JazzProfiles: The Heisenberg Uncertainty Players

Saturday, June 29, 2013

The Heisenberg Uncertainty Players

“This is Jazz in the 21^st century: these players hear the music differently. The music of the Heisenberg Uncertainty Players takes from the Jazz tradition while at the same time synthesizing influences and inspirations from disparate, contemporary musical sources – something that Jazz has done throughout it existence.”

- The Editorial Staff at JazzProfiles

Some beginning thoughts and observations.

First of all, I am not a Jazz critic.

I know from personal experience how hard it is to play this stuff so in my role as “the editorial staff at JazzProfiles,” I refrain from criticizing, in the negative sense of that term, Jazz that doesn’t appeal to me.

So when John Dorhauer reached out and asked if I would be interested in listening to Emergency Postcards, a self-produced CD by the Heisenberg Uncertainty Players [HUP], a large Jazz ensemble based in an area west of Chicago of which John is the Director, I said that I would be happy to give it a listen, but that I wouldn’t promise to write about it if I didn’t like the music.

I’ve been struggling with how to write a review of Emergency Postcards ever since.

Not because I didn’t like the HUP’s music, but mainly because I didn’t understand what I was listening to.

Not being a critic – “Yes, I liked it and here’s why; not I didn’t like it and here’s why” - I was confronted with the dilemma Peter Keepnews succinctly states in the following:

“Those of us who have tried writing about Jazz know what a daunting challenge it can be to do it well. Expressing an opinion about a given musician or recording is easy; explaining what exactly it is that makes that musician or recording worth caring about is not.”

Secondly, I have commented previously and at length about the role of texture or sonority, in other words, the way the music sounds, in composing and arranging music for big bands.

The earlier expositions on the role of texture in big band orchestrations are most notably to be found in my earlier posts on the music of the Gerald Wilson Orchestra and the Maria Schneider Orchestra.

Here’s an excerpt from my earlier piece on Maria Schneider’s music by way of explanation:

“When writing about the music of Maria Schneider, the “texture” of her music is often stressed as that quality which makes it so unique and so appealing.

But what is a musical definition of “texture” which joins with melody, harmony and rhythm [meter] as a fourth building block used to create a musical composition?

Ironically, of the four basic musical atoms, the most indefinable yet the one we first notice is – “texture.”

“Texture” is the word that is used to refer to the actual sound of the music. This encompasses the instruments with which it is played; its tonal colors; its dynamics; its sparseness or its complexity.

Texture involves anything to do with the sound experience and it is the word that is used to describe the overall impression that a piece of music creates in our emotional imagination.

Often our first and most lasting impression of a composition is usually based on that work’s texture, even though we are not aware of it. Generally, we receive strong musical impressions from the physical sound of any music and these then determine our emotional reaction to the work.” [Emphasis, mine]

Thirdly, I wrote this about the young Italian alto saxophonist Francesco Cafiso in a previous profile:

“Some young, Jazz players use a lot of notes in their solos.

This tendency seems to be a part of the joys of first expression; the thrill of discovering that you can play an instrument and play it well.

Kind of like: “Look what I’ve found? Look what I can do? Isn’t this neat?”

Another reason why these young, Jazz musicians play so many notes is because they can.

They are young, indiscriminately so, and they want to play everything that rushes through their minds, getting it from their head into their hands almost instantly.

Their Jazz experience is all new and so wonderful; why be discerning when you can have it all?

If such abilities to “get around the instrument” were found in a young classical musician romping his or her way through one of Paganini’s Caprices, they would be celebrated as a phenomena and hailed as a prodigy.

Playing Paganini’s Caprices, Etudes, et al. does take remarkable technical skills, but in fairness, let’s remember that Paganini already wrote these pieces and the classical musician is executing them from memory.

In the case of the Jazz musician, playing complicated and complex improvisations requires that these be made up on the spot with an unstated preference being that anything that has been played before in the solo cannot be repeated.

But often times when a Jazz musician exhibits the facility to create multi-noted, rapidly played improvised solos, this is voted down and labeled as showboating or derided as technical grandstanding at the expense of playing with sincerity of feeling.

Such feats of technical artistry are greeted with precepts such as “It’s not what you play, but what you leave out” as though the young, Jazz performer not only has to resolve the momentary miracle of Jazz invention, but has to do so while solving a Zen koan at the same time [What is the sound of the un-played note or some such nonsense].”

And lastly, in April, 1962 during what was then called "Easter Week", I was the drummer in a quintet that won the Intercollegiate Jazz Festival which was held annually at The Lighthouse Cafe located in Hermosa Beach, CA.

Much of the music that our quintet played was inspired by and/or derived from the Paul Horn Quintet.

By 1962, nearly every Jazz fan was familiar with the modal Jazz played by the Miles Davis Sextet in the Kind of Blue album, and with "unusual" time signatures immortalized by the Dave Brubeck Quartet's Time Out! album.

Modal Jazz uses scales instead of chord progressions as the basis for its themes [melodies] and improvisations. For “unusual time signatures” think the 5/4 of Paul Desmond’s Take Five or Dave Brubeck’s Blues Rondo a la Turk which is in 9/8 time but counted as 2-2-2-3 . In other words, those in other than the more standard 2/4 and 4/4 time.

What made the Paul Horn Quintet particularly appealing to our us was that it was playing modal Jazz in combination with unusual time signatures, just the thing to peak the musical interest of 5 young lads ranging in ages from 18-22.

Still with me? Here’s a recapitulation of the four points I’ve been discussing.

[1] - explaining what exactly it is that makes that musician or recording worth caring about is not an easy thing to do

-2] - “Texture” is the word that is used to refer to the actual sound of the music. This encompasses the instruments with which it is played; its tonal colors; its dynamics; its sparseness or its complexity.

Texture involves anything to do with the sound experience and it is the word that is used to describe the overall impression that a piece of music creates in our emotional imagination.

[3] - “Some young, Jazz players use a lot of notes in their solos.

This tendency seems to be a part of the joys of first expression; the thrill of discovering that you can play an instrument and play it well.

Kind of like: “Look what I’ve found? Look what I can do? Isn’t this neat?”

Another reason why these young, Jazz musicians play so many notes is because they can.

They are young, indiscriminately so, and they want to play everything that rushes through their minds, getting it from their head into their hands almost instantly.

Their Jazz experience is all new and so wonderful; why be discerning when you can have it all?

[4] - playing modal Jazz in combination with unusual time signatures, just the thing to peak the musical interest young … Jazz musicians who want to put their own stamp on the music.

Let’s see if I can tie these four observations together as they relate to Heisenberg Uncertainty Players, Emergency Postcards CD.

I was intrigued by the music’s texture [sound], by the technical virtuosity and facility of the young musicians playing it, engaged by their youthful exuberance in executing it, constantly surprised by the new directions these talented players pushed the music, amused by their audaciousness in combining meter and melody in unexpected ways [Dave Brubeck would have loved these guys], amazed by the music’s humor and its poignancy [let alone some of its complicated song titles] and otherwise completely baffled about how I was going to explain the music and why I liked it.

So I did the next best thing.

I contacted John Dorhauer, the Musical Director of the Heisenberg Uncertainty Players – not to be confused with the Heisenberg Uncertainty Principle in Physics – and asked him if he would make clear what’s going on in the music for each of the tracks on the CD.

Much to my delight [and, relief], he agreed and sent along the following annotations.

Heisenberg Uncertainty Players, Emergency Postcards

“Death & Taxes”

This lead track from EP features a perpetual funk groove that winds through a few distinct permutations before finally returning to the opening idea. The melody is first heard in a trio of trumpet, alto sax, and trombone, and this is immediately repeated with everyone joining in on the fun. This gives way to the first solo (Tim Koelling, alto sax), which features backgrounds that progressively build the ensemble to a climax, only to drop back down in texture for the second solo (Andrew Ecklund, trumpet). This section begins with a spacey, ambient version of the funk groove, but it switches back to the original hook halfway through. After a brief ensemble section, the groove breaks down completely and shifts to a new funk groove built off a chunky hook. This gives way to a bass solo (Dan Parker), which features another progressive ensemble build leading to a sudden drop off in texture. The ensemble returns for a succession of biting punches that accentuate a series of drum fills (Keith Brooks), which ultimately brings back a brief statement of the original melody.

“Stercorem pro Cerebro Habes (That is Definitely Food for Thought)”

“Stercorem” has a Latin groove cooked over a slow sizzle and a structure built around a compound ternary (ABA) form from classical music. Both of the first two sections feature distinct melodies (the former starts in unison trombones, while the latter starts in unison saxes) that give way to solo sections built off their respective forms (Carl Kennedy, piano, and Luke Malewicz, trombone). The final section is a fusion of these first two: though it uses the form and progression of the first section, the melodies from both sections are pitted against each other in a dense counterpoint.

“#howthef***didigethere”

Written by tenor saxophonist Vinny Starble, “#” features a constantly evolving texture supported by a mellow hip-hop groove. The groove builds progressively over the intro as the ensemble slowly crescendos towards a peak. Once the guitar solo enters (Chris Parsons), the ensemble builds towards another climax before dropping off and shifting to Starble’s tenor solo. This extended solo section uses a single vamp, and it also includes its own rising/falling sense of tension. The final build of the track occurs over the escalating drum solo (Keith Brooks) as members of the band enter progressively. The opening vamp then returns, which ultimately tapers to a solo piano cadenza that reflects the fading tick of a clock.

“Cactus Fruit”

“Cactus Fruit” is a burning Bird blues that has an energetic drive that makes it an ideal opener for live sets. After the initial full band blast, the drums fill into an angular soli for alto sax, tenor sax, and muted trumpets. The rest of the band returns for the head of the tune, which pits all three horn sections against each other with layers of interwoven melodies. This builds to a climax similar to the first four notes of the tune, which then gives way to the first solo section (Andrew Ecklund, trumpet). Following this, the saxes take over with a virtuosic soli, culminating in the song’s first deviation from the 12-bar blues form. Trombone pads and a New Orleans street beat introduce another section of melodic trade-offs between sax and trumpet pairings. This deviation is short-lived, however, as another ensemble build leads back to the blues form and another solo (Adam Frank, tenor sax). This then gives way to the final two choruses of the chart, and the resulting ensemble section is also its climax. Though the blues form and short melodic motives are developed extensively, there is no repetition of extensive melodic material at any point throughout the tune.

“Honey Badger”

There is very little repetition of material in “Honey Badger,” as it is essentially a through-composed piece that explores a variety of styles and grooves. After an ambiguous, winding intro, the music then shifts abruptly to a greasy speak-easy swing. This section starts with a trombone solo (Phil Arquette), but ensemble backgrounds steadily build to a climax, at which point the groove changes yet again. The bass lays down the foundation for a driving groove, and the texture evolves from a brass soli section to more contrapuntal one with weaving lines from the full ensemble. A tenor solo (Adam Frank) is added over the same groove, but a new chord progression is introduced. This then leads to yet another new section built over a similar groove that establishes unique melodic material played by the full ensemble. What is unique about this section is that the bass line used generates many of the motives that develop throughout the piece. After two more solos (James Baum, bari sax, Carl Kennedy, piano), another brief ensemble section gets interrupted by a short coda that uses the song’s intro.

“5 – e - & - a”

As its title implies, “5 – e - & - a” is an exercise in counting. While it is a straight-ahead swing tune at its core, it also has measures of 5/4 meter sprinkled throughout that serve to thwart listeners’ expectations. The melody follows a conventional AABA structure, and after a brief ensemble send-off modeled off the song’s intro, the first solo section emerges (Vinny Starble, tenor sax, and Luke Malewicz, trombone). An ensemble soli section links the two solo sections, and unison brass and harmonized saxes trade off phrases that stumble in and out of 5/4 measures. After the final two solos (Steve Duncan, trombone, and Chris Parsons, guitar), a climactic ensemble section gives way to a return of the song’s original melody. This section starts much softer, but it brings back the original energy at the bridge. It concludes with the full ensemble playing a short coda that borrows from the song’s intro.

“Lilacs”

This album closer blends numerous distinct styles together in what is another through-composed piece, and it treats the jazz band more like a symphonic ensemble (flute and clarinet are used extensively). The intro features five chords over which the soprano sax (Tim Koelling) improvises a florid cadenza. The docile R&B groove of the first section then kicks in, which also features an orchestrally conceived melody played by soprano sax, flute, flugelhorn, and trumpet with harmon mute. Though this first section has two distinct phrases in an AABA form, the following solo section (featuring Dan Parker, bass, and Xavier Galdon, trombone) is played over a contrasting chord progression (borrowing the five chords from the intro) and form. After a short return of both parts of the main melodic material, the music radically changes directions and veers into a brash and ominous symphonic march. This second section is driven by a solo snare drum, and it also features thick brass writing. Soprano sax solos over a stripped-down version of this groove with no chordal instruments, and this is interrupted by new material that is even more aggressive. These interjections foreshadow the third and final section, which features a pummeling rock groove, symphonic writing for the winds, and even a dissonant circus waltz. This builds to a point of climactic explosion in the brass, which tapers away to reveal a woodwind chorale coda taken from the beginning.

- John Dorhauer, Musical Director, Heisenberg Uncertainty Players, Adjunct Professor and Freelance Composer at Elmhurst College and Roosevelt University

With John’s road map to Emergency Postcards as my guide, I listened to the music on this CD with a new awareness and appreciation.

You have to work on being receptive to it to do justice to the talent these young Jazz musicians bring to playing it.

This is Jazz in the 21^st century: these players hear the music differently. The music of the Heisenberg Uncertainty Players takes from the Jazz tradition while at the same time synthesizing influences and inspirations from disparate, contemporary musical sources – something that Jazz has done throughout it existence.

But if you make the effort to “get into it” in much the same manner that you made the effort going from swing to bop to hard bop to modal Jazz and unusual time signatures to Free Jazz to Jazz-Rock fusion, the Heisenberg Uncertainty Players will reward such efforts by moving your ears in different directions and by putting a big smile on your face.

The late, eminent Jazz author, Whitney Balliett once described Jazz as – “The Sound of Surprise.”

Trust me the Heisenberg Uncertainty Players’ Emergency Postcards CD is chock full of surprises.

As has always been the case, it takes a lot of courage, hard work and dedication to play Jazz. The music is rarely accompanied by a broad-based popular approval.

You play Jazz for the love of it and for the inner satisfaction that comes from achieving something that is not easily attainable.

Did I mention that it was hard to play this stuff?

The Heisenberg Uncertainty Players website can be located at www.huplayers.com. The site includes order information for the Emergency Postcards CD, biographies of the various band members, videos and an itinerary of the band’s appearances.

The Heisenberg Uncertainty Players on Emergency Postcards are –

John Dorhauer: Director

Tim Koelling: [Lead] Alto sax, Soprano sax

Kelley Dorhauer: Alto sax, Clarinet

Adam Frank: Tenor sax

Vinny Starble: Tenor sax, Flute

James Baum: Baritone sax

Luke Malewicz: [Lead] Trombone

Phil Arquette: Trombone

Xavier Galdon: Trombone

Steve Duncan: Bass Trombone

Tom Klein: [Lead] Trumpet

Andrew Ecklund: Trumpet

Jen Marshall: Trumpet

Jenni Szczerbinski: Trumpet

Chris Parsons: Guitar

Carl Kennedy: Piano

Dan Parker: Acoustic, Electric Bass

Keith Brooks: Drums

Here’s a video of the Heisenberg Uncertainty Players performing Cactus Fruit, which is a straight-ahead burner with a terrific sax soli that kicks in at 1:54 minutes, between a lively trumpet solo by Andrew Ecklund and a fine tenor solo by Adam Frank. Dan Parker on bass and Keith Brooks on drums really boot things along on this one.

No comments:

Papaerback now available through Amazon.

Table of Contents Introduction pp. 6-10 Prologue - Seeds in the Swing Era from Modern Jazz by Alun Morgan and Raymond Horricks pp. 11-20 Chapter 1. The Miles Davis 1948/1949 Group from Modern Jazz by Alun Morgan and Raymond Horricks, pp. 21-29 Chapter 2. The Los Angeles Jazz Scene of the 1950’s The Gerry Mulligan Quartet by Robert Gordon, pp. 30-38 Chapter 3. The West Coast Sound by Robert Gordon, pp. 39-48 Chapter 4. Two Tenor Conversation with Bill Perkins and Richie Kamuca by John Tynan, pp. 49-53 Chapter 5. Bill Perkins - The Gordon Jack Interview, pp. 54-58 Chapter 6. Richie Kamuca - The Gordon Jack Interview, pp. 59-62 Chapter 7. Bob Cooper - Quietly, Always There by Steven A. Cerra, pp. 63-68 Chapter 8. William “Buddy” Collette, 1921-2010 by Peter Jacobson and the Central Avenue Sounds Editorial Committee, pp. 69-73 Chapter 9. The Forgotten Ones - Buddy Collette - by Gordon Jack, pp. 74-77 Chapter 10. Harold Land [1928-2001]: The Hard Bop Legacy - Steven A. Cerra and John Tynan, pp. 78-82 Chapter 11. Jack Montrose by Gordon Jack, pp. 83-89 Chapter 12. Chet Baker - “The Jazz Musician Interview” by Jerome Reece, pp. 90-99 Chapter 13. Remembering Wardell Gray [1921-1955] - Part 1 - The Ira Gitler Notes, pp. 100-104 Chapter 14. Remembering Wardell Gray [1921-1955] - Part 2 - The Michael James Essay, pp. 105-111 Chapter 15. Remembering Wardell Gray [1921-1955] - Part 3 - The Herbie Butterfield Essay, pp. 112-117 Chapter 16, Remembering Wardell Gray [1921-1955] - Part 4 - The Alun Morgan Essay, pp. 118-122 Chapter 17. Funny Frank [Rosolino] by John Tynan, pp. 123-125 Chapter 18. Lou Levy - John Tynan, pp. 126-129 Chapter 19. Lou Levy - An Interview with Steve Voce, pp. 130-137 Chapter 20. Jimmy Rowles: Sprinkling Jazz by Steven A. Cerra, pp. 138-144 Chapter 21. Jimmy Rowles: The Len Lyons Interview, pp. 145-150 Chapter 22. Pete Jolly - Some Variations by Steven A. Cerra, pp. 151-163 Chapter 23. Willis and John Haley - Bill Holman Talks About Zoot Sims, pp. 164-176 Chapter 24. Bill Holman: Recollections of Fellow Musicians from The Early Years with Bill Dobbins, pp. 177-187 Chapter 25. Bob Gordon -Baritone Blues by Gordon Jack, pp. 188-193 Chapter 26. The Great Herb Geller by Gene Lees, pp. 194-203 Chapter 27. Herb Geller and Interview with Gordon Jack, pp. 204-212 Chapter28. Teddy Edwards: A Tenor Saxophonist of Importance by Steven A. Cerra, pp. 213-215 Chapter 29. The Advent of Victor Feldman by Steven A. Cerra, pp. 216-226 Chapter 30. Victor Feldman and Frank Rosolino: The “Lost Recordings” by Steven A. Cerra, pp. 227-231 Chapter 31. Nascent Lennie Niehaus by Max Harrison, pp. 232-239 Chapter 32, Bud Shank - Burning Brighter by Fran Kelley, pp. 240-242 Chapter 33. Bud Shank Parts 1 and 2 by Doug Ramsey and Gordon Jack, pp. 243-261 Chapter 34. Milt Bernhart by Gordon Jack, pp. 262-265 Chapter 35. Bob Brookmeyer: An Interview with Bill Coss, pp. 266-270 Chapter 36. Extracts From An Interview with Bob Brookmeyer by Wayne Enstice and Paul Rubin, pp. 271-278 Chapter 37. Bob Enevoldsen with Gordon Jack, pp. 279-283 Chapter 38. Marty Paich and A Band Within A Band” by Steven A. Cerra, pp. 284-293 Chapter 39. Cal Tjader - The 1957 Downbeat Interview by John Tynan, pp. 294-297 Chapter 40. Cal Tjader, Paul Horn and the 1958 Monterey Jazz Festival, pp. 298-302 Chapter 41. Cal Tjader: “A Certain, Smooth Elegance” [La Onda Va Bien] by Steven. A Cerra, pp. 303-309 Chapter 42. “The Latinization of Cal Tjader - Or … what’s a nice Swedish boy like you doing in a bag like this?” by Harvey Siders, pp. 310-316 Chapter 43. College Goes to Jazz - John Graas and the Westlake College Quintet, pp. 317-321 Chapter 44. “Don Fagerquist - The Forgotten Ones” Series by Gordon Jack, pp. 322-325 Chapter 45. Bass Players: Scott LaFaro and Gary Peacock by Martin Williams, pp. 326-333 Chapter 46. California Hard 1 - Clifford Brown, Herb Geller, Hampton Hawes and Dexter Gordon by Robert Gordon, pp. 334-343 Chapter 47. California Hard II - The Curtis Counce Group, Chet Baker Quintet, Pepper Adams - Mel Lewis Quintet and Others by Robert Gordon, pp. 344-354

Now available as a paperback and eBook through Amazon.com

Table of Contents Introduction: The Jazz West Coast Style of Music by Steven A. Cerra, pp. 6-9 Prologue - West Coast Sounds by John Dutton, pp. 10-16 Chapter 1. Central Avenue Sounds by Bob Gordon, 17-32 Chapter 2. Shorty Rogers and His Giants - by Bob Gordon, 33-44 Chapter 3. Shorty Rogers and the Development of the West Coast Style of Jazz by John Graas, pp. 45-48 Chapter 4. Shorty Rogers - The Gentle Giant by Howard Lucraft, pp. 49-53 Chapter 5. Shorty Rogers The Steve Voce Interview, pp. 54-58 Chapter 6. Shelly Manne - The Lighthouse and Shorty Rogers - Steven A. Cerra, pp. 59-73 Chapter 7. The Lighthouse Café as an Incubator for West Coast Jazz by Steven A. Cerra, pp. 74-77 Chapter 8. Jim Giuffre Musician by Nat Hentoff - Jim Giuffre Composer As Told to Downbeat [John Tynan], pp. 78-81 Chapter 9. The Passionate Conviction: An Interview with Jimmy Giuffre by Lorin Stephens, pp. 82-90. Chapter 10. Jimmy Giuffre in the Jazz Literature : Jordi Pujol, Will McFarland and Francis Davis, pp. 91-101 Chapter 11. Jimmy Giuffre - The Pastoral Man by Ed Michel, pp. 102-112 Chapter 12. Peter Welding - Booklet Notes to The Complete Pacific Jazz and Capitol Recordings of the Gerry Mulligan Quartet and Tentette with Chet Baker [Mosaic MR 5-102], pp. 113-118 Chapter 13. Gerry Mulligan: The Gordon Jack Interview, pp. 119-125 Chapter 14. The West Coast School Of White Musicians And Its Soloists - from "Modern Jazz" by Morgan and Horricks, pp. 126-134 Chapter 15. The Composers of the West Coast School - from "Modern Jazz" by Morgan and Horricks, pp. 135-142 Chapter 16. Shelly Redux – More Thoughts From and About The Manne by Steven A. Cerra, pp. 143-153 Chapter 17. Shelly Manne & His Men at The Blackhawk: A Review of the Jazz Literature by Steven A. Cerra, pp. 154-169 Chapter 18. Shelly Manne and His Men Play Peter Gunn by Lester Koenig, pp. 170-172 Chapter 19. Hank Mancini - Jazz Musician by Steven A. Cerra, pp. 173-175 Chapter 20. Stan Getz - East of the Sun: The West Coast Sessions - The Ted Gioia Notes, pp. 176-181 Chapter 21. STAN AND GERRY - Occasional Collaborators" by Gordon Jack, pp. 182-185 Chapter 22. Shelly Manne: “Portrait of a Jazz Success” by John Tynan, pp.186-193 Chapter 23. Art Pepper - "The Whiteness of the Wail" by Gary Giddins, pp. 194-197 Chapter 24. Art Pepper-Marty Paich Inc. by Alun Morgan, pp. 198-203 Chapter 25. Art Pepper Plus Eleven by Marty Paich, pp. 204-207 Chapter 26. "Straight Life - The Story of Art Pepper" by Gary Giddins, pp. 208-212 Chapter 27. Art Pepper by Larry Kart, pp. 213-217 Chapter 28. Stan Levey - The Alun Morgan Interview, pp.218-222 Chapter 29. Stan Levey: From Left to Right - The JazzProfiles Interview by Steven A. Cerra, pp. 223-231 Chapter 30. Stan Levey - The Gordon Jack Interview, pp. 232-236 Chapter 31. Mel Lewis in the Jazz Literature - Steven A. Cerra, Ed.. pp. 237-247 Chapter 32. Mel Lewis – Life in Los Angeles - Chris Smith, pp. 248-253 Chapter 33. Mel Lewis, Terry Gibbs and The Dream Band by Terry Gibbs and Chris Smith, pp. 254-258 Chapter 34. Larry Bunker - Portrait of a Jazz Drummer and Studio Musician - The Gordon Jack Interview, pp. 259-263 Chapter 35. Larry Bunker - Modern Drummer Interview with David Levine and the Steve Voce Obituary for the Independent, pp. 264-269 Chapter 36. Whatever Happened to Larry Bunker? by Mal Sands, pp. 270-277 Chapter 37. JazzLife - Hollywood and Los Angeles by William Claxton, pp. 278-284 Chapter 38. Dave Pell by Gordon Jack, pp. 285-288 Chapter 39. Dave Pell - The Complete Trend and Kapp Recordings 1953-1956 by Steven A. Cerra and Jordi Pujol, pp. 289-296 Chapter 40. The Case for Dave Pell - The Octets and Beyond by Steven A. Cerra, pp. 297-302 Chapter 41. Chico Hamilton Quintet - The Robert Gordon/Mosaic Records Notes, pp. 303-307 Chapter 42. The Chico Hamilton Quintet by Gordon Jack, pp. 308-312 Chapter 43. Terry Gibbs' Big Band - "Vamp 'Till Ready" by John Tynan, pp. 313-318 Chapter 44. Part 1 - The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 319-326 Chapter 45. Part 2 -The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 327-334 Chapter 46. Part 3 -The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 335-344 Epilogue: Jazz on the West Coast - “Preface” by Robert Gordon, pp. 345-347

This is now available as both an eBook and paperback exclusively through Amazon.com.

Should you like to purchase a copy, here’s the Table of Contents for - A Dave Brubeck Reader, Volume 1 - 1948 to 1972 which is now available as a paperback and an eBook exclusively on Amazon.com. Once the cost of publication has been met, I am donating half of my royalties to the local school district for use toward the purchase of musical instruments for individual students. Introduction, pp. 7-9 Prologue - Dave Brubeck: A Life in American Music by Doug Ramsey, pp. 10-35 Chapter 1 - “Time to Begin” by Fred M. Hall, pp. 36-43 Chapter 2. The Dave Brubeck Octet by Dave Brubeck and Dr. Frank Tirro, pp. 44-51 Chapter 3. The Dave Brubeck Octet: A Formula and A Dilemma by Raymond Horricks, pp. 52-57 Chapter 4. The Dave Brubeck Octet by Philip Clark, pp. 58-70 Chapter 5. Cal Tjader and The Dave Brubeck Octet and Trio by S. Duncan Reid, pp. 71-78 Chapter 6. The Complete Storyville Broadcasts - Jason Yale, pp. 79-83 Chapter 7. The Formative Years of the Dave Brubeck Quartet by Philip Elwood, pp. 84-94 Chapter 8. Brubeck at Oberlin, A Review of the Jazz Literature by Steven A. Cerra, pp. 95-104. Chapter 9. 1954 Jazz at College of the Pacific and Jazz Goes to College - Wayne Morrill, Katie Neubauer and George Avakian, pp. 105-114 Chapter 10. The Early Years at Columbia Records and Brubeck Time by Stephen Crist, pp. 115-120 Chapter 11. Dave Brubeck Answers His Critics - Don Freeman DB 8.10.1955, pp. 121-123 Chapter 12. Ralph J. Gleason - “Dave Brubeck: What Makes Him Tick,” DB 7.25.1957, pp. 124-130 Chapter 13. Ralph J. Gleason - Dave Brubeck: 'They Said I Was Too Far Out' DB 8. 8. 1957, pp. 131-137 Chapter 14. Ralph J. Gleason - Dave Brubeck: First Things First, DB 9.5.1957, pp. 138-145 Chapter 15. The Quartet from These Jazzmen of Our Times by Raymond Horricks, pp. 146-152 Chapter 16. Jazz Impressions of the U.S.A. and Dave Digs Disney by Philip Clark, pp. 153-159 Chapter 17. Jazz Impressions of Dave Brubeck by Steven A. Cerra and Howard Mandel, 160-166 Chapter 18. Digging Dave Brubeck and Time Out - Alan Goldscher, pp. 167-182 Chapter 19. Metrical Experimentation from "Dave Brubeck's Time Out" by Stephen Crist, pp. 183-189 Chapter 20. Dave Brubeck’s Time Out: Why It’s So Great - Kile Smith, pp. 190-192 Chapter 21. Dave Brubeck - Beyond Take Five - John Edward Hasse, pp. 193-196 Chapter 22. Dave Brubeck and Stan Kenton: Alike and Unalike by Harry Frost, pp. 197-200 Chapter 23. Pops - Dave and Iola Brubeck - The Real Ambassadors by Steven A. Cerra and Ricky Riccardi, pp. 201-210 Chapter 24. The Real Ambassadors by Penny M. von Eschen, pp. 211-218 Chapter 25. The Real Ambassadors by Keith Hatschek, pp. 219-225 Chapter 26. Mr. Armstrong and Mr. Glasser - Gary Giddins, pp. 226-228 Chapter 27. Beyond Time Out - The Undiscovered Dave Brubeck by Steven A. Cerra, 229-237 Chapter 28. Dave Brubeck, Composer, by Leonard Feather, pp. 238-244 Chapter 29. A Quartet of Five (Dave Brubeck) by Gary Giddins, pp. 245-249 Chapter 30. Dave Brubeck: The Man on the Buffalo Nickel - Gene Lees, pp. 250-268 Chapter 31. Compadres with Brubeck and Mulligan - Jerome Klinkowitz, pp. 269-278 Chapter 32. “A Quarter Century Young: The Dave Brubeck Quartet,” Arnold J. Smith, DB March 25,1976, pp. 279-288 Epilogue - Dave Brubeck: The Smithsonian Oral History Program NEA Jazz Masters Interviews, pp. 289-352 Bibliography, pp. 353-360 Discography, pp. 361-364

Our Thanks to Alan Parr for this review on Amazon.UK.

The very title makes it clear that this is not a biography in the conventional sense. However, in many ways it works better than a normal biography. The author has identified six phases of Gerry Mulligan's career and illustrated each with several suitable pieces of writing - not his own, but drawn from a vast array of sources - including both contemporary and retrospective pieces such as comprehensive sleeve notes, magazine articles, and interviews. I realised that there are considerable advantages to this approach. A conventional biographer will form a picture of his subject and this view will tend to shape everything he writes. The use of pieces from several dozen writers helps us get a much more rounded picture of the subject - and it is clear that Gerry Mulligan did indeed have several sides to his personality. True there are a number of episodes and anecdotes which get repeated several times but I did not find this obtrusive; rather, seeing the same story from different sources helped me form a more balanced picture. Biography or not Steve Cerra has arranged the materials to enlighten us about each stage of Gerry's career. It all works beautifully, with important recordings illustrated with the original sleeve notes and contemporary reviews, and for each self-contained section it is natural to return to listen once more to the recordings themselves. This isn't one of those books where you say 'I couldn't put it down' and I suspect the author would be rather disappointed if anyone did. I'm pleased to say it took me six weeks to read. I've enjoyed Mulligan's music for more than sixty years - we called our first cat Mulligan - but I learned a great deal. It's not just the book list that is extensive; the author's knowledge of Mulligan's music and across the jazz scene as a whole is encyclopedic. I enjoyed the book immensely and was happy to take my time to enjoy each section and its associated music. I unreservedly recommend A Gerry Mulligan Reader.

Many thanks to Jeffrey Sultanof for these reviews.

“I salute Steven Cerra, drummer and writer, who has self-published two extraordinary volumes on Gerry Mulligan and Bill Evans. Cerra, who continues publishing a blog called Jazz Profiles, also writes a column right here for Substack. His Substack column reprints articles that in many cases are hard to find. That’s what he has done with his readers. He has gathered liner notes and often hard-to-find articles and interviews of said artists. Reading them for the first time or re-reading them after many years is fun and enlightening, and puts them into active circulation. Previously, you would have to go to specialist libraries or private collections to find them. Having them easily accessible is a boon to historians like myself for obvious reasons - the information is at my fingertips (literally) and it is easier to find sources of quotes for accurate footnoting. These are also the sorts of books that you can’t put down once you start reading. I urge you to check them out. [They are available exclusively on Amazon both as paperbacks and eBooks. Just type in Steven A. Cerra in the Books section on Amazon’s site to search for them.] Kindle prices are $9.99 each - a bargain!!!”

Ricardo Pinheiro's Latest - TONE STORIES - Coming from Fresh Sound on April 19th

Ricardo Pinheiro completed a Degree in Music at Berklee College of Music, Boston; Degree in Psychology Sciences at the Universidade de Lisboa; and a PhD in Musicology (Ethnomusicology) at the Universidade Nova de Lisboa. He studied with Mick Goodrick, George Garzone, Ed Tomassi, Ken Pullig, Wayne Krantz, Ken Cervenka, Chris Washburne and Salwa Castelo-Branco. He played/recorded with Peter Erskine, David Liebman, Chris Cheek, Mário Laginha, Eric Ineke, Perico Sambeat, Stephan Astbury, João Paulo Esteves da Silva, Remix Ensemble, Matt Renzi, Jon Irabagon, John Gunther, Mike Del Ferro, André Charlier, Benoît Sourisse, among many others. He teaches at the Escola Superior de Música de Lisboa, and is the Director of its Masters in Music Program. He played and participated in conferences and meetings in Austria, Greece, Spain, France, The Netherlands, Germany, U.S.A., Denmark, Italy, South Africa, among other countries, and published articles in journals such as Acta Musicologica of the International Musicological Society, the Jazz Research Journal, or the International Review for The Aesthetics and Sociology of Music. https://www.ricardopinheiro.com/bio

My thanks to Dr. James Williams for this 5 Star Amazon Review

A Gerry Mulligan Reader - Our Thanks to Kevin Goss

When I heard that Steven was writing this book, I couldn't wait to receive it because I have enjoyed his jazz writing for some time, and I have been a Mulligan disciple for over 40 years. The first surprise when it arrived is the size of this book. I was expecting it to be the standard paperback size, but this book is large. Given that the print size is standard, that was when I realized how comprehensive the book was going to be. Cerra covers Mulligan's music from his beginnings as a teenager to his final output while also paying attention to the legacy Jeru left behind. Using a combination of full articles, excerpts, and personal observations it's clear that this is a labour of love. I highly recommend this book for any fan of Gerry Mulligan, but also for any fan of jazz. Mulligan is in the pantheon of great jazz innovators and his legacy is given the justice it deserve's in Cerra's tome. Read this book and buy Gerry's music. You'll regret neither.

Our thanks to Jim Harrod at Jazz Research

At last, a resource of critical writings gathered in one place covering the career of one of the most influential jazz artists of the 20th century. The large format, 8.5 x 11 inches, enables a decent font size to read this collection that includes liner notes from many Mulligan CD releases where the text was often so small that a magnifying glass was needed. Cerra’s choice includes many hard-to-find items like a chapter from the now out-of-print and pricey Ruddick biography of Chet Baker discussing the formation of the Gerry Mulligan quartet.

Many thanks to Bill Crow for the following -

Steven Cerra sent me a copy of his new book, “Gerry Mulligan, Writings on a Jazz Original,” a fine collection of writings about Gerry, including some of mine, plus some interviews. Steven writes: “The purpose of this book is to provide the reader with a sequential and thematic account of the life and music of Gerry Mulligan (April 5, 1927-January 20,1996.) I’ve been enjoying reading it. Steven Included an anecdote from one of my books: …Gerry continued to work with his quartet: Brookmeyer, Mel Lewis and me. We appeared on Mike Wallace’s television show during the time that Wallace was in the process of building a reputation as an investigative reporter. Wallace’s TV interviews were popular partly because of his prosecutorial style. At the rehearsal, Wallace was courteous and low-key. He asked questions that had been prepared by his staff, and Gerry answered frankly about his career, his experiences with drugs and the law, and other aspects of his life. On the air, Wallace’s tone became more contentious, and instead of asking the questions he had asked at rehearsal, he said accusingly, “I understand you were involved with drugs, and did some time because of it!” This left Gerry with little more to say than “yes.” Though Wallace was using the information Gerry had given him at the rehearsal, he gave his audience the impression that he was confronting Gerry with the results of his own private investigations. Gerry managed to field Wallace’s questions with his usual aplomb, but he found himself at a loss when Wallace asked him, “I notice there are no black musicians in your group. Is this accidental, or by design?” Actually, it was the first time in years that, by happenstance, there were no black musicians in Gerry’s quartet, but any short answer to that question would have sounded lame. As Gerry considered how best to respond, Bob Brookmeyer glared at Wallace, jerked a thumb at Mel Lewis, and said frostily, “We’ve got a Jewish drummer. Will that help?” Wallace dropped the subject.

Our thanks to Pierre Giroux writing in the Jan. 2024 Ed. of The New York City Jazz Record

“Gerry Mulligan: Writings on a Jazz Original, by jazz historian Steven Cerra, delves into the life and work of the groundbreaking baritone saxophonist, composer, arranger and bandleader. The book is a reader, and its seven discrete chapters cover specific periods in the musician’s musical life, each chapter presenting selections from essays, articles, interviews and liner notes by various hands and providing insights into Mulligan’s unique style, contributions and impact on the jazz genre. Throughout a nearly 50-year career (this month marks the baritone saxophonist’s 28-year deathaversary), Mulligan was at the inflection point of many changes in jazz. In 1944, at the age of 17, he started out in big bands and his musical career from then until the early ’70s represents his most productive and innovative period. This fact is reflected in the compelling written material sourced by Cerra, which comprises the book’s first three chapters and represents over two-thirds of the book’s pages. Among the many highlights, we learn of the impact he made arranging and composing for the big bands of Gene Krupa, Claude Thornhill and Elliot Lawrence in the mid to late ’40s, his captivating contributions to the Miles Davis Nonet Birth of the Cool sessions (1949) and the formation of the groundbreaking pianoless quartet with trumpeter Chet Baker in the early ‘50s, which foreshadowed the West Coast jazz movement. For the balance of the ’50s all the way into the early ’70s, Mulligan burnished his reputation with various iterations of the quartet, which included trombonist Bob Brookmeyer and trumpeter Art Farmer. He also led an influential sextet that included Brookmeyer, saxophonist Zoot Sims and trumpeter Jon Eardley, led his own twelve-piece Concert Jazz Band from 1960-64 and joined Dave Brubeck’s group from 1968-72. This is not meant to be an exhaustive recounting of Mulligan’s activities but rather to demonstrate the richness of his endeavors. Readers will additionally gain valuable insights into Mulligan’s musical influences, collaborations and partnerships, which affected the evolution of his distinctive sound. Contributors to the book include George T. Simon, Ira Gitler, Michael Cuscuna, Jack Gordon, Nat Hentoff and Leonard Feather, among others. Mulligan died on January 20, 1996, at what would be considered a still youthful 68. Cerra has provided a comprehensive and insightful exploration of his contribution to jazz, offering a profound exploration of Gerry Mulligan’s musical legacy as well as his enduring impact.”

Our Thanks to Gordon Jack.

Here’s another unabashed plug, this time by Gordon Jack, who is a frequent contributor to JazzJournal where this review is currently appearing. What is omitted from his summary for ethical reasons is the fact that Gordon Jack has contributed a number of his fine essays on Gerry to the Mulligan Reader. The book is available as both an eBook and a paperback exclusively on Amazon.com. With the holidays coming up, why not consider purchasing a copy for the Jazz fan in your family? Gerry Mulligan: Writings On A Jazz Original by Gordon Jack “Steven Cerra studied drums with Victor Feldman and Larry Bunker before going on the road with Bobby Troup, Anita O’Day and Juliet Prowse during the sixties. He eventually left the music scene in 1970 to pursue work in other fields. His interest in Gerry Mulligan began when he first heard the Mulligan sextet’s famous 1954 San Diego concert which featured Jon Eardley, Bob Brookmeyer, Zoot Sims, Red Mitchell and Larry Bunker. That album began a life-long interest in Mulligan’s music. This is the third book published this year devoted to one of the most innovative performers of the post-war jazz scene. The Gerry Mulligan 1950s Quartets by Alyn Shipton is a forensically detailed look at one of one of the genre’s most unique small groups. Being Gerry Mulligan: My Life In Music comes from a collection of audio tapes he left behind which have been lovingly reconstructed as an autobiography by Ken Poston. Back in 1986 Raymond Horricks wrote a brief appreciation which he expanded in 2003 to include a discography of commercial and bootleg material (Gerry Mulligan’s Ark). Jerome Klinkowitz’s 1991 Listen: Gerry Mulligan is a useful reference but Jeru’s Journey by Sanford Josephson published in 2015 is a disappointing attempt at a biography revealing little that is new. Just like the Miles Davis Reader and the Duke Ellington Reader, Writings On A Jazz Original offers something a little different. The fifty-two articles, interviews and liner-notes by major jazz writers here reveal a fascinating anthology of his activities over the years: George T. Simon (Insert notes to Elliot Lawrence Plays Gerry Mulligan), Peter Welding (Insert Notes to Birth of the Cool), Peter Welding (Insert Notes to The Complete Pacific Jazz and Capitol Recordings of the Gerry Mulligan Quartet and Tentette with Chet Baker), Steven Cerra (Gerry Mulligan and Stan Kenton), Alun Morgan (Insert Notes to The Fabulous Gerry Mulligan Sextet), Nat Hentoff (Gerry Mulligan-The White Mainstreamer), Leonard Feather (Before and After), Bill Crow (From Birdland to Broadway), Bill Kirchner (Booklet Notes to The Complete Verve Gerry Mulligan Concert Band Sessions), Michael Cuscuna (Booklet Notes to The Age of Steam), Gene Lees (Meet Me at Jim & Andy’s), Ira Gitler (Swing to Bop) and Mathew Ruddick (The Life And Times of Chet Baker). There are three Downbeat Blindfold Tests that Mulligan undertook including one with Harry Carney. Cerra also includes interviews with Gerry’s two wives Arlyne Brown Mulligan and Franca Rota Mulligan. Writings On A Jazz Original is a most welcome addition to the extensive literature already devoted to one of the giants of the music. When the definitive Gerry Mulligan biography is finally written, Steven Cerra’s book will be an essential source. Gerry Mulligan: Writings On A Jazz Original By Steven A Cerra. Self Published. 355 pp. Gordon Jack

My thanks to Michael Steinman at Jazz Lives

“GERRY MULLIGAN: WRITINGS ON A JAZZ ORIGINAL,” by STEVEN A. CERRA (Amazon, 2023) www.jazzlives.wordpress.com Posted on November 9, 2023 | 4 comments “Forgive the culinary metaphor, but some books are snacks, some are satisfying dinners. Steve Cerra's new book on Gerry Mulligan is a delightfully overwhelming banquet. When I first received a copy, I found it engrossing but I also thought, "I might need a few weeks to do this book justice." So this admiring review comes with the caveat that I, the admiring reviewer, have read here and there in the book. But I think it is such a valuable compilation that it should get heralded right now. To me, Mulligan is in the odd position of being simultaneously celebrated and viewed at a curious distance. He had a nearly fifty-year career as a jazz luminary, a deep influence as a singular player of a sometimes-underestimated instrument, the baritone saxophone. For some, he would have been slightly behind Ellington's majestic Harry Carney; for others, he would have outstripped Carney as an innovator and creative thinker. Mulligan appeared to "move with the times," but in reality he stubbornly chose to be himself, no matter what the context: his piano-less quartet, his Concert Jazz Band, the "Birth of the Cool" group; his later recordings that each seem to be jubilant explorations of new landscapes. To understand him, one has only to make a quick mental list of the people he played with and chose to work with: Bill Crow, Miles Davis, Brew Moore, Charlie Parker, Bob Brookmeyer, Chet Baker, Dave Brubeck, Jimmie Rowles, Dizzy Gillespie, Duke Ellington, Jack Teagarden, Tony Fruscella, Bill Charlap, Zoot Sims, Johnny Hodges, Teddy Wilson, Thelonious Monk, Art Farmer, Ben Webster, Phil Woods, Elliot Lawrence, Joe Sullivan, Gene Krupa, Annie Ross, Billie Holiday, Clark Terry, Stan Getz, Paul Desmond, Lee Konitz, Chubby Jackson, Charles Mingus, Mel Torme, Shorty Rogers, Zoot Sims, Lionel Hampton, Cleo Laine . . . and that is not including his arrangements for Lawrence, Krupa, Claude Thornhill, Stan Kenton, and his own groups. He has been categorized as part of the "cool jazz" or "West Coast jazz" school, but those schools are merely names journalists give to groups of musicians when they need a quick and often inaccurate classifier. Cerra's book is not the only one on Mulligan: Sanford Josephson's biography, JERU'S JOURNEY: THE LIFE AND MUSIC OF GERRY MULLIGAN, appeared in 2015, and two oral histories appeared earlier. But Cerra's book, an appealing collection, does not duplicate the previous works. It is a Reader, or a collection of articles, interviews, and liner notes to recordings. As such, it is not only a shifting multi-layered portrait of Mulligan, person and artist, it is also a cross-section of journalistic and essayistic jazz history. Consider, if you will, a book of reviews of Ulysses: a reader would learn not only about the subject, Joyce's work, but how it was regarded, decade after decade. Thus, Cerra's large-format book (with illustrations) is fifty-plus perspectives on the artist, his groups, his colleagues, and his reputation as the times shift. Cerra himself doesn't demand center stage, but his writing is clear and unfussy, a pleasure. Let us assume, even if it's heresy, that the imagined reader isn't terribly fascinated by Jeru in all his many selves. The book is still an arresting collection of stories (I was reading it last night, or this morning, at 2 AM). I didn't know that George Duvivier had been invited by Duke to join the band at the same time Duke found Jimmie Blanton, and why Duvivier said no; I hadn't known how Al Cohn had lost one eye; his tumultuous relationship with Chet Baker, his working relationships with Miles Davis, Gil Evans, and much more. For those who thrive on darkness, there's heroin, cancer, imprisonment, broken hearts as well. I won't describe the book more, because I don't want to take away the serendipitous joys of finding a new story, a new insight, musicians seen from multiple perspectives. At first, I was disconcerted that the book lacked an index (possibly a financial decision) but rambling through its pages, I have welcomed the opportunity to find surprises without arrows pointing to them. One of the most charming aspects of Mulligan is that he understood, and loved, the whole history of the music. Had there been a jazz festival with Leon Roppolo and Ornette Coleman on sequential stages, Gerry would have sat in with both of them and made everyone feel at home with his presence. And, in turn, he was loved and respected by Coleman Hawkins and Rex Stewart, among other "elders." This leads me to the filmed evidence (December 1957) of the magic moment when I first saw and heard him live. You'll recognize the sublimely glittering crew, and please marvel once again at how Jeru not only gets comfortable but lifts the music: After Jimmy Rushing walks to one side, there's the Basie rhythm section (without Walter Page, who was ill): Basie, piano; Eddie Jones, double bass; Freddie Green, guitar; Jo Jones, drums. Then Ben Webster, tenor saxophone; Bennie Morton, trombone; Joe Wilder, trumpet -- then Gerry, soaring, lyrical and down-to-earth; Vic Dickenson, trombone; Roy Eldridge, trumpet; Emmett Berry, trumpet; Coleman Hawkins, tenor saxophone; Dickie Wells, trombone; Joe Newman, trumpet; Basie and the ensemble, cheered on by Billie Holiday. Of course there are thousands of hours of Gerry on record and film to savor. But this book will add to the enjoyment, and I salute its diligent author-editor. It's available as a large-format paperback or ebook here, and Cerra says in his acknowledgments that after publishing costs have been met, half the proceeds will go to the Gerry Mulligan Foundation "to support school music programs and acquiring instruments for students," commendable indeed. Make room on your shelves.”

With gratitude to Gary Giddins

Some Early Reviews

WELL DONE STEVE! Just received your handsome Reader. Although I'm familiar with it from your emails over the years, I intend to start re-reading now it's in book form. It's been a long struggle, but your book provides essential information to the ongoing Mulligan research which hopefully will one day result in a full-blown biography. Steve WONDERFUL. I have only read the introduction thus far, but I wanted to tell you, that I can see that this book is just what I was expecting, and I believe that it will fill a huge void in understanding - and appreciating - Gerry Mulligan. Whilst I have enjoyed (to a degree) all the books previously published about Gerry, I do not believe that any of them, bar perhaps Alyn Shipton's recent publication, have come anywhere near addressing Mulligan's real significance in jazz history. I think you have achieved something special in pulling this together. I thank you. I hope you make a fortune - both for the Foundation and for yourself. (I have already persuaded a good friend to purchase this book and will try with others I know). Congratulations, and above all thanks. I now look forward to months of careful reading (probably with Mulligan playing in the background....) Hi Steve, Well, I've read enough of your book to allow me to think that I can comment intelligently on it. First off, it's great! I love your idea of telling the story by way of excerpts from the writing of various authors. I do think that it gives a more well-rounded picture of Jeru than any single author could offer.I was familiar with many of the pieces, of course, but reading them again--the excerpts surrounded by other essays/articles that focus on the same period--helps me, at least, get a firmer idea of the author's point of view on that subject. And there were/are various excerpts in your book that I hadn't seen before. I was especially happy to find the piece by Matthew Ruddick from his book on Chet Baker. I think it's the best summation of the beginnings & contributions of the original Quartet that I've ever read. I'll have to get Ruddick's book. I do love the book and appreciate the time and effort that you've put into it. It's a worthy addition to the jazz canon, and I'd unhesitatingly recommend it to anyone. And, print format or not, I'm really enjoying reading it.

Saturday, June 29, 2013

The Heisenberg Uncertainty Players

No comments:

Post a Comment