Tonight I'm part of a Loren Schoenberg event at Manhattan School of Music: Harlem Swings: The Savory Concerts. Loren gave me a previously unheard and utterly brilliant early Lester Young solo on "Tea for Two" to work with. Here's my transcription:
Of course the print doesn't mean much without the audio, which I cannot provide here. (UPDATE: I was just playing along, there are a couple of tiny wrong notes as well.) We all hope that some of the Savory treasures become commercially available at some point: For now, you can swing by the National Jazz Museum of Harlem and take a listen.
Next week at the Museum, five noted critics will discuss the Year in Jazz. On a related topic, DTM bids farewell to The Gig, Nate Chinen's valuable blog, which is closing doors. Fortunately, Nate will still be readily available on Twitter and Tumblr.
New DTM page: The Crimes of the Century.
At the end of the list I thank Sarah Weinman and Vince Keenan for taking a look and giving feedback while the page was in progress. Sarah recently edited a terrific collection called Troubled Daughters, Twisted Wives: Stories from the Trailblazers of Domestic Suspense, and Vince has both a current tasty eBook on cocktails, Down the Hatch, and the forthcoming Design for Dying: An Edith Head Mystery co-written by his wife Rosemarie (details here).
(The first of Robert Schumann's Kinderszenen, op. 15)
In Tokyo I made a new friend, Etsuko Tamazama. (Thanks to Vince and Rosemarie Keenan for putting us in touch.) She is an expert in film noir, and I challenged her to top ten list. It only took her a few hours.
Well, it’s the list of my top 10 Film Noir and I believe all of them are on DVD.
I Wake Up Screaming (1941)
Black Angel (1946)
The Set-Up (1949)
Criss Cross (1949)
The Asphalt Jungle (1950)
In a Lonely Place (1950)
The Breaking Point (1950)
His Kind of Woman (1951)
On Dangerous Ground (1952)
Odds Against Tomorrow (1959)
Also, those two films are “minor” noirs which I love. (But I don’t think they are great films in general. So, I usually don’t recommend them to other people…)
Etsuko then countered by asking for my top 10 crime fiction choices. H'mm. More on this soon.
Etsuko after joining me at a terrific high-end tofu restaurant, Tofu Cuisine Sorano in Shibuya. Her film noir blog is in Japanese.
In Japan we played with old friend Kurt Rosenwinkel. Kurt reminded us that he was the one who encouraged Toti Cannistraro to book young American jazz artists in Italy in about 1998. Reid and I did our first "Toti tour" with Billy Hart in 2000.
Countless musicians have done worthy European tours because of Toti. He plays Bill Evans-ish piano quite well and always knows where and what to eat. Thank you for everything, Toti!
(Toti and Claudia Bellone)
Whenever I'm in Italy I see masterful craftmanship everywhere. This always makes me think of Ferruccio Busoni, especially since I got my first Busoni score during an early visit to Italy. After hearing the Paul Jacobs recording of the Short Pieces for the Cultivation of Polyphonic Playing, I was thrilled to find a copy of the score in a Rome music shop.
I've been hoping that Marc-André Hamelin would record this terrific set sometime, and to my delight his latest release from Hyperion is a whole lot of late Busoni including those contrapuntal studies. I know what I'm getting myself for Christmas...
(Cotton Club soundcheck today)
TBP w. Kurt Rosenwinkel in Japan for the next couple of days. Then TBP Italy, Tel Aviv (new), Massey Hall, and domestic including Chicago (new).
16 Tokyo, JPN -- Cotton Club #
17 Tokyo, JPN -- Cotton Club #
19 Tokyo, JPN -- Blue Note Tokyo #
20 Tokyo, JPN -- Blue Note Tokyo #
22 Bologna, ITA -- La Scuderia
23 Ferrara, ITA -- Jazz Club Il Torrione
24 Mestre, ITA -- Sala Candiani
25 Osimo, ITA -- Teatro Comunale
26 Ancona, ITA -- Teatro La Nuova Fenice
27 Palermo, ITA -- Sala Paul Motian
28 Vicenza, ITA -- Bar Borsa
30 Roma, ITA -- Casa del Jazz
01 Vasto, ITA -- Teatro Rossetti
03 Tel Aviv, ISR -- Reading 3
13 Princeton, NJ -- Berlind Theatre
14 Toronto, CAN -- Massey Hall
19 Chicago, IL -- Jazz Showcase
20 Chicago, IL -- Jazz Showcase
21 Chicago, IL -- Jazz Showcase
22 Chicago, IL -- Jazz Showcase
26 Minneapolis, MN -- Dakota
27 Minneapolis, MN -- Dakota
28 Minneapolis, MN -- Dakota
29 Minneapolis, MN -- Dakota
31 New York, NY -- Village Vanguard
01 New York, NY -- Village Vanguard
02 New York, NY -- Village Vanguard
03 New York, NY -- Village Vanguard
04 New York, NY -- Village Vanguard
05 New York, NY -- Village Vanguard
08 St. Louis, MO -- Jazz at the Bistro
09 St. Louis, MO -- Jazz at the Bistro
10 St. Louis, MO -- Jazz at the Bistro
11 St. Louis, MO -- Jazz at the Bistro
The Tootie's Tempo page has been updated with more links. Really nice cover story on Tootie Heath in JazzTimes this month by Giovanni Russonello. A month earlier, Tootie's DownBeat blindfold test was an instant classic.
In the November DownBeat, Mark Turner's solo on "Duchess" from Billy Hart's All Our Reasons was transcribed by Scott Burns. While signing CDs at the club tonight, some of Kurt's The Remedy with burning Mark Turner was our background music. There's no doubt that Mark and Kurt, together and separately, are two of my heroes. We are doing Kurt's "Use of Light" this week: The first time I heard that song at Smalls with Kurt, Mark, Ben Street and Jeff Ballard I was enraptured.
For those curious about 2014: The Tootie group will be doing at least a little bit of East Coast in late January and the Vanguard in early September. We are discussing what the next album might be.
The BHQ will be doing at least both Birdland and the Vanguard plus one or two European tours. The second ECM record will be released in the spring.
Thanks to all who listen, read, and support.
The memorial celebration is on Wednesday at St. Peters at 7 PM. JazzTimes has the official announcement. Quite a list of performers, including much of the last of the old guard. I will be there.
In case you missed it, Ted Panken's collection about Cedar is particularly good.
The following DTM pages include my (already published) interview with Cedar alongside new interviews with his long-time bassist and a noted pianist/Cedar expert. (Thanks, Ted, for putting me and David Hazeltine in touch, that was really fun). My own essay looks at Cedar with Clifford Jordan, Cedar with Ron Carter, Cedar and the critics, and even the Cedar Walton Jamey Aebersold play-a-long.
For Cedar Walton:
4) Cedar's Blues (includes transcriptions)
New DTM guest interview: Oliver Lake by Alex Lewis and Jake Nussbaum.
Amusing stuff in there about me and Oliver on Twitter -- I really loved doing that gig with Oliver, Sam Newsome, and Andrew Cyrille at Smalls, I hope that we play together more sometime.
Oliver will be participating in a fundraiser to help another great saxophonist, Arthur Blythe, at Shapeshifter Lab on November 22. The list of performers is impressive. Before that in NYC, Lake's big band will be at the Jazz Gallery on November 15 and 16. Details about other forthcoming gigs including Chicago and a residency in Pittsburgh can be found at the relevant webpage.
RIP Frank Wess.
NY Times obit by Willam Yardley, with an emphasis on flute.
Peter Hum hosted Jerome Sabbagh's nice tale of recent interaction and also reviews Wess's final disc.
On Twitter, Mark Stryker and Matt Wilson figured out that Wess had played with the big bands of Billy Eckstine in the 40's, Count Basie in the 50's, Jazz Composer's Orchestra in the 60's (this is, to be fair, an anomaly), and Jaco Pastorius and Toshiko Akiyoshi in the 80's.
I heard Wess several times in New York in recent years. The blues and the ballads were always perfection.
When I was looking for something to transcribe, Red Sullivan suggested something from Frank Wess Quartet with Tommy Flanagan, Eddie Jones, and Bobby Donaldson. Good idea! I was particularly taken by "Stella by Starlight," partly because there is nothing of the now-standard Miles Davis approach on display. (Of course, this piece was still infrequently done in 1960.)
I love that the last note is the lowest note on the tenor saxophone.
Belatedly, I've finally looked at Exit Through the Gift Shop. Some movies have a "long finish." I dreamed about Exit last night and it was in the forefront of my consciousness today. I expect to be considering it from different angles all week.
There's nothing to be said about the film if you haven't seen it. However -- if you have seen it and are still thinking about it, too -- at the moment I concur with Matt Cale's smart parsing at Ruthless Reviews.
The New York City edition of Banksy's website has a month's worth of brilliance on offer. I may even make the T-shirt.
New DTM page about Anthony Powell and A Dance to the Music of Time: "May I Say that you Bear Out a Deeply Held Conviction of Mine as to the Repetitive Contacts of Certain Individual Souls in the Earthly Lives of Other Individual Souls."
RIP Ronald Shannon Jackson.
I adore Ornette's Dancing in Your Head, that's the Shannon Jackson I know best. The Cecil Taylor Unit on New World is a powerful record, I want to hear that again. As I recall Jackson is almost playing "time" against Cecil on that one.
Of course Ronald Shannon Jackson's own music, a fearsome combination of punk and jazz, was very important and influential as well.
More tributes to Jackson to surely come, I will link if I see something particularly good.
At D:O! Ches Smith writes about John Tchicai.
Bill McHenry this week at the Vanguard with Orrin Evans, Eric Revis, Andrew Cyrille -- great band.
When I'm off tour next week I'm going to five operas. (!) OK, four of them are in one night, Baden-Baden 1927 at Gotham (previewed by Alex Ross, most of the performances are this week) and the other is Nico Muhly's Two Boys at the Met. I will also be attending Dance Heginbotham's Dark Theater at BAM. Fall in NYC is just too wonderful.
Donald "Duck" Bailey was authentic Philadelphia Afro-American mystery. He styled everything: his home-painted clothes, his unusually angled drum set, and, of course, his inimitable beats.
The organ trio was great for drummers wanting to let loose. With an acoustic piano you had to keep it down, but all that voltage coming out of the Hammond B3 meant you could leave your brushes at home. Indeed, it is arguable that much wonderful rock and fusion comes straight from the classic organ trios of Jimmy Smith, Jack McDuff, Don Patterson, Baby Face Willette, John Patton, and others. It's interesting that Tony Williams got an organ trio with Larry Young and John McLaughlin for his innovative Lifetime group; also, John Bonham played a lot of "organ trio + vocal" onstage with Led Zeppelin.
I don't know if Donald Bailey was the first person to put the hi-hat (with foot) on the skip beat or not, but I'm pretty sure he was the first to highlight it. A good place to hear it is on Jimmy Smith's "Back At the Chicken Shack." This Bailey version of a shuffle beat has the skip hi-hat, a snare smack on two, and "uh huh" on tom-tom in mid-bar.
Probably he couldn't have played that beat with a piano trio of the era, but surrounded by organ and guitar, it fits perfectly. What really makes it work is the feel, which is casually undulating and "local" in intention. You can't take that beat, put in the hands of anyone else, and expect to get the same situation.
I admit I don't know all of Jimmy Smith and Donald Bailey together the way that I should. Bailey caught my ear more after he moved out to the West Coast and starting being the odd man out on various record dates. The best of them that I've heard are four marvelous records with Hampton Hawes: Here and Now and High in the Sky are experimental studio records with Chuck Israels or Leroy Vinnegar; The Seance and I'm All Smiles are in the club with Red Mitchell.
Here and Now is really "my" record. At one point it was my favorite disc. And, after all these years of collecting Donald Bailey records, I still haven't heard another that features Bailey so well.
A big part of Bailey's sound on any of those West Coast records is his china cymbal. He rarely rode on it, but dropped soft bombs up there in what seemed like almost a random fashion. It's like an obscure, staggered china cymbal clave.
The left hand and bass drum can be somewhat like Elvin Jones, with rolling triplets that bounce back and forth. When it's a waltz, like "Fly Me to the Moon" or especially "Rhonda" on Here and Now, someone might even guess it was Elvin for a moment.
However, the rumor is that Bailey did it first or at least on his own, that Elvin got something about the triplets from him. I've heard many times that John Coltrane tried to get Bailey for the quartet early on or when Elvin couldn't make it, and that Bailey -- for some obscure reasons, including not wanting to travel -- usually refused.
The other Philadelphia drummer going in the same direction with the 6/4 language in late 50's was Edgar Bateman, who also may have turned down the Coltrane gig! All is speculation here, the facts are lost, and honestly I don't want to be responsible for perpetuating a myth. Certainly Elvin is playing some triplets on 50's recordings, and a Bobby Jaspar article from The Jazz Review in February 1959 talks about the triplets in detail. However, without taking a thing away from Elvin, it can be conclusively said that John Coltrane and McCoy Tyner both knew and played with Bailey and Bateman in Philly. So, whether Elvin borrowed from Bailey or Bateman or not, when Trane and McCoy had to face down Elvin, they had been prepared.
There are a couple of bootleg tunes from Montreal 1963 with Bailey subbing for Roy Haynes (who was of course subbing for Elvin). "Impressions" is fast and hard to hear, with a long piano solo and no tenor solo. More telling in terms of the 6/4 language is "Up 'Gainst the Wall" with no McCoy, just Trane and Jimmy Garrison. It's obviously not Elvin, but it sounds like it someone who knows their Elvin -- unless, of course, some of the influence went the other way, or had arrived there by a separate route.
This bootleg along with "Impressions" is "commercially" available as bonus tracks on RLR under John Coltrane 1962 Milan Concert. I'm comfortable posting it here because 1) RLR is essentially illegal anyway (although I'm happy to buy some of their invaluable rarities when I can) and 2) the drummer is listed as great Canadian drummer André White on the CD. I've triple-checked with Coltrane scholars: it's definitely Bailey; also White was born in 1959. Not that anyone else but Bailey could have played like this in 1963, anyway! Amazing drumming.
What Bailey had that wasn't Elvin-esqe was something intentionally square in the phrasing. (You can hear it all over "Up "Gainst the Wall.") I love the clunky drummers: Frankie Dunlop, Ed Blackwell, Paul Motian, Tootie Heath, the cats who play some sparse, corny stuff on the snare a bit too loud and look over, daring you to make something of it.
But that may give a wrong impression. Listening to Bailey now I think also of how all four limbs move in a consistent dance all the time, just like Elvin or Billy Higgins. (Or indeed, almost all the greats, including Dunlop, Blackwell, Paul, and Tootie.) Clave perhaps really is the right word: the patterns just keep falling into place. It's hard to imagine any of these playing just the cymbal beat without automatically generating appropriate accompanying patterns in the three other limbs.
So that "clunk" I love is still always part of a pattern. Another good place to hear the "clunk" is the out-chorus of "Rhonda," where Bailey plays a surprising, almost too-obvious tom part. It's incredibly swinging, but it also takes Hamp's little Bill-Evans-ish waltz and puts it in a different place. The drums help create a complex emotion.
Bailey brought that complex emotion to any of those West Coast dates. Jimmy Rowles, a natural surrealist himself, loved Bailey. For some reason the several Rowles-Bailey albums I know haven't struck me as Rowles's best, but there's a least one tune from from Stacy Rowles's Tell it Like it Is that should be canonical. The surreality that both Jimmy Rowles and Donald Bailey understand so well was given to jazz by Duke Ellington, and on Duke's obscure 1937 "Alabamy Home" Bailey honors the original mad drummer, Sonny Greer.
Of course this is just my speculation: a fan of the music drawing intellectual conclusions. I met Bailey once, and it must be said that he was put off by my perpetual "state of inquiry." Whatever Bailey did, he did it his way, for his own reasons, and he let me know that I wasn't going to be initiated!
Given the obscurity of people like Bailey and their unique magic, I don't mind being an un-initated academic then, today, and tomorrow. But it's only fair to warn the reader that what I'm writing here might not please Donald Bailey.
The same day we interacted a bit, Bailey gave a masterclass. The highlight began as a gaffe: someone asked Bailey to play the beat on Jimmy Smith's "The Sermon." Unfortunately Art Blakey is on that tune, not Bailey. But rather than being offended, Bailey said that of course he played it live.
"This is what Blakey played." It was a reasonably conventional shuffle with the main movement on the snare and four on the floor.
"This is how I made it my own." Bailey took the shuffle and put it in the bass drum. It stayed on the snare too (naturally, with an accent on two and four). What was especially astonishing was that the snare and bass drum patterns, while moving along at the same time, were not played exactly together. There was some mysterious desynchronization that created a thick rumble, like a subway was passing below us.
Probably the word "desynchronization" is wrong; however Bailey got to what he did, an intellectual word suggestive of mathematics was not part of the process. It was more "cultural" or "mystical."
Naturally, his version of the "Sermon" beat was incredibly swinging. And I expect most of the Bailey obits and mentions will say something like "a real swinger of the old school." That's not wrong, but when Bailey came up, everyone could swing. There wasn't even a question about that topic for that powerful Philadelphia peer group.
What Bailey had that was really different was the strangeness and the willingness to take a chance. He delivered a dissonant counterpoint that could immediately re-contextualize any given situation. It was -- forgive me, Mr. Bailey, if I'm way off base here -- redolent of sacrifice, of facing down fear, of unnameable ritual.
Donald Bailey didn't work as much as he should because most cats aren't willing to deal with those topics. And maybe he hid out on the West Coast because there he wouldn't ever have to change and become more "New York professional." He could hang out in California and play his crazy drums and harmonica and no one would give him any grief. Certainly everyone who got to see him on a good night in the last 50 years has never forgotten it.
Unlike Edgar Bateman, at least we have a decent-sized amount of Donald Bailey on tape -- although it is still not enough, and certainly he's not always alongside musicians worthy of his genius. But I guarantee that on each and every album, Bailey plays something that only Donald Bailey could play.
Jimmy Smith A New Sound, A New Star (1956) The Incredible Jimmy Smith at the Organ (1956) At Club Baby Grand (1956) The Sounds of Jimmy Smith (1956) Plays Pretty Just for You (1957) Jimmy Smith Trio + LD (1957) Groovin' at Small's Paradise (Blue Note, 1957) House Party (1957) The Sermon! (1958) Softly as a Summer Breeze (1958) Cool Blues (1958) Six Views of the Blues (1958) Home Cookin' (1959) Crazy! Baby (1960) Open House (1960) Plain Talk (1960) Straight Life (1961) Plays Fats Waller (1962) I'm Movin' On (1963) Bucket! (1963) Rockin' the Boat (1963) Prayer Meetin' (1963) The Boss (1968)
George Braith Two Souls in One (1963)
Hampton Hawes Here and Now (1965) I'm All Smiles (1966) The Seance (1966) High in the Sky (1970)
The Three Sounds Live at the Lighthouse (1967) Coldwater Flat (1968)
Harold Land The Peacemaker (1968)
Esther Phillips Live at Freddie Jett's (1970)
Jimmy Rowles Subtle Legend Vols. 1 and 2 (1972) Some Other Spring (1972) Looking Back (1988) Sometimes I'm Happy, Sometimes I'm Blue (1988) Trio: Jimmy Rowles, Red Mitchell, Donald Bailey (1988)
Mundell Lowe California Guitar (1972)
Sarah Vaughan And the Jimmy Rowles Quintet (1974)
Red Norvo Vibes ala Red (1975)
Carmen McRae And Her Trio (1975) Everything Happens to Me (1983) You're Looking at Me (1983) For Lady Vol. 1 and 2 (1983)
Sam Most Flute Flight (1976)
Richie Kamuca Charlie (1977)
Benny Powell Coast to Coast (1981)
Charles McPherson The Prophet (1983)
Stacy Rowles Tell It Like It Is (1984)
Frank Wess and Johnny Coles Two at the Top (1985) (The Uptown issue with live tracks)
Bebop and Beyond Plays Thelonious Monk (1990) Plays Dizzy Gillespie (1991)
Pete Christlieb and Bob Cooper Mosaic (1990)
Greg Cohen Moment to Moment (1996)
Chuck Israels The Bellingham Sessions (1998)
Donald Bailey's last record was his debut as a leader, 2006's Blueprints of Jazz, Vol. 3. It's definitely got some prime drumming on it but frankly it is a bit hectic and noisy overall, partly due to the compressed and unattractive fidelity. I'll keep listening, though: the intention of this group of Philadelphia stalwarts is honest, clear, and admirable.
I've been banging my head against the wall practicing trills for about a decade. They are crucial if one is to play most classical repertoire professionally but I've never had good ones. The problem is that I didn't practice at all as a very young person. My understanding is that most virtuosos had good trills in their teens.
Anyway, the last couple of days I've had what feels like a real breakthough. I can't believe I invented this exercise, but no one has ever showed it to me, and I think it will make a real difference in my Bach, Mozart, and Chopin. (Right now I'm on French Suite in G, K 330, and the four Impromptus: all have lots of trills.)
Getting in and out of the trill can be even worse than the flutter itself. My flutter is coming along. According to Robert Helps, Artur Schnabel said, "A trill is a one note phenomenon," and I can now verify this is correct. Flexion and extention and rotation are how you "run while standing." But what about moving on? For a long time I thought the closures would happen naturally when the flutter was secure. Not true. Not true for me at 40, anyway.
Sophia Rosoff always says, "Everything can be solved with a rhythm." Yesterday I hit on the idea of working the one-note in evens and then concluding an odd to finish: systematically, with a metronome. (Sophia hates the metronome. Don't tell her I use it for stuff like this.)
Starting at about quarter note = 60 and going upwards. Through all sorts of fingers, blacks and whites, and both hands. Today I maxed out around 105, and afterwards the Bach was notably better.
And of course, you are practicing your septuplet at the same time. (Although you can't really hear it as a septuplet past 90, it becomes just a smooth trill.) Recommended.
Victoria Voketaitis the Director of Special Projects for Jazz Foundation of America. Previous positions include Administrator, Concert and Artist Activities at Steinway & Sons and Booking Agent at Columbia Artists Management. Vicky received a Bachelor of Music from The Hartt School in West Hartford, CT.
The Jazz Foundation of America is presenting their 22nd Annual JAZZ LOFT PARTY - Saturday, October 19 from 7pm-midnight in Manhattan. Featured performers include Bettye LaVette, Kenny Barron, Shuggie Otis and Ron Carter. Ticket information: http://jazzfoundation.org/loft2013
I was introduced to jazz in a bit of a backward way. In 1984, I went into a record store on Long Island and asked if there were any other albums recorded by the guy from that cool “Rock It” video airing on MTV. Less than 10 years later in college, I am listening to Jackie McLean talk about the tune he just recorded with Dizzy Gillespie during his “History of Jazz” class at The Hartt School. Shortly after, a job at Steinway & Sons allowed me the opportunity to tell Herbie Hancock about how his video of dancing headless mannequins introduced me to everyone from Miles Davis and Ella Fitzgerald to two recently departed favorites, Cedar Walton and Mulgrew Miller. I’ve spent years listening to and working with jazz musicians, and now I work for the only national organization dedicated to helping elder jazz and blues musicians in crisis.
While many jazz artists achieved great success, others spent the better part of their careers living from paycheck to paycheck, praying the phone will ring with that next gig. Many jazz musicians do not have pensions, and very few have medical plans or other resources.
Since 1989, The Jazz Foundation of America (JFA) has committed to providing jazz and blues musicians with financial, medical, housing, and legal assistance as well as performance opportunities, with a special focus on the elderly and veterans who find themselves in crisis due to illness, age and/or circumstance. In 1993, Dizzy Gillespie, dying of cancer at Englewood Hospital in New Jersey, said to his oncologist, Dr. Frank Forte, "Can you find a way to get the medical care I'm getting for musicians who can't afford it?" Since then, jazz musicians have received pro bono care of all kinds at Englewood Hospital, thanks to the Dizzy Gillespie Memorial Fund.
In 2000, our current Executive Director Wendy Oxenhorn joined JFA and took the organization from assisting 35 musicians a year to over 150 in a matter of months. We now assist in over 5,000 cases a year, including hundreds of musicians and their families affected by Hurricane Sandy in the New York region as well as those still recovering from Katrina in New Orleans. In 2005, pharmaceutical industry pioneer and celebrated philanthropist "Saint" Agnes Varis made an unprecedented $1 million grant to expand our relief to musicians displaced by Hurricane Katrina. With our Agnes Varis Jazz in the Schools program and additional paid gigs, we created over 3000 performance opportunities a year.
PEOPLE WE HELP
In recent years, we have been working closely with the beloved trumpeter, composer, bandleader and educator we all know and admire, Clark Terry. He is struggling with serious health challenges of late, including the amputation of both his legs and surgery to remove his stomach. He requires 24-hour healthcare.
Clark’s amazing wife Gwen has kept him from a nursing home by devoting her life to his care. JFA is helping by defraying his medical expenses, including his oxygen and providing home health aides. Clark’s insurance does not cover the cost of health aides, which can be upwards of $1,100 per week.
Gwen shares her thoughts on JFA: "Clark's spirit is strong and his mind is sharp. He wants to continue sharing his knowledge with his students, and contributing to the perpetuation of jazz. God always makes a way out of no way, and we are grateful for all blessings…We thank all of you from the bottom of our hearts for your generosity, assistance and compassion. We are very appreciative for everyone who has contributed to support Clark and to the Jazz Foundation of America…God bless you all!"
Singer Jimmy Norman’s claim to fame was co-writing “Time is On My Side”, which made The Rolling Stones famous in America, but he never earned a dime. Homebound recovering from heart failure, he was unable to tour and earn money, and was close to being evicted. The Jazz Foundation introduced him to a doctor who extended his life nearly ten years. While helping Jimmy clean his apartment, JFA found a cassette tape of him and Bob Marley playing music in his living room in the 1970’s. This tape was auctioned off at Christie’s for $20,000, affording Jimmy the ability to pay his rent for a year and also to record songs he wrote, but never had the opportunity to release. Judy Collins signed him to her label and released his album Little Pieces, which won Best Blues Album at the Independent Music Awards.
(Jimmy Norman singing at Jazz Loft Party in 2011, just days before his death, performing for the people that helped him. Sitting in with him is Lou Reed.)
A very active Jazz Foundation Board, which includes musicians and extremely generous donors from the finance, law and accounting industries, continues to expand its outreach around the United States. Please help us reach our Jazz Loft Party fundraising goal of $350,000. Please help us help the musicians who played with everyone from Duke Ellington and Billie Holiday to Jimi Hendrix and Frank Sinatra.
The Jazz Foundation proposition is a simple one. These musicians wrote, recorded, played and sang the soundtrack of our lives.
For more information on who we are and the people we help, please visit www.jazzfoundation.org.