I have a new record label called Breakfast for Dinner Records. The music is available in most of the usual digital places and CDs are available from the label’s band camp page.
Yesterday on the radio, I heard an inspiring conversation about local news coverage, journalism, and democracy. Newspapers were a big part of the conversation.
A little backstory: After Hurricane Katrina, our neighborhood lost our curbside recycling service. Not long after that, I cancelled my newspaper subscription. I was not reading it very often, and since we couldn’t recycle it, I had some tree guilt.
The radio show yesterday made me rethink my newspaper situation. We have curbside recycling again, and I feel like I should aim to be a better informed citizen, so I decided to investigate getting a newspaper subscription. In the time since I cancelled my Times-Picayune subscription, the T-P has gone from a daily to publishing a hard copy only three days a week, and The Advocate has come into the New Orleans market.
I went to the T-P site first. Apparently you have to give all of your personal info and start a website account to find out how much a subscription costs. If the information is there otherwise, it was not easy to find. So I went to The Advocate’s website. They had a page with links to “See Prices.” That link opened a popup in which you enter your zip code, and click the “See Prices” button, and…nothing happens.
I possibly would have subscribed to both papers this morning, ended up with neither. Have they given up on this side of their business? Should I give up too and just commit to paying more attention to local web news?
A note to the apparent morons who run the state in which I live: I WILL PAY MORE TAXES TO SUPPORT HIGHER EDUCATION!!!!!!!!!
The nature of Louisiana’s backwards legal system makes much of the state’s budget protected and very hard to adjust, except for higher education, which is easy for the legislature to cut. Our governor, who pays lip service to a religion that is supposed to be based on helping the poor and caring for our fellow humans, refuses to allow taxes to be raised for any productive reason. I think he (and his fellow lawmakers of similar political ideology) does this not out of a sense that it is really the right thing to do, but out of a loyalty to a political party that places money above all else, and even then, really just the money of people who already have a lot of it. The lawmakers of Louisiana, led by our governor, are cowards, who are afraid of the dogmatists of their own party, to the point that they will do nothing to help the people of our state in any way.
I actually voted for Jindal. I thought he was a smart man, and he made me believe that he would use that intelligence to run our state well. I did not realize at the time that his political aspirations would out weigh all other considerations to the point that he would be incapable of straying one millimeter from republican dogma, even if it is the best thing for our state.
I got both of my graduate degrees from state schools (the University of New Orleans for my M.M., and Louisiana State University for my Ph.D.). The system worked well for me. These degrees helped me learn many things, and led to me getting a great teaching job and staying in our state. I can now afford to pay more in taxes, and I would love to do that if that is what is needed to keep our higher education system alive.
One more note to our lawmakers: PLEASE LET GO OF YOUR POLITICAL DOGMA AND USE THE BRAINS THAT GOD GAVE YOU TO MAKE DECISIONS WITH THE WELL-BEING OF YOUR STATE IN MIND!
This nola.com article offers a good perspective on the amount of the cuts that are being envisioned.
I just received news that Al Belletto, the great saxophonist from New Orleans, passed away on Friday. Al had been living in Dallas with family for the last few years, but when I first moved to New Orleans, Al was a fixture on the scene. He had a great influence on many young musicians, some of whom aren’t that young any more (myself included). His nickname was Coach, but as the joke goes, that doesn’t make sense, because he was first class all the way.
This recent post on DTM (a great blog by Ethan Iverson of The Bad Plus) got me thinking again about the baggage that comes with covering well known material. I think it is almost impossible to judge a radical reworking of a very well known song solely on the merits of the new arrangement. There is simply too much baggage for the listener, unless the listener is unfamiliar with the original. In that latter case, the lack of inherent meaning also diminishes the appreciation of the new arrangement.
Ethan’s post mentioned that one of the detrimental comments sometimes laid on Jason Moran’s ALL RISE: A Joyful Elegy For Fats Waller was that it was too close to smooth jazz at times. I wonder if some of that is about the material. Does the presence of such well known songs as “Ain’t Misbehavin'” or “Honeysuckle Rose” cause us to hear those tracks as more in the smooth jazz/muzak vein than we would if they were originals with similar grooves, arrangements and instrumentations?
Another accusation is that this music is a sellout or commercial grab. I don’t buy that. Jason Moran has enough artist cred that I trust this as a legitimate expression on his part…although the big Fats Waller head does freak me out a little.
One of my go to recordings recently has been Return the Tides by Rob Mazurek and Black Cube SP. I have also recently been on a kick to try to expand my listening to and appreciation of music that is more mainstream or popular than what I usually listen to. This has led me to spend some time with the new D’Angelo record and even check out some Iggy Azalea, in efforts to better understand some of the recent discussions on these topics. I have found that there is more musical commonality across those spaces than I might care to admit.
Growing up musically in a space that was largely influenced by jazz culture, I have some completist tendencies. I like to dig deeply into the music of my favorites. I guess that could be more of a me thing than a jazz thing, because I did that as a kid with my favorite rock bands too. Once I decided I really liked a band, I had to get all of their albums. This habit has made it hard for me to “skim” the music of someone who is new to me, but my recent decision to broaden my horizons has forced me to do just that.
What I have discovered is that even cursory exposure to new music is rewarding and offers insight into old favorites as well. Maybe that has always been obvious to most of you. It just hit me in a new way today.
How we frame what we do matters.
“Where is the love of the everyday music-making that we give to ourselves? Yes, music-making can be rewarding, but not just when the performance goes well and as planned! Where is the joy of learning, of experimentation? The spark of curiosity? The excitement of discovery? Where is the delight in making sound for the sake of making sound? Why take the fun out of what we do 90% of the time, which is in the practice room, not onstage? Why make such a harsh division between play and the studied attention we pay to detail in the practice room or in a lesson?”
In 1999 I was fortunate to fall in with some musicians who were doing things that I wanted to do, but wasn’t sure that I could. These were people who I had been hearing play for some time, and I was getting to play with them. I didn’t know if I belonged there.
After my first gig with the Naked Orchestra (which was only the band’s second gig), Tim Green walked up to me and said something nice about what I had played. I don’t remember his exact words, I just remember that the guy who made the most music in this group of (close to 20) great musicians went out of his way to say something encouraging to me. He made me think that maybe I could make some music that mattered. Those few words from him really did change my life.
Tim Green passed away this week. He was a beautiful person who made beautiful, deep, soulful sounds. To hear him play was to peer into his soul, and it was beautiful. Tim went out of his way to help create peace for those around him, I hope he has found the peace that sometimes eluded him in life. Rest well brother.
For Downbeat Magazine’s 80th Anniversary (July 2014), they published a list of the 80 coolest things in jazz. #41 is New Orleans, and the Open Ears Music Series got a brief mention in the article:
At…events like Jeff Albert’s Open Ears Music Series, improvising players innovate new sonic concepts on the fly, giving listeners direct and immediate access to their creative process.
WWOZ got their own (well deserved) solo shout out, as did friends Jason Adasiewicz and Mike Reed. These sorts of lists always make for good arguments, but this one is pretty well rounded.