: Does anyone believe that, 20 years from now, anyone will be singing the songs of, or caring much about the likes of Lady Gaga, who opened with a two-piano extravaganza with Sir Elton John (his earliest songs have become classics), or Pink, who did a skin-baring Cirque du Soleil-style act?

Jazz, as usual, got short shrift (yes, there was Herbie Hancock’s big win last year, but that was a fluke).

Lifetime achievement winner Clark Terry (right), the great and gracious trumpeter, and good-humored “mumble”/scat singer, got onstage recognition from director Quentin Tarantino (huh?) and the camera caught Terry, 89, in the audience. Then it was on to a really annoying, profanity-laced performance by Eminem, Lil’ Wayne, Drake and drummer Travis  Barker. No, thanks.

Best musical moment: Jeff Beck‘s performance of “How High the Moon,” with singer Imelda May, in a too-short salute to Les Paul, introduced by actor Jeff Bridges (huh?) Beck played a sunburst Les Paul guitar for the occasion.

This year’s jazz nominees, for the most part, were musically solid. Several of the recordings that appeared on my Top 10 list — discs by singer Roberta Gambarini, pianist Allen Toussaint, and bassist John Patitucci — grabbed nominations, but not wins.

Nice to see New Orleans artists take home trophies in two categories — trumpeter Terence Blanchard for best improvised jazz solo, and trumpeter Irvin Mayfield‘s New Orleans Jazz Orchestra for best large jazz ensemble album — although it’s a bit of a shock that the latter category didn’t include nominations for first-rate recordings by Chuck Owen & the Jazz Surge, and the Gerald Wilson Orchestra.

The Jazz Surge’s CD, The Comet’s Tail: Performing the Compositions of Michael Brecker, did get attention in the category of best instrumental arrangement. Talented veteran arranger Bill Cunliffe won, for “West Side Story Medley” from the Resonance Big Band’s tribute to Oscar Peterson. Note: Mendoza was nominated twice in this category, so that may have hurt his chances for a win.

And it ought to be noted that neither acclaimed pianist Vijay Iyer, nor his trio’s Historicity, which topped this year’s Village Voice Jazz Critic Poll (I voted), were to be found among the nominees. UPDATE: Vijay let me know that Historicity “was released two weeks too late to qualify for the awards.” Here’s hoping that NARAS will honor the CD next year.

Kurt Elling won in the jazz vocal category for another impressive recording, but I wonder if the superb discs by Robert Gambarini (my pick for ’09’s best jazz vocal CD) and Tierney Sutton resulted in a vote split leading to the Elling win.

It was satisfying to see several veterans pick up wins, including late Weather Report keyboardist Joe Zawinul, for the final CD from his Zawinul Syndicate band, and pianist Chick Corea and guitarist John McLaughlin, for a live recording from their Five Peace Band.

Dan Morgenstern, director of the Institute of Jazz Studies at Rutgers-Newark, picked up another Album Notes Grammy, his eighth, for his contributions to The Complete Louis Armstrong Decca Sessions (1935-1946).

Finally, how many father-and-son recordings have won Grammy awards? In the Latin jazz category, the great Cuban-born pianist Bebo Valdes and his son, pianist Chucho Valdes, won for Juntos Para Siempre.

The jazz winners and nominees….

Best Contemporary Jazz Album

*Winner: 75 Joe Zawinul & The Zawinul Syndicate

[Heads Up International]

Urbanus Stefon Harris & Blackout [Concord Jazz]

Sounding Point Julian Lage [Emarcy/Decca]

At World’s Edge Philippe Saisse [E1 Music]

Big Neighborhood Mike Stern [Heads Up International]

———-

Best Jazz Vocal Album

*Winner: Dedicated To You: Kurt Elling Sings The Music Of Coltrane And Hartman Kurt Elling [Concord Jazz]

No Regrets Randy Crawford (& Joe Sample) [PRA Records]

So In Love Roberta Gambarini [Groovin’ High/Emarcy]

Tide Luciana Souza [Verve]

Desire Tierney Sutton (Band) [Telarc Jazz]

———-

Best Improvised Jazz Solo

*Winner: Dancin’ 4 Chicken Terence Blanchard, soloist Track from: Watts (Jeff “Tain” Watts) [Dark Key Music]

All Of You Gerald Clayton, soloist Track from: Two-Shade [ArtistShare]

Ms. Garvey, Ms. Garvey Roy Hargrove, soloist Track from: Emergence [Groovin’ High/Emarcy]

On Green Dolphin Street Martial Solal, soloist Track from: Live At The Village Vanguard [CamJazz]

Villa Palmeras Miguel Zenón, soloist Track from: Esta Plena [Marsalis Music]

———-

Best Jazz Instrumental Album, Individual Or Group

*Winner: Five Peace Band – Live Chick Corea & John McLaughlin Five Peace Band [Concord Records]

Quartet Live Gary Burton, Pat Metheny, Steve Swallow & Antonio Sanchez [Concord Jazz]

Brother To Brother Clayton Brothers [ArtistShare]

Remembrance John Patitucci Trio [Concord Jazz]

The Bright Mississippi Allen Toussaint [Nonesuch]

———-

Best Large Jazz Ensemble Album

*Winner: Book One New Orleans Jazz Orchestra [World Village]

Legendary Bob Florence Limited Edition [MAMA Records]

Eternal Interlude John Hollenbeck Large Ensemble [Sunnyside]

Fun Time Sammy Nestico And The SWR Big Band [Hänssler Classic]

Lab 2009 University Of North Texas One O’Clock Lab Band [North Texas Jazz]

———-

Best Latin Jazz Album

*Winner: Juntos Para Siempre Bebo Valdés And Chucho Valdés [Sony Music/Calle 54]

Things I Wanted To Do Chembo Corniel [Chemboro Records]

Áurea Geoffrey Keezer [ArtistShare]

Brazilliance X 4 Claudio Roditi [Resonance Records]

Esta Plena Miguel Zenón [Marsalis Music]

Newport 1959: Listen Now!

The Newport Jazz Festival in 1959: The “New Testament” Count Basie Band. Thelonious Monk (in photo). Art Blakey’s Jazz Messengers, with Lee Morgan and Hank Mobley. Dizzy Gillespie. The Ahmad Jamal Trio. The Horace Silver Quintet. Dizzy Gillespie. The Jimmy Smith Trio. The Oscar Peterson Trio.

Now THAT was a real, artistically significant jazz festival, unlike too many of the overtly commercial events masquerading as jazz fests around my home state in recent years.

Thanks to NPR music,  I just came across fantastic audio from the fest – just listening to Atomic Basie playing “The Deacon,” spiked with a gritty, rambunctious solo by plunger-mute trombone wizard Al Grey. mediaPlayer.html?action=1&t=1&islist=false&id=122007665&m=122004714

A sampler of recordings from the fest is available here via NPR music, which offers five tracks — Basie, Blakey, Jamal,  Silver, Dakota Staton — discussed by New York Times critic Ben Ratliff and jazz announcer Josh Jackson on the latter’s Dec. 30 edition of “The Checkout” show on WBGO.

Amazingly enough, 27 sets from the festival can be heard online at Wolfgang’s Vault. The best part: There’s absolutely no admission charge.

The vault isn’t just about jazz. It also offers free-admission access to tons of great concerts by everyone from The Allman Brothers (Hollywood Bowl, Aug. 6, 1972) to Bob Marley (London, 1975) to Neil Young (Kezar Stadium, San Francisco, 1975).

How’d I not know about this great resource?