Biographies

In his autobiography, All The Strange Hours: The Excavation of a Life” Loren Eiseley wrote:

“A biography is always constructed from ruins, but, as any archeologist will tell you, there is never the means to unearth all the rooms, or follow the buried roads, or dig into every cistern for treasure. You try to see what the ruin meant to whoever inhabited it and, if you are lucky, you see a little way backward into time.”

I am currently in the process of reconstructing the scaffolding of Luther Henderson’s life, trying to discover which were the turning points and pivotal moments, what were the experiences that shaped him, and which were those by which he left his imprint on history.

Biographical writing can range from the finely crafted literary profiles such as those published in The New Yorker magazine (Whitney Balliett’s being among my favorites), to short books (a fine and highly recommended example being All In The Dances: A Brief Life of George Balanchine by Terry Teachout), to lengthy books heavy with annotations and citations (Laurence Bergreen’s works come to mind), to multi-volume oeuvres (such as Edmund Morris’s projected three-volume life of Theodore Roosevelt), or even the artful collaboration of biography with photography in a coffee-table sized tome (Take Five: The Public and Private Lives of Paul Desmond by Doug Ramsey, also highly recommended, of course – I’m on page 264).

Assuming one is not writing the definitive and most comprehensive account that would necessitate including everything one took, say, ten-plus years to find, one must choose the best approach for the subject and select just the right moments to suit the plan. Take the above-mentioned Balanchine bio, for example. Teachout says up front:

“This is a short book about a great man who lived a long life. It is not a full-scale biography and makes no pretense of thoroughness or originality….”

He goes on to explain who his intended reader is:

“I had in mind a reader who has just seen his first ballet by Balanchine, or is about to do so, and wants to know something about Balanchine’s life and work and how they fit into the larger story of art in the twentieth century.”

He then chose the personal and performance events that best told the story for his audience with his goals in mind. One must take care to include enough so that the portrait is “true” and not lopsided, but I am not prone to embrace the mega biography a là Bergreen who writes long and uses a chronological, annotated format as seen in Louis Armstrong: An Extravagant Life, As Thousands Cheer: The Life of Irving Berlin, James Agee: A Life, and Capone: The Man and the Era. As I wrote in 1997 for a “Brief” review of the Armstrong bio for The New York Times Book Review section:

The exhaustive research that characterizes Mr. Bergreen’s work does, however, have its occasional downside. The thread of Mr. Armstrong’s story gets lost from time to time amid the lengthy excursions into the history of New Orleans and voodoo beliefs, the geographical evolution of jazz, the Harlem renaissance of the mis-1920s, and the mini profiles of the many people who populated his life. While these portraits are vivid, pages go by in which Mr. Armstrong plays no part whatsoever. Furthermore, readers might wonder whether the fact that Mr. Bergreen is not a member of the musical scene was of help or hindrance in interpreting his findings, and to what extent the biases and experiences of his sources may have colored what he learned.

(Note of Admission: That review was accepted and paid for, but was pulled when my editor discovered that another editor had commissioned a full feature-length review by another writer, one of greater stature to be sure. That writer later become a dear friend….it was none other than Terry Teachout. Anyway, I digress.)

One of the IAJE panels next week is about biographies. Titled “Jazz Lives in Print,” the blurb reads:

The last decade has seen a torrent of new jazz biographies, some comprehensive and thorough, others mere hearsay and hagiography. What makes a good jazz biography? What are readers, fans and musicians looking for in a good bio? Personal anecdotes? Musical analysis? Social Context? A little of all three? Four prominent authors of recent jazz biographies discuss how they did their research and made their decisions about what to include (and not to include). Moderator: Paul de Barros, Seattle Times. Panelists: Gary Giddins, JazzTimes; Ashley Kahn, Wall Street Journal; Peter Levinson, Peter Levinson Communications; Stephanie Stein Crease.

De Barros (Jackson Street After Hours: The Roots of Jazz in Seattle) and Levinson (bios on Tommy Dorsey, Nelson Riddle, and Harry James) are friends of mine, Giddins (Bing Crosby: A Pocketful of Dreams) a longtime acquaintance, so I hope to attend. I sure can use their input!

Vocal Legacy

The press release headline reads: New Concert Package Developed By Legendary Talent Manager John Levy Debuts At World’s Largest Jazz Conference On January 14th In NYC

You already know that John is among those being honored as an NEA Jazz Master, but what you may not know is that John is not exactly partial to the spotlight. There’s no “aw, shucks” about it; he’s really only interested in what he can do to promotes his clients, and he truly enjoys using his talents to help others achieve their artistic goals. Don’t get me wrong, it’s not that he doesn’t appreciate the honor, he is quite pleased about it, but he says he didn’t do it alone, he had a lot of help along the way, and he’s just more comfortable behind the scenes. And make no mistake, he will be working behind those scenes at IAJE next week promoting Vocal Legacy.

Featuring Clairdee’s song stylings and Henry Johnson’s mellow tones on guitar and vocals, Vocal Legacy will make its debut at IAJE on Saturday, January 14th at 6:00 p.m. in the Sutton South room at the Hilton Hotel. The Legacy Ensemble, under the direction of pianist Ken French, includes bassist Mary Ann McSweeney and drummer Dennis Mackrel.

According to John, the concept was simple…

“Vocal Legacy is a new twist on the classic jazz standard. Clairdee is a new client, Henry been on my roster for a while. I thought, why not let the two collaborate and create something fresh and new, but familiar. We could give audiences that clamor for the real taste of jazz an engaging performance, without the heavy price tag. I’m offering traditional jazz vocals by younger artists, with a contemporary edgy style to prove that those days of great music are not gone. Their appeal is straightforward, it is an easy to follow recipe for success… a dash of this, a pitch of that! Clairdee own unique sound is a contemporary blend influenced by the sassy irreverence of Carmen McRae, the silky soulfulness of Natalie Cole, and Shirley Horn’s understated approach. If you liked the complex melody of Joe Williams, the soulfulness of Lou Rawls and Bill Withers, you’ll enjoy hearing the voice of Henry Johnson.”

And it’s all about the legacy.

“I titled the group Vocal Legacy because what I envisioned was a legacy of the classic jazz vocal genre. I am passionate about preserving the musical heritage as well as nurturing the continued growth of the art form. Jazz is timeless and the lyrics of the jazz standards still ring true.”

After more than five decades as a manager of the top names in jazz, this is John’s legacy too.

Henry Johnson and Clairdee share the same passion for the music’s melody and lyrics. Their performance on the 14th will present a contemporary twist while still maintaining the tradition of the great jazz vocalists before them. The selection of songs for the show was inspired by the great artists who came before them, and while no attempt is made to evoke the styles of their predecessors, Vocal Legacy is a tribute to them and the legacy they left. The performance will include:

The Great City (Salute to Shirley Horn)
Sunday In New York (Salute to Shirley Horn)
Do Something (Salute to Betty Carter)
After You’ve Gone (Salute to Joe Williams)
My One & Only Love/Why Did I Choose You (Salute to Johnny Hartman)
Summertime (Salute to Donny Hathaway)
All They Way (Salute to Frank Sinatra)
Deed I Do (Salute to Helen Humes)
Someone Else Is Steppin’ In (Salute to Ernestine Anderson)
For All We Know (Salute to Nat Cole)
Alright, Okay, You Win (Salute to Joe Williams)

Johnson, whose musical roots run deep into gospel, blues, and jazz, toured extensively with the groups of pianist Ramsey Lewis and legendary jazz vocalist Joe Williams before forming his own group, Organ Express. Johnson’s style is a testament to the influences of Kenny Burrell, George Benson, and most significantly, Wes Montgomery. Henry’s seven albums as a leader include Organic with special guest Nancy Wilson (A440 Records), An Evening At Sea (Chiaroscuro Records), and others on the MCA/Impulse and Heads Up labels.

Clairdee, a longtime member of the International Association for Jazz Education, is also an Artist-In-Residence with the San Francisco Symphony’s “Adventures in Music” series, the vocal instructor for University of California Berkeley Jazz Department, and teaches “Jazz & Popular Solo Voice” at Diablo Valley College. Her new CD, Music Moves (Declare Music/Hyena Records), is chartbound; earlier recordings on the Declare Music label include This Christmas and Destination Moon.

Ken French, director of the Legacy Ensemble, is musical director, arranger and pianist who has worked with Clairdee since 1998. With solid early training in classical piano, French discovered his passion for jazz in a high school music program in Seattle, Washington. While studying music composition, piano and philosophy at the University of Puget Sound, he demonstrated an affinity for exploring new perspectives with the classic standards. A performing professional for two decades, he cites influences as diverse as Miles Davis, André Previn, and Stevie Wonder. French is a sought after educator who enjoys conducting clinics and master classes in jazz improvisation, accompaniment, arranging, composition and related topics.

Bassist McSweeney, recently back from touring with Lee Konitz, has also performed with Dizzy Gillespie, Jimmy Witherspoon, Betty O’Hara, Stacy Rowles, Rick Margitza, Lynn Ariel, Maiden Voyage Big Band, and the Ed Palermo Big Band to name a few. She has recorded with the Jim Cifelli New York Nonet, the Diva Big Band, Gene Burkert, Nana Simopoulos and Manhattan Vocal Project among others. On the classical side, she has worked with conductors Leonard Bernstein, John Williams and Lalo Schifrin.

Drummer Dennis Mackrel is a seasoned musician and clinician, traveling extensively and performing with such ensembles as The Carla Bley Very Large Band, Slide Hampton and the Jazz Masters, The Dizzy Gillespie Alumni Band, The Manhattan Symphony Jazz Orchestra, The Carnegie Hall Classic Jazz Orchestra, The Hank Jones Trio, The Maria Schneider Jazz Orchestra, The Smithsonian Jazz Orchestra, and The American Jazz Orchestra. His compositions and arrangements have been recorded and performed internationally, and some of the other notable musicians Dennis has performed with include: Monty Alexander, John Pizzarelli, Harry Connick Jr., Lionel Hampton, Tony Bennett, Joe Williams, Nancy Wilson, and Quincy Jones.

Getting Started

I thought I’d be off and running with the start of the New Year, but I find myself thinking and moving in slow motion on these first days of January 2006. I don’t know whether that’s good or bad, but that’s how it is. I have much to do this week, too. John and I leave Sunday for New York City where we will attend the 33rd Annual IAJE Conference (International Association of Jazz Educators) and during which John will become one of the 2006 NEA Jazz Masters. The conference is huge (over 7000 people attend) and the NEA award is a tremendous honor.

The festivities will begin on Wednesday evening when John’s longtime client, Nancy Wilson, hosts the Gala dinner. Panels and such begin in earnest on Thursday — I’m especially hoping to catch Billy Taylor talking about his life with AB Spellman, and Ira Gitler’s onstage interview with Sonny Rollins.

Friday, the big NEA day, includes the Jazz Masters’ Luncheon, the invitation-only cocktail reception and the NEA Jazz Masters Awards Concert honoring Ray Barretto, Tony Bennett, Bob Brookmeyer, Chick Corea, Buddy DeFranco, Freddie Hubbard, and John Levy, MC’d by Ramsey Lewis and Nancy Wilson. If I can manage it, I’d also like to hear Dan Morgenstern interviewed by Steve Schwartz (before lunch) and Clark Terry interviewed by Nat Hentoff (between lunch and cocktails).

Saturday will be another big day for John as he will be attending the rehearsal of Vocal Legacy (his latest project – I will post more about that tomorrow), participate in a Jazz Masters Panel from 1-3 and then move onto the exhibition hall for a book signing hosted by MCG Jazz (3 pm in booth 358-359). Nancy Wilson, who also records on the MCG Jazz label will also be on hand to sign CDs. And then we will all be at the 6pm Vocal Legacy show featuring vocalist Clairdee and guitarist/singer Henry Johnson.

I guess I’d better rev up my engines.

Happy New Year to everyone, everywhere.

Chaos Is Over…for now

The kitchen/family room renovation is finished, yippee! It looks quite nice if I say so myself. What began as a way to replace some old counter tiles and make the kitchen cabinets more user friendly (didn’t want to have to get down on my knees and reach back into the bottom of a dark cabinet for items I couldn’t even see) mushroomed a bit. In the process of replacing the cabinets with drawers of various depths that pull out all-the-way, we also reconfigured the kitchen a bit — moved the refrigerator, built a pull-out pantry cabinet behind it and extended a second counter. We also tore up the old linoleum flooring and replaced it with tile.

The top picture on the left shows the new main counter with the Galaxy Red tiles purchased at Contractor’s Tile Mart in San Gabriel, and below that, the piece de resistance, the custom-built pantry specially designed by Ross Hoagland of Halcyon Artisan Contracting in Altadena. What you see in the center of the picture are two ‘drawers’ that pull out sideways from behind the refrigerator; behind them is a doorway. [Note: I am mentioning by name only those people/establishments with whom I would willingly work again. Anyone who has ever done any home renovations knows that is high praise indeed.] Top right shows the extended second counter, and below that is the flip side of the main counter as seen from inside the family room. The original plans also included replacing the worn blue carpet in the family room with bamboo flooring.

I had not intended on painting the family room, but the change from deep raspberry to yellow made the room feel larger and everything in it felt new. The fireplace, the bricks around which were looking old and crumbly, suddenly took on a new life, standing out against the floor and walls. The shallow brick mantle is now lined with bamboo and there are two small bamboo trim pieces running down the sides and across the base. About the paint: the family room walls are flat yellow with the ceiling and trim painted glossy with a 10% tint of that same yellow. The kitchen walls and ceiling are all the same glossy 10% color, with the exception of the beam over the main counter that is painted with the same yellow as the family room, making the two rooms feel more like one big space. Blue turned out to be the accent color, with the blue leather couch, blue upholstered bar stools, touches of blue in the draperies, and blue in the new lighting fixtures. These were so cool looking that I used them in both ‘rooms,’ again to join the rooms together. There are three bars of lights in the family room, and the kitchen has two bars and three circles.

Can you tell I’ve been watching too much Home & Garden TV?

Powerless

No, this is not a political message. My house has been without electricity since yesterday morning. Warning signs came a day and two before, but we didn’t get the message…and even if we had, I doubt anyone would have found the problem. A couple of days ago, the outdoor outlet that we wanted to use to power Christmas lights wasn’t working. It is on the same circuit as the master bathroom and my alarm clock was on the fritz too. I checked the circuit breakers and all were in the ON position, then finally I thought to push the little red Reset button on the switch in the bathroom and all was well…or so I thought.

I spent Christmas day cooking (thank you Julia Child; and thanks girlfriend for lending me the cookbook) — butterflied leg of lamb with dijon marinade, tomatoes provencale, broiled peppers and asparagus drizzled with olive oil and pepper. Another girlfriend came early and made the mashed potatoes – lots of butter and half-and-half, yum. Other contributions included wine and sparkling cidar, guacamole, rolls, and our youngest guest and her mom brought wonderful homebaked Christmas cookies. Just as we were about to sit down to eat, the lights began to flicker ominously, but the power did not actually go out. So we turned off a few light switches, lit a few candles, and enjoyed the food and friendship.

It wasn’t until yesterday morning that the power went out, pretty much throughout the house with the exception of the guestroom and the stove and one bathroom light. No heat, no cable tv, no cable modem, no outdoor Christmas lights…. The Edison man came out and found the problem inside the service panel — a fat bundle of copper wires that connect to a clip of some sort were no longer connected, and the bundle was visibly frayed and fried. “Not our problem,” said the Edison man. “Your electrician will have to fix this…but don’t let him tell you that you need a whole new panel.

Christmas having fallen on a Sunday meant that yesterday was an extra holiday, and my contractor, who is also a master craftsman of several trades including electrical, was out of town. “Run an extension cord from the guest room to the refrigerator, and I’ll be there first thing on Tuesday,” he told me when I rang his cell phone. I guess that’s the contractor’s equivalent to “take two aspirin and call me in the morning.”

True to his word, the crew arrived this morning to finish off some detail work from the renovation and to handle the new “emergency.” If it’s not one thing, it’s another. I’ve just now got my power back and have a lot of catching up to do. Sometime tomorrow I’ll post pix of the newly renovated kitchen and family room.

I hope everyone had an enjoyable holiday and is ready to ring in the new year.

I’ve Got Nerve: Poetry Out Loud

The other day I was talking with a friend about writings and recitations from childhood. He had just rediscovered a wonderful Christmas story that his daughter had written when she was all of 11 years old, and I had re-encountered a hilarious recording of ten-year-old me reciting Paul Laurence Dunbar’s poem In The Morning. My neighbor said “post it on your blog” and I laughed.

Then yesterday, courtesy of About Last Night, I was directed to Verse By Voice, a poetry meme of sorts at Coudal Partners, where people call in, recite a favorite poem, and some get chosen for posting on the web site. Laura Demanski, a/k/a OGIC/Terry Teachout’s co-blogger, is among those selected; she’s reciting Gerard Manley Hopkins’ Spring and Fall: to a Young Child.

I don’t know if any of my colleagues in the blogosphere have any old recordings (poetry, songs, instrumentals, radio air-checks…) from days of yore, but if they do, I hope they will follow suit and post some…it seems a fun spin-off idea. So here I go — and when you fall out laughing, please remember that I was only ten and attempting, without any relevant experience, to impart the dialect in which Dunbar wrote.

(If you’re not familiar with the poem, you might want to read it first or follow along — I found the text online at Poetry Archives, a site created “to provide a simple interface into a dynamicially generated, database driven website archiving thousands of copyright free poems.”)

In the Morning
by Paul Laurence Dunbar

‘Lias! ‘Lias! Bless de Lawd!
Don’ you know de day’s erbroad?
Ef you don’ git up, you scamp,
Dey’ll be trouble in dis camp.
T’ink I gwine to let you sleep
W’ile I meks yo’ boa’d an’ keep?
Dat’s a putty howdy-do–
Don’ you hyeah me, ‘Lias–you?

Bet ef I come crost dis flo’
You won’ fin’ no time to sno’.
Daylight all a-shinin’ in
W’ile you sleep–w’y hit’s a sin!
Ain’t de can’le-light enough
To bu’n out widout a snuff,
But you go de mo’nin’ thoo
Bu’nin’ up de daylight too?

‘Lias, don’ you hyeah me call?
No use tu’nin’ to’ds de wall;
I kin hyeah dat mattuss squeak;
Don’ you hyeah me w’en I speak?
Dis hyeah clock done struck off six–
Ca’line, bring me dem ah sticks!
Oh, you down, suh; huh, you down–
Look hyeah, don’ you daih to frown.

Ma’ch you’se’f an’ wash yo’ face,
Don’ you splattah all de place;
I got somep’n else to do,
‘Sides jes’ cleanin’ aftah you.
Tek dat comb an’ fix yo’ haid–
Looks je’ lak a feddah baid.
Look hyeah, boy, I let you see
You sha’n’t roll yo’ eyes at me.

Come hyeah; bring me dat ah strap!
Boy, I’ll whup you ‘twell you drap;
You done felt yo’se’f’ too strong,
An’ you sholy got me wrong.
Set down at dat table thaih;
Jes’ you whimpah ef you daih!
Evah mo’nin’ on dis place,
Seem lak I mus’ lose my grace.

Fol’ yo’ han’s an’ bow yo’ haid–
Wait ontwell de blessin’ ‘s said;
“Lawd, have mussy on ouah souls–
(Don’ you daih to tech dem rolls–)
“Bless de food we gwine to eat–”
(You set still–I see yo’ feet;
You jes’ try dat trick agin!)
“Gin us peace an’ joy. Amen!”

I’ve Got Mail: On the Lighter Side

Found this in my mailbox from bassist Bill Crow:

Your reference to country music reminded me of Joel Grey’s nightclub act, which I played at a theater in Rockland County. After his opening number, he would tell the audience, “And now, I’m going to sing some country music.” Then he would rare back and loudly sing, “Rumania, Rumania, Rumania, Rumania, Rumania!” He’d stop, look inquiringly at the laughing audience and say, “Rumania is not a country?”

I’ve Got Mail: More Discussion

Just Muttering has weighed in again, via email as I do not use the Comments feature favored by some bloggers. I get enough spammail as it is, and simply do not have time to monitor blog comments. However, I love to post readers emails — even if they disagree with my opinions — so please do write in. So without further ado:

…I was relieved that someone else wrote about Pinter and Wallace so I wasn’t the only grouser. And I wanted to say two things about all this. One is that I totally agree with you about the importance and need for disagreement and speaking-out. My disagreement is with the tone that those who dislike the current political moment are taking (with an exception of your calm voice!). It seems to me that intellectuals, of all people, could refrain from overlaying their disagreement with disgust and disdain. And yet they are the most vituperative and angry. Apparently Bush struck a very unpleasant cord (chord?) for them and it’s been downhill ever since.

The second thing is about the economy. You say that the “booming” “may be true for the upper middle class and beyond, but all those who have lost their jobs to cheap labor in India and elsewhere, or been laid off due to mega-mergers, are not feelig [sic] so flush”. I’m not sure how you’re defining middle class, but all the markers I’ve read about say that the improvement is across the board/classes. Outsourcing actually hasn’t replaced anyone, even though it seems as if it would have. Dell, among others, says they didn’t lay one employee off in that change. As for mergers, there were far more megamergers twenty years ago for one thing and the current ones are almost devoid of layoffs, which is an interesting change. Truly, economic indicators are that we’re doing well. Not at the levels of the 80s, but well, and perhaps more reasonably than then. Unemployment is lower, housing purchases are higher, etc….

Incidentally, do you honestly think there can be total transparency in government? To the extent that the keepers of a state are in loco parentis (and although I hate to use that phrase), there are some things they cannot let us all know about because we are not all trustworthy. To my mind, that’s why there are the other two parts of our government – the three pieces can “talk” to each other even when it’s unwise to talk to us. Should FDR have announced his battle plans and conferred with all of us before doing anything? Do we maybe disagree with Truman for dropping the bomb; of course; but do you really think he should have consulted the American public?

When it comes to the differences of opinion between Just Muttering and I, I suspect that in most cases it is more a matter of degree than disagree. I’m not a political or economic analyst, and my opinions are more about the general state of affairs, which makes it easy for arguments to be made on small specific points. For instance, JM cites Dell saying their outsourcing didn’t cost anyone their job. That may or may not be true at Dell, I wouldn’t know, but I have to ask: what happens to all the American workers when a company closes a plant stateside and opens one staffed by cheap overseas labor?

JM says unemployment is lower – maybe, but a lot of people are now self-employed. That can be a good thing, but they’re catching hell trying to get decent individual health insurance policies and they will struggle to build any savings for retirement, and social security is no longer a promise down the road. My greatst complain about the current administration is that theyare not taking care of The People. All their attention goes to the care and feeding of thye big corporations and the trickle down never worked. And they just cut even more of the funds for federal programs — $22 billion cut from student loans, $6 billion for Medicare, $5 billion for Medicaid…Of course there are aspects that sound good, such as “charge high-income beneficiaries more for their insurance for doctors visits,” but they will also “reduce payments to managed care providers.” But I wonder what is their definition of high-income and how many more doctors will refuse to take HMO patients? I know there are no easy answers, but there are a lot of people who need a lot of help and their futures are looking pretty bleak.

As for transparency in government, no, I do not honestly think that there can be, or even should be, total transparency. BUT — call me cynical, some might even say paranoid — I think people at the highest levels of our government are lying to us, and by “us” I mean the not only you and me, but also the congress and the senate and other government agencies. I fear that the system of checks and balances is no longer in operation and a small but powerful handful of individuals are trying to manipulate public opinion through the use of fear.

The Year In Pictures

A friend sent me a link this morning to MSNBC’s web site displaying The Year In Pictures 2005. The pictures are really fantastic — both in their visual artistry and in the moments they capture. Some are horrific, some are sad, but they are interspersed with some that are funny and others that are just lovely to behold. While there is some overlap between the Editor’s Choice and Readers Choice shows, there were enough different images in the show to make it worth watching both (with or without audio).