In a recent post that was pretty much a roundup of otherwise recommended young artist releases from recent months, in several cases I decried what I think would best be referred to as rampant information deficit. Just this morning I came across a less egregious example of this phenomenon in the age of DIY musician recordings, but some degree of deficit nonetheless. I think most who’ve heard it would agree that the Gil Evans Project “Centennial” (ArtistShare) release by arranger Ryan Truesdell is by all musical accounts one of the more notable large ensemble recordings released this year. In fact its safe to say that – musically-speaking – were it otherwise I wouldn’t even be taking note (as was definitely the case with that gang of a dozen young artist releases from last I.E. post).

But here’s the rub – and an issue which may in fact be shared by others of us who produce jazz programs for community and public radio stations. In many cases – and I have three similar personal experiences, at KFAI in Minneapolis, WWWOZ in New Orleans, and currently at WPFW in DC – programmers at such stations (which have become radio airplay lifeblood for jazz releases) bring music from their own collections to program. In many instances that I’ve witnessed, programmers eschew toting around CD jewel cases and bring their music selections to their programs in CD slipcases. (And yes, I’ve made this point previously but it continues to be worth mentioning because Information Deficit remains very real.) For those programmers so inclined, particularly those who endeavor to convey clear and accurate record information to our listeners, its always comforting when the most pertinent airplay information (leader name(s), album title, label name, and track listing) is posted not only on the jewel case or digipack, but also on the disc itself (yes, there I go again…), and if one is provided, at a glance in the accompanying CD booklet. And if you think I’m kidding, try juggling the responsibilities of running a broadcast board, taking listener-inquiry (or praise/complaint) studio calls, responding to assorted sudden station personnel needs, prepping the next scheduled PSA live read or cart, or news break, all while readying the next couple of sets and seeking the necessary information to convey to listeners. We’re talking one-armed paper hanger territory here!

So this morning I go to program “The Maids of Cadiz” and “Smoking My Sad Cigarette” from Ryan Truesdell’s “Centennial”. Thankfully this is one recent release with very clear and cogent artist-written notes; Truesdell has done a credible job of detailing the selections and his various musical motivations in his booklet essay. But taken as an individual entity, the booklet suffers a bit from Information Deficit, as handsome and informative as is its design and Truedell’s observations within. On the cover is what I suppose passes as an “artsy” image of Truesdell in full conductor-in-recording studio mode – with his back to the camera. Not exactly a household name, perhaps you’d have been better served with more of a portrait rendering Ryan. And speaking of Ryan, his name appears nowhere on the booklet cover! Again, this guy’s not exactly a household name. Opening the booklet… still no listing of the name Ryan Truesdell! OK Ryan, since you wrote the notes, try a byline next time. Reading on… and on… finally the name Ryan Truesdell appears at the end of the notes. The Information Deficit offense here? Making the assumption that readers/listeners/consumers know at all times that this is about RYAN TRUESDELL’s interpretation of “newly discovered” Gil Evans works. Yeah, I know this is about Gil’s music and influence, but so is much of Maria Schneider‘s output – in the spirit of Gil Evans that is – and we always know from her packaging who’s at the helm. Selflessness is not always the sole course Mr. Truesdell; and from the evidence you present here, folks need to know just who it is that unearthed these “newly discovered” Gil Evans’ works – throughout your package.

But all that Information Disparity nit-picking aside, get the music, this one is well worth hearing.

Sorry, we just couldn’t resist that headline, given drummer Jae Sinnett’s new project. Based in the Tidewater area of Virginia, where he is also longtime host of his own radio program, as a drummer Jae Sinnett has always known how to stir the pots. More recently he’s taken to doing that literally, in the kitchen, as he plies his interests in fine cuisine with his trio exploits and his radio career.

Full disclosure: I’ve done a fair amount of cooking myself, not necessarily gourmet, but eminently delightful on most occasions. One of the favored cookbooks is “Jazz Cooks (Portraits and Recipies of the Greats)”, which includes recipe recommendations we’ve tried from artists as seemingly disparate as the ancestors Milt Jackson, Louie Bellson, and Rashied Ali (Chicken Anise, yum…). Given your correspondent’s frequent viewing habits of both the Food Channel (you know the drill: “Chopped,” “Iron Chef,” “Restaurant Impossible”…) and its adjunct Cooking Channel, when I learned recently that Jae Sinnett was developing a cooking show, some questions were in order.

What’s up with the cooking show? How did it evolve and what was your basic idea behind this endeavor?

I’ve cooked for many years and for the past decade or so started focusing on gourmet level cuisine, healthy food consumption and creating my own recipes. This evolved to me sharing my recipes on my “Sinnett In Session” jazz radio show on WHRV FM in Norfolk and hosting cooking events for high end donors for my show during pledge drives. The events became extremely popular with our listeners and soon there was discussion of creating a TV cooking show. I had been formulating ideas for some time about the concept of the show and late last year we started creating scripts and the pilot was completed this past July. My Sunday radio show, followed the radio cooking show “The Splendid Table.” The transition made sense. My show now follows “America’s Test Kitchen” on Sunday afternoons so the cooking theme works well transitioning into jazz. As with any new program possibility for public or commercial television it has to be paid for. Now that the pilot is complete we will seek underwriting support for the series. It will be called “Cooking Freestyle with Jae Sinnett.” Once we get the necessary underwriting support the show will be a thirteen week series and each episode will showcase an area eatery and their head chef, cooking one of their signature dishes plus many of my recipes, music and wine food parings and much more. There will be a heavy “local” theme.

Do you see this cooking show as a kind of “mainstreaming” opportunity for a jazzman?

Well, one thing I’ve learned is that everyone doesn’t like jazz but everyone likes to eat. I’ve always looked for bridges so to speak, in connecting listeners to jazz. It’s just figuring out how to do it. I’ve had folks want my trio to perform then ask if I would give a cooking demonstration. Now, what if I didn’t cook…would they have hired me? Not sure but I do know being a chef that gives healthy eating seminars certainly has…in interesting ways…. expanded my “performance” opportunities. Plus, as you know, it’s tough out there finding decent performance opportunities for jazz. Having palpable plan “B” options can only help with enhancing income.

How do you see the cooking show, your radio program, and your playing intersecting?

Food can merge the ideologies better than anything I’ve seen. I’ve had so many people tell me they love the recipe sharing on my radio show but more importantly they’re hanging around after I give them…listening to the jazz when they didn’t before. I’ll get on average 20-50 emails per week about the recipes and on average 3-7 per week for the jazz. It’s keeping them around longer. Frankly, I’m surprised more stations don’t use the food connection to expand their jazz listening base. The cooking events have helped to tremendously increase fundraising revenue for my show. The pledge amounts for my cooking events are on average 65% higher than during any other program we offer. To me, it’s all logical. Creative cooking lends itself perfectly to creative music. If they don’t understand the music they will certainly understand the food. If you can parallel the creative process of each in terms of one enhancing the other… the pairings start to make sense for many.

What else have you got up your sleeve?

The immediate objective is to get the series up and running. We’re close. Once we get the underwriting it’s about sketching out the conceptual direction of each episode with the producer. It’s time consuming yes, but fun. It’s exciting for me because I love cooking as much as I do performing. Speaking of performing, I have a new CD out called “Still Standing” with my trio. Marketing the CD, booking dates to promote it and my trio and finishing the cooking show are my main priorities now. That’s much work in itself.

Contact: www.jaesinnett.com where you can find some of his personal recipes.

After many years of writing record reviews I’ve largely grown rather weary of that particular jazz journalism exercise; and that also includes reading record reviews, which I assiduously avoid – with the exception of what I refer to as DownBeat’s monthly gang review, you know the feature where several of their writers have at the same records. Some of those guys stylistic proclivities are so predictable as to be almost comical. For example I think they assign John McDonough to review anything edgy just for grins.

Every now and then the need does arise to make observations, point out extra-musical disparities and make suggestions to young artists on their recording projects. The digital age along with the death of record companies and retail record stores has necessitated an exponential increase in the number of artists making their own records. Coupled with the fact that musicians are more compelled than ever to have that record-as-calling-card to substantiate their artistry, and the instant bandleader/record date compulsion sans the old school apprentice system, there seem to be more record releases than ever. But the fact remains, there are a significant number of new records these days that need never have seen the light of day, and wouldn’t if they’d been subject to a label’s measure of quality control. And then there are many cases where the artistry has merit, while the delivery system is flawed, sometimes perhaps even to the detriment of that artistry and the artist’s ultimate career arc; still some young artists often seem a bit oblivious to their need to be more informative in their packaging.

You’ve heard the moan from this corner before. It goes something like this: as a journalist, jazz broadcaster (40 years at the mic in 2013), and concerts/festival presenter I’m privy to all manner of new releases, ranging from the way less than ready-for-prime-time to true masters. Much of that recorded output is the product of artist entrepreneurship necessitated by the scarcity of solid labels; i.e. those with significant – even distinguished – catalogues are very few and far between. (And we’ll pause here for a moment’s reflection on the current sad, pending Universal takeover of EMI, which will in all likelihood negatively affect one of the last great jazz imprints, the legendary Blue Note label; perhaps even shoving the great emeritus exec Bruce Lundvall out to pasture.)

You may have read my moans in IE, from a radio broadcaster’s perch, on the dearth of information offered by independent artists producing their own product. Much of that product now comes sans the admittedly costly, but nonetheless handy-dandy CD booklet; the resulting sparsity of information is often quite off-putting. Not to get too picayune, but this information disparity even comes down to the lowest common denominator of simply giving yourself a label name. C’mon people, even if its Cat & Dog Records, or even more simply put – your own name for an imprint for goodness sakes – there are those of us out here who still catalogue recordings and even more importantly, radio show hosts who are required to log their playlists in a computer database called The Copyright Confessor that enables the Soundscan system. Yes folks, surprise surprise, that system does have a line for Label name, and when left blank due to no label name provided, it leaves a small loophole in your access to airplay reporting.

With these issues in mind, here are a dozen recent independent releases, most of them artist-driven productions, that have come across my desk and sparked interest over the past few months. Let me first say that in each case, there are musical gifts to be found in these grooves; I’m not going to waste your time or mine with musically bankrupt releases. Each of these recordings have been the subject of spins on my weekly radio show Ancient/Future on WPFW 89.3 FM in Washington, DC, 5-8:00am on Thursday mornings, streaming live at www.wpfw.org. The program is called Ancient/Future precisely because the first 90 minutes are devoted to classic, back-catalogue recordings and fairly regular single artist or band profiles; the last 90 minutes feature the weekly SoundViews new/recent release spotlight from 6:30-7, and from 7-8 it’s What’s New/The New Release Hour. Here’s some music of merit that has crossed my playlist over the last few months, including a few info warts. Just for clarity, if I may reiterate: these are not record reviews; just consider them constructive observations from several different angles that potentially impact an artist’s career.

Pianist Enoch Smith Jr., who is apparently based in Brooklyn though one can only surmise that by the familiar urban landscapes in the CD photos, has assembled a tight young quartet of musicians who sound inevitably influenced by the hip hop of their generation. Rest assured they are definitely a modern jazz crew that pretty much focuses on Enoch’s originals, though he does have the savvy to include an arrangement of the familiar Lennon-McCartney “Blackbird” for those radio types who may encounter this release on the fly and not quite know which track(s) to feature, or the tenderfoot listener looking for a tune to hang his/her hat on. This radio type chose the compact “A Misfit’s Theme” and “Bring it On Home” for radio. But as with so many young indy artists there are packaging disparities. For example, unless you’re privy to a publicist’s one sheet you’d have a difficult time determining exactly who this Enoch Smith Jr. really is; and PR one-sheets aren’t made available on the gig where Enoch will likely generate his best sales. Where a nice, tight biographical paragraph would have served that purpose, we get one of three posed band shots and a panel whose graphics are difficult to read even for the sharpest of eyes. (Was the art director vision-impaired?) And the disc itself, while thankfully including the leader’s name and album title, could have used a simple track listing. And no discernible label name, though the copyright holder is Music4mypeople Ent. Is that your label name Enoch?

Marshall Gilkes is one of the most facile, impressive young trombonists on the scene today. I first heard him with the crafty Columbian harpist Edmar Castaneda at Danilo Perez‘s festival down in Panama and have followed his arc ever since. This Philadelphia native plays with power, passion and impressive dexterity, and an expressiveness that has only grown in the ensuing years since I first heard him. Joining Marshall for this outing is the fine tenorman Donny McCaslin, plus piano, bass & drums. The program Gilkes has written for this record feels suite-like, including the two pieces I chose for radio play, the aptly-titled “Slashes,” and “Thruway.” Also included are two parts of a piece titled “Armstrong” that may or may not be a tribute to Pops, but unless you see Marshall somewhere soon, you may never know. Besides the cover and back panel this package has 4 inside panels; one band collage and two with the band in action at the prestigious Dizzy’s Club. Nice photos, but Marshall would have benefitted from even cursory liner notes, or even better some bio paragraphs and perhaps the artist’s description of this date (for example McCaslin has some notoriety, not so much the other players). Fortunately Marshall’s web site (marshallgilkes.com) is prominently displayed, but curiously when one visits the label (Alternate Side) web site one encounters a frustrating “Website coming soon” notice that was posted in 2011!! And once again, no track listings on the disc itself.

Trumpeter Marquis Hill is a promising new voice out of Chicago. How’d I know that? It took some digging, with very little light shed in his CD package. I should note again here that due to my work I’m most often privy to at least a one-sheet from a record publicist that generally supplies me with all the background I need. But viewing these things from the standpoint of a consumer – perhaps even someone who buys this disc from the leader at one of Marquis’ sets – one is hard-pressed for thumbnail bio details on this still fairly new artist, and his cohorts – all of which are new to me. Hill has gathered a robust crew of two saxes, guitar, bass and drums to explore this program of originals. And here I’ve gotta say that I’m sorry, but very few young artists have mastered the composer’s craft quite fully enough to warrant producing a complete album of originals. Young artists really need to give the potential listener at least a smidgen to hang their hats on, whether its a standard, an oldie pop tune, or a cleverly arranged contemporary hit. For airplay I chose the warmth of “Autumn,” with its subtle shades of Ahmad Jamal. This is one of those single pocket packages with good, clear graphics and all the vital credit stats, but again no sense of who Marquis Hill is, save for a shadowy, too-dark, be-shaded cover photo; and no discernible label name.

Henry Cole (pron. Cole-A) is an exciting young drummer from Puerto Rico who mightily drove the band 90 Miles (featuring David Sanchez and Nicholas Payton; Stefon Harris was MIA, deservedly home celebrating the birth of his son) at the recent Monterey Jazz Festival. Adept at Afro-Cubana, Henry Cole calls the ensemble represented on this disc The Afrobeat Collective. To its credit the Collective includes some pretty significant contributors, including homeboys Sanchez and Miguel Zenon, plus John Ellis on saxophones, guitarist Adam Rogers, and the versatile violinist Jenny Scheinman. But the Spanish-challenged will be hard pressed to completely grasp the notes, which are delivered in alternating Spanish and English, but mainly the former. And that’s cool, Spanish is after all Mr. Cole’s first language; but my guess is he desires plenty of well-deserved recognition for this exceptional disc stateside as well, so be more mindful of that next time Henry. He does include a panel of bilingual interpretations of where he’s coming from with this music, so good on you for that Henry. And the disc itself includes leader and ensemble name, the album title twice (once in fancy font), and – kudos – a complete track listing; no discernible label name. The airplay choice here is “Musica Para un Sueno.”

Houston drummer Reggie Quinerly delivers on a theme of “Music Inspired by Freedman Town.” He’s chosen an estimable cast of musicians, including pianists Gerald Clayton and Enoch Smith Jr., bassist Vicente Archer, brawny tenor man Tim Warfield, searching Mike Moreno on guitar, and a trumpeter you may need to catch up on, Antoine Drye. Freedman Town was a post-Emancipation, mixed race settlement founded primarily by African American Houstonians, which eventually became the Houston community with the largest concentration of black homeowners. And how do I know this? Because Reggie Quinerly, besides being a skilled trapsmen, was very thoughtful in including a 4-panel booklet that not only details his thematic impulses, but also provides thumbnail sketches of the movement of each of his originals. And for good measure he includes new arrangements of the standards “I’m Old Fashioned” and “Sentimental Journey.” Inside the package has two outstanding period photographs of Freeman Town residents and a graphically artful panel listing each track. And a label name! Reggie Quinterly gets it! For airplay I chose “Freedmantown Interlude,” with the leader’s understated capsule of the community, followed by “2Xylent Letters.”

With the developmental arc of Gregory Porter, Jose James, and coming up behind them Milton Suggs, we may be on the cusp of a promising new crew of male voices at long last. Add to that list the single name Abiah. Is this cat Brazilian, with their proclivity for the single name? Where’s he from anyway? One would never know from the sparse preview disc that came my way; one with a lone cover sheet encased in a slim plastic jewel case, with the aspirant balladeer pictured contemplating a Yamaha piano and a glass of water perched on an adjacent stool, which I suppose suggests studio shot. On the back panel we learn that this is indeed Jeremiah Abiah and that the record is produced by the skilled young drummer Ulysses Owens Jr. (Full disclaimer, this is the press preview copy of this package; but it sure could have been more revealing.) In addition to Owens, Abiah works with a notable cast of peers that includes pianist Robert Glasper and guitarist Marvin Sewell. Not necessarily a straight ahead jazz singer, Abiah does have jazz chops. He’s remindful of other beyond category singers like Jon Lucien and Terry Callier, singers nonetheless always at home in a jazz-based format. Not only does Abiah sing well, he knows how to select material wisely as well, and he delivers a lyric with elan. For example, dig his new-day take on Prince‘s classic “When Doves Cry” that morphs into “Doves” for this date; I also chose “Goodbye”, the “September” reprise, and “Turn the Light On” for airplay as well. Once again, a disc without a track listing, which is an essential element in a new artist’s package; hopefully the finished product will be more informative. Hopefully we’ll hear – and learn – more about this talent.

Brian Settles is one of the most thoughtful, exploratory young saxophonists on the burgeoning DC music scene. But you wouldn’t know that from his record package. This is a sparse, 4-panel cardboard package that screams economic caution, providing no real sense of our leader. Granted, the back panel includes his quintet mates and the track titles for this program of originals, as well as the www.briansettles.com website listing, and complete credits – including a nice nod to the influential late saxophonist-educator Arnie Lawrence – but again, just a paragraph of notes on exactly who Brian Settles is, along with some sense of what he had in mind for this release would have been very helpful to the consumer. Again, no track listings on the disc itself (this ain’t difficult to achieve folks). But there is a label name and it’s Engine. To best define Brian Settles’ robust saxophonics, for airplay I chose the opener “Bison” (tribute to Howard University?), and “Gardenia” (tribute to Billie Holiday? Ask Brian, you won’t find out from his packaging).

Tenor and soprano saxman Kenneth Whalum 111 is the latest in the impressive Whalum family of Memphis, TN, including Kenneth’s uncle, saxophonist Kirk Whalum. But whereas Kirk comes from a soulful R&B and gospel essence, Kenneth is a jazzman straight outta hip hop. In fact his presence has enhanced such forward motion hip hop standard bearers as Common. And to bring the proper flavor from those experiences along with his jazz chops Whalum keeps good company: piano-keyboardist/co-producer Robert Glasper (who may be just about to add ace producer to his credits; witness Lionel Loueke‘s latest), Chris “Daddy” Dave, who along with Karriem Riggins has most effectively brought hip hop drum sensibilities to jazz landscapes, and versatile bassist Derrick Hodge. First hearing Whalum with peer pianist Kris Bowers, I was immediately impressed with the subtleties of his approach to the tenor. Here he makes very effective use of sampled voices dropping wisdom, including his dad Rev. Dr. Kenneth Whalum Jr. sermonizing, as well as historic voices for change. There’s a sense of the episodic in these tracks, a forward-motion kind of drama, like the suspended animation of the tone poem “Gratitude to Crystal.” Again, we sure could use a track listing on the disc. Otherwise the graphics are perfectly legible and logical, but again he could have benefited (or more importantly, the listener could have benefited) from a bit of bio information, rather than having to surf the web for his My Space and Facebook pages, and Twitter feed, which get prominent listing.

The cleverly named Honey Ear Trio is a cooperative ensemble consisting of saxophonist Erik Lawrence, bassist Rene Hart, and drummer Allison Miller. The presence of Allison Miller always guarantees a certain sense of intrigue and strong playing and this quirkily-titled disc is no exception. And just how do I know this is a cooperative trio? Frankly you have to surmise that by the band name and the sense of collectivity and shared leadership you hear readily in the music, which is well worth your attention. However when players come together like this, some sense of graphic explanation is desired by the consumer. The package is artful enough, but lacking in info beyond the essential. Give us at least a paragraph of notes people? Where’d that band name come from anyway? I suppose you can visit their website www.HoneyEarTrio.com for that background, but what if you’re on the run – or sans computer for that matter? Don’t take your listeners for granted Allison (addressed to her because the imprint Foxhaven has been her record date home in the past). For airplay I chose the title track “Steampunk Serenade” (what’s a “Steampunk” Allison? Help a vet out here!) and “High Water,” even though neither the package nor the disc give one any sense of exactly who contributed the compositions. And again, no track listing on the disc itself.

Tenor & soprano saxophonist Dudley Owens and bassist Aaron Wright have teamed up for this ultimately rewarding disc, one which is not exactly an independent artist production but stems from the growing promise of Chicago-based Origin Records (OK, so I cheated a bit on the last disc!). Almost immediately I was impressed with Owens’ robust, expressive tenor sax work, particularly engaging at slower tempos – ala Wright’s original “Magnolia” (one of two tracks selected for Ancient/Future airplay) and the spiritual realization of “Prayer.” Owens is more Coleman Hawkins than John Coltrane – with even a hint of Shepp – which is a refreshing switch for his generation. The other selected track is Owens’ tune “Y.A.G.M.G.D.”, though no explanation is offered for that abbreviation. And exactly who are these guys? As I said, in the past when an artist reached the point of commanding a record date you were already at least somewhat familiar with them. But this package contains no bio information or any sense of these quality artists’ intent with this program of music. At least in their case you can visit the record company website www.origin-records.com and hopefully learn more, but… the package leaves one hanging, and that’s unfortunate because you need to know these cats.

Tenor, alto, soprano saxophonist & clarinetist Marcus Strickland, with his sidekick twin brother E.J. Strickland on drums, continues to grow exponentially from when I first met them in Aspen, CO during a television shoot for my former BET Jazz program Jazz Ed(ucation). Now, at the ripe young age of 33, comes Marcus’ latest release on his own imprint – Strick Muzik (simple, but effective moniker). In part this release serves as continued evidence of Marcus’ obvious prowess on tenor and soprano, the latter horn garnering New Star recognition in the 2012 DB Critic’s Poll. It’s also a 2-disc affair loaded with examples of Marcus’ upward development as a composer (he contributes all but two of 17 pieces). In terms of packaging what’s most striking is the fact that disc one is reserved for his quartet, with David Bryant on piano, while disc two features his trio, with bassist Ben Williams and E.J. as constants. Besides sufficient personnel and crediting info (though the 3rd inside panel may require a magnifying glass for the tiny font), this is an attractive gatefold package, its two discs differentiated by darker coloration on disc two, or Volume 2 as its billed. Kudos also for the tracks imprinted directly on the discs. Featured airplay tracks from this release include “Lilt”, “Shapes,” “Portrait of Tracy” (from the book of Jaco Pastorius), and “Crispy’s Delight.”

Keyboardist Jesse Fischer hints at his direction with Soul Cycle not only with the band’s name, but also with the alternating grinning/mock serious hipster countenance of his musicians on the cover, where he stands out in sepia tones, the band in black & white, and the subtle placement of Herbie Hancock‘s classic “Headhunters” LP on his keyboard; proving once again that sometimes you can tell by the cover! Jesse’s got an impressive rolodex as well, calling upon such guest contributors as trumpet ace Sean Jones, vocal stylist Gretchen Parlato, and vibist Stefon Harris. Further directions are provided by DJ Ty Adams turntable artistry on “Nuyorican Vibes.” Nothing wrong with having some fun with jazz textures and breakbeat attitudes! Jesse’s going for imprint status with his own Soul Cycle Music label. He also cannily includes personal reflections on each track, such as his declaration that “Natural Light” “…is a slow burner, inspired by “Vein Melter,” Deniece Williams‘ “Free,” Richard Smallwood, and “Africa;” that’s a mouthful and Jesse Fischer delivers. The airplay choice for this corner was “A New Beginning.”

2012 NEA Jazz Master Jack DeJohnette, who completed a brilliant residency at Monterey Jazz Festival last weekend, graces the November ’12 issue of DB

In its coverage of the 2013 NEA Jazz Masters class (October 2012), the DownBeat magazine writer who contributed that bit of reportage fumbled the ball. One line read “President Obama’s 2012 federal budget proposed eliminating the Jazz Masters program altogether.” What an amazing misnomer – particularly glaring in an election year! Let’s examine that concept for a moment… Is the writer actually suggesting that the Prez 2012 budget proposal was so ingeniously micro-managed that the Commander in Chief actually proposed the specific elimination of this among the myriad NEA programs across the landscape of performing and visual arts they serve?

Roughly speaking, here’s a quick & dirty on how the budget process works: the Prez, in consultation with his economic advisors, proposes a budget and each department of government affected by said budget then takes that allocation and in its own sweet way determines exactly which programs or initiatives will feel the axe. So to suggest that the Prez zeroed in specifically on the NEA Jazz Masters program for elimination among the many programs and initiatives operated by the NEA is at best a ludicrous proposition.

Reality, as reported elsewhere, shows that the NEA Chairman proposed to Congress the elimination of the individual arts masters awards – the NEA Jazz Masters, Opera, Folk Arts, etc. Subsequently all those individual masters awards would – under the proposed plan – be folded into one kind of omnibus American Arts awards; which had the plan been adopted would have meant that perhaps one jazz master – along with masters from the other folded-in genres – would be honored annually. Reportedly Congress kicked it back, specifically citing the NEA Jazz Masters program as one which must remain intact. Subsequently for 2013 4, as opposed to the previous 6-8, NEA Jazz Masters have been named; additionally the annual NEAJM awards program, previously staged in grand style each January in conjunction with the Association of Performing Arts Presenters conference, has been scaled back from Rose Hall to a more modest evening at Dizzy’s Club.

Another example of how the writer in question drank the Kool-Aid came in his quoting the ever-churlish 2013 NEAJM Lou Donaldson on the subject. Donaldson, whose put-downs of practically anyone in jazz history have become a parody of his persona among musicians and anyone who’s heard his cock & bull pronouncements, summoned a wellspring of temerity and pronounced that with regard to past NEA Jazz Masters, “Some of the people that got in there couldn’t even be a sideman in my band. They got all these young guys just starting, and that’s ridiculous.” Is he suggesting that past NEA Jazz Masters couldn’t cut “Alligator Boogaloo”? As they say on ESPN’s NFL pre-game show ‘come on man!’, show some sense of grace for once! Fact is, prior to the 2011 honoring of the Marsalis Family – which still seems to chap some folks – (“young guys”?) Paquito D’Rivera was the “youngest” honoree, at the youthful age of 57! Get real, Lou Donaldson!

For Part 6 in our series of dialogues with women jazz writers we turn to a bit different perspective – from a woman photographer who has long documented jazz events among her other photographic pursuits. Throughout this piece are examples of the rich artistry of ENID FARBER, including a couple of wonderful Ray Charles images, Fela Kuti, Latin legends, politicians, rallies, media legends, man/woman/child on the streets, plus two NEA Jazz Masters at the end. And please keep Enid close in sending out positive karmic vibrations as she has been experiencing some health challenges lately.

JAZZ PHOTOGRAPHY: A Woman’s Perspective: Enid Farber

Self-portrait: Enid Farber

Please list your photography affiliations and any books or other projects you’re working on currently that you’d like to mention.

Currently I am working on a book entitled, “Legends Who Have Passed Through My Lens” (working title). I am also preparing for an exhibition in November at Baruch College on women in jazz. As well I am digitizing my archives for inclusion in an agency that represents fine art music photography for collectors.

What has been your experience photographing music in general jazz in particular?

It’s been a beautiful experience that has enabled me to be inextricably linked to a community that is precious and unfortunately under-appreciated in my home country. Although, the inherent financial struggle of choosing this particular niche of music, has affected my well being at times, and I have had to justify my reasons for going down this path as opposed to one that would have guaranteed more prosperity, I am grateful that I have been on the forefront of jazz visual history for over 30 years.

What was it about photographing music that attracted you to this pursuit initially?

The marriage of photography and music was a natural one for me. I grew up in a family in North Carolina very attuned to “great black music” in the 60’s and 70’s. When I went to college in Rhode Island in 1974 the first course I signed up for was “Jazz History”. I did not complete college at that time as I had creative wanderlust and lacked the funds, ambition and focus to continue. I obtained my first professional camera when I moved to Sarasota, Florida a couple of years later and at the same time met the legendary jazz programmer and D.J., Bob Seymour, who had a roommate who was a photographer. After Bob took me to a Phil Woods concert in Tampa, I delved right into his roommate’s darkroom at their home, and brought to life my first jazz photos, replete with dust and scratches, but I was hooked and I found my passion without ever turning back. That symbiotic relationship of jazz and the visual image marked me for life.

Would you describe your experiences photographing music as overall positive, and if so why or why not?

I would have to give that a 50/50. I have had amazing experiences and such joy and satisfaction behind the camera, feeling reciprocal joy from most of my subjects. Most musicians have responded to me with respect and enthusiasm and delight. But there have been some that have not responded positively to my style which verges on more emotion than some can handle. I have also not felt, nor received the respect I feel I’ve earned, from much of the industry. Perhaps I am just an overly sensitive Cancerian artist but there is a very notable difference from those who have embraced me and those who have either misunderstood me or again, do not like me stylistically.

Women occupy an interesting place in the jazz pantheon; on the one hand women instrumentalists are in the distinct minority, at least as far as prominence, and on the other hand women absolutely dominate the ranks of jazz singers. What’s your sense of that imbalance?

Really, the same reasons that I feel at a disadvantage in the overall industry is applicable to women musicians. I know that my work is as good as and as valuable to the pantheon of jazz history as any other being produced by men before or currently on the scene. I truly say that with the greatest humility although it clearly may ring differently to some ears. But I have been recently scanning and digitizing my vast archives, much of which was never previously seen or published, and there are many treasures in there of musicians and moments, long gone from the living world and many who I have documented from their beginnings. I have seen so many of those musicians flourish and some that never received their due.

This exercise has helped me validate my feelings of worth which are sometimes in question internally. I have survived this very tough environment through thick but mostly thin. But I still feel mostly forgotten, dismissed, ignored and under utilized. Although the industry is male centric, there have been many women as well that did not take me seriously. I have discovered that is in an innate flaw of many women, including myself, to somehow have more confidence in a man’s ability to get the job done, then in fellow women. And it is a definite that men are more comfortable with other men in the work place. Long term behaviors and conceptions are hard to eradicate.

Would you describe yourself as a music photographer and why?

Yes. I am primarily a music photojournalist but I am overall a photographer with a photojournalist’s eye and approach. I have been influenced by two major photographer’s, Henri Cartier Bresson, the great French street photographer and Jim Marshall, the great music photographer who covered rock, jazz and blues and whose each and every image I would qualify as one I would have loved to have shot. I am guided by Bresson’s “decisive moment” philosophy; onstage, backstage and in studio, that is the subtext of my mechanics.

Its been suggested that one of the real keys to solving the critical jazz audience development issue is that those who present the music must find creative ways to attract more women to their audiences; some wisdom suggesting that where more women go, men will follow. Is this an apt characterization of the jazz audience conundrum, and if so are there elements you might suggest to those who present jazz as to better attracting women audience members?

I really don’t have an informed opinion of this but I wonder if it’s a matter of economics. Women are still, perhaps, not proportionally in the highest income brackets and attending jazz concerts at clubs and in the main institutional venues, can be very expensive. How do the presenters and venues balance the need to maximize profit with the pride of sharing their great offerings with a more diverse audience? Is there a TDF for jazz concerts? I know someone who belongs to some kind of cheap tickets club for theater. She sees Broadway plays for as low as $3 a seat! I don’t know how that works but I suppose it is based on leftover tickets and the philosophy that they’d rather sell those seats at a loss and fill them rather them leave them empty which makes for a less lively audience and perception of success. Is there any such program for concerts? [Editor’s note: That’s a big NO; but there sure ought to be given the number of empty seats one is just as liable to experience at a jazz concert as what a theatergoer might encounter.]

Clearly photographing music, and particularly jazz, could well be characterized as “a man’s world.” Do you feel like that’s due more to the nature of the music or to some form(s) of overt exclusion from “the boy’s club”?

As I answered in [an earlier question], and I risk further alienation from the “boy’s club”, but the answer is an absolute affirmative. This does not mean that women don’t follow suit in many cases but once we get past our natural competitiveness and realize that we have experienced some of the same issues and treatment, we should and could bond together to create a stronger coalition but so far I have not seen that effort or desire. We clearly should work on that for we offer a fresh and unique perspective and we should also be proud of the emotional component to our work instead of being ashamed of anything that reflects that. Are we really still afraid of being associated with the outdated psychological conventional wisdom of the “hysterical female”? Personally, I react to jazz emotionally and enjoy jazz and all art that is more passionate and emotional than analytical and clinical and I attribute this to my double X chromosomes!

Have you ever found it more difficult to pursue photography about music due to gender issues? If so please detail some of your photography experiences that may have been fairly or unfairly colored by gender.

Yes indeed. I have not had the kind of dream assignments that many men have had such as being “the” house photographer for a club, a festival or traveling with musicians as their personal photographer. I have had less than my share of opportunities to do what I do best and although some of that is because I am not as comfortable with the hustle and the schmooze as others, male and female alike, I think I have been somewhat shunned. I risk saying all of this publicly but at this point in my career, if I never take another photo, which is not what my heart desires and would be personally tragic, I am quite proud of what I have contributed and will continue to find ways to make that work accessible and seen by those who share my love for it.

What can be done to encourage more women to photograph music in particular, jazz in general?

More women, including myself, need to be called upon to mentor other women. I would like to partner with other women in the industry who are more take charge than myself and who are better administratively in organizing groups and coalitions and think tanks and whatever else that could foster more participation from the next generations. I have an abundance of inspiration and passion to offer but I am admittedly, not the best at formulating and launching start ups.

What have been some of the most personally satisfying music performances you’ve either photographed or simply experienced over the last year?

Unfortunately the last year has been slow due to many factors, some health, others just the slowing down of the industry. Hell, maybe I’m just getting old!

But before I got sick recently, I was working with one of my favorite musicians ever, Ivo Perelman on his publicity and recording photos, some shot in concert, others in a studio, and even in a boxing gym with the fantastic Matthew Shipp. I’m always excited to shoot the annual Jazz Foundation’s “Great Night in Harlem” which was particularly fun this past year. The Winterfest, The Visions Fest, APAP and Rhythm in the Kitchen all yielded some very luscious photos this past year as they always do. Sadly because of a serious health problem, I missed the Charlie Parker festival this summer. I hope to be on the mend soon and to continue pointing my lenses at these precious jazz musicians, most of whom deserve much wider recognition themselves.