Discovering Jazz and The Duke

I don't know how many years ago it was when I first told friends that when I turned 40, I would start exploring jazz. Why did I say that? I just figured that after listening to so much rock music since the age of 9 or so, jazz would be a fresh new direction. However, I probably sounded foolish or pretentious. Or foolishly pretentious.

Yet here I am, 40 years old and I'm listening to jazz. Either it's a self-fulfilling prophecy or I just bought into my own words. It's not that I'd never listened to jazz before. I'd just never actively sought it out. Until a couple of months ago, I had never purchased a jazz record, though I did have a number of promo discs in my collection – Max Roach, the new Monk/Coltrane at Carnegie Hall, Cassandra Wilson, Charlie Hunter, some Miles Davis vinyl, and other stuff.

It's helped that I've gone and seen more live jazz in the past four years. It started when my best friend got me to check out a Jazz Record Mart in-store performance by saxophonist Greg Osby. That was great, and that performance also served as my introduction to pianist Jason Moran, a terrific talent. Then I finally checked out a Chicago institution, The Green Mill. It's a refurbished speakeasy from the Prohibition days. You go inside, and it's like stepping into the 1930's. Moreover, they get some top talent, of the both the local and national variety – so I've seen Osby there again, a Django Reinhart inspired guitar trio, vocalist Curtis Stigers and others. (One other note – this is a great place to take a date...just an added bonus).

Last year, I went and saw Jason Moran perform at the Symphony Center. He is currently adapting some blues based work into his music, and he had a band that was up to the task. Following Moran, a group of musicians came out to pay tribute to Dexter Gordon. The youngest cat playing on stage was in his fifties – these were contemporaries of Gordon's, and they were wonderful.

After getting some Christmas money and Borders gift cards, I decided to make good on my semi-serious vow as a 40-year old music nut, and devote some dollars to jazz. I thought I should start by checking out the masters. Influenced more by Jack Rabid, who has waxed eloquently about Satchmo in The Big Takeover, than Ken Burns, I picked up the 2004 Essential Louis Armstrong set. I dig it. It's good.

But it doesn't compare to the Duke. I ordered used copies of 3 CD box sets on RCA and Sony, which compile music from throughout Duke Ellington's career (1927-1962). I figured that if so many folks called Ellington America's greatest composer, he'd be good enough for me. Well, I'm not sure if he's the greatest yet, but I'll certainly entertain the notion. Lately, I've been turning to the Duke early and often.

His music just thrills me. I feel extremely unqualified to write about it, in that my jazz background is so limited. I can only give general impressions. And where could I begin? The playing, the arrangements, the production, and, of course, the songs, are all top notch. While it is all great, I find myself really drawn to the early Duke Ellington material. From reading the biographical material, Ellington was a star from almost the time he got started. His talent was that apparent. And these early recordings are just so alive.

One of the liner notes pieces discusses how, from the beginning, he paid attention to how his music was recorded. He was adamant about getting just the right balance, in the days when you did a few takes, and released the best one. He was right. You can hear the interplay between the horns, the bass, the drums, the banjo, the guitar and Duke's piano.

The thing that I find the most compelling about these recordings is the sophistication and experimentation going on with the different players. Back in 1927, you were making records with only one purpose – to sell them. I'm sure that no one back then was talking about jazz music as art. But that's what was going on here. The crazy solos, the interesting experiments with rhythm and horn arrangements – these things weren't done with the intention of being obscure. It was just great musicians trying to push boundaries, while still making music for the people.

Nowadays, in the worlds of jazz and rock, there are so many on the fringes, making music that will deliberately only be enjoyed by a select group of people. And I think that's fine. But the real challenge to me, is trying to do something new and creative that can reach a lot of people. When it's done right, with a Duke Ellington or a Brian Wilson or Talking Heads or Outkast, it's something really special.

_____________________________________________________________

To reach any other page contained in this month's update on Fufkin.com, read the home page for the appropriate link and click on it. You can also search the site from any page using the search box located at the top of each page. Merely type in the word, phrase, name of the band, recording, name of the Fufkin writer that you are looking for or Whatever in the search box, and then click on "Search". If you would like to e-mail us, go to the About Us page for a list of e-mail addresses.

Go back to the home page by clicking here

________________________________________________________________