BoMuse News, May 2020

BoMuse News, vol. 19, no. 5

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BoMuse News is a monthly newsletter from BoMuse Music. It presents items of interest related to jazz, and advocacy for music education, as well as news of releases from BoMuse Music and the performing activities of Paul Combs.

Follow @BoMuseMusic on Twitter, Facebook,  at All About Jazz, and now on YouTube

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1. Performance Update
2. Performances Via Internet
3. This Month’s Video
4. Jazz On The Radio

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1. Well, it looks like it will be a while before we get to perform for live audiences. The May 2 gig at The Nash has been postponed to a date that has yet to be determined. I had five booked for June which are now in doubt: June 7 at La Mesa Wine Works, June 13 at Dizzy’s, San Diego, June 19 at the Back Room in Berkeley, June 20 at Bird & Beckett, San Francisco, and June 25 at The Studio Door back here in San Diego. From what we are hearing in the news, these now seem unlikely, although I am still hoping. With all due concern for folks whose lives are at stake, I have to say this crisis really hurts all of us performing artists. No matter how sophisticated our technology, there is no substitute for performers and audience being in the same space.

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2. While I don’t plan any live performances via Internet at this time, various venues are posting recorded performances from their archives and even staging live performances. Some particularly tech-savvy performers are doing the same, as my friend Jeremy Siskind did last month. One of the venues is The Nash, where I was scheduled to perform this Saturday. They are showing videos of some of the best performances from their archive. Another is Bird & Beckett in San Francisco, which is even streaming live performances, when they can. No doubt, you can find others, either from a venue’s archives, or as scheduled live performances.

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3. With all the time staying at home I was able to finish the video based on the talk about Tadd Dameron I gave at the Institute of Jazz Studies last year. It took longer than I expected for a number of reasons, some of them technical – I am still new to video editing, a new skill that many musicians now have to embrace. However, most of the difficulty stemmed from the difference between speaking to an audience in real time, and a video production.

In the end, I broke it down to three segments, 1917-1943, 1944-1949, and 1949-1965. The complete talk went into a technical examination of Dameron’s composing methods, so this biography was a prologue for the purpose of giving context to the music that I was going to discuss. I have called it a Brief Biography, and I hope it will give you the general arc of his life, and a sense of how he fits into the ongoing story of jazz, and American music. If you have not done so already, please subscribe to my channel, Paul Combs – BoMuse. It helps to raise the visibility of the channel, which seems to be helpful in this digital age.

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4. While we cannot get out to hear live music, we still have jazz on the radio and internet. Several years ago, before I moved out here to California, I helped to create a platform for smart phones and touch pads that gives one many of the sources for jazz programming available on the Internet. Almost all radio stations stream on the Internet, and there are Internet only sources as well. The platform is called Jazz Bird, and it is available from either the App Store (Mac) or Google Play (Android). Of course, if you have a local terrestrial jazz station you will be listening to that. Which ever station or stations you are listening to, please, please, donate something to them, since they are almost without exception non-commercial, and listener supported.

As always, thank you for supporting LIVE MUSIC, once this crisis is over!

Follow @BoMuseMusic on Twitter, Facebook,  at All About Jazz, and now on YouTube