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.

For Part 5 in our series of dialogues with women jazz writers we turn to the Twin Cities of Minneapolis-St. Paul. I first met Pamela Espeland in the late 1980s while living in Minneapolis and working at Arts Midwest. At the time Pamela’s young son was a classmate of our daughter and we began conversing on our mutual passion for the music, though at the time she was an enthusiast who hadn’t yet begun writing on the subject. It was sometime after we relocated to DC in ’89 that Pamela, who was already a writer by training, added jazz reportage to her arsenal. Since then she’s been a feverish contributor on jazz in the Twin Cities community and beyond. This is her second Independent Ear contribution.

I write about jazz for my blog, bebopified.com; cover the arts (including jazz) for the Minnesota news and information website MinnPost.com; and write about jazz on occasion for the Minneapolis Star Tribune, NPR, and the Jazz Police website (jazzpolice.com). I’ve done some writing for Independent Ear. I wrote for Ted Gioa’s jazz.com when it was around. A lot of writers miss that website. I’ve done some jazz radio work with KBEM and KFAI in Minneapolis and have moderated a few pre-performance discussions with jazz musicians.

What has been your experience writing about music in general, jazz in particular and how did you get started down this road?

I’m a professional writer, and I write long hours for a living. So the very last thing I wanted to do was write about jazz. I just wanted to hear it and be around it. Jazz was my vacation from writing, my reward for getting my real work done. But then two things happened.

First, I went to a concert that moved me so profoundly I knew I’d want to revisit it, and I didn’t trust my memory. So I wrote about it. Then I asked a friend who runs a jazz website if he would publish my piece and he did. When that happened, my writing was out there, and that became the carrot that pulls the donkey along.

Second, I went to the Monterey Jazz Festival with a girlfriend and left my husband at home, which made me feel kind of guilty. I had such a great time at the festival that I wanted him to share the experience. So I wrote about it, for him. He still reads everything I write, and everything I write is, in part, a love letter to him. That may sound corny but it’s true.

Music has always been part of my life. I sang and played instruments as a child and through my teens. In my twenties, I took piano lessons, and returned to them again last year, mainly to learn the music theory I had avoided. In my freelance writing career, there was a time when I wrote a lot of music catalogs, so I picked up some terminology and also learned how to research and find answers to my questions. I built a library of books about music, heavy on jazz.

I wish I had started listening to jazz years earlier, but I didn’t. I was beginning to get really interested in jazz when a chance meeting led me to people who know a lot about jazz and were happy to share with a neophyte. Willard, I don’t have to tell you who those people were. I will always be grateful.

What was it about writing about jazz that attracted you to this pursuit initially?

Its absolute impossibility. This is the hardest writing I’ve ever attempted. Especially writing about live performance. How do you describe in words something so complex, intricate, passionate, and ephemeral? Jumping into the deep end, I started writing (or trying) about so-called free jazz early on. I love a steep learning curve. I never pretend to know something I don’t actually know, which leads to many opportunities to ask questions and engage in conversation with knowledgeable people.

Once I realized how much work this writing really is, I briefly thought about hanging it up, but the fact that so few women write about jazz (something I didn’t realize at first) kept me going. I don’t get to write as often as I would like, due to the demands of my freelance writing business and the need to earn a living. But I plan to keep writing as often and as long as I can. Jazz is my passion, and writing about it is a way to hear more of it, learn more about it, and (one hopes) generate more interest in this amazing music.

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

Overall positive, because I write what I want, when I want. That’s the reality of much writing today – no editors. I have often sought advice from those who know more about jazz than I do.

What’s frustrating is when I spend a long time on a CD review or an interview and it goes virtually unnoticed because I’m not writing for a jazz news site or print magazine. I wrote one of the earliest reviews of e.s.t.’s posthumous “301” http://www.bebopified.com/2012/05/last-words-of-est-301-cd-review.html – a thorough, knowledgeable review; I’ve been following this trio for years – and hardly anyone saw it. Ditto for my frank and lengthy interview with Kurt Elling earlier this year. http://www.bebopified.com/2012/02/kurt-elling-on-grammys-confidence-jazz.html

We write because we love the music, because we like to write, because we get to sit down and talk with jazz musicians – but also because we want to be read. So writing these days also involves a lot of self-promotion, which is not something I’m comfortable with.

Also frustrating is working so hard for little or no money, but everyone is talking about that and I have nothing new to add.

My most negative experiences to date have been with artists who disagree with something I’ve written. In general, I don’t write negative reviews, because I don’t have enough time to write all the good things I want to say about this music and its makers. And I’m not interested in the snotty, snarky writing that seems to attract a lot of readers. But once in a rare while, there’s something I really dislike for whatever reason. For example, a new CD by an artist whose music I usually enjoy, or a performance that goes south. In response, artists I once respected have turned into jerks, whining babies, name-calling bullies, and attack dogs. I moderate the comments on my blog, so most of the negative stuff never goes live. I don’t keep that kind of house.

I’ve been thinking a lot lately about a post Lyn Horton wrote for her blog, The Paradigm for Beauty. In it, she explains why she will no longer write for other jazz publications, only for her blog. http://lynhorton.blogspot.com/2012/05/renewal-starting-again-new-perspective.html

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?

Everyone should watch Judy Chaikin’s excellent documentary film “The Girls in the Band.” There’s a clip of Marian McPartland being interviewed by a TV host. He asks her if being a woman jazz pianist is a handicap, then says, “Now that I consider it myself, I think it’s a great advantage since you’re so decorative.” Women who play instruments aren’t especially decorative. They sweat, they assume unladylike positions, they blow out their cheeks. What we need are more men who are willing to play with women, and more women starting bands.

Would you describe yourself as a music critic or a music journalist and why?

Certainly not as a music critic. Maybe as a music journalist; I’m more comfortable with being called a journalist now that I’ve had several years of experience working for a news organization. But the term I’m most comfortable wearing is music writer. Or jazz writer. Sweet and simple.

It’s 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 more creative ways to attract more women to their audiences; some wisdom suggesting that where more women go, men will surely 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?

Many of the men I see at jazz shows have left their wives at home. There are some I ran into for years and got to know fairly well without ever realizing they were married. I’m not sure how to answer this question, though I will say that it’s a lot more pleasant to watch a band of well-dressed musicians than to see someone whose name I won’t mention in a dirty T-shirt, banging on the piano.

Clearly writing about music, and particularly writing about 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”?

I don’t think this has anything to do with the nature of the music. I think it has more to do with stereotypes and discrimination, power and tradition. Most jazz musicians were and are men. There was a time when jazz was played in places respectable women couldn’t go. You can argue that journalism and publishing have been and still are men’s worlds/boys’ clubs. And what about jazz radio?

I’ve never thought of jazz in terms of men’s music/women’s music – though maybe I should, and see where that leads. Because jazz is so expressive, so full of emotion, are women better equipped to write about it than men?

How do your women friends and colleagues view you as a jazz writer?

Those inside the jazz world – as performers and audience members – think it’s great. Those outside the jazz world think I’m crazy for going out so often and staying up so late and hanging out with such scruffy characters.

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

I have not had personal experience of this – at least, not that I’ve been aware of. I don’t look for gender discrimination, and I’m not overly sensitive to it, so there are probably times when I don’t see it even when it’s there. I have written for at least one publication that has not, to my knowledge, published music writing by a woman until I came along. I knew that when I pitched them, but I didn’t make it a reason for hiring me or even mention it. I just brought them a good idea.

Any woman writer should read this article by Jillian Keenan, “How to pitch (stories) like a girl.” http://www.poynter.org/how-tos/newsgathering-storytelling/175528/how-to-pitch-stories-like-a-girl/

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

Be a friend, be a mentor, invite them to jazz shows, introduce them to jazz musicians, talk with them about music and jazz, listen to what they have to say, point them toward good writing by women writers. Be confident and positive. Treat them seriously.

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

Vijay Iyer at the Walker Art Center in Minneapolis. Two nights, six sets, including one with Wadada Leo Smith. The Three Cohens at the Village Vanguard. The Brian Blade Fellowship Band at Kuumbwa in Santa Cruz. Chick Corea and Bobby McFerrin at the Blue Note. The Bad Plus doing their annual Christmas show at the Dakota in Minneapolis. Kurt Elling at Orchestra Hall in Minneapolis. Theo Bleckmann at Macalester College in St. Paul. Bill Carrothers at the Monterey Jazz Festival. Helen Sung at Monterey. The singer Nancy Harms performing with pianist Jeremy Siskind and saxophonist Lucas Pino at Jazz Central in Minneapolis. The chamber group Accordo at Christ Church Lutheran in Minneapolis. I could go on.

Several years ago we engaged the amazing veteran multi-instrumentalist Howard Johnson (tuba-flugelhorn-bari sax-pennywhistle, etc.) as one of our Tri-C JazzFest artists-in-residence. A major component of Howard’s residency was his participation in our concert “Slight Return”. This was our recreation of the Gil Evans charts for the music of Jimi Hendrix. One of Cleveland’s stalwart musician-educators, saxophonist Howie Smith, had approached me with the idea and I became immediately excited, being a devotee of both Gil and Jimi’s music and a fanatic about the RCA recording Gil made of his arrangements of Hendrix’ songs.

Howard Johnson had worked with Gil for many years, including the Hendrix recording, and had in fact taken to singing the vocal part to “Voodoo Chile” in Gil’s subsequent performances, some of which I’d been enthralled by during Gil’s week of midnight performances at the 1988 Umbria Jazz Festival. So Howie put together an ensemble to interpret Gil’s Hendrix charts, we brought Howard in to teach and play that gig, and imported Vernon Reid as guest guitarist. The result was a major blast, one of the highlights of 17 years curating Tri-C JazzFest. I’ve subsequently played pieces from that performance on my WPFW radio show, most recently during our July 4th daylong “Jazz Festival of the Air” broadcast.

That evening at TCJF Howard also served as MC, providing the audience with background on both his work with Gil and his love of Hendrix. He told a great story about living in the East Village in the neighborhood of the legendary Fillmore East when that joint was pumping. One New Year’s Eve, from a vantage point in the street nearby the Fillmore, Howard was amazed to hear Jimi, Billy Cox and Buddy Miles rehearsing and sound checking for what turned out to be the historic “Band of the Gypsys” live concert session. His description of the wall of sound that trio created was quite visceral and our audience ate it up. Anyway… Howard Johnson is a native Ohioan, having grown up in Massillon and played in Massillon High’s marching band at that noted high school football factory. Coincidentally Howard also had family in East Cleveland, OH. One day during Howard’s residency while driving him to visit his family we were idly listening to the car sound system when up popped some soprano saxophone playing. I could see that Howard was becoming visibly annoyed by the persistent, snake-charmer level soprano playing roiling out of the speakers; if there’d been pillows handy doubtless he would have covered his ears to escape the sonic ramblings of this particular perpetrator of tuneless sound. At a certain point Howard launched into what appeared to be a familiar diatribe against what he saw as the legion of chronically out-of-tune soprano players, the “weasel horn” as he dubbed it. Ever since I’ve been sensitive to out-of-tune soprano saxophone playing and I have to agree with Howard’s assessment: more often than not the great majority of musicians who generally double on soprano – being primarily either tenor or alto sax players – do indeed play that instrument off-key, captives of the weasel horn. Seems the soprano is an especially difficult horn to tame.

In the recent DownBeat magazine issue that highlighted its 2012 annual Critic’s Poll results (full disclosure: I’m a voting participant in that Critic’s Poll), there appeared an informative piece on this year’s Rising Star award recipient on the soprano saxophone, Marcus Strickland. It seems that his soprano saxophone has grown in prominence among his 3-sax arsenal and Marcus had some very intelligent things to say about his approach to the instrument. Following up on that DB piece I posed a question to Marcus about the difficulties of taming the soprano sax, using Howard Johnson’s “weasel horn” assessment as a touchstone. Here’s what Marcus Strickland has to say about wrestling the wild soprano.

That’s the main problem with the soprano saxophone, I concur with Howard. The reason that I and several other players such as Wayne Shorter, Branford Marsalis, Sam Newsome, Tim Ries, Kenny Garrett, Steve Wilson, Lucky Thompson, etc… play the instrument rather in tune and do not sound like a weasel is because we play the instrument just as often or even more than the rest of the saxophones. Through my studies I have found that the main reason most soprano saxophonists play out of tune is because of posture and lack of practice.

Many just use their soprano on occasional gigs, and therefore do not play it as often as alto, tenor or baritone. I have a genuine love for the soprano, so I write for and record with it as much as possible. As a result, many hire me to play both tenor and soprano.

On the technical side, many saxophonists tend to squeeze as they get in the higher range of the instrument. This action yields exaggerated results especially on the soprano. The trick is to realize that the execution of the high notes is manipulated by the airstream, not the emboucher. As the emboucher relaxes the reed vibrates more freely, and simultaneously the heightened arch of the tongue causes the airstream to accelerate – hence facilitating those extremely demanding high notes. That’s why Wayne has a warm (as opposed to shrill) cry in the high register of his soprano. Air, which is what my mentors have taught me about time and time again.

In short, I’m extremely mindful of intonation on all horns and constantly work at it.