I didn't know you knew Paul Jeffrey. He was Director of Jazz Studies at Duke when I lived in Durham so I got to see him whenever the student jazz orchestra played, always with a superb guest Paul would bring in. I got to talk with him s couple of times about his time with Thelonious Monk. I always appreciated how generous and patient he was w his time, with me.
Paul was a great player, arranger, and advocate for the music! How cool you knew him. Were you there when he brought me to Duke to play with the ensemble? Must have been early or mid 80s.
Regrettably, I didn't get to Durham till 1995, so it took me awhile to get my bearings. My exposure to jazz was next to nothing. My one and only album was Pharoah Sanders' The Creator Has A Master Plan, thanks to a more adventurous friend. Then somehow i discovered the Duke Jazz Ensemble whose guest that week was James Carter. It was Mr. Jeffrey's connections that brought great artists to Durham and his profound knowledge that shaped the students, who were more often than not students w majors other than music. They put in the work because they loved music and they loved Mr. Jeffrey. My interactions w him were few, mostly about his time with Thelonious Monk. I was nobody, but he treated me with kindness and patience. I feel like i owe him for my interest in jazz and what knowledge i possess.
Reminds me of why I stopped touring. The music and people were great, the life and the money sucked. Driving all over the US in a van, setting up, tearing down, dealing with agents, club owners, hotel accommodations, food, lack of sleep, getting sick and still having to play.
On tour with the Decastro Sisters in the 70s, they flew us from L.A. to the East coast and at the end of the gig, flew the singers back to L.A., Peggy's son drove a van from L.A. to Baltimore for the band to drive back to L.A. It was supposed to save them money. The trio loaded all the equipment into the van, then drove non-stop for 3 days to L.A., destroyed the van so they lost money instead of saving money. Chunga's Revenge!
I was touring in Haiti when I got sick and then missed half the gigs. Luckily a fan of the band let me stay in his house while I recovered. But I don't recommend getting sick in Port Au Prince.
I was in Tulsa and needed to go to the dentist. He told me that I needed periodontal surgery and that he does 1/4 of the mouth every 3 months. I told him that I was in town for only 1 week and had to play every night. He did my whole mouth in 3 hrs., gave me some pain killers. They wore off in a few hours just before it was time to play. I called him and he refused to give me any more. I had a couple left and took them and went to the gig. I can't remember anything about that night and I was told that I played brilliantly. The rest of the nights I loaded up on aspirin. I was really out of it. We were auditioning a new, 19 yr. old bass player. and decided to hire him. His parents came to the gig and his mother told me to look after him. I was so wacked that I told her, "if I wanted something to take care of, I'd get a gold fish." That probably didn't reassure her.
We do stick together! Not sure where you're based Jonathan, but you may or may not be familiar with the Jazz Foundation of America: https://jazzfoundation.org/
Yes, I know that seems to be a bit of a contradiction with “intellectually advanced.” Myself, I’d possibly say intellectually stimulating (or stimulated?), but what I’m trying to get at is that it seems to me that jazz has an elemental quality and is based on embodied experience. At its very heart it contains African rhythms. Those are, of course, not primitive in anyway at all. The precise opposite in fact, the most sophisticated in human culture. I never thought I’d quote AI, but here goes: “ Atavism, in the context of biology, refers to the reappearance of a trait that was lost during the evolutionary history of a species. It's essentially a "throwback" to an ancestral characteristic. In broader terms, it can also refer to a reversion to an older style, manner, or outlook.” It’s that ancestral quality I refer to when I use the word atavism.
I believe any art form is a pretty arcane thing to delve into, since all art comes from the human experience that goes back to the very beginning of humanity. To your point about atavism, that's why we have to continually reinvestigate the foundations of everything. Not to reinvent the wheel, but rather to rediscover the magical qualities that inspired us in the first place.
How so, what? Not sure what the question is. Why atavism may seem to be contradictory with intellectual stimulation? If so, just that atavism implies an earlier state, often conflating with primitivism or so other simplistic state, while intellectually stimulating implies advance or progress or some other more cerebral state. Please note that I do not subscribe to these implications, merely acknowledge that they exist.
Years ago I casually used the word “primitive” in conversation with my good friend Stephen Kent, the didgeridoo player, who spent time in Australia learning from the Aboriginal peoples. He would have none of it and I have not used the word in a cultural context since. In fact, I prefer not to use it at all in any context, but will admit to the occasional slip.
I generally agree with your points about the original magic of art. It’s a fascinating subject that repays repeated contemplation. I’m also interested in the potential of art made by animals. That may seem farfetched to some, but worth thinking about.
I loved this post when you published it "freshly" and here I was re-reading and enjoying it all over again. What's special for me specifically (the whole thing, all of it, was special and worth the read) is that I got to meet you (yes, surely another anonymous face) after the MCG Jazz gig and speak to you. And it's how I learned about uour Substack newsletter. No looking back after reading your stuff, but I wasn't surprised at all. I'd had some "online exposure" to your skill in sharing/instructing during Covid lock down with a workshop. I'm a picky picky, highly discerning 'student' and loved your presentation. Then listening to Marty's weekly show on our local jazz station and learning that you'd be here, way cool.
I didn't know you knew Paul Jeffrey. He was Director of Jazz Studies at Duke when I lived in Durham so I got to see him whenever the student jazz orchestra played, always with a superb guest Paul would bring in. I got to talk with him s couple of times about his time with Thelonious Monk. I always appreciated how generous and patient he was w his time, with me.
Paul was a great player, arranger, and advocate for the music! How cool you knew him. Were you there when he brought me to Duke to play with the ensemble? Must have been early or mid 80s.
Regrettably, I didn't get to Durham till 1995, so it took me awhile to get my bearings. My exposure to jazz was next to nothing. My one and only album was Pharoah Sanders' The Creator Has A Master Plan, thanks to a more adventurous friend. Then somehow i discovered the Duke Jazz Ensemble whose guest that week was James Carter. It was Mr. Jeffrey's connections that brought great artists to Durham and his profound knowledge that shaped the students, who were more often than not students w majors other than music. They put in the work because they loved music and they loved Mr. Jeffrey. My interactions w him were few, mostly about his time with Thelonious Monk. I was nobody, but he treated me with kindness and patience. I feel like i owe him for my interest in jazz and what knowledge i possess.
You are not the only one who owes a debt to Paul Jeffrey. All his students do.
Reminds me of why I stopped touring. The music and people were great, the life and the money sucked. Driving all over the US in a van, setting up, tearing down, dealing with agents, club owners, hotel accommodations, food, lack of sleep, getting sick and still having to play.
On tour with the Decastro Sisters in the 70s, they flew us from L.A. to the East coast and at the end of the gig, flew the singers back to L.A., Peggy's son drove a van from L.A. to Baltimore for the band to drive back to L.A. It was supposed to save them money. The trio loaded all the equipment into the van, then drove non-stop for 3 days to L.A., destroyed the van so they lost money instead of saving money. Chunga's Revenge!
I was touring in Haiti when I got sick and then missed half the gigs. Luckily a fan of the band let me stay in his house while I recovered. But I don't recommend getting sick in Port Au Prince.
I was in Tulsa and needed to go to the dentist. He told me that I needed periodontal surgery and that he does 1/4 of the mouth every 3 months. I told him that I was in town for only 1 week and had to play every night. He did my whole mouth in 3 hrs., gave me some pain killers. They wore off in a few hours just before it was time to play. I called him and he refused to give me any more. I had a couple left and took them and went to the gig. I can't remember anything about that night and I was told that I played brilliantly. The rest of the nights I loaded up on aspirin. I was really out of it. We were auditioning a new, 19 yr. old bass player. and decided to hire him. His parents came to the gig and his mother told me to look after him. I was so wacked that I told her, "if I wanted something to take care of, I'd get a gold fish." That probably didn't reassure her.
Onward!
Your jazz community is utterly fantabulous!
We do stick together! Not sure where you're based Jonathan, but you may or may not be familiar with the Jazz Foundation of America: https://jazzfoundation.org/
I am partially based in Eugene, OR, where there is a very strong local community-based jazz club, The Jazz Station, https://thejazzstation.org.
Please allow me to be honest and admit that jazz is not my primary musical focus, but as time passes my interest in it steadily increases.
It's a genre that is simultaneously passionate and intellectually advanced. Therefore right up your alley!
Possibly also appeals to my taste for atavism.
Yes, I know that seems to be a bit of a contradiction with “intellectually advanced.” Myself, I’d possibly say intellectually stimulating (or stimulated?), but what I’m trying to get at is that it seems to me that jazz has an elemental quality and is based on embodied experience. At its very heart it contains African rhythms. Those are, of course, not primitive in anyway at all. The precise opposite in fact, the most sophisticated in human culture. I never thought I’d quote AI, but here goes: “ Atavism, in the context of biology, refers to the reappearance of a trait that was lost during the evolutionary history of a species. It's essentially a "throwback" to an ancestral characteristic. In broader terms, it can also refer to a reversion to an older style, manner, or outlook.” It’s that ancestral quality I refer to when I use the word atavism.
If you're interested you can read my answers to author Deng Ming-Dao's questions about jazz here: https://templeofartists.substack.com/p/is-jazz-based-on-the-blues
And here: https://templeofartists.substack.com/p/more-questions-about-jazz
I believe any art form is a pretty arcane thing to delve into, since all art comes from the human experience that goes back to the very beginning of humanity. To your point about atavism, that's why we have to continually reinvestigate the foundations of everything. Not to reinvent the wheel, but rather to rediscover the magical qualities that inspired us in the first place.
How so, if you don't mind my asking?
How so, what? Not sure what the question is. Why atavism may seem to be contradictory with intellectual stimulation? If so, just that atavism implies an earlier state, often conflating with primitivism or so other simplistic state, while intellectually stimulating implies advance or progress or some other more cerebral state. Please note that I do not subscribe to these implications, merely acknowledge that they exist.
Years ago I casually used the word “primitive” in conversation with my good friend Stephen Kent, the didgeridoo player, who spent time in Australia learning from the Aboriginal peoples. He would have none of it and I have not used the word in a cultural context since. In fact, I prefer not to use it at all in any context, but will admit to the occasional slip.
I generally agree with your points about the original magic of art. It’s a fascinating subject that repays repeated contemplation. I’m also interested in the potential of art made by animals. That may seem farfetched to some, but worth thinking about.
Su Terry - Road Warrior! Proud of you, sister. Keeping the tradition alive! I felt every minute of the journey. Thanks for sharing it.
I loved this post when you published it "freshly" and here I was re-reading and enjoying it all over again. What's special for me specifically (the whole thing, all of it, was special and worth the read) is that I got to meet you (yes, surely another anonymous face) after the MCG Jazz gig and speak to you. And it's how I learned about uour Substack newsletter. No looking back after reading your stuff, but I wasn't surprised at all. I'd had some "online exposure" to your skill in sharing/instructing during Covid lock down with a workshop. I'm a picky picky, highly discerning 'student' and loved your presentation. Then listening to Marty's weekly show on our local jazz station and learning that you'd be here, way cool.
Thank you again dear "Road Warrior!"
LJ it was great to meet you after the concert, and so glad you decided to join us over here at Temple of Artists!