The Pelt Files

"Jazz" ain't never hurt me...

2011-12-09T09:45:00.000-08:00

Congrats to Nicholas Payton for creating another thought provoking post ! He seems to be developing a penchant for creating controversial blogs in which the impulse to reply is irresistible.

His most recent post proclaims that the word "Jazz" is dead. He cites Jazz luminaries such as Miles, Ellington and Donald Byrd as sharing the same sentiment of wanting to call the music what it is, "Black music" so that we can affix a title that properly speaks of its origins.

I would submit that the validity of his point (and Miles, Ellington, etc.) is fully intact, however I have a problem fully agreeing with the notion that Miles, Max, J-mac, etc. gave up because they were tired of the backlash received from Black and White critics/audiences. More on this in a moment.

I'm not going to dissect every part of Nicholas' argument (nor will I answer to the claim that "no living soul can walk on the bandstand and play more horn than him"), NOR will I attack his character, as all that is useless and takes away from the issue at hand: "Jazz" the word.

There are many words in our ("our" = BLACK) history that have a negative association. The very obvious word that we foolishly throw around, and actively celebrate is "NIGGER", which has also become to be known as "NIGGA" (admittedly, I've been guilty of using the epithet on various occasions). Of the few words that serve as a blemish on the collective CV of Black culture, there has only been one that has gone from negative to positive in a very big way, and that word is "JAZZ" . Gone are the days where Jazz was played in whorehouses (sheeeiit, don't no ho's wanna hear no JAZZ while they on their J-O-B ! This is 2011 !). Rather, in a relatively short period of time, JAZZ went from those whorehouses to be a music that was/is widely respected all over the world ! Nicholas, as well as I and a whole host of musicians have traveled extensively all over the world and have gone to some places where one would not expect to hear Jazz, yet it's there. So, herein, is my point:

Why are we mad at the word "JAZZ" now ? Doesn't it seem like it's a bit too late to be rehashing this decades old argument ? The way I see it, in the music business PERIOD, you're LUCKY if you can make a living off of just playing your instrument. Over the past almost 15 years that I've been active on the scene, JAZZ has afforded me the opportunity to travel all over the world to the greatest destinations, buy thousand dollar suits and shoes, release my own CD's with my own compositions, blow an afternoon off just people watching whilst drinking a whole bottle of Sancerre on a sidewalk cafe, own property, and most importantly raise a family. Which is where I take issue with Miles, et al. Because, while they might've hated the word, they SHO 'NUFF enjoyed the fame and riches it brought them. Miles was KNIGHTED for christ sakes ! Jackie McLean started one of the best JAZZ programs in the country (Shout out to Hartt School of Music !)

That the word "JAZZ" at one time had a negative association is not relevant to me in 2011, almost 2012, when I've got bills and health insurance to think about. That someone wants to pay me, and fly me all over the world to provide their audience with 75 minutes of music that THEY'VE come to know and revere as "JAZZ" carries more weight to me.
More over, it's unfathomable that we (we= BLACK PEOPLE) should have this discussion of eschewing the word "JAZZ" when we all walk around calling each other "NIGGER"- a word that is UNIVERSALLY known to be oppressive and a sure way to get an ass-whupping- and then have the temerity to defend our usage of the word as friendly slang amongst our own. Hell we've gone as far as to try and differentiate between "NIGGER" and "NIGGA" ! (Who knew you could conjugate "NIGGER" ?) Are you serious ?

Anyhow, that's my two cents, and while I realize and appreciate the differences in opinions and I would leave this post with one lasting thought:

I grew up with a mother that was very active in the civil rights struggle of the 1960's (a movement, ironically, that ALSO received a lot of backlash from BLACKS), and one of the most important things I learned about the struggle from her is that we can't just keep sitting around and discussing what we're going to do. We have to DO IT ! I have no ill will against those black musicians today that no longer wish to have their music called "JAZZ", however if you want to affect a change, you gotta be like Nike and JUST DO IT !

As Nicholas Payton quoted from Roy Haynes, "The time for hesitation is over". Truer words were never spoken.

Acknowledgement

2011-08-20T15:06:00.000-07:00

A few weeks ago, I was having a discussion with a very famous alto player colleague of mine about his career. Particularly, an opportunity that he missed to play with one of the most influential musicians in ALL of jazz, who shall remain nameless (it rhymes with Diles Mavis). He explained that at the time Diles called him, he was working with another highly esteemed bandleader of note and didn't feel right just leaving him EVEN if it WAS for Diles. Remarkably, Mavis respected his decision and asked who he should call, and my colleague hooked up one of his friends (now, uber-famous) with the gig and the rest is history. He was a little salty with the fact that, his friend NEVER mentioned in interviews, etc. that "my boy 'such n' such' hooked me up with Diles"

All humor aside, it got me to thinking about how selfish some cats can be on their climb up the fame ladder. When I moved to town, I had NO gigs and was working 10-12 hour days at Sam Goody's. There were a few cats that ALWAYS threw me work when they couldn't do it: James Zollar, Derrick Gardener, Philip Harper & Eddie Henderson. I NEVER forgot it, because it meant something to me then, and it still means something to me now. I always did my best to acknowledge that these cats helped me out immensely (matter of fact, I gave them the nod in the liner notes to my first CD). I was raised to do that, and I sincerely believe it's the best thing for your soul (if you're into Karma). What gets on my nerves more than anything is, it seems like cats today are all about themselves. There's no sense of brotherhood, or passing of the proverbial torch. The new and not-so-new breed of cats will sooner have you believe that whatever success they've achieved (sometimes through strategic press from shady critics) they're "entitled" to- which is in most (not all) cases a bunch of bullshit, considering they haven't earned their stripes playing/apprenticing with other older, more seasoned cats- and furthermore, as if they've had no one help them along the way. I've been lucky enough to play/record/talk to a lot of my heroes and the most endearing thing about ALL of them is how they ALWAYS acknowledged cats that hooked them up or people they really loved. A lot of people that don't know better would assume that Freddie Hubbard would spend hours talking about how great he is, but I promise you that every conversation I had with him, he ALWAYS gave it up to Miles, Lee, Booker and Bill Hardman. Miles, for all his outspoken ways, turned into a little kid when he talked about Dizzy. Duke Ellington and Count Basie had a mutual love for each other's style. My point is that these ICONS (the real architects of the music) never acted too "hip". That is to say, that they were secure enough with themselves to give it up to their contemporaries, and today, it seems like it's missing.

In general, I'm pleased with how jazz is continuously developing, but I feel like the press/critics have a lot of cats acting like a bunch of PUSSIES (that's right, I SAID IT!). Nobody likes to talk about their contemporaries (unless it's a "hip" electronica band that's under-ground like "Telefon Tel-Aviv" or some classical music like Eric Satie...y'know, so they can seem like intellectuals and be cool) for fear of the press pigeonholing them, and....that's a very valid concern, BUT we can't be scared of that, because if they wanted to, they'll find a way to pigeonhole you whether you like it or not. Let the music speak for itself !

I remember when we still had record stores like Tower, HMV, etc. and how when it came down to percentages, "they" said jazz made up something like 10% of record sales. Where am I going with this ? If jazz wants to continually be brought up to date, WE'RE the ones ultimately responsible for it. I believe we should all have each other's back in spreading the word about each other (that is, if you truly like the music) in print, so that we can all prosper, create a better community and grow PAST that 10% !!

MESSAGE: Don't be afraid to give someone else some "ink", it'll just make YOU look all that much better...

Jazz Education...Uh-oh...

2011-08-09T11:41:00.000-07:00

Greetings ! I know it's been a minute since I've written, but I try to eschew posts in haste, preferring to comment on something that is always in my thoughts.

This September, I am honored to start teaching at the Jackie McLean Institute at Hartt School of Music @ The University of Hartford in Connecticut. When I was in college at Berklee, I had occasion to go down there from time to time and meet Jackie himself (who took a liking to me !). Some of his more notable students included Steve Davis, Abraham Burton, Mike DiRubbo, and Eric McPherson right on up to Kris Allen, Julius Tolentino, Wayne Escoffery, and Jimmy Greene (all of whom were around my age). I've taught adjunct in various situations in the US AND abroad, so I'm at home teaching this music, but the one thing that's continually worrying me is the state of the modern day jazz students mind ! It's the one thing that is equal among most students worldwide !

I just finished a week teaching at Siena Summer Jazz Program in beautiful Siena, Italy and after sitting in front of two improv classes, I'm just astonished at the lack of curiosity that these wannabe jazz musicians have !

When I was coming up (and, at 35, I'm not that old at all) I remember catching the jazz "bug" in highschool, right after Miles died and deciding RIGHT THEN after hearing a live version of "So What", that this is what I was going to do. I started going to the CD shop and getting every Miles record I could find, and then Lee Morgan, Freddie Hubbard, etc. and EVERY DAY I could be found inside trying to copy what the soloist was doing on their horns. I learned a few years later that that process was called "Transcribing", but to me back then, it was called "fun".

The same thirst for knowledge that existed in me in the those early years exists in me now. I wish I can say the same with these newer breeds of students. Don't get me wrong, I've heard some really KILLIN' students in highschool and in college who have a future, but by and large, they represent a small percentage of their population. It's hard for me, STILL to this day, to reconcile with the fact that when I ask a room full of students "how many of you transcribe?", only a few measly hands go up ! Yet, these "wanna-be's" want to know how it is that you do what YOU do, and when I say the word transcribe, I'm met with blank stares or better yet, disdain for transcribing because they think/fear that they wont be original if they start listening to their predecessors.

The thing I've learned the most while I've been in this music is that NO ONE is without influence ! It's what you do with what you've studied and how you develop that forms your own personal identity.
Todays student needs to be less involved in the quest to be original, and more involved in the quest to be thorough and prepared, because as I see it, they are lacking in a way that even MY generation wasn't lacking. Today's student should be mortified that they don't know a ii-V from a whole in the wall, or John Coltrane from Sonny Stitt, and go home, sit down and shed until the keys fall off the horn. The modern day jazz student paradigm needs to be one of hours of practice, patience, persistence, and playing. Tempered by lots of listening.

After all, it's why God gave us one mouth and TWO ears....

The Jam Session

2011-05-04T10:15:00.000-07:00

Oh buddy ! Jam sessions...

Jam sessions historically have been very valuable for up and coming musicians and professionals alike. The right type of session can be very constructive and fun, however the wrong type of session...can just be an exercise in virtuosity without point. For years, when I first moved to NY, I ran the jam session at Cleopatra's Needle on the upper west side. It was a well attended session, and I always made sure that what ever we played, we tried to make it as MUSICAL as possible. As well, I acted as a "session warden", limiting the amount of choruses so that songs weren't too long.

I fail to see how sessions today, for the most part, are constructive. I don't frequent them as much as I used to for that reason. It seems as though the only reason cats go out to sessions is to play songs which they can stretch for chorus after chorus...after chorus, and they wont stop until they get the audience and fellow musicians all riled up and convinced that they've played more shit than 'Trane and Bird combined..

What's it all about ?

Welcome & First Thoughts

2011-04-29T06:59:00.000-07:00

Welcome everyone to my blog "The Pelt Files" ! I'm always the last one to catch on to current trends, so I finally decided to do it ! Anyhow, I'll be posting various thoughts on my mind from time to time and I'd love to hear your thoughts, even if they're contrary to mine. So don't be shy, just keep it clean-ish !

Anyhow, my first thoughts- and bear with me because this is slightly old news- are about the Grammy's consolidating or cutting categories. I remember hearing about this a few months ago, and hearing the tremendous outcry from many jazz fans and musicians. I have to say, I don't know why this should be a surprise. The Grammy's reminds me of being in junior high school and running for class president (I never ran). I mean, how many of you remember what that was like ? Seeing your friends pass around lollipops and jolly ranchers to try and secure a vote. Fast forward some 25 years later (in my case), and it's the same thing, just with adults !

I think we (as jazz fans/musicians) have to consider that the Grammy's aren't for US. They never have been. It's evidenced by many factors. Really, when have you ever seen a jazz musician get up to accept his/her award on TV ? I'm not talking about Esperanza, Herbie or Norah Jones. I'm talking about any of the other lesser known (to the American audience at large) cats that have won Grammy's through the years. Sure, I remember in '92 when they broke the mold and had Herbie, Wayne, Ron, Tony & Wallace on there for a 5 minute "No Blues" tribute to Miles, but come on that was almost 20 years ago ! Or else, who could forget Arturo Sandoval's big band paying tribute to Clifford Brown which I think was even longer ago. This is when the Grammy's had a shred of regard for Jazz. Last time Sandoval was on the Grammy's, they paired him with Dave Grohl from the "Foo Fighters" (or was it Justin Timberlake ?).

More importantly though, I ask what does a Grammy really mean these days ? This is with no disrespect to those great artists in the jazz community that have received Grammy's (some of which are friends of mine), but seriously, we all have come to this music in much the same way: by standing on the shoulders of our idols. We hear stories about the rough lives of the greatest musicians in the world. Many of whom died with nothing. This is a big (and ugly) part of the history of jazz, and the facts are indisputable. Those of us that seek to do justice to this music largely do it with great reverence and humility, and are very satisfied if we're able to make a decent living from it, and don't need a statue to validate our existence.

The Grammy's is a popularity contest, essentially. Sure, we as musicians, period, are alloted a certain amount of ego, and our ego wants us to be popular amongst the masses, but I also think the Grammy's can corrupt people's judgment and assessments of their own self-worth. Therefore, making them lose sight of what their actual mission is in life. The amount of mass e-mails I've gotten from well regarded jazz musicians pleading for people to vote for their CD to be nominated is staggering, and if I were them I'd be ashamed, quite frankly. I suppose that's the reason why there is no campaigning for the McArthur award (it's done in secret), could you imagine ?!

Don't get me wrong, I do believe in being recognized for work well done, but do we really need the Grammy's ? Do they really appreciate jazz, latin jazz, etc. ? I never thought I'd envision a day where a jazz musician wins best new artist and Justin Bieber fans lose their damn minds as if they were to have a check mailed to them upon Bieber's winning ! It's ridiculous, and the Grammy's actions or lack of action against the backlash speaks in volumes. The Grammy's don't care about jazz, etc., so why do we make a fuss ? My "Grammy" comes in the form of my audience who truly digs what I'm doing. Each time I'm able to step on stage and perform is cause for celebration. For those readers that think that I'm writing this out of jealousy that I've never received one, I promise you I'm not. I'm very happy for those that have gotten one, or have even been nominated, and if I ever do receive one, sure I'd be delighted, but I won't let it cloud my judgement and purpose.

I'll close with this notion, my mother always told me "Go where you're celebrated, not tolerated". If the Grammy's don't want to celebrate the history, creativity, and the bigger picture of jazz, then let them continue to "do them". We just have to continue to "Do Us"...you dig ?

Your thoughts....