All posts by paul

BoMuse News, February 2021

BoMuse News, vol. 20, no. 2

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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, and Facebook , and now at All About Jazz.

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1. KSDS Live again
2. Other Good Jazz Radio News
3. Jazzinstitut Darmstadt
4. Gigs

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1. Our local jazz radio station KSDS/jazz88.org is starting to have live hosts back on air. Chad Fox has done a great job programing the host-less broadcasts these past months, and continues to do so for the hours that still do not have their hosts back. However, it is so comforting to hear those familiar friendly voices in real time.

An informal survey of jazz radio programmers showed a wide variety of solutions to the challenges posed by the COVID-19 pandemic. They ranged from stations that were able to allow live broadcasting, like KCSM where station personnel only were able to enter the studios, to at least one where the presenter had to use Spotify to get his program out. In the case of KSDS, my understanding is San Diego City College was not allowing radios staff, except technicians, to enter the building.

If you listen to Jazz88 and haven’t done so already, please support them. If you listen to other stations support them too.

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2. This just in from station WBGO in Newark, NJ, via the Jazz Programers Listing:

“The Doris Duke Charitable Foundation has long been a vital supporter of jazz, most visibly through its annual Artist Awards. Today the foundation — which also goes by its initials, DDCF — announced the Jazz Media Lab, which will distribute more than $1 million in funds to a cohort of nonprofit jazz radio stations across the country.”

“Each of those stations — KMHD (Oregon Public Broadcasting) in Gresham, Ore., KNKX (Pacific Public Media) in Tacoma, Wash., KUVO (Rocky Mountain Public Media) in Denver, Colo., WBGO (Newark Public Radio) in Newark, N.J., and WRTI (Temple University) in Philadelphia, Pa. — will receive general operating support grants of $225,000 over three years.”

More on this from The Current and WRTI. Let’s hope there will be grants coming to some of the other Jazz Radio stations across the country.

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3. I mentioned this a while back, maybe two years ago, but you may have missed it or decided not to explore it at the time. The Jazzinstitut in Darmstadt, Germany, is a terrific resource, not only for researchers, but for any one with a love of Jazz. They publish a newsletter via email, with digest of news items regarding our art form from a variety of sources. There is a form for subscribing at the bottom of their Website. In the latest issue there were several links to article about two recently released movies in which Jazz plays a prominent role, Black Bottom and Soul, as well as many other articles of interest. If you a looking for interesting news in this time of reduced activity, and disturbing developments, I recommend it highly.

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4. Gigs

Well I am still house bound, except for trips to the market, and other occasional necessary errands. I’m plugging away at various projects, practicing, or at least warming up, daily. I can report that at least two of the six important gigs that had to be canceled are still on, whenever we can gather indoors again. One of the others will be easy to reschedule and communications are still in progress on the other two. I hope to see you out and about eventually.

Ware a mask, keep a safe distance, get your shot when you can, and as always, thank you for supporting LIVE MUSIC! if only virtually for now.

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

BoMuse News Jan. 2021 EXTRA

BoMuse News, vol. 20, no. 1 EXTRA

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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. Questions and comments should be sent by visiting “Contact” at Paul Combs’ Web-site.

Follow @BoMuseMusic <https://twitter.com/BoMuseMusic> on Twitter, and Facebook <https://www.facebook.com/BoMuseMusic/>, and now at All About Jazz. <https://musicians.allaboutjazz.com/paulcombs>

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1. Grammys Postponed
2. Passings
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1. This just in from The Recording Academy (NARAS):

“After thoughtful conversations with health experts, our host and artists scheduled to appear, we are rescheduling the 63rd Annual GRAMMY Awards to be broadcast Sunday, March 14, 2021. The deteriorating COVID situation in Los Angeles, with hospital services being overwhelmed, ICUs having reached capacity, and new guidance from state and local governments have all led us to conclude that postponing our show was the right thing to do. Nothing is more important than the health and safety of those in our music community and the hundreds of people who work tirelessly on producing the show.”

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2. In addition to the elders on this list, whom we would not be surprised to mourn, there are too many who have left us too soon, mostly due to COVID-19. As George Klein of RadioFreeAmsterdam said in sharing this list he compiled, there are no doubt others of the jazz community, and the music community in general, who are missing; musicians who were valued members of their local communities. Of course, in noting these lives well lived, our hearts go out to everyone mourning all those who passed in this pandemic last year, and are dying daily as I write this.

Thanks again to George Klein for assembling this list.

•Neil Peart 1/7 Drummer, songwriter for Canadian rock band Rush; 67
•Claudio Roditi 1/17 Brazilian trumpeter at home in modern mainstream jazz; 73
•Jimmy Heath 1/19 Major saxophonist in modern jazz & in Heath Brothers; 93
•Robert Parker 1/20 New Orleans singer, saxophonist , who wrote “Barefootin’”; 89
•Lucien Barbarin 1/30 New Orleans trombonist with distinctive growl;’ 63
•Lyle Mays 2/10 Keyboardist best known for work with Pat Metheny; 66
•Joseph Shabalala 2/11 Founder of Ladysmith Black Mambazo; 78
•Jon Christensen 2/18 Norwegian drummer often on ECM Records; 76
•Bill Smith 2/29 Clarinetist in classical & jazz who played often with Brubeck; 93
•McCoy Tyner 3/6 More than Coltrane’s pianist; 81
•Marcelo Peralta 3/10 Argentine saxophonist – of Covid; 59
•Oliver Stokes Jr (Go DJ Black n Mild) 3/19 New Orleans Bounce artist/radio dj, of Covid; 44
•Kenny Rogers 3/20 Country & pop music star; 81
•Ronald Lewis 3/20 New Orleans historian of black masking & parades, of Covid; 68
•Ray Mantilla 3/21 Versatile latin/jazz percussionist; 85
•Eric Weisberg 3/22 Progressive bluegrass banjoist known for Dueling Banjos; 80
•Mike Longo 3/22 Pianist, longtime musical director for Dizzy – of Covid; 83
•Manu Dibango 3/24 Afro-jazz saxophonist based in Paris – of Covid; 86
•Freddy Rodriguez Sr 3/25 Denver-based saxophone legend -of covid; 89
•Rev Joseph Lowry 3/27 Essential civil rights activist; 98
•Bill Withers 3/30 Soulful singer & songweiter; 81
•Wallace Roney 3/31 Renowned trumpeter inspired by Miles, of Covid; 59
•Adam Schlesinger 4/1 Pop-rock songwriter, of Covid; 52
•Ellis Marsalis 4/1 Pianist, patriarch of Marsalis musical family, of Covid; 85
•Bucky Pizzarelli 4/1 Guitarist who spanned history of jazz guitar, of Covid; 94
•Hal Wilner 4/6 Producer for Sat Night Live, other projects, of Covid; 64
•Onaje Allan Gumbs 4/6 Versatile pianist in bop & smooth styles; 70
•John Prine 4/7 Renowned folk-country singer-songwriter, of Covid; 73
•Eddie Davis 4/7 Trad jazz banjoist often associated with Woody Allen, of Covid; 79
•Peter Ecklund 4/8 Cornetist in various pop rock & trad jazz bands; 74
•Andy Gonzalez 4/9 Bassist in innovative NY Latin bands; 69
•Jymie Merritt 4/10 Strong hard bop bassist with Art Blakey , Lee Morgan, many others; 93
•Jose Torres 4/12 Owner of Joe’s Place in Bronx, for salsa music, of Covid; 73
•Rio Kawasaki 4/13 Guitarist & guitar synth innovator; 73
•Lee Konitz 4/15 Renowned alto sax master of intense cool improv – of Covid; 92
•Henry Grimes 4/15 Free jazz bassist who returned to activity after years of absence, of Covid; 84
•Giuseppi Logan 4/17 Saxophonist active in 60’s free jazz, of Covid; 84
•Bootsie Barnes 4/22 Hard bop tenor sax, based in Philly, of Covid; 82
•Big Al Carson 4/26 New Orleans blues singer & versatile musician; 66
•Danny Leake 4/27 Renowned studio & concert audio engineer; 69
•Tony Allen 4/30 Nigerian drummer who developed Afro Beat; 79
•Richie Cole 5/2 Mainstream alto sax master; 72
•Jesse Hawthorn 5/2 WWOZ host known as Midnight Creeper & Brother Jesse, of Covid; 71
•Frederick Tillis 5/3 Saxophonist and composer who combined African-American & European elements, also a long-time faculty member at UMass Amherst; 90
•Alfred “Uganda” Roberts 5/5 New Orleans percussionist w/Prof Longhair, many others; 77
•Little Richard 5/9 Richard Penniman, architect of rock & roll; 87
•Betty Wright 510 R&B, soul icon; 66
•Randy Falcon 5/23 Renowned Cajun accordion maker; 69
•Jimmy Cobb 5/24 Kind of Blue drummer for Miles, many others; 91
•Lennie Niehaus 5/28 W Coast alto sax, composer, arranger w/Kenton; music for films; 90
•Gloria Denard 5/30 Vocalist, founder of jazz education school in E. Harlem; 93
•Robert Northern aka Brother Ah 5/31 French hornist in orchestra, exploring jazz, classical, spiritual music; 86
•Art Hoyle 6/4 Versatile Chicago-based trumpeter; 90
•Bonnie Pointer 6/8 a founding member of gospel & r&b group The Pointer Sisters; 69
•Keith Tippett 6/14British keyboardist in King Crimson, various jazz & rock; 72
•Vera Lynn 6/18 British singer who inspired WWII troops; 103
•Blaine Kern Sr. 6/25 Mr Mardi Gras. Float builder for many Mardi Gras crews; 93
•Edward Anderson 6/25 New Orleans trumpeter, record label owner & educator; 54
•Tami Lynn 6/26 Soul & gospel singer from New Orleans; 77
•Freddy Cole 6/27 Pianist & vocalist , member of Cole family including Nat & Ike; 88
•Johnny Mandel 6/29 Composer, arranger of jazz, music for film; 94
•Cleveland Eaton 7/5 Bassist with Ramsey Lewis, Count Basie, others; 80
•Ennio Norricone 7/6 Composer of distinctive music for films, including westerns; 91
•Charlie Daniels 7/6 Country-rock bandleader, star; 83
•Eddie Gale 7/10 Trumpeter, jazz educator, activist; 78
•Gilbert Matthews 7/20 S. African drummer also active in Europe & US; 77
•Annie Ross 7/21 Vocalist, actress, NEA Jazz Master; 89
•Helen Jones Woods 7/25 Trombonist w/ Int’l Sweethearts of Rhythm, of Covid; 96
•Peter Green 7/25 Guitarist & co-founder of Fleetwood Mac; 73
•Salome Bey 8/8 Soulful jazz, blues, gospel singer, sister of Andy Bey; 86
•Joe Segal 8/10 Longtime owner of Jazz Showcase in Chicago, NEA Jazz Master; 94
•Trini Lopez 8/11 Pop-Latin singer , guitarist, of Covid; 83
•Steve Grossman 8/13 Versatile fusion & post-bop saxophonist; 69
•Hal “Cornbread” Singer 8/18 Jazz, r&b saxophonist. Last survivor of 1921 Tulsa race massacre; 100
•Bryan Lee 8/20 Blind blues guitarist & singer, longtime fixture in New Orleans; 77
•Charlie Persip 8/23 Drummer, bandleader, educator; 91
•Justin Townes Earle 8/23 Country-Americana singer, songwriter, 38
•Ronnie Kole 8/27 Popular pianist based in New Orleans; 89
•Willis Prudhomme 8/31 Durable Louisiana zydeco accordionist; 88
•Sylvester Francis 9/1 Keeper of NOLA Black culture in Backstreet Cultural Museum; 73
•Gary Peacock 9/4 Innovative, forward looking bassist with many greats; 85
•Bruce Williamson 9/6 Singer with Temptations, of Covid; 49
•Frederick “Toots” Hibbert 9/11 Reggae pioneer with The Maytals, possibly of Covid; 77
•Reggie Johnson 9/11 Durable bassist with many mainstream & avant players; 79
•Stanley Crouch 9/16 Combative critic of jazz, black culture; 74
•Jack Simpson 9/19 Radio host of Jazz on the Beach since 1967; 96
•Ira Sullivan 9/21 Versatile multi-instrumentalist bop master; 89
•Juliette Greco 9/23 Actress & singer of Chanson Francaise; 93,
•Helen Reddy 9/29 Singer of 70’s feminist hit I Am Woman; 78
•Eddie Van Halen 10/6 Rock guitar legend; 65
•Johnny Nash 10/6 Pop singer, also helped introduce reggae in US; 80
•Mohammad Reza Shajarian 10/9 Iranian master singer of traditional Persian music; 80
•Joe Rico 10/10 Influential jazz broadcaster in Buffalo NY, 96
•John Gibson 10/11 Minimalist saxophonist w/Phillip Glass; 80
•Harold Betters 10/11 Versatile trombonist based in Pittsburgh; 92
•Viola Smith 10/21 Swing era drummer, leader of all-girl Coquettes; 107
•Candido Camero 11/7 Percussionist at center of Afro-Cuban jazz; 99
•Ian Finkel 11/16 ‘World’s Greatest Xylophonist’ from borscht belt to philharmonic – of Covid; 72
•Layton Thibodeaux 12/2 Cajun musician, law enforcement officer & radio host, St. Landry Parish LA – of Covid; 66
•Charley Pride 12/12 Country music trailblazer – of Covid; 86
•“Blue” Gene Tyranny (Robert Sheff) 12/12 Pianist, composer who explored intersections of rock, jazz, classical; 75
•Nadi Quamr (Spaulding Givens) 12/13 Pianist & Afromusicologist; 103
•Gypsy Lou Webb 12/13 French Quarter bohemian & publisher of beat generation authors; 104
•Jeff Clayton 12/16 Saxophonist, teacher, co-leader of Clayton Bros Quintet, Clayton-Hamilton Orch; 65
•Stanley Cowell 12/17 Pianist, composer, educator, creative collaborator; 79
•Debbie Duncan 12/18 Singer from Detroit, based in Minneapolis; 69
•Rebecca Luker 12/23 Broadway musical star -of ALS & Covid; 59
•Tony Rice 12/26 Flat-pick guitarist, bluegrass innovator; 69
•Armando Manzanero 12/28 Mexican singer & composer of romantic songs -of Covid; 85
•Alto Reed 12/29 Detroit saxophonist with Bob Seger; 72
•Frank Kimbrough 12/30 Creative pianist active in new music & mainstay of Maria Schneider Orch; 64
•Claude Jean Harry Bolling, pianist, composer and bandleader, born 10 April 1930; died 29 December 2020.

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As always, thank you for supporting LIVE MUSIC, and the recorded and streamed performances we rely on in these challenging times.

BoMuse News, January 2021

BoMuse News, vol. 20, no. 1

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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, and Facebook, and now at All About Jazz.

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1. Twenty Years!
2. Grammy Reflections
3. Jazz Education Network Conference
4. Videos
5. Passings
6. Gigs

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1. As I start the Twentieth volume of this newsletter, I want to thank all of you who have continued to subscribe. Especially those who’s addresses I recently recovered, and who chose to resubscribe. Shortly after I moved out here to San Diego, the program used for sending out the BoMuse News went belly up, and I could not find my back-up list. Recently, with some time on my hands I found the list, and reached out to those on it. Welcome back my friends. While we wait for venues to reopen, I will try to give you something worth knowing about in the coming months.

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2. Ah December! Time for Chanukah, Christmas, Kwanzaa, New Year’s Eve, and the second round of voting for the Grammys. As I have said before, I have mixed feelings about the awards handed out by the National Academy of Recording Arts and Sciences (NARAS). A few of my friends have been nominated, and even awarded over the years, and I celebrate these honors, for sure. On the other hand, I find it an absurd exercise – especially the best jazz solo category. I vote because I have just enough studio credits to do so, and was encouraged to as a way to keep “the industry” aware of us in the jazz community. The song, album, and artist of the year, etc. usually do not interest me. It seems that nothing in these categories ever really grabs me. Although just sampling a bit here and there this year made me think that I should at least try… maybe next year. The biggest problem for me is the same thing I have with arts contests of any kind: what should be the criteria? Choosing the music to vote for is a bit like throwing darts at a wall. Everything is of high quality, but unique. I did notice that with all the social unrest this past year, many of the jazz artists were trying to address big issues. It took me back to the late 60s and 70s, and reminds me (as if I needed any reminding) of just how much more progress needs to be made in the struggle for civil rights.

The Awards will be announced on January 31. If you care to see the lists of the nominees go here.

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3. This is also the season for the annual Jazz Education Network (JEN) Conference. It will be on-line this year. The down side, for me at least, is missing the face-to-face interaction with colleagues. The up-side, especially if you have never had reason enough to attend, is that it doesn’t cost very much to join and register, and there are many fine performances that will be streamed. Here is the schedule. I think the whole thing comes to less than $200 for membership and registration, which is a pretty good deal for four days of concerts and informative sessions. Even if you are not a musician and/or educator, the fees support a very worthy cause.

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4. I am still hung up waiting for needed responses regarding copyrights before I can post the Pocket Big Band video. In the meantime I have been enjoying performances by Brazilian singers, some in connection with a Tom Jobim project I am contemplating.

Also THIS JUST IN from Chuck Perrin of Dizzy’s Jazz San Diego: a video form his old location made in 2005 featuring the Gary LeFebvre Big Band, which included, among others, Gilbert Castellano, Gerald Clayton, and Rob Thorsen. The resumption of concerts organized by Chuck at the Musicians’ Union Hall is something we all have to look forward to.
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5. I used to run an obituary column in this newsletter, but as time went on I felt I could not do justice to the people whose lives I was try to celebrate. George Klein, one of the members of the Jazz Programers Listing, has compiled a list of notable jazz musicians, and even a few from other genres. In the interest of honoring these people, and by extension all of this who have suffered this last year, I will be sending an “extra” with his list. It is too long to include here.

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6. Gigs

Recently my friend Dene Davidson made something of a breakthrough in an on-going effort to find new venues for jazz in the north of our county, if only as background music. Earlier in December I played on a couple of these, and it felt so good to get out and play for people. Unfortunately, we are experiencing a crisis in the limited number of ICU beds in our hospitals, so I have ended up deciding to continue to lay low for now. I hope the place we played in Oceanside will survive the crisis, and I can announce a gig or two there in the future.

Be well, stay safe and,

As always, thank you for supporting LIVE MUSIC! – if only in your dreams for the time being.

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

BoMuse News, Dec. 2020

BoMuse News, vol. 19, no. 12

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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, and Facebook, and now at All About Jazz.

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1. Projects
2. Jazz News Sources
3. Arts For Learning Holiday Cards
4. Gigs

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1. While there are few performing opportunities (see Gigs for one glimmer), I am working on various projects. As reported before, one is developing video and audio tech skills, and that is crawling forward steadily, but slowly. I still have to work out the performing

Pocket Big Band, Chit Chat Lounge, Haverhill MA, 2002

rights issues around the recently discovered video of the Pocket Big Band; I have to be patient since the ball is now in BMI’s court. There is also a recently recovered live recording of the Pocket Big Band that I would like to make available on a very limited release. Then there is a long blog posting of Dameron research that has cropped up after the publication of the book. That too is moving slowly but steadily. Back to the tech front, I hope to try streaming a duo performance from my living room by the end of the year. Needless to say, I am thankful to be in a position to work on these things.

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2. I like to share sources for jazz news from time to time, and since I was introduced to some in the course of the reviews of Unknown Dameron, I went hunting on the internet and found this site called RoJaRo, which listed several from around the world. Sadly, some are discontinued, but you might find looking at this interesting, even though it is not complete. Fortunately the ones that reviewed my CD are still active:

Jazzdagama
Culturejazz
Jazz Weekly
L.A. Jazz Scene
New York City Jazz Record
Sea Of Tranquility

Although not exactly a magazine there is also Marc Meyer’s Jazz Wax.

There is more out there, and it is comfort to know that so many enterprising individuals are engaged in writing about the jazz world.

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3. Recently I received and email from Arts For Learning San Diego, announcing the upcoming sale of some special Holiday Cards, which will go on sale on December 1. Arts For Learning (A4LSD) is one of the larger organizations I was introduced to in my time on committees of the Art Education Resource Organization (AERO). The sale of the cards go to support the work of A4LSD in support of arts education in San Diego County Schools. You can find out more next week at the Arts For Learning Web-site.

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4. Gigs

I actually have a gig for the next three Sundays. I’ll be covering for my friend Keith Bishop in a band that plays for Evensong at St. Michael’s By The Sea Episcopal Church, 2775 Carlsbad Blvd., in Carlsbad. The band is led by another friend, bassist Dene Davidson. The service is held outside in the court yard behind the church from 4:00 to 5:30. It will be so nice to get out and make some music for people who are actually there, and in a safe environment.

As always, thank you for supporting LIVE MUSIC (as well as its temporary substitutes)!

Follow @BoMuseMusic, and Facebook, and now at All About Jazz.

BoMuse News, November 2020

BoMuse News, vol. 19, no. 11

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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, and Facebook, and now at All About Jazz.

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1. Challenges
2. Plans
3.Thanksgiving
4.Videos
5. Gigs

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1. Well, it looks like it will be next summer before we can perform for live audiences. I am continuing to try to work something out with one of the venues where I play with some regularity to start a streaming series. Unfortunately, the owners have their hands full with more urgent matters, with which I am sympathetic, so I just have to wait my turn. Meanwhile, the role of technology in various forms has become increasingly important in the lives of performing artists. The COVID crisis has accelerated this, for sure, but the trend was already underway. From the digital download eclipsing CDs, to the streaming of performances, there is no getting away from the need for technological competency for something approaching survival for us musicians. Even for someone like me, with a modest background in audio engineering, this extra work load is not particularly welcome, but it has to be accepted.

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2. Since my Summit CD, Unknown Dameron, has turned out to be one of those “critically acclaimed, but commercially unsuccessful” recordings (and I take some comfort in being in good company in this regard), I am exploring strategies for future releases that will be less expensive to produce, but will still keep me in the game. Right now I have three, perhaps more, projects in mind, and we will see how successful I will be in getting them completed. As Duke Ellington said of quitting music, “Retire to what?” Right now I am working on a some promotional projects for casual work as a way to get better at producing my own recordings and videos. I don’t want to jinx anything, so I’ll save the details until I have something to show for my efforts.

Unknown Dameron: Rare and Never Recorded Works of Tadd Dameron – Paul Combs

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3. November is Thanksgiving month. In spite of the artistic challenges, I have so much to be thankful for. The love of family and friends, good health, a good home, and the gift of music. This summer my family grew by one when my son married his long time friend and roommate. So far, all of my close friends have stayed healthy and secure, as have I. Finally, although our nation will continue to struggle with strong, and in my opinion unnecessary political divisions, we are anticipating a reduction of vituperative speech, at least from the highest office in our republic. I wish you all a Happy Thanksgiving!

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4. I am still sorting out some publishing details, so I cannot post the nice video of the Pocket Big Band just yet. I have just finished recording video and sound for the first of a small series of demos for casual work. This may also yield a “COVID Concert” of five tunes. In these I am playing with backing tracks. I must admit I have an aversion to this sort of ‘karaoke’ performance, but whether I like it or not, it has become generally accepted. I have even done one so far, when offered less money than I thought appropriate for a duo. The tracks feature real musicians playing real instruments. Synthesizer tracks are a bridge too far for me! I will be interested to see the response, if any, when I post the concert version.

In the meantime, may I recommend the videos posted by the Jazz Video Guy, Bret Primack, as well as any of the other available videos of excellent musicians. I have been enjoying the ones featuring the late Johnny Griffin lately, and the ever smiling Gene Harris, as well. And don’t forget to look up the folks who are still with us, especially the many young players and singers who are establishing themselves – you can find some here at ElectricLouieLand – and of course all those marvelous mid-career musicians we are blessed to have among us.

There is one more video that I would like to suggest. It features Daniel Jackson, a very important San Diego musician who passed before I got here, but whose influence is still felt throughout the San Diego Jazz Community. Jackson is joined by other influential San Diego musicians, trumpeter Gilbert Castellanos, bassist Marshall Hawkins, and percussionists Charlie Chavez and Gene Perry. Readers in San Diego will know these superb musicians, but others from out of town may not. The video was posted by Chuck Perrin who supports all of us local jazz musicians to finding places for us to perform under the banner of Dizzy’s. Chuck’s efforts are another thing to be thankful for.

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5. Gigs

While I am advised to lay low until we get the “all clear,” there maybe some safe outdoor venues where you can enjoy some live music, depending on where you live, and some venues are managing to live stream responsibly produced shows.

And don’t forget to support your favorite Jazz Radio stations and Internet presenters.

Hang in there, ware your mask, and we will hope to be out playing again by next summer.

As always, thank you for supporting LIVE MUSIC (as well as its temporary substitutes)!

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

BoMuse News, October, 2020

BoMuse News, vol. 19, no. 10

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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.  For questions or comments contact Paul at this Website.

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

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1. Correction – Better News Re: Arts Ed.
2. YouTube
3. Gigs?

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1. I spoke too soon in the last issue. Fortunately, the arts education community is working to cope with the current situation. Arts Empower, a program of San Diego County Dept., of Education has a virtual replacement for its annual Mega Conference, and you can get more information here.

Also after I had sent out the last issue I was happy to receive an email from Arts For Learning San Diego, who are carrying on with virtual programs, while we work through this crisis

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2. I will have to suspend monthly YouTube uploads, while I take care of some copyright issues. But in the meantime, here are some recommendations for your viewing, if you like gong to YouTube.

I have been deepening my understanding of the the drums in jazz by watching some instructive videos. While it is too late in the day for me to take up the drum set, I have long been able to respond to what the drummer is doing, and these have taken me deeper into how the drummer does what he or she does. Master drummer Michael Carvin’s short videos on the rudiments of drumming are easy to understand and are not only good for beginning drummers, but will enhance the listener’s understanding of what the drummer is doing. The rudiments are for the drummer what scales and arpeggios are for other musicians.

You might have to poke around, but there are some analyses of great drummers work that are not too technical, where you can see the application of the rudiments, and get a better idea of why what you hear in a drummer’s solo makes sense to you, even if you are not sure as to why. Here is one very good online drum teacher, Aubry Dayle, and while he is addressing drummers, I think this can help even the non-player jazz lover gain some insight. He is discussing a famous intro played by Philly Joe Jones on a Miles Davis recording.

Also in my YouTube explorations I came across an extended interview with Philly Joe Jones. This is part of a series only very recently uploaded, and there are others with important jazz musicians.

I fear the copyright stuff will take some time to work out. It involves asking questions in emails and waiting, sometimes for a week or two, for answers, so I will have some more recommendations in the next issue.

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3. Still, other than an occasional private party, I have not much to say for myself. We continue to look into a live stream from one of the venues where I play from time to time, but until they give the “go-ahead” I would rather not say more. Keep you “ear to the ground” and support the folks who are managing to stream.

As always, thank you for supporting LIVE MUSIC!

BoMuse News September 2020

BoMuse News, vol. 19, no. 9

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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, and Facebook,  and now at All About Jazz.

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1. Experiment in Streaming
2. This Month’s Videos
3. Arts Education During COVID19
4. Some Thoughts in a Troubled Time
5. Gigs ?

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1. In the next few weeks, I hope to start some streaming experiments. I’ll save the specifics for the date when I actually have something to announce. There are still some pieces that have to fall into place that are out of my hands. In the meantime, may I recommend some of the sources for musical comfort in these troubled times. In no particular order:

Dizzy’s here in San Diego is posting a few videos of past concerts. You can sign up for announcements, or go to YouTube to see a Wes Montgomery tribute concert .

I was just alerted, via Facebook, to lovely arrangements of hymns and spirituals for saxophone quartet by the estimable saxophonist and arranger Lance Bryant. You can hear them at his YouTube channel along with some other video creations of his.

The brilliant pianist Jeremy Siskind, with whom I had the pleasure of performing at a Wolfe Gardens house concert, is performing this Thursday, Sept. 4, at 7:00 PDT, with vocalist Christine Gutter. It will be available on the YouTube channel of the Del Mar Foundation.

Many jazz festivals have had to cancel this year due to the virus. However, The Detroit Jazz Festival will be live streamed. It will take place, as in previous years, on the Labor Day Weekend.

The excellent San Diego guitarist Louis Valenzuela has been quite busy streaming on line. Check out his YouTube channel for online shows.

Sherry Williams of the Merc in Temecula is supporting a variety of San Diego musicians’ concerts online. I don’t see announcements on the Merc’s Web-site, but if you would like to get emails from Sherry, get back to me and I will pass your address on to her. I do not feel comfortable just putting her address out there.

As I reported last month, the venues I was scheduled to perform at are either streaming performances, or posting video of past concerts. I have placed that information again under “Gigs?”.

There is a lot more out there, as musicians and their allies put their creative energy to work.

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2. On my own YouTube channel I just posted the final two videos from the Dameron Project Quintet concert from February of 2013. In Part 11, I read from the final chapter of my book on Tadd, and make the case for his importance. This was an introduction to Part 12, the last tune on the concert, “A Blue Time,” which Dameron wrote for Blue Mitchell’s Riverside lp Smooth As The Wind. I must apologize for my stumbling in reading my own words, but I do stand by what I say there. The Quintet featured saxophonist Jim Cameron, pianist Don Hemwall, bassist Herman Hampton, and drummer Stanley Swann.

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3. While I am no longer active in arts education, outside of my work with the African American Jazz Caucus, I continue to have an interest in this area, as you would expect. I am concerned about arts education for elementary and secondary students as so much is up in the air. I was distressed to find no mention of the crisis at the Arts Education Resource Organization (AERO) San Diego Website, and worse still, a rather blank place holder at the Arts For Learning Website. With the museums unable to open, and their educational programs apparently on hold, I was happy to receive an email from Outside The Lens, one of the member organizations of AERO, which announces their ongoing efforts in the face of the current challenges. You can see their online offerings for young photographers here. The Young Lions Jazz Conservatory did run its Summer program online, but I have not heard about their plans for the fall. I will keep you posted on any arts education news that comes my way.

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4. I try to keep the newsletter focused on the topics outlined in the little statement at the top of the page. This does not mean that I keep my head in the sand, hence my opening comments two months ago, after the murder of George Floyd. Sadly, there have been more outrageous incidents. The items written here are my modest effort to try to put something positive out in the world. As Tadd Dameron said, “There is enough ugliness in the world, I’m interested in beauty.” He spoke these words in the wake of the horrific WWII, and the ironies of an America fighting for freedom, while Jim Crow still reigned in several states.

I am a musician who draws inspiration from many sources, but focuses in an art form forged by Black musicians rising from slavery. I cannot remain silent in a time of the presence of such blatant racism as we are experiencing today. Back in the sixties we had the Congress Of Racial Equality, of which I was a youth member. As I recall it, one of its founders, James Farmer gave us a simple motto: “Give a damn!” Please, pay attention, vote, protest, write your officials, and above all give a damn, and try to inspire others to do the same.

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5. Gigs
While I have no engagements scheduled in the near future, there are folks finding public spaces where live music can take place safely. One that was brought to my attention is a regular performance in Bird Park, a corner of Balboa Park at the intersection of 28th and Thorne, in San Diego. Organized by Claudia Gomez, and Jeremy Eikam, They have been playing there on Saturdays from 5:30 to 7:30, although they might switch to Friday, so click on their names for the latest info. There is plenty of space for social distancing, and various musicians come and sit in in the second hour, including yours truly, on occasion.

As reported last month, we will definitely be giving our concert at Bird & Beckett Books, in San Francisco, once the virus is off of us. With that being confirmed I can talk with The Back Room, in Berkeley about keeping in touch regarding scheduling. Last time I talked with the folks at The Nash, in Phoenix, and Sherry Williams at The Merc, in Temecula, the were similar indications. In the meantime, please visit these venues on-line, and support them by enjoying their live streams, and archived shows, and giving a donation as you can. Sherry has a regular email blast with information on The Merc’s presentations. I do not see a place at the Web-site for one to subscribe, but if you contact me I will forward your email address to her, so you can receive her mailings.

As always, thank you for supporting LIVE MUSIC! (and the venues that stay committed to it)

BoMuse News, August 2020

BoMuse News, vol. 19, no. 8

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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, and Facebook, and now at All About Jazz.

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1. Jazz in the COVID Crisis
2. Jazz Week Summit
3. A Recording Session
4. Gigs?

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1. It looks more and more like it will be next spring before we can get back to something that resembles the live music world we knew up until the end of last February. In the meantime folks are looking for ways to keep the music going. In addition to streaming of recordings of past performances, and live streaming, we have, given the good weather, outdoor performances in spaces where people can maintain proper distance. Last Saturday I went over to Bird Park on the far northeast of Balboa Park to enjoy some live music organized by tap-dancing percussionist Claudia Gomez. I even got to sit in, which felt really good after all the cancellations of the past few months. Claudia and Friends plan to be at the park every Saturday from 6:00 to 8:00 PM. There is plenty of space, and you are welcome to bring a beach chair and a picnic, if you like.

A couple of days later I went to hear some music staged by a friend on his front lawn for the pleasure of his neighbors. My friend does this every few weeks featuring different musicians he knows. I’ll be playing at a similar setting up in San Clemente on the front porch of a singer friend of mine. since these sorts of performances are for for the immediate neighbors and invited friends, I cannot publicize them. However, this might inspire you to keep your eyes and ears open for similar happenings, or even to organize something similar.

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2. For something like fifteen years, I have been attending the annual Jazz Summit organized by the publisher of Jazz Week and a group of jazz radio activists. This year the Summit will have to be in the form of a webinar. Even though I have not been a broadcaster for a long time – the last time I was on the air was some time in the 1980s – I have found these conferences to be of great value to me both professionally and personally. The focus of the conference is jazz radio, but since this is an important component of the jazz ecosystem, many of the issues addressed have significance beyond the broadcast/internet realm. These include the ever evolving recorded music industry, and promotional strategies. I recommend attendance to anyone with a professional interest in jazz.

The sessions take place Thursday and Friday, August 13 and 14. You can find more information and a link to register here.

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3. One of the performances canceled last spring was the 40th anniversary performance of Bob Franke’s Good Friday Cantata. I am one of three musicians who has taken part in every performance, save one which took place in Denver. The Cantata is performed at St. Andrew’s Episcopal church in Marblehead, MA. We were to have made recording to mark this milestone, and as it turns out we are. In a couple of days I’ll go to Studio West here in San Diego to add my parts. We used to speak disparagingly of people “phoning in” a performance. Now it is something we do frequently.

More on this as it develops.

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4. Gigs

It seems that after further consideration, the folks at Carlsbad Village Faire have decided that it may not be a good idea for us to resume our Wednesday afternoon performances at this time. While part of me is disappointed, another part of me feels this is wise. After all, two of us in the band are over 70, and one has some health issues. In addition, a lot of the folks hanging out in the courtyard are not being particularly careful regarding mask-wearing and distancing.

Some good news, we will definitely be giving our concert at Bird & Beckett Books, in San Francisco, once the virus is off of us. With that being confirmed I can talk with The Back Room, in Berkeley about keeping in touch regarding scheduling. Last time I talked with the folks at The Nash, in Phoenix, and Sherry Williams at The Merc, in Temecula, the were similar indications. In the meantime, please visit these venues on-line, and support them by enjoying their live streams, and archived shows, and giving a donation as you can. Sherry has a regular email blast with information on The Merc’s presentations. I do not see a place at the Web-site for one to subscribe, but if you contact me I will forward your email address to her, so you can receive her mailings.

As always, thank you for supporting LIVE MUSIC!

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

BoMuse News, July 2020

BoMuse News, vol. 19, no. 7

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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. Questions and comments should be sent by visiting “Contact” at Paul Combs’ Web-site.

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

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1. Independence Day Thoughts
2. AAJC
3. Video News – Tadd Dameron
4. Gigs?

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1. While it appears that most people look at the 4th of July as an occasion for jubilation, I usually find it an occasion for reflection. This is not to to say that I have not enjoyed myself on July 4, especially when it has been an opportunity to gather with friends. However, I find our nation and society to be far too complex in both its history and its present state for evoking just one emotion. There are many things that make me happy to have been born an American, but there are also many others that have troubled me, even since childhood.

So far, I have not reacted publicly to the almost pornographic images of the murder of George Floyd. Not because of indifference, but because his inexcusable murder is just (I choke on writing the word ‘just’) one more, in a long, long line of such exercises in excessive, unnecessary, and vile abuses of police power and authority. People are saying that this time something may be changing, and I certainly hope so, but the level of willful ignorance and a seeming incapacity for critical thinking among all too many of our fellow citizens gives me cause for continued concern.

Just to be clear, I am not one to call police in general “pigs.” I have a late family member who worked for the NYC Police Department, and had a wonderful mentor when I was a teen-ager who was a policeman. I have also had unpleasant and unjustified experiences with police officers. If anything good is to come out of these recent unfortunate events, both well publicized, and “under the radar,” it will take diligent and thoughtful action on the part of all people of good will, whether in petitions, at the ballot box, or in attendance at public meetings. The peaceful demonstrations have indeed been powerful, but they are only the beginning. The hard work of bringing about change still lies ahead.

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2. AAJC stands for the African American Jazz Caucus. Rather than try to present the history of this organization, which you can read about here, I will tell you briefly why I am a member, and more importantly news of AAJC’s current activities and plans going forward.

As a jazz musician and educator, I had long been troubled by the disconnect between the art form’s roots and history in the African American experience and history, and my own day to day, gig to gig experience, as well as my experiences in the educational field. Of course, this is a reflection of the larger problems of our society coming to grips with the transgressions and contradictions in its development from colonization to the present day.

While flying to LA, on my way to attend an International Association of Jazz Educators (IAJE) Conference in Long Beach, I happened to meet Andy Goodrich. I had recently read an article he wrote in the IAJE Journal about the jazz education at Historically Black Colleges and Universities (HBCU) that existed before the day of degree programs in jazz and jazz education. As fellow historians, we connected right away, and Dr. Goodrich invited me to attend the AAJC session at which he would be presenting his research for his article. I recognized that this organization, dedicated to raising the awareness of African American music educators in the larger jazz education community, and facilitating their networking among themselves, as well as the larger community, was something I wanted to support. I paid for a membership, and the next year, if I remember correctly, a call went out for musicians to play in a big band organized to perform at a closing night social dance. The bari chair was empty, and so I filled it. I have remained a member ever since, and now I am one of the two editors of a recently revitalized newsletter.

The Newsletter is just one part of a big push among the membership to bring AAJC to a new level of effectiveness, that includes development of a database to facilitate communications among members, and efforts to better fund the Caucus and its programs. Please go look at the AAJC Website from time to time to see what is happening there.

In line with the first item in the newsletter, this is one example of the many opportunities for us, regardless of race or ethnicity, to help to move our society forward, and out of the darkness of our nations past transgressions. Whether through your profession and its organizations, your place of worship, or organizations in your neighborhood, please do what ever you can, and as the title of one of Tadd Dameron’s compositions says, “Stay On It.”

We lost Dr. Goodrich in 2008. You can find out more about him and his work in these articles, one from MusicianBio.org, and the other from Nashville Scene.

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3. While it has become something of a guilty pleasure for me, YouTube has also become a useful resource. Friends of mine recently made me aware of a channel full of fascinating interviews with jazz musicians of the second half of the 20th Century: The Leigh Kamman Legacy Project. While I neglected to look more carefully at this when I shared the link to a short interview with Charlie Parker in the June issue, it was a recent posting of an interview with Tadd Dameron, which I had not known existed, that got me to go to the channel and see all the treasures posted there. If you have taken an interest in my research into the life and music of Tadd Dameron, this will give you a chance to hear him speak. I always find that hearing the voice of historical figures helps to bring them to life in my imagination, and I hope this will bring Tadd to life for you, too. This goes for the others in this collection, as well.

One other recent discovery regarding Tadd that was brought to my attention was sitting right under our noses, as it were. My friend Bertrand Uberall, who was my guide at the Library of Congress, asked me about a photo of Earl Hines and band in the William Gottlieb collection at the Library of congress. In this photo you can see Tadd conducting a rehearsal of one of his compositions, “Stay On It.” I love the photo, and can only wish that it got into the book.

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4. Gigs

We are still waiting on word of our return to Wednesday afternoons at Carlsbad Village Faire. Frankly, I am getting the feeling from the news that we may have to wait for an effective vaccine before any kind of live performance environment can return, at least enough of one that will provide adequate opportunities for the many of us who are out of work. When I combine this with my age and the need for some caution in either going after or accepting gigs, I am not ‘holding my breath’ at this point. That being said, I will be delighted if we get to return to the Village Faire.

While it isn’t a public performance, I am happy to report that later this month I will go into the recording studio to add my tracks to the 40th Anniversary recording of Bob Franke’s Meditations, his Good Friday Cantata, which we did not get to perform live due to the COVID19 crisis.

Normally, I list some sources for gig listings. Included are my local jazz radio station and listings provided by a few organizations. Please, if you can, continue to support your local jazz radio stations, and any others you might listen to over the Internet, as well as jazz societies and support organizations.

As always, thank you for supporting LIVE MUSIC, once it can return.

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

BoMuse News, June 2020 EXTRA

BoMuse News, vol. 19, no. 6 EXTRA

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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, and Facebook, and now at All About Jazz.

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1. Cancelation Updates
2. Possible Gigs
3. New Videos

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1. Not surprisingly we have to postpone the concert at The Studio Door. We do have a new date, for The Studio Door, Thursday, November 19. The Dameron Day at Bird & Beckett books proved to be too complicated to pull off. The technology to make it work would have had to be brought in by a third party. This technician was willing to give it a try, and were I living in the San Francisco area, I would too. However, in the end I felt it was too much with the traveling involved. We plan to give the originally planed show when it becomes possible.

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2. The Thursday July 2 show at The Merc in Temecula has not been canceled yet, so we shall see. So Much is still up in the air at this point.

Our return to the Village Faire in Carlsbad is still possible, but there have been some complications there, not related to the virus. Stay tuned.

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3. I just added three new videos all titled Jazz At The Tap. The three tunes recorded are “While We’re Young,” “Weekend,” and “Ce Si Bon.” These videos were shot on Sunday, April 28, 2019, on my annual trip back East. Jazz At The Tap is the continuation of a Sunday evening jazz series I started back around the end of 2002, across the street from The Tap in Haverhill, MA at the Chit Chat Lounge. The recording of the second set that night was an experiment in creating a three camera shoot with stationary cameras. The band was a group of former band mates, all good friends. We had only a bit of rehearsal time before the show, so I give you my apologies for the loose performance and the somewhat primitive quality of the video. What I hope you will appreciate is the warm camaraderie of the evening. Jazz At The Tap is on hiatus as the venue is closed during the COVID19 crisis. We hope that it will resume after the crisis is over.

The three videos are:

Weekend

While We’re Young

and

Ce Si Bon

The Tap is located at 100 Washington Street, Haverhill MA. There is a video about the Pocket Big Band with a bit of the story of Jazz At Chit Chat, elsewhere at my YouTube Chanel

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As always, thank you for supporting LIVE MUSIC (whenever we get to provide it again)!

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