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FEATURE ARTICLE

            People are always commenting about the amount of time I and my peers spend on planes. Besides the obvious realities of airports and bad service on planes (Continental has the audacity to charge for drinks now on international flights where tickets during the summer are easily $1000 or more), the truth is that theses hours are valuable for me. I can think uninterrupted, read and write. I recently read an article by the author Anne Quindlan who said exactly the same thing, so I must have company in this regard. The following is something I wrote on a flight to Rome in July (must have been inspired by paying for a glass of wine!!):

            I always wait for a topic to hit me for the newsletter without limiting the subject matter to music only. I must credit the writer/lyricist Gene Lees whose “Jazzletter” is a definite source of inspiration when it comes to stretching out as a writer into other areas. The obvious question is why does a musician have the audacity to comment on affairs other than music?

            Simply put, musicians are among the world’s greatest observers. Somewhere in that normally parochial mindset of figuring out musical matters like what chord to play, what is the drummer doing and other specifics of the art itself, there is that part of the brain which needs to and does in fact go about gathering new information. I just finished reading Somerset Maugham’s “Razor’s Edge” and in past newsletters I have spoken about the contemporary author Phillip Roth. Reading their descriptions of people, places and events enhances my own powers of observation. (From Maugham: ..”That she owed her beauty in some degree to art, discipline and mortification of the flesh did not seem to matter. The results were vastly satisfactory. It might be that the grace of her gestures, the felicity of her carriage, had been acquired by taking thought, but they had a look of perfect spontaneity.”) Authors of this caliber are experts at noticing physical and emotional nuance to the enth degree. In the past I didn’t read much fiction but am now enjoying these type of writers very much. In my high school reading the book that stood out the most for that same reason was Dostoyevsky’s “The Idiot”.

            With this in mind, what is the relationship between another book I just finished by Michael Moore called “Stupid White Men” and an article that appeared in a recent magazine from a well known jazz school?

             “Stupid White Men” is in my opinion an extremely accurate picture of our contemporary world covering politics, economics, race relations, the current state of education and more, while the article, written by I assume a well meaning musician attempts to give a primer course to young musicians concerning marketing for success in the music business: “The fact is that you, the artist, are in sales and image affects sales…You do have an image and you are a brand whether you like it or not”…etc…etc..ad nauseum.

            Expose books are not new, but “Stupid White Men” (great title) hits the nail on the head and by the way has, as I write, been a best seller on the NY Times list for six months. This is quite a notable feat as far as the mainstream world goes considering the subject matter. This fact that a book with such insight, backed up by loads of annotated facts, humor and of course a healthy dose of cynicism, is a best seller should be cause for a glimmer of hope. Of course doing something about it is another, separate and important topic which any committed person has to deal with. But to my mind there is an unfortunate connection between what Moore critiques and the article referred to. In fact a whole list of subjects are to my mind related: by accident in a hotel room in the early morning I saw the MTV video awards which were populated by some of the most pretentious and untalented people you could imagine; or the fact that groups playing the jazz festival summer circuit are making enough money for one set which if spread out in any equitable fashion would mean work for ten groups; the lack of concern or awareness of so many people about the environment and on and on. The shit is out and getting worse!!

            I majored in American history in college but it doesn’t take much knowledge to know that nothing new is happening. I wonder if the period of the fall of Rome and the present state of the world are any different-people cheating others on a massive scale, terrorists killing innocents, a high proportion of overweight and unhealthy people, disproportionate levels of wealth between countries and classes, etc, etc, etc.The world has always been a dangerous place with an abundance of both positive and negative energy. However in our period of history, technology and the sheer force of numbers have made what formerly was “ business as usual” more dramatic in effect than previously.

            To my mind, we musicians and artists fortunate enough to spend our lives in such a rarefied atmosphere that we enjoy have an obligation beyond merely our own personal satisfaction and well being. Surely, through the influence we exert due to meeting so many people and teaching as many of us do, there is an opportunity to instill positive values and clear headed thinking. Part of my summers are spent playing and teaching both at the IASJ meeting (this year it was in Helsinki) and saxophone master class held near my home. I get a feeling when I am addressing all these students that I really have to deliver something of worth, not only musically but in other ways that have to do with the world around us. I think we should be giving these young people more than just the music to help them through the muddle they are confronted with. I quote here from an editorial that appeared in the International Herald Tribune in July (wonderful newspaper by the way) written by “explorer in residence” for the National Geographic Society, Wade Davis. Using 9/11 as the centerpiece, he speaks about the material disproportion between  Western societies and rest of the world and how globalization has not brought integration and harmony, but a firestorm of change instead. ”We must aspire to create a new international sphere of pluralism, a true democracy in which unique cultures, large and small are allowed their right to exist, even as we live and learn together, enriched by the deepest reaches of our imaginings. We need a global declaration of interdependence. In the wake of Sept.11, this is not idle or naïve rhetoric, rather a matter of survival.”  

            It is my feeling that as artists whose very lives exist in the sphere of beauty and truth, we should as much as is humanly possible represent a positive and honest way of doing business in this world. It is too easy for us to exist in a kind of cocoon without having any sense of responsibility concerning what goes on around us. Without being pretentious or setting oneself up as a moral authority (the guru syndrome), there must be a way that  artists who to some degree do need a strong sense of self and ego for their work can balance these attributes with a resolute and passionate conviction towards improving the situations around us. It goes without saying that all people, not only artists can also do their part towards bettering the world. After all, good deeds start at home.

RECENT ACTIVITIES

TRANE’S 75^TH

            Along with Mike Brecker, Joe Lovano, Phil Markowitz, Billy Hart and Cecil McBee I enjoyed one of the best concerts I have ever given in New York at Symphony Space. As I have done every five years since the 1980s on Coltrane’s anniversary dates, I perform what I consider the epitome of his often overlooked late period, the Meditations Suite wherever possible. Having performed it and released it as a recording from the same Symphony Space venue under the auspices of the World Music Institute in 1995, I was glad to bring such a stellar cast to play this last May. I must say that when you get a great audience in a big city like New York, Paris, Rome and a few others, nothing can beat it. I felt that the 700 people in attendance and the group were really in tune with each other, befitting the depth and significance of the music as well as the 75^th anniversary of Trane’s birth this year. I also performed the suite with 35 saxophonists at Westchester University near Philadelphia under the direction of my long time collaborator Gunnar Mossblad whose added voicings and textures added so much to the incredible power of all those horns together. Trane must have been smiling!!

BRAZIL

            With my group (Vic Juris, Tony Marino and Marko Marcinko) we took part in a great festival in Sao Paolo and Rio Di Janeiro. The last time I was there was in 1974 with Miles Davis.The interesting thing about this festival was that there were no “mega” names on the bill but just great musicians who put out at the highest level (Dewey Redman, Fred Hersch, Jean Michel Pilc, etc). The people were unbelievable and though it was a fast trip you could vibe how the Brazilian people respond and live music in their lives. I was honored that the great genius, Hermeto Pasquale and Antonio Carlos Jobim’s wife, Anna attended my group’s concert. I was given a book of tunes of Hermeto in which he wrote one song a day for the entire year of his 50^th birthday!!

SKETCHES OF SPAIN

            As I have described in past newsletters, the Miles Davis-Gil Evans collaboration on “Sketches of Spain” is my favorite all time, all style piece of music and I have been performing it over the past years on several occasions. This time I had the opportunity to perform it several nights in a row with the famous WDR Big Band under the direction of my long time collaborator, Bill Dobbins. One of the performances was in a famous hall,  the Vienna Konzerthaus where the dressing room has letters and concert posters from Mahler, Berg and Schoenberg hanging on the walls. To play this music every night in such pristine settings with a fabulous orchestra was a privilege and delight. I really feel I know the music now and can bring something of my own to it. My performance with the

Manhattan School of Music Orchestra under the direction of Justin DiCiocchio is now released and available through towerrecords.com.

GEORGE GRUNTZ/the SUISSE ROMANDE ORCHESTRA

            While I am on the subject of big performances, during the same period I had the pleasure to play at Victoire Hall in Geneva, which is adorned with classic architecture. The ensemble was a combination of the Big Band of Lausanne, Switzerland and the Suisse Romande Orchestra. This orchestra was under the baton of the famous conductor Ernst Ansermet for fifty notable years during the early part of the 20^th century and premiered many of the important works of modern music. The occasion was George Gruntz’ seventieth birthday year and among other pieces he wrote, one titled “Geneva” featured me as soloist. George is well known among the public in Europe and with musicians both here and on the Continent because for thirty years he has had an active big band including as occasional guests some of the greatest names in jazz like Elvin Jones, Joe Henderson and numerous well known European stars. Another round of performances that we did at the normally straight classical Yehudi Menuhin Festival in Gstaad, Switzerland in late August featured music that George wrote with the big band, myself and Swiss alpenhorns along with traditional singers. These gigantic horns that must be 15 feet or more in length cut from trees way up in the Alps have a haunting sound, especially when four of them play together. The girl singers (all sisters) intone in non tempered pitch so the entire atmosphere is very special.

MISCELLANEOUS:POLAND, AUSTRIA, ITALY, FRANCE

            I had some wonderful tours with various European groups. In Austria (as well as one night at New York’s Knitting Factory) I enjoyed several duo hits with Wolfgang Reisinger who besides being a burning drummer has incredible control of electronic effects, reverbs and so on. The normal drum-sax duo takes on wider proportions than usual. With bassist Jean Paul Celea, our group, the World View Trio performed as part of La Villette Jazz Festival at the Cite de Musique in Paris which is one of the best venues to play in Europe.

            I had a great week with my long time friend and excellent saxophonist Maurizio Giammarco, Paulinho Della Porta on bass and Franceso Sotgiu, a dynamic drummer from Sardinia playing music from our new release on Black Saint titled “Live at Big Mamas” (on the recording it is bassist Furio Di Castra and drummer Daniel Humair).

            Finally a few dates in Poland with a band consisting of trumpeter Piotr Wojastik, drummer Jacek Kochan, pianist Leszek Mozdzer and bassist Lars Daniellson. Though driving on the roads in Poland is risky to say the least, the audiences were among the best  I have experienced anywhere—warm, attentive and responsive.

THE IASJ ANNUAL MEETING and SAXOPHONE MASTER CLASS

            Our 13^th Annual Jazz Meeting of the International Association of Schools of Jazz was an outstanding success in Helsinki, Finland. It was hosted by three schools working excellently together, in a true spirit of cooperation. We had participants from 21 countries, inspiring performances by both the teachers and students and a day visiting the home of the most well known Finnish composer, Jean Sibelius. This was one of the best organized and highest level meetings we have had. It is incredible how the talent just keeps getting better and better worldwide.

                        The same is true for my 15^th Saxophone Master Class held at East Stroudsburg University near my home in Pennsylvania. I had nineteen saxophonists with several under the age of 18 from a variety of countries. Besides performing at the Deer Head Inn, the local club with a rhythm section of Phi Markowitz, Tony Marino and Marko Marcinko, my guest lecturer this year was Ric Margitza. He was extremely clear in presenting his well organized practice methods which was very inspiring to all of us. Ric is one of the best guys around in my opinion and he is playing quite a bit worldwide with different bands. Next year’s session is what I call a “reunion” meaning all past participants are invited to return for more advanced studies. The next “open” class will be in August, 2004.

THE ART OF THE DUO:RICHIE BEIRACH AND MARC COPLAND

            Those of you familiar with my work since the 1970s know that I had a long  collaboration with pianist Richard Beirach in several incarnations: Duo, Lookout Farm and Quest. Richie is now a professor at the conservatory in Leipzig, Germany (Bach’s home town) and working a lot in Europe. We played a wonderful concert in Baden, Switzerland in early September for the first time since 1991. It was great to see and play with my old friend who influenced me so much musically. Along with the help of former CMP Records owner Kurt Renker, we have just compiled 15 CDs of live material from 1976-1991 featuring Richie and myself in duo, with Lookout Farm and Quest. I hope to be able to package somehow and make it available in the future-how is another matter!

            The next night was also in duo at the club Moods in Zurich with Marc Copland. We have a new live recording to be released in a few months on Hat Hut. I can’t complain when I have two great duo nights back to back with extraordinary pianists-an embarrassment of riches!!

MISCELLANEOUS

9/11 AFTERMATH

            Those of you who read my newsletter printed last year after 9/11 knew that the brother of my niece’s husband, a fireman named Thomas Casoria was lost in the tragedy. His remains were finally identified a few months ago and a hero’s funeral was given in August. Unfortunately, the effect of that day will be with some people forever.

THE PIANIST

            My last newsletter brought to your attention the book by Wladyslaw Szpilman titled the Pianist, a true story of how he, a famous classical pianist survived the Warsaw ghetto during World War II. The movie by Roman Polanski won the Palme d’Or at the Cannes Film Festival and was premiered publicly in Warsaw in early September, so it should be available to see in major markets soon. It must be inspiring because the book in incredible.

JAMES NEWTON AND COPYRIGHT INFRINGEMENT

            I received a mass letter about a situation that flautist James Newton has found himself in. In short, it seems that the pop group , the ”Beastie Boys” sampled a piece of his music and used it throughout a track of theirs without any payment being made. The court not only ruled against Newton for copyright infringement, but was demanding that he pay the group’s expenses of several hundred thousand dollars, which was finally overruled. I don’t know either musical piece or the exact legal situation but the whole question of how to protect artistic work is an issue that demands attention. If you are more interested individuals can express their support for James Newton by contacting Heather Hitchens at Meet The Composer (hhitchens@meetthecomposer.org).  Those wishing to provide financial assistance in this legal battle may send donations to the James Newton Legal Trust Account, c/o Law Office of Alan Korn, 240 Stockton Street, 3^rd Floor, San Francisco, California 94108. Although donations are not tax-deductible, they will go a long way towards the fight to protect the intellectual property rights of all composers.

IN PASSING: RAY BROWN/LIONEL HAMPTON

            At 75 years old, after a round of golf, Ray Brown passed recently. To say he is one of the pillars if not THE man on that instrument from the late 40s on would be an understatement. And though Hampton was well into his 90s, his contributions, especially early on by breaking the color barrier in Benny Goodman’s group and just the fact that he  had a big band for so many years meaning a lot of employment for musicians speaks for itself.

HAPPY BIRTHDAY MR. JONES

            The Emperor Jones, Elvin that is, was 75 on September 9. When one thinks of the recordings that he has graced us with for the past nearly 50 years, his indomitable spirit and personally his mentoring of myself and others, it is a cause for celebration. He is still well and playing his butt off!!

PERSONAL NOTES

ADDRESS CHANGE

            Some people still mail me at my old address. Though we haven’t physically moved the address itself has changed, so please note it is 2206 Brislin Road—still Stroudsburg, PA 18360

PASSPORT DEADLINE

            An embarrassing and sad incident happened when about to board the plane to the IASJ meeting in Helsinki with my wife and daughter Lydia, it appeared that Lydia’s passport had expired a few weeks earlier. Sadly, they couldn’t join me and had to return home. Travelers-please CHECK THE EXPIRATION DATE and remember that a child under 12 has only a five year authorization period before renewal is necessary.

THIRTY FIVE YEARS AND COUNTING

             My first trip to Europe was in the summer of 1967, when my parents gave me 1000 dollars, a plane ticket to London, the first night hotel reservation and a book called “Europe on Five Dollars A Day”. I traveled around, made my first recording in Stockholm, saw a lot of museums everywhere, hung with John Surman and Dave Holland and grew up a lot. Little did I know that so much of my playing time for the next decades would take place there. As George Wein, the great impresario of the Newport/JVC Festival said to me once:” Without Europe there would be no jazz!” That is certainly true in my case.

FUTURE ACTIVITIES(look up local listings for exact dates and times)

SEPTEMBER:Tribute to George Harrison lead by guitarist Joel Harrison at Merkin Hall and 55 Bar in New York; with Bobby Zankel Big Band at Collective Voices Festival in Philadelphia, PA; Deer Head Inn, Deleware Water Gap, Pennsylvania with Jesse Green Trio

OCTOBER: Workshops and concerts in Rome, Italy and Palermo, Sicily; Deer Head Inn with Dave Liebman Group; Mid West Tour with DL Group;Erie, PA/Kalamazoo, Ann Arbor, Holland and Grand Rapids, Michigan/the Green Mill in Chicago, Illinois/Bloomington and Indianopolis, Indiana/Louisville and Lexington, Kentucky/St. Louis, Missouri/Cincinnati, Dayton and Cleveland, Ohio

NOVEMBER: With the Dave Liebman Group at the Philadelphia Musuem of Art (Pennsylvania) and Birdland in New York City; concert with the Manhattan Saxophone Quartet and drummer Howard Curtis at East Stroudsburg University, Pennsylvania

featuring premiere of Mossblad adaptation of Liebman’s “the Seasons” (recorded on Soul

Note in the mid 90s); duo with Marc Copland at the Jazz Gallery, New York City

DECEMBER: French dates with the World View Trio (Celea and Reisinger)

Wishing you all a healthy and safe season.

Peace