Zev Feldman: “The Jazz Detective” is haunted by the greatest ghosts of the music

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Zev Feldman’s reputation in the jazz world has spread to where he is a consulting producer for the legendary Blue Note label. Here he is with Blue Note president Don Was (left) in the label’s tape archives. All photos courtesy of Zev Feldman

. The name Monk for decades meant jazz giant Thelonious Monk. Then a Emmy-winning TV detective named Monk became the star of a popular series called Monk, claiming new first association for the name in popular culture.

And now, along comes Zev Feldman, to take the detective role back from the TV guy, and for the sake of jazz. So now Feldman is known as “The Jazz Detective.” Detective Monk’s mystical raised hands might have a counterpart in Feldman’s internal musical dowsing rod, sensing the jazz dead, who gravely whisper, “Over here lies my best undiscovered work.”

Hearing such spectral vibes over and over, the researcher-record producer has become one of the most important non-jazz musicians in the art form, responsible for an astonishing bounty of recordings that are helping reshape the legacy of jazz history.

And his musical roots are deep, if not pure, Milwaukee.

The GRAMMY-nominated independent record producer, and the Co-President of Resonance Records, is now also a consulting producer of archival and historical recordings for Blue Note Records, the quintessential jazz label. He’s been dubbed “the Indiana Jones of Jazz” in Stereophile magazine and is widely known as the “Jazz Detective.” Over the last 25 years, he has worked for PolyGram, Universal Music Group, Rhino/Warner Music Group, and Concord Music Group, among others. In 2016, he was voted “Rising Star Producer” in Down Beat Magazine’s International Critics Poll, and he was voted “Producer of the Year” in 2022.

He’s co-produced several other labels’ important historic projects, including the acclaimed Thelonious Monk discoveries Les Liaisons Dangereuses and Palo Alto.

He also co-produced the monumental 2021 release of John Coltrane, A Love Supreme: Live in Seattle on Impulse! Records.

Amid this auspicious career in the music’s archeological byways, Feldman found his seeming destiny when he crossed paths with “my dear friend and mentor (producer) George Klabin at Resonance Records,” he says. “Since Resonance, my life was forever transformed. I was given an intriguing proposition: if I found unreleased jazz recordings, not just reissues, but newly unearthed material, George said I could produce it for release on the label. That was like putting fire on gasoline and led directly to what I’m doing now.”

Feldman with his mentor, Resonance Records president George Klabin

But Feldman’s back story shaped who he would become. He was born in Los Angeles, but his family moved to Madison shortly afterwards and Feldman’s passion for jazz goes to deep Milwaukee familial roots. His great uncle was the stellar Milwaukee tenor saxophonist Alvin “Abe” Aaron, who worked and toured with Les Brown (on all those famous USO tours with Bob Hope and in the studio), Dave Pell, Jack Teagarden, and others. Another uncle, Joe Aaron, also played reed instruments. Feldman’s cousin is longtime Milwaukee flutist Rick Aaron, now based in Florida. His Aunt Dora played guitar in an all-female jazz band in Milwaukee around ‘20s and ‘30s called The Bachelor’s Delight.

Feldman’s Aunt Dora (second from right) played guitar in the all-female jazz band Bachelor’s Delight in the 1920s and ’30s.

“Music, especially jazz, was always around and was passed down from the elders,” Feldman says. “It’s been part of our family’s language since I was a child.

“My mother and father (who were Milwaukee natives) had an awesome record collection in all genres of music. In high school I was all about classic rock from the Beatles, the Stones, Hendrix, the Who, but was also really digging Miles and Coltrane, and eventually the Mahavishnu Orchestra, and so much more. My most memorable live music experience in Milwaukee was seeing my great uncle Joe Aaron perform at a club when I was 18 years old and went with my great aunt, Shirley, and my grandmother. I even had a couple of Heinekens, which was very exciting.”

Feldman’s great uncle was the noted Milwaukee tenor saxophonist Joe Aaron.

 Joe Aaron’s and the great tenor saxophonist Sonny Rollins (left)

“Growing up, my grandparents lived right behind Peaches record store in the Silver Spring shopping center. I spent so many vacations visiting their house, and countless hours in Peaches, which eventually became a Mainstream record store. Milwaukee has always been a second home for me and I’m very lucky to be able to say so,” says Feldman, who’s formulative detecting fuel may be his passion for Kopp’s hamburgers.

Talent and Chutzpah

Since becoming a jazz music host and music director at his college radio station, Feldman’s talent and chutzpah led to progress impressively in the music business, at Polygram Records in Maryland as early as age 20 as a merchandiser and marketing specialist. He later went to Rhino Records, the reissue company, and finally national director of catalog sales for the Concord Music Group.

After a period of freelancing, he met producer George Klabin of Resonance Records in 2009. “George pulled me out of the sales and marketing realm and put me on the production highway and I’m eternally grateful.”

Since his ground-breaking success at Resonance, Feldman has co-founded a similar label, Elemental Records, and is now releasing with his own “Jazz Detective” imprint. Among the other dazzling array of historical recordings Feldman has dug up over the

The Jazz Detective label logo

years for either label are no less than eight recordings by the beloved, influential pianist Bill Evans, and five by iconic guitarist Wes Montgomery, as well as recordings by Sonny Rollins, Sarah Vaughan, Stan Getz, Charles Lloyd, Eric Dolphy, Jaco Pastorius, Grant Green, Shirley Horn, Woody Shaw, The Thad Jones-Mel Lewis Orchesatra, and Larry Young, among others. Most recently the acclaimed finds have included “The Lost Album from Ronnie Scott’s” by Charles Mingus for Resonance.

From Elemental has come the massive five-LP, three-CD set of Albert Ayler’s Revelations: The Complete ORTF 1970 Fondation Maeght Recordings. Jazz Detective has recently released two double-disc sets of Ahmad Jamal Emerald City Night: Live at the Penthouse, Sonny Stitt’s Live in Baltimore and Chet Baker’s Blue Room: The 1979 Vara Studio Sessions in Holland, which followed a superb Baker Live in Paris trio album from 1983-84. Both Baker sets give a good idea what the often-sublime trumpeter-singer sounded like when he performed between those two dates at the Milwaukee Jazz Gallery in 1981, which this writer reviewed. 1

No Bootlegs

It’s important to understand the consistent quality of Feldman’s recordings. He never settles for crudely recorded “bootlegs” no matter how great the artists. Rather, he finds tapes done on high-grade recording equipment or, as with Baker’s Live in Paris, professionally recorded for Radio France, but never released as albums. And his packaging always includes substantial critical liner notes, unpublished photos and interviews with artists, often conducted by Feldman.

“For me, it’s literally about pulling out all the stops, and bringing a story to life,” Feldman says. “I truly want to elevate the art of record making…We brought a style, sensibility and classiness to the presentation, and made it completely legal and official with all the rights holders being cleared and compensated.”

A recent Zev Feldman unearthing, a recording of trumpeter-singer Chet Baker live in Paris.

The multiple Evans and Montgomery projects have been memorable experiences for Feldman, as well as historically redefining the artists’ oeuvre.

“Getting a chance to know the families of Wes Montgomery and Bill Evans has been a blessing,” Feldman says. “We’ve done numerous projects together and have become good friends as well. It’s also been a thrill to work directly with Sonny Rollins, Charles Lloyd, and Ahmad Jamal, who just passed away recently. It’s so interesting because they have a chance to share their experiences and weigh in on all the elements that go into a project.”

Globetrotting “jazz detective” Zev Feldman relaxing in his music library.

No End in Sight

What’s on Feldman’s horizon?

“I’m working with the great Sonny Rollins on a four-LP box set, and he’s looking at everything that comes through and playing such an important role.” Upcoming there’s also unissued live recordings from Les McCann in 1966 and 1967. Feldman is especially excited to have recordings of Wes Montgomery with the Wynton Kelly Trio from the Half Note jazz club in New York City in 1965 (a collaboration which produced what Pat Metheny calls “the absolute greatest guitar album ever made,” Smokin’ at the Half-Note). 3.

Also, “George Klabin and I have been looking for a long time for unissued Art Tatum recordings, and we have a glorious three-LP and 2-CD package coming soon of three hours of unissued recordings.”

The sky is the limit? For Feldman, the deepest buried treasures are the limit. How many jazz ghosts would disagree?

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This article was originally published in slightly different form in The Shepherd Express, here:  https://shepherdexpress.com/music/music-feature/the-jazz-detective-searching-for-vintage-music/

1. My review of (and an interview feature with) Chet Baker (Aug. 7 and Aug. 12, 1981) are both in Milwaukee Jazz Gallery 1978-1984, an anthology of the venue’s press coverage and more:

2. The Ahmad Jamal Emerald City Lights sets and the Baker Blue Room set are reviewed in a separate Culture Currents blog, here:

Reviews of two notable “Jazz Detective” albums by Ahmad Jamal and Chet Baker

3. A previous 2005 release from 1965 called The Complete Live at the Half-Note (Wynton Kelly Trio with Wes Montgomery) appears to be an incomplete misnomer.

from NPR feature

REVIEW

MUSIC REVIEWS

Albert Ayler made sublime music. The world was not ready

The saxophonist’s last recorded concerts appear on ‘Revelations’

“Music is the Healing Force of the Universe” begins and ends Revelations: The Complete ORTF 1970 Fondation Maeght Recordings. The gorgeous box set — one of many archival jazz gems recently released under the care of producer Zev Feldman — features unseen photos, extensive liner notes and commentary from Ayler’s daughter, critics, producers and musicians. But more importantly, Revelations restores two full sets performed by the tenor saxophonist’s band, just months before Ayler was found floating in New York City’s East River. The circumstances around his death remain a mystery, but listening to these concerts — recorded July 25 and 27, 1970 — there’s a sense that Ayler was a musician in transition, the primordial yawp of his saxophone sparkling anew from the music of his youth.

 

 

Reviews of two notable “Jazz Detective” albums by Ahmad Jamal and Chet Baker

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ALBUM REVIEWS:

Ahmad Jamal, Emerald City Nights: Live at the Penthouse 1963-1964

and Emerald City Nights: Live at the Penthouse 1965-1966 (Jazz Detective)

and Chet Baker Blue Room (Jazz Detective)

Jazz producer and executive Zev Feldman has long had the nickname of “the jazz detective” for his uncanny skill at finding previously unreleased tapes from the genre’s greats to release as high-profile archival releases. (See related feature article). Now he’s putting that moniker to use for his own label, Jazz Detective, with a distinctive fingerprint logo, along with his typically highest-quality recording and packaging. Plenty of national media, from Variety, The Washington Post, NPR etc., have paid attention.

As a jazz piano aficionado, I’ll testify that the various Bill Evans albums are all treasures, expanding a deep catalog of one of the most beloved and influential modern jazz pianists. But I want to focus on Feldman’s 2022 “Jazz Detective” albums of Ahmad Jamal, a more controversial artist in serious jazz circles. Snobbish naysayers would sniff “cocktail pianist,” as Ahmad Jamal rose to rare jazz popularity with his hit album But Not for Me: Live at the Pershing in 1958. Yes, he’s capable of dazzling ornamentation and glittering fills, but, for the most part, done with stunning grace rather than excess. He’s also a deft and sometimes breathtaking employer of grace notes, of space and silence.

Far more than even that classic album could convey, these two Jazz Detective double-discs prove revelatory. Emerald City Nights: Live at the Penthouse 1963-64, and a same-titled one, recorded in 1965-66, provide vast and varied musical protein. Jamal is technically muscular, and expansive, yet exquisite, dynamic and capable of piston-like, two-handed chording, and hard-swinging (eg. “Bogota” and Johnny Hodges’s “Squatty Roo”). Yet he’s always a master of the grace note, poised with a wizardly sense of silence and space, even building drama with it.

You come to understand how Miles Davis learned the art of lyrical-yet-incisive understatement from him: “All my inspiration comes from him,” Miles wrote in his autobiography, an unusual thing for a trumpeter to say about a pianist. You hear, in these four nights recorded over four years, how, riding chops-to-die-for, Jamal expands his sonic, conceptual and harmonic canvas to mural-like dimensions. Jamal’s deep-in-the-night take on “I Didn’t Know What Time It Was” becomes a musical joke, as he nurses a Hamlet routine for over 15 stunning minutes, yet you want to shadow his musical genius every step of the way, as it’s filled with dynamic surprises, a la his radical 1965 composition “Extensions.” Has this evergreen ever been played better, ever fresher?

By superb contrast, Anthony Newley’s “Feelin’ Good” plays out in low registers, funky and freewheeling, repeatedly quoting “Workin’ on the Chain Gang,” and the enduring strength of the blues and spirituals. And worry not, there’s a splendid version of his trademark superhit “Poinciana” in the second volume. Suffice to say, this was one of my three choices for historic album of the year in the 2022 Francis Davis jazz poll.

Annotator Eugene Holley Jr. aptly explains the range of classically-trained Jamal’s sources: “a protean and profound pianism that ingeniously melded pianist Art Tatum’s swing-at-the-speed-of-sound and his hometown (Pittsburgh) hero Erroll Garner’s tender and torrid touch, with Franz Liszt’s boundless keyboard technique and the azure French impressionism of Ravel and Debussy.” He has influenced Keith Jarrett, Herbie Hancock, Jacky Terrasson and Aaron Diehl (The Milwaukee Symphony Orchestra’s “artistic partner,” who soloed in his orchestral adaptation of Mary Lou Williams’ Zodiac Suite May 26-28 with the MSO).

***

Also, I’ll note that the new Jazz Detective Chet Baker studio set Blue Room, from Holland in 1979, reminds us vividly of the sublimely cool trumpeter’s personalizing of Miles Davis’s style. 1 Yet no trumpeter had a more buttery-golden horn tone, on the verge of melting, right from the opening Wayne Shorter tune “Beautiful Black Eyes.” Over the years of an extraordinarily tough, heroin-burdened life (he once spent a year and year a half in an Italian jail, as did his newlywed wife), his solos were consistently shapely, lyrical and swinging.

Elsewhere here, Baker again demonstrates how he was as emotionally affecting a jazz singer as we’ve ever had, on songs like “Oh, You Crazy Moon,” “Candy,” and “My Ideal,” by singing almost despite himself. He sounds like a shy introvert vocalizing to a loved one’s photograph. So, while not overtly expressive, his warm vocal tones unfold rounded, often liquidly limpid, and tender, with whimsy, pain and loss, delicately vulnerable. Yet he also scat-sings several choruses of “Candy” and one of “Crazy Moon” superbly.

Blue Room also reveals how underappreciated Phil Markowitz is as a crystalline, hard-swinging, harmonically deep and potent pianist. 2. As a bonus, Baker, in effect, steals something right from under Miles Davis’s embouchure. Miles wrote the superb tune “Nardis” but, mystifying, never recorded it, instead allowing Bill Evans to appropriate it, often as a centerpiece of the great pianist’s repertoire. Ah, but Baker smartly saw the opportunity, so here we finally hear the austere, lonely beauty of “Nardis” as a Miles-esque trumpeter would handle it. However, one also suspects pianist Markowitz, a deeply Evans-influenced player, and a master re-harmonizer, might’ve suggested this tune to Baker.

Blue Room follows a Feldman’s marvelous 2022 Elemental label’s two-album set Chet Baker Trio (with a French pianist and bassist) Live in Paris.

The Jazz Detective catalog and Feldman’s Resonance and Elemental label dates accumulate, both as limited-edition CDs, and historical vinyl packages. These include two 1970s concerts by pianist Bill Evans in Buenos Aires; a long-lost 1972 recording of bassist Charles Mingus at London’s Ronnie Scott’s Jazz Club; French radio broadcasts of Baker in 1983-1984; and, the prize package, a five-disc box featuring Parisian concerts from July 1970 by free jazz saxophonist Albert Ayler — some of his last recordings before his death the following November.

The Ayler recordings especially underline how Feldman’s pioneering globe-trotting research and development is contributing to expanding jazz history with recordings by artists with strong influence but unjustly low historic profiles, like pianist Walter Bishop Jr. and Shirley Scott, one of the first female jazz organists to ever record. A third album features saxophonist Sonny Stitt, a prolific recording artist in his day who still doesn’t quite get his due.

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1 Actually it’s debatable who influenced whom, Chet Baker or Miles Davis. Miles was still a bebopper, though with modest technical facility, until his transformation into the deft poet of Birth of the Cool, recorded in 1949. But it wasn’t released until 1958. However, Miles did partake in the less-heralded cerebral all-star “cool jazz” album Conception in 1951, with Stan Getz, Lee Konitz and Gerry Mulligan. When was the real birth of the cool? Baker had been playing a very similar style at least since he began recording as a leader in 1952.

  1. The 1979 Blue Room recordings vividly brought to mind Baker’s live performance in 1981 at the Milwaukee Jazz Gallery. At the time, this reporter described him thusly: “Baker’s music glows with a moody romanticism, which takes his trumpeter into a role uncharacteristic of the normally declamatory instrument…But Baker’s playing is more than moody wafting. The intelligence displayed on the venerable “’Round Midnight” was engineered with skill and imagination. Like a ghost slipping through the crack of a door, Baker slid into the familiar shrouded melody, stripped his second chorus to an elegant spareness, then overlaid it with several plush phrases.

“Baker’s singing reveals an even closer view of his personal expression – lyrics of broken love flowing from a tenor feathered with soft gray textures.”

The Milwaukee Journal, Aug. 12, 1981. from the Milwaukee Jazz Gallery 1978-1984 anthology (For those interested in a copy of the anthology at a retail outlet, I’m aware of only of a single copy remaining at Woodland Pattern, in Milwaukee’s Riverwest neighborhood).

 

Miguel Zenon builds a bridge from his Puerto Rican soul to the world

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Pianist Luis Perdomo and saxophonist Miguel Zenon shared an intimate experience of the deepest feelings and highest art. All photos by Jim Kreul courtesy Arts + Lit Lab

MADISON JAZZ FESTIVAL Review, Vol. 2

Miguel Zenon and Luis Perdomo

Arts + Literature Lab, June 13

As a critic, it is far from my wont to walk away from a concert with the utterance that tripped forth from my lips after a duet performance last week by alto saxophonist Miguel Zenon and pianist Louis Perdomo. But I said it, “I think I just died and went to heaven,” the hoary cliché clunking about shamelessly.

And therein lies the rub, I’ve concluded. You see, I really was experiencing something deliriously pleasurable during this concert. No question, Miguel Zenon, a Guggenheim and MacArthur Fellow, is a monumental artist. He has emerged in recent years exploring with ardent, rigorous intelligence and reflection the cultural and historical legacy of his native Puerto Rico and Latin America in music and song. His 2014 album Identities are Changeable won numerous awards including this writer’s best jazz album of the year, for its exploration of the permeable ways that Puerto Rican and other Latinx New Yorkers see themselves. As I commented in my Culture Currents, it explores the “increasingly bifurcated nature of racial and national identity in America, typified no more strikingly than in our Puerto Rican culture.” Zenon interviewed and recorded numerous people in New York City and Puerto Rico and their testimony about fluidity and duality of identity rings fresh and true. “I think more people are realizing that you can be more than one cultural self at the same time,” comments Juan Flores.

And last year’s Zenon’s Musicas de las Americas probed with fascinating depth the innermost byways of Pan-American culture, especially focusing on the consequences of colonization.

By contrast, the album performed at this month’s Madison Jazz Festival, El Arte Del Bolero, seems less ambitious but in the experience proved no less consequential, at least emotionally, psychologically, and perhaps spiritually. It’s an album of duets by arguably Zenon’s closest collaborator, pianist Louis Perdomo, and comprises songs traversing their lifetimes, “songs from the times of our parents and grandparents… As essential to our development as the music of Charlie Parker, John Coltrane, or Thelonious Monk, but perhaps even more familiar,” Zenon explains in the liner. “When we play these songs, we can hear the lyrics in the backs of our minds – something that provides a very deep connection, one that is hard to replicate in any other situation. It is beyond familiar. These songs are part of us.”

The Arts + Literature Lab in Madison, where Zenon and Perdomo performed, is a multi-purpose art gallery/arts and literature workshop/concert space.

The effect, in a jazz sense, manifested the ease of musical quotation as natural as breathing for them, and best exemplified historically by tenor saxophonist Dexter Gordon.

So, if the songs seem simple compared to modern jazz that’s only a superficial quality. The musicians brought a lifetime of listening and music-loving to these, as elemental as their birthrights. The sheer beauty and ardent passion they infused them with captivated us. Many of these songs compared to the finest Tin Pan Alley melodies and one recalled “The Shadow of your Smile.”

Lyricism rarely gets much finer. That and the lack of drums lent an intimacy comparable to a hand laid in your own, or arms embracing, even a kiss. Yet for all the tenderness, the musicians filled their sweet cups with the protein of creative jazz. The mind was lit as much as the heart in song after song, which were mostly big hits in Latin America in their day.

Also, a dialectical power hovered that is almost excruciating, as exemplified by “La Vida Es Un Sueno,” written by Arsenio Rodriguez.

The title translates as “Life is a dream,” but that phrase is deceptive, snuggling up to bucolic notions. In a press release, Zenon explains that the closing lyrics of the song convey his sentiment as well as anything:

La realidad es nacer y morir
por qué llenarnos de tanta ansiedad
todo no es más que un eterno sufrir
y el mundo está hecho de infelicidad.

por qué llenarnos de tanta ansiedad
todo no es más que un eterno sufrir
y el mundo está hecho de infelicidad.

That translates into English as:

The reality is to be born and die
because filling us with so much anxiety.

everything is nothing more than an eternal suffering
and the world is made of unhappiness.

That, and the rest of the lyric, may be too bitter a cup to swallow for many comfortable gringos. But slavery, racism and colonialism have normalized that reality for countless Latinos, as well as African-Americans. And here Zenon’s horn let loose with utterly anguished moans, remembrance of deep-scared experience.

So, Zenon and Perdomo hardly diminish the pang of Rodriguez’s sentiments, but their playing proved as artful an anodyne as one could hope for, a salve to the suffering soul and, Lord knows, we all suffer, thus the universality of the music, even as it enlightened us.

Zenon possesses an alto sax tone all his own, though one can imagine a blend of tenor saxophonist Stan Getz and alto saxophonist Paul Desmond, the latter lending a dryness to the former’s “sweet rain.” His inventiveness seems as inexorable as a waterfall.

And pianist Perdomo is as harmonically blessed as any pianist while capable of rhapsodic and sensual skimmings of the skin, with his classical training.

As for me, I had recently recovered from Covid positivity yet was still struggling with the lingering Covid fog, which affects one’s mood, lucidity, energy, and psyche. Yet memory of the music remains vivid. Indeed, El Arte del Bolero was conceived and first performed during the pandemic and that experience, along with those embedded in the composers’ songs, fueled the profound melancholy permeating these exquisite, sometimes soul-wracking utterances. So I wrestled with the strength of these emotions as I bathed in them, awash in the complexity of their poignant and plangent textures. I thank higher powers for the music’s all-too-human qualities, even as it buzzed my brain in the stimulating setting of The Arts + Literature Laboratory’s art gallery/concert space.

El Arte Del Bolero will stay with me like a tattoo on my soul, and I’ve never been happier to be so “defaced.” Indeed, I’m facing the sun with no fear of burning, even if the pain can be all too real.

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  1. Arsenio Rodriguez, “La Vida Es Un Sueño,” https://www.cancioneros.com/lyrics/song/29825/la-vida-es-un-sueno-arsenio-rodriguez

 

 

 

 

 

 

 

 

 

 

A YouTube recording of “A Tribute to Wayne Shorter” by a Madison jazz sextet brings his often-mysterious music back to life

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Wayne Shorter in the era of his celebrated Blue Note recordings

MADISON JAZZ FESTIVAL 2023, Review VOL. 1

This is for anyone who cares about the passing, in the eternal night, of Wayne Shorter. He was a titanic of modern jazz and jazz-fusion, and of American music in general. As with the famous Titanic, there was a certain fatefulness in him, even though he lived to 89. One of his underappreciated albums was Phantom Navigator, and his wife Ana died in 1986, at age 43, in the crash of TWA Flight 880. And his music often seemed to dwell in mystery, not unlike most of the iceberg submerged and waiting for the “unsinkable” ship liner, now once again in our consciousness, due to intrepid if fatefully foolhardy explorers.

The following video’s value is representing a live tribute by a sextet of musicians who handle an intriguing array of Wayne Shorter repertoire with aplomb and dedication as part of the recent Madison Jazz Festival.

The festival, by the way, has evolved to become, in my book, the best Midwestern jazz festival north of the inherently larger Chicago Jazz Festival. These musicians are from the Madison and Milwaukee region, but perform Shorter’s music in a representative manner, as comparable to most any region in America. The concert was at saxophonist-entrepreneur-educator Hanah Jon Taylor’s music venue Café Coda in Madison, which has been one of the Midwest’s hotbeds of such creative and improvisational music for some years now.

Pianist Dave Stoler (left) and bassist John Christensen from the Shorter tribute band. Tribute band photos courtesy Arts + Lit Lab

The tribute event was organized by the Arts + Literature Lab and it covers a discerning array of Shorter’s remarkable oeuvre. It opens with “Fee-Fi-Fo-Fum,” one of the uncannily fetching tunes from his masterpiece album of the 1960s, Speak No Evil.

Wayne Shorter’s 1964 acoustic jazz masterpiece, “Speak No Evil.” Bing images

The title admonishment doesn’t mean that Shorter did not fearlessly peer into the eyes of evil and transmute that into music, among his other uncanny feats. Besides the implicit ominousness of that fable-evoking tune, that shadow-toned album includes the pieces “Dance Cadaverous” and “Witch Hunt,” although one suspects Shorter, a Buddhist fascinated with science fiction, was far more intrigued than put off by the “evil” powers of witches. Tenor saxophonist Pawal Benjamin, employing Shorter’s own horn voice, dug into hearty low notes in a solo both meaty and muscular, though not as oblique as Shorter’s would be. Pianist Dave Stoler came in swinging with some Herbie Hancock-like harmonies. The only drawback here was a rather ragged ensemble reading of the theme.

But that cleaned up in the playing of the ensuing tune, “Lost,” from an underappreciated Blue Note album The Soothsayer. Stoler plays tough here, riding the changes with block chords, really digging into this minor-key mood. As with the first tune, “Lost” has marvelously dense but resounding harmony in the ensemble line, rendering it indelible to memory.

The front line of the Wayne Shorter tribute band included (L-R) trumpeter Russ Johnson, tenor saxophonist Pawal Benjamin, and alto saxophonist Clay Lyons.

The band ensues with their own take on “Nefertiti,” recorded with the Miles Davis Quintet. The original was atypical in that it repeats the sighing, languid theme over and over, with no front-line solos, only drummer Tony Williams sustaining the tune with an explosive solo throughout, so you are constantly listening to his drumming as the theme turns mantra-like. Here the band allowed for a Benjamin tenor solo that slices up the theme nicely while drummer Wayne Saltzman digs into the Williams-esque rock-shuffle feel while striving to approximate the incendiary energy of a drummer who made legend of himself with Miles Davis even in his late teens.

Here Stoler also delivers very Hancock-like block chords and octaves, tart and pungent but still pretty, a fine-honed power.

The ensuing tune, “The Big Push,” also from The Soothsayer, has harmonies I could eat for dinner, as protein-packed as they are, and another oddly engaging melody. About Shorter’s harmonies: Each has a story-telling quality, with a layered ensemble chord a chiaroscuroed image in itself, and the change sequences cast suspense and weird beauty in equal measure.

I’ll touch on the second set somewhat more briefly: a highlight was Shorter’s intense yet atmospheric “Sanctuary,” written for Miles Davis’s slightly satanic yet spiritual album of controversial jazz fusion, Bitches Brew from 1970. It has a loping, free-ish melancholy contour, and here trumpeter Russ Johnson shone — the style is his wheelhouse, unfettered but well-formed improv.

Tenor saxophonist Wayne Shorter with trumpeter Miles Davis in the band that produced “Sanctuary,” from the seminal jazz fusion album “Bitches Brew,” which included bassist Dave Holland and drummer Jack DeJohnette. Courtesy www.musicajazz.it/festival-e-concerti

The band then shifted back to the Shorter Blue Notes with “El Gaucho,” another deceptively simple theme from the album Adam’s Apple with a characteristically resonating harmonic structure.

The band encores with, for Shorter, comparative ear candy. The rollicking “Yes or No” is among the composer’s most ingratiating and invigorating melodies and saxophonist Benjamin is cooking the hard-bop brew here, which could have been a Jazz Messengers tune, from Shorter’s days as musical director of that band. But the title’s implicit dialectic is key; this is from the album JuJu, by which time Shorter’s was conceptually delving into paradoxical African powers beyond the ordinary.

Such tension-filled qualities permeated the musical particulars of his writing and soloing style and helped to sustain the intrigue of several generations of jazz musicians as represented here.

So, this critical preview is to help document what you hear but, most of all, to encourage you to sit down, buckle up in the safari jeep, and follow this band longer than you might otherwise, on this Shorter sojourn:

(16) Tribute to Wayne Shorter at Cafe CODA – YouTube

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Singer Donna Woodall swings between jazz and pop with aplomb

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All photos courtesy Donna Woodall. 

Though she was born in St. Louis, she’s lived in Milwaukee since 7th grade, so jazz singer Donna Woodall feels deep musical and cultural roots here, considers this home. She grew into a radiant, apple-cheeked purveyor of song who swings like ripe apples on a wind-blown tree. She’s since parachuted far from the tree, a full-fledged artist, perhaps the most active and accomplished female jazz singer working in Milwaukee.

She’ll be honored with a concert at the Sharon Lynne Wilson Center for the Arts on April 21: http://wilson-center.com/calendar/2023/4/21/wisconsin-artists-club-show-series-donna-woodall-group.

“I attribute my specific love of jazz music to my grandfather, who encouraged me to ‘sit and listen’ to swinging divas, and to my mother, Jeanne Woodall, who performed in Milwaukee jazz circles, leaving behind a legacy of song after her passing in 2011,” she explains. Donna diversified her performing skills, studying music, dance, and theater at UW-Milwaukee and UW-Madison. Yet, “my mother was my greatest voice teacher — she was a walking encyclopedia of jazz songs and styles.”

Her deepening knowledge, innate musicality and affable personality insinuated her into popular local jazz bands like Eddie Butts, and soon Streetlife, the dynamite jazz-fusion band led by Warren Wiegratz, which played for Milwaukee Bucks crowds for years. So, Woodall can project big, but also charm you with a tender ballad, like “Summertime.” Yet the modal vamp inserted by pianist Theo Merriweather casts a fresh shadow of tension across the languid Gershwin song. This lends strong undercurrents of meaning to a song from a “folk-opera” (Porgy and Bess) about Southern Blacks enduring the early Jim Crow era which, out of context, “Summertime” gauzes over.

Donna Woodall performs recently with keyboardist Theo Merriweather.

A measure of Woodall’s regard among the region’s jazz musicians is that Madison-based Hanah Jon Taylor, arguably the state’s premiere jazz saxophonist, has recently visited Milwaukee twice to perform alongside Woodall, at Caroline’s and St. Kate’s nightclub.

Part of that regard surely has to do with her melted-carmel voice and elastic phrasing, reflecting key influences like Sarah Vaughan, Nat King Cole and Cassandra Wilson. There’s also Woodall’s expansive repertoire, which includes personalizing atypical-to-jazz pop music songs, including Stevie Wonder’s “Don’t You Worry ‘Bout a Thing,” The Beatles’ “I Feel Fine” (in a jazzy minor-ish key), and even improbably, The Monkees’ “Last Train to Clarksville” — about a romantic relationship in its desperate last hours.

What makes a non-jazz song work for her? “The song should have some connection to my life experiences and great lyrics,” she says. “I was an English teacher for years, so the words and meaning of a song are important!” It should also be pliable enough to “be interpreted numerous ways.” It should also have “universal themes, and a sense of nostalgia to which an audience can relate.”

So, they’re usually songs with a deep history, which all the above do. She’s also had an evocative original song, “Fireworks,” accepted by NPR’s Tiny Desk contest.

For all that, she’s also enabled by a close-knit band which, at the Wilson Center, will include pianist-keyboardist Joe Kral, guitarist Bob Monagle, bassist Ethan Bender (her husband), and drummer Jeno Somali.

***

At Woodall’s recent St. Kate hotel nightclub gig, Kral consistently added drive and textural power with a Fender Rhodes keyboard setting, echoing the startling fluency of Herbie Hancock, who made the Fender Rhodes a propulsive and atmospheric alternative to acoustic piano in his Mwandishi and Headhunters funk-fusion bands.

Meanwhile, Taylor again guest-performed with Woodall, deftly blending tenor sax, flute and wind synthesizer, sometimes in the same song. The band geared up a punchy drive to “Route 66,” inspired by Nat King Cole’s version, the singer explained. It proved that Woodall, whom I first encountered performing an enchanting holiday song concert, can kick a little tail when she wants to.

She further deepened her jazz bonafides with a wrenchingly eloquent interpretation of Billie Holiday’s autobiographical “God Bless the Child.” Woodall, who taught middle school English for 30 years, enlightened the crowd by explaining that in her biography Lady Sings the Blues, Holiday said the song inspired by an argument over money between Holiday and her mother when the daughter was a young struggling performer.

Rich relations may give you a crust of bread and such/ you can help yourself, but don’t take too much/ Momma may have, and papa may have/ but God bless the child, God bless the child, whose got his own, whose got his own. 1.

The band dug deep into the song’s tough but tender emotional core. It’s how memories of a hard lifetime get etched in the soul, which bleeds out to anyone who heard Holiday sing it. That evening, we felt Holiday’s blood bleeding from Donna Woodall.

___________

This article was originally published in shorter form in The Shepherd Express: https://shepherdexpress.com/music/local-music/donna-woodalls-legacy-of-jazz/

1 “God Bless the Child” was written by Billie Holiday and Arthur Herzog Jr. in 1939. The song won a Grammy Hall of Fame Award, and was chosen as a “song of the century” by The Recording Industry Association of America and the National Endowment for the Arts.

Native American photography reveals indigenous culture, politics at MAM

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Martine Gutierrez, “Queer Rage, Imagine Life-Size, and I’m Tyra.” Inkjet print, 2018

Enter “Native America: In Translation” and your eyes and mind open through a revelatory aperture into Indigenous culture of the Americas. The exhibit title may mean various things: translating ingrained perceptions to understand the underexposed art, life, values and sensibility of Native artists to a broader public. Also, it reveals how high-quality, large-scale photography has become an important medium, besides those more associated with Native folk culture. Native artists wield such contemporary art technology as deftly, and often as pointedly, as their forebears did bow and arrow.

Curator Wendy Red Star notes the political implications: “The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.”

The cumulative effect is prodigious and nourishing, like an advancing thundercloud over a parched land, addressing decolonization and cultural enlightening of desiccated racist perceptions that once led to dehumanization and genocide of countless tribes. One artist, Duane Linklater, is explicit in a series of photos of a sculpted bust of the nation’s celebrated father, George Washington, which references the story of how he ordered troops to slaughter an Iroquois tribe in occupation efforts in 1779.

Most of the work serves strong aesthetic and well as symbolic or narrative values. For example, perhaps the edgiest artist is Martine Gutierrez. Queer Rage, Imagine Life-Size, and I’m Tyra shows an extravagantly adorned lounging woman seated in a dazzlingly colorful, almost magic-realism tableaux that asserts her identity—and her rage in the form of a Black Panther inserted collage-style—as endemic to this scene of natural American bounty. Gutierrez, a tall, striking trans woman, is the model in most of a series of hypothetical slick fashion magazine layouts, because she believes she cannot be hired as a model in such mainstream magazines.

Rebecca Belmore also celebrates her culture while delineating some of its rude limits in American society. She honors a tribe Matriarch in a large silhouette portrait of a woman posing in a ravishingly sumptuous gown bedecked with crimson roses.

Rebecca Belmore, “Matriarch,” inkjet print, 2018

By contrast, with Keeper, in black and white, Belmore shows a lowly laborer woman scrubbing the mud off a large outdoor patio, likely owned by a wealthy employer, her clothes caked in mud. Her posture, semi-prone sideways on one hip, recalls the woman in Andrew Wyeth’s famous pathos-laden painting Christina’s World. Wyeth’s subject, a neighbor of his, was physically challenged and often traveled around her home by crawling. Belmore’s groundskeeper has normal laborer’s abilities, though she’s reduced, like Christina, but by demeaning work. Yet Belmore lends the woman dignity by setting her in the foreground of an elegant composition, with a deep perspective on the concrete floor, and its brickwork pattern receding into a cloudy distance.

Another artist, who works brilliantly in black-and-white only, is the Ecuadorian Native named Koyoltzintli. Her aim is far wider than the more pointedly political. She’s aiming for the moon, by poetically inquiring about the relationship between humans and our most seemingly lifeless environmental form: rocks, boulders, and large rock masses, with a sense of wit and wonder.

I don’t recall another artist making this kind of conceptual connection which, at a glance, seems to incongruously mate the living form and the seemingly static one. Yet, in black-and-white, her nude models, ingeniously implanted into the scenes, nearly acquire the stone-like quality of the rock masses they lounge on, somewhat like surreal Odalisques, on the verge of melting into stone.

Koyoltzintli, “Gathering Roots Up in the Sky,”  inkjet print,  2019

For example, the two women at the top and the bottom of the large vertical cavity in “Gathering Roots Up in the Sky,” seem like oddly elegant rock formations courtesy of the collective artistry of wind, water, and sand, crafted laboriously over perhaps millennia. Yet there’s no trace of sky visible – unless the blackness within the large cavity is the night. “Koyo,” as she is nicknamed, has a knack for enigmatic titles.

An even more extravagantly beautiful image is her “Misunderstanding of Raven,” In a note to the reviewer, the artist explains the title only by saying it refers to the name of the model. So apparently the same model (with time-lapse trickery?) assumes two separate poses. Both women, adorned only with the wind, are perched, in tantalizingly faint abstraction, atop a fascinatingly textured rock mass, like sirens singing to the sky, luring the ever-vulnerable winged god Icarus (or the Native American equivalent thereof) away from the sun to a different, yet possibly as fateful, destiny. As for “misunderstanding,” let your imagination catch Koyo’s windblown drift. “Misunderstanding” may even lead to surprising insight.

For all that, the rock formation below, which comprises most of the composition, is a sinuously organic maze. It’s a rare instance of “dumb” rocks almost upstaging nude models. In all of Koyo’s works here, one is forced to reconsider the possibility of some manner of life contained, more than figuratively, in the myriad of evocative rock forms that inhabit the planet. To perhaps lean down to listen to a rock sometime. Is that faint, earthy rumbling in the distance, or right at my foot? And to reconsider humanity’s primal and current relationship to such humble, if sometimes mountainous, forms. 1

Another artist with seemingly modest yet expansive vision is Kimowan Metchewais, who offers a photo sequence of hands entering the composition from the right, illustrating words in “hand language” of his tribe, perhaps derived from covert signaling of guerrilla-style Native American fighters during the 19th century.

Kimowan Metchewais (Cold Lake First Nations, 1963–2011), “Indian Handsign,” Dye diffusion transfer print, 1997. 

The splayed fingers of “Flight” (image at top) deftly mimic a bird’s soaring wings, but the whole sequence of images also suggest, for this viewer (forgive one more Western art allusion), variations on the detail of the Creator’s outstretched hand in Michelangelo’s Sistine Chapel. Such is the evocative power of much good art.

 

Tom Jones (Ho-Chunk), “Bella Falcon,” from the series “Strong Unrelenting Spirits,” . Inkjet print, glass beads, rhinestones, shell, thread, 2023

The show also includes three gorgeous portraits of family members of Eau Claire-based artist Tom Jones, and work by Nalikutaar Jacqueline Cleveland, Guadalupe Maravilla, Alan Michelson, and Marianne Nicolson. All 10 artists represent various Native nations and affiliations from North America, including Cold Lake First Nations, Ho-Chunk Nation, Lac Seul First Nation, Musgamakw Dzawada’enuxw First Nations, Native Village of Kwinhagak Tribal Government, and Six Nations of the Grand River.

Curator Wendy Red Star is an Apsáalooke artist whose work was included in the Museum’s recent exhibition On Repeat: Serial Photography.

In sum, these photographers launch artful arrows of such varied arches that their multi-circled, multi-colored target stands like a full quiver – cut open wide for inspection and revelation – perhaps like a signifying Native American sculpture itself.

___

This review was originally published in Shepherd Express: https://shepherdexpress.com/culture/visual-art/mam-focuses-on-native-perceptions-in-photography/

Reflecting on death: An exchange with Steve Naab on the subject of cancer

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My parents Norm and Sharon Lynch at their 50th high school reunion at Washington High in Two Rivers. This event had greater significance than that. They were high-school sweethearts (before the term became a cliche) who got married in college and stayed married for over 50 years, until dad died.
Here’s an excellent, thoughtful Facebook post from my brother-in-law, Steve Naab, from my first marriage, to the late Kathleen Naab. Steve has lived with multiple sclerosis for decades. I’m not sure what prompted him to reflect and comment, in straightforward terms, on the subject of cancer, though I believe he did see my recent remembrance post on my sister Betty, who died of cancer recently.
He inspired me to reflect on the death of my mother, Sharon Jann Lynch, whom I’ve never written about. She, like her fifth daughter Betty, died of colon cancer. As per Steve’s request. I’m C&P-ing his comment instead of “sharing.” I’m also C&P-ing my response below.
Readers are welcome to respond below in the blog’s comments section.
Steve Naab, Lodi, WI
January 27 ·
With the side effects of chemotherapy and radiation you will never be 100% because your immune system is weak.
Certainly, in the hardest moments of life, you realize who your real friends or people who really appreciate you. Unfortunately, like most friendships, Facebook friends will leave you in the middle of a story. They will publish a “like” for the story. They may not really read your message if they see that it’s long. More than half has stopped reading. Some may have gone to the next post in your news summary.
I have decided to publish this message to support the families of friends and relatives who have combated this terrible disease to the end.
Now, I focus on those who take the time to read this message to the end. A small test, if you want, just to see who reads and who shares it without reading.
If you have read everything, choose “like” so I can thank you for sharing this on your profile.
Cancer is a very invasive and destructive enemy for our bodies. Even after the end of treatment, the body remains broken even in an attempt to repair and restore the damage caused by the treatment to fight the disease. It is a very long process.
Please, in honor of a relative or a friend who died of cancer, in remission, continue to fight cancer, or even have cancer, copy and paste this message as a post on your Facebook.
How often have we heard the others say, “If you need something, do not hesitate to call me. I will be there to help you.” So, I bet that most people who have seen this message (maybe even reading to the end) will publish it to show your support to the family / friend who knows the struggle.
Copy and paste – do not share this message.
I would like to know who I can count on to take a minute of your day and really read this. If you complete this, write “done” in the comments. 💙
______
My brief response and reflection (followed by a couple of responses from FB friends) do virtually no justice at all to the extraordinary woman, mother and spouse Sharon Lynch was, a subject for another time. I wanted to keep the focus on the ravages of cancer, Steve’s subject:
A happy partial-family photo of (left to right) father Norm Lynch, sisters Nancy and Betty Lynch, Kevin Lynch, and mother Sharon Lynch.
  • Kevin Lynch
    Done. Steve, your comments ring as deeply true as long-suffering hunchback Quasimodo swinging on the ropes as the ponderously beautiful bells of Notre Dame peal over Paris. They ring for me regarding both my mother and my sister Betty, both who died of colon cancer.
    I believe this is the last photo I have of my mother. She’s in the hospital after her cancer had progressed to the point where she’d soon be in hospice. She is greatly comforted here by Birdie, the precious therapy dog of my good, old friend John Kurzawa.
    I watched mom die. She wasted away when she stopped eating, but she remained beautiful to the end, until the day I came to her bedside with an orchid plant, a gift from me and big-hearted sister Sheila. Sharon turned and opened her eyes when I spoke to her, but I’m not sure what registered. She said nothing. Coincidentally, I’d gotten new glasses that day which might’ve distracted her. I’m not sure she saw the orchid while I was there.
    I fear I failed to muster very many consoling words for her that day. I knew the end was near. She had told me a while earlier she was afraid to die. But not that day day. She was ready. I’m glad she’d gotten a chance, a short time earlier, to see my satirical cartoon of Scott Walker. She’d always enjoyed my detailed drawings.
    When I was leaving, her nurse came in and said, “She is beautiful.”
    “Yes, she is,” I replied. Her eyes were closed during the whole visit, except those few moments when I’d addressed her. It’s hard to know how much of her had wasted away, as Steve Naab, alludes to. With cancer, life diminishes inexorably if, sometimes, fitfully. By then, mom was a study of small, concave shadows I’d never seen in her before.
    Sharon J. Lynch died early the next morning. Sister Nancy called me. Years later, I didn’t see my comatose sister Betty die in Saint Petersburg, but I spoke “with” her twice before she died, with sister Sheila holding her phone up to Betty’s ear. Upon her death, the second of my six sisters to pass after Maureen, I wrote a blog remembrance of her.
    Another very dear friend, Tom McAndrews, is dying of pancreatic cancer. The days dwindle down, to a precious few.
    Brother Steve Naab, thanks for prompting this discussion. I hope more people read you and share their thoughts.
    This is a personal favorite photo of my mother, certainly since she has passed to another realm, evoking as much. I took it after an outing in Madison, where I lived at the time, while she waited, in the light rain, for her husband Norm to pick her up to return to Milwaukee.
    Here’s a link to my Betty peace (Rest in Peace): https://kevernacular.com/?p=15494
    Remembering Elizabeth “Betty” Lynch of Wisconsin and St. Petersburg, Florida
    Remembering Elizabeth “Betty” Lynch of Wisconsin and St. Petersburg, Florida
    Remembering Elizabeth “Betty” Lynch of Wisconsin and St. Petersburg, Florida
    KEVERNACULAR.COM
    Remembering Elizabeth “Betty” Lynch of Wisconsin and St. Petersburg, Florida

    Remembering Elizabeth “Betty” Lynch of Wisconsin and St. Petersburg, Florida

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    Nancy Giacomo Lemon

    As a survivor myself, your words ring true!

    4h__

  • _______________

Remembering Elizabeth “Betty” Lynch of Wisconsin and St. Petersburg, Florida

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Cousin Erk Aldrich, Dillon Lynch, Betty and Sheila Lynch. All photos courtesy Sheila Lynch, unless otherwise indicated. 

Everybody knew of the most exalted Elizabeth, by mere virtue of birth, Queen Elizabeth II of England. Among her polar opposites was Elizabeth Lynch of Wisconsin, known humbly as Betty, of Irish-German extraction. One of my oft-obscured middle sisters among six, she was a princess in my book, though I doubt she acted like one a day in her life. That’s why she deserves this remembrance, at the least.

It’s tough writing several obit-remembrances in a few weeks, two for favorite and justly famous artists, author Russell Banks and saxophonist-composer Wayne Shorter. This one is far more painful, as Betty’s life was shorter, by two and nearly three decades-plus, than theirs.

Our beloved Betty Lynch departed yesterday afternoon to the next phase and adventure of life beyond. I have faith her suffering and pain will we be redeemed in some manner, which we might imagine but not really know in this temporal world. She inherited her mother’s predilection for colon cancer, though she died nearly 20 years younger than mom.

I will do my best to limit my remembrance right now to a few remarks about the quietly wonderful woman I knew and loved, and then some brief captions to describe and document the photos shared here.

The fourth of my six sisters, she was the second one to have passed. The loss of a younger sibling carries a true burden on the heart. Yet I am glad we can imagine her somehow joining her parents, Sharon and Norm Lynch, and her older sister Maureen and, if so, rejoicing in reunion.

My spiritual sense of things – and I believe I am probably among a majority of living humans in this regard – tells me something like this will happen, some life-force that shapes a nascent re-presence, maybe not reincarnation, but not mere “the worms-crawl-in” nothingness.

Is the “soul” just a sentimental notion? Where does soulfulness come from? What is music? Form and sounds, and a myriad of sorts of content, mustered by humans and…?

Or the power of soul? Existentialist philosopher Friedrich Nietzche spoke of “the will to power,” but where does the will come from? “Free will,” yes, perhaps, but that’s still not getting to the heart of the matter, for me. What drives Ukrainians to fight so magnificently against a much larger, criminally genocidal, invading foe? But I digress. 1

***

Thanks to sister Sheila, I was happy to be able to speak by phone “with” Betty two consecutive days before she passed, though she was in a coma. I hope she heard me. I’m told hearing is the last of the senses to go and her brain was not dead until later. In that sense, I was speaking with her, not simply to her.

It was also a way to return some of the good feelings she gave us in the many, many long-distance phone calls that she made from sun-blessed Florida to me and all members of our immediate family over the years. She had a natural disposition and skill at communicating with others, even over the phone in her loving, sometimes laconic, and slightly luminous ways. Sometimes it was just a pause, an invisible smile and a small sigh. She could call up without anything in particular to talk about and yet begin a perfectly enjoyable conversation merely because she wanted to connect, a manifestation of her love of family and of humanity.

Her temperament, tone, sensitivity, skill and love helped make her a valuable community resource specialist in her professional career, in health care, specializing in senior clients.

She was born 64 years ago June 27, one of three Lynch children born within a week of each other, on separate years (the folks were “rhythmic” Catholics). She was the most musical of my six sisters; she played the flute, and loved the best of popular music, most of all The Beatles, of course.

She could come off as shy and “aw-shucks” self-effacing. (OK she didn’t say “aw shucks” very often, but more elevated characterization wouldn’t feel right.) She was more like a slightly meek, “Hi Kevin,” when I answered the phone or called her, almost as if asking if it was OK to greet you by name, yet still imparting that small Betty moment of grace. The meek shall inherit the earth, Jesus of Nazareth once said.

A girl from the North Country who loved balmy climes, she moved to Florida (from California) when my parents relocated to St. Petersburg for a few years for my dad’s job transfer. That didn’t work out well – he was tasked with trying to save/manage a dying branch of his industrial metals company.

This looks like Betty’s “so-long frozen suckers!” farewell, before returning to her home in Florida where she stayed permanently after a short family relocation. Looks like the camera film got bit by the frozen tundra.

So, the folks moved back to Milwaukee, along with baby sister Anne, and second-youngest Sheila went to Cincinnati. But sun-bunny Betty stayed in St. Pete and finished her education there, and later bore and raised a son, Dillon, now 23.

Betty’s frequent phone calls to any of the six siblings, her parents or friends were her way of reaching out, slipping past anyone’s personal posture or attitude, of letting you come closer to her, and perhaps pulling you out of yourself, especially if you were in a lousy mood.

My sole slight pique arose when she called to gloat a tad when the across-the-bridge Tampa Bay Buccaneers beat the Green Bay Packers in a playoff game a few years ago. Now, her slight chortle over the outcome is a precious memory.

Of course, she would suffer through plenty of poor moods due to declining health towards the end, which is why to remember her in her hearty days is so important.

Many if not most people think they’re younger than they are, time-wise. I’m sure Betty couldn’t believe she was approaching death’s doorstep, even when the stage-four diagnosis came. “Time is the greatest mystery of all,” Norman Mailer once wrote. 2

With her psychology degree, and as a Certified Resource Specialist, she applied her special skills and temperament in a long career in health care, especially for senior clients, as a case manager for Suncoast Center, for 12 years, and later as a Community Resource Specialist/Case Management Support Professional at Humana at Home for nearly a decade, both in St. Petersburg. “Strong community and social services professional skilled in Computer Literacy, Crisis Intervention, Family Therapy, Case Management, and Conflict Resolution.” her LinkedIn page reads.

Here’s her LinkedIn professional referral profile photo:

Here’s her LinkedIn page:  https://www.linkedin.com/in/lynchelizabeth/

Betts was a sweet person, almost to a fault, in that sometimes some people might’ve been inclined to take advantage of her. But she made life more tender, warm, and bearable for her presence.

I could go on, but for now I’d like to comment on a few of the pictures I’m sharing to illustrate who dear Elizabeth “Betty” Lynch was.

It goes back to earliest family days in Milwaukee, first, maybe, from life in our bungalow on South Quncy Avenue, just north of Gen. Mitchell Field Airport, back in the “SONIC BOOM!!!” days! Planes taking off would sear the sky, right over our quaking little house. Here, sequential sisters Betty (left, in the photo) and next-youngest Sheila — the only two blue-eyed sisters in the brood — began forming their natural bond. Their young hearts swell as sugarplum visions dance in their heads while visiting Santa.

I admit, when Sheila sent me this photo a few days ago, it really got me. Betty, you really got me. Tears begone.

One formal portrait from 1963, below, of the first six Lynch kids, maybe the earliest shot I have of Betty the blondie, from my scrapbook assembled by our mother, Sharon J. Lynch.

There is also this formal family below portrait photo from family archives, shot beside the fireplace on Beverly Road in Shorewood, where we all seven children grew a bit older together, the first house with sister Anne (far right) born to this home. In the detail photo below, you see Betty sitting on the floor, the sole blonde in the family, with her shy smile which helps convey her youthful beauty.

See also a feel-good snapshot (below) of mother Sharon, brother Kevin — and Susie the dog again – and, long-limbed in short-shorts, befitting my nickname for her, Betty Boop. This photo reveals, I think, how much Betty blended her father’s and her mother’s looks, even if Betty was much fairer than mom. Picture Betty in long dark hair pulled up in a stylish perm: Betty Boop!

Of course, her blonde hair remains a mystery, but we never had a blonde milkman, that I recall. Our big dimples came from the Lynch side, as in Uncle Jack and Grandma Frances Lynch.

“I see September ’80 in corner. Just before we left for Florida! Anne probably took picture! I sure was white then!” (Betty’s Facebook comment on this photo, taken by youngest sister Anne.)

Then, please behold below one of the happiest days of our family’s history, the 1987 marriage of the eldest daughter of six, my Irish twin, Nancy Lynch to Tony Aldrich. Betty is in the back row (second from the left), warmly radiant in a blue dress suit. Also pictured (L-R) Sheila Lynch, Maureen Lynch, Kathleen Lynch, Sharon Lynch, Tony Aldrich, bride Nancy Lynch Aldrich, Norm Lynch, Anne Lynch, Kevin Lynch, Kathleen Naab Lynch.

Scrapbook shots: Below it’s me and six sisters (count ’em), including Maureen’s spouse Rob Traub, at far right. And below that, Betty’s graduation picture from the Lawton School of Medical Assistance.

Betty and Dillon visited Milwaukee very occasionally in the summer. Here’s a fun outing at the Milwaukee Museum, with Uncle Kev hamming it up (frozen Tyrannosaurus Rex face?) for Dillon’s amusement. Betty and Dillon in foreground, Grandpa Norm seated in background. Photo by Sharon Lynch

Another generation of Lynches. Dillon Lynch, 23, today. He was with his mom when she died. Thanks a million, dear nephew! Now, go Make Betty proud.

In honor of Betty Lynch, the flute player, here’s a piece I think she’d love, “Be Still My Soul,” adapted from music of Jean Sibelius, performed by Rhonda Larson, a blonde flutist.

 

________

  1. Because the notion of “the power of soul” is compelling to contemplate for this music writer, I’ve also posted Idris Muhammed’s hit soul-jazz tune “Power of Soul.” See, Betty hung on, on her own breath, in a coma for much longer than anyone anticipated, after they took her off resuscitation. The rhythm of the breath is a powerful force. This is not elegiac or even polite music, but I don’t like strict cultural conventions. And I know the African-American funeral tradition, at the very least, is about lifting spirits. Betty’s son Dillon is part African-American. Not too many seven-minute instrumentals become radio hits. This one did, I know. Take it or leave it:
  2. Mailer’s personal anthology of his writings doubles down on the mystery, with its title, The Time of our Time.  Also, staff writer Jennifer Senior has a thoughtful, well-researched article “On the Weirdness of Aging,” regarding the self-perception of our place in time, in the April 2023 issue of Atlantic Monthly magazine.

 

 

 

 

 

Remembering Wayne Shorter, a jazz traveler as mysterious and beautiful as any in the music’s history

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Wayne Shorter, who turned 80 in 2013, won the NPR Music Jazz Critics Poll by a large margin.

Wayne Shorter is gone, finally departed this planet and though, as a Buddhist, his sense of the beyond seemed intellectual, who knows how that translates at this point of metaphysical morphing? As a science fiction buff who increasingly incorporated that far-minded sensibility into his own art, he even co-created a 74-page sci-fi graphic novel for his most ambitious work, the three-album Emanon, an extended concerto grosso of sorts, with his jazz quartet and the Orpheus Chamber Orchestra. He grew into a larger, more capacious self over his 89 years, as much as any jazz musician. Here’s where he stepped beyond even this open-minded writer to be honest. Before he died, I’d paused in listening to the demanding epic, and now still have never fully taken in all of Emanon, yet.

Though much great music ensued, I’ll concur with the consensus that the Blue Note album Speak No Evil, recorded at age 31, remains his masterpiece, billowing with shades of mystery and humanity, inspected and illuminated with a forensic sensitivity. I mean, “Dance Cadaverous”? The title tune’s swaggering swing conveys both awareness, and characterization, of evil, haunted by its spread-winged whole notes. That album’s exquisite ballad “Infant Eyes” was a favorite of mine to play on piano before becoming manually disabled. Of course, Shorter’s tenor sax rendering is impossibly tender.

“Speak No Evil” album cover courtesy uDiscover

By then, he was commenting as a kind of “cosmic philosopher,” as he did with “Infant Eyes,” written for his daughter Miyako: “I saw all infancy in her eyes, everyone who’s ever been an infant. An infant being a new start. People reminisce about past stuff, let it take over the present, but with every moment, you’re born.” Such insight feels especially apt now, as perhaps he’s being reborn somewhere, as a star child. Thus, Speak No Evil proved as communicative and heartfelt as is was captivating and challenging.

Other albums from his mid-1960s frieze of noirish Blue Note masterworks include Night Dreamer, Juju, Adam’s Apple, The All-Seeing Eye, Schizophrenia, and The Soothsayer, all necessary listening to gain a sense of the compositional and conceptual talent that sculpted an unfolding progressive profile of modern jazz. Though a bit of an outlier compared to his other Blue Notes, Super Nova is memorable for Antonio Carlos Jobim’s “Dindi,” sung by Maria Booker who was, at the time, splitting up with her husband Walter Booker, who accompanied her on guitar. She dissolved into tears amid the recording, which was retained, and the interpretation quivers with poignancy. Part of the lyric:

Oh Dindi…
Like the song of the wind in the trees
That’s how my heart is singing Dindi, happy Dindi
When you’re with me
I love you more today
Yes I do, yes I do
I’d let you go away
If you take me with you

It’s hard to encompass Shorter’s career, and recording-wise that may remain for a major retrospective project or two, surely to come. For now, Columbia’s two-album set Footprints: The Life and Music of Wayne Shorter suffices as an admirable overview of his output, at least to 2004. It complements Michelle Wallace’s same-titled biography, capturing the life of a classification-defying original. And yet his music always had an innate way of redefining lyricism, often contrasting heavy-breathed whole notes with vivid yet eccentric eighth-note phrases. Critic-author Gary Giddins commented on the book, “It makes the case that Wayne Shorter was the representative jazz artist of the past forty-five years, from hard-bop to Miles to fusion to a planet that is too often but inevitably defined as Wayne’s World.”

Album cover to “Footprints: The Life and Music of Wayne Shorter” courtesy Aika Kawasumi 

It’s difficult to argue too much with that artistic range and authority, even given the eminence of relative contemporaries as Miles Davis, Coltrane, Mingus, Monk and others.

Mainstream acceptance followed at a respectful distance as Shorter eventually won 12 Grammy awards.

Live performance is the essence of jazz, and I was too young to see the Miles Davis Quintet’s boundary-expanding multi-night 1965 stand at Chicago’s Plugged Nickel nightclub, thankfully preserved on record. Here’s where “free-bop” was sparked and nourished. Shorter’s trademark tune “Footprints” (if any single one can define him) thrives in live performance beyond intimation on the Davis quintet’s Live at Newport 1955-1975 recording on Columbia. Shorter’s tenor solo slows down the band’s rush and casts odd, glancing shadows across the implied footprints — presence and disappearance — even as it rises to an ominous life-force by the solo’s end.

Shorter found the larger pop-rock-funk audience by slipping into the lurking darkness of Miles’s pioneering electric period, notably on Shorter’s “Sanctuary,” on the genre-shattering album Bitches Brew in 1970. This keyed his transition to join Joe Zawinul and uber-bassist Jaco Pastorius in the original Weather Report, which I did see at the Plugged Nickel. Even live, with Zawinul’s electronics and Shorter’s imaginative reinvention of the soprano sax as a soaring, diving falcon-like creature, the band expanded the sonic parameters of jazz while elevating a standard for jazz-fusion which few bands ever equaled. It ranged from the avant-ish debut album to the exotically cinematic “Mysterious Traveller” to Shorter’s “Palladium” a gleaming, exalted, high-flying celebration, the funk-romp jam “Sweetnighter,” and their cloud-hopping hit “Birdland.”

His soprano work with Weather Report was a harbinger, as he’d go on to advance that difficult-to-play-in-tune instrument as far as anyone has, usually to striking and powerful effect.

Joe Zawinul and Wayne Shorter, the two masterminds and master musicians behind Weather Report, the non-pareil fusion band. courtesy Pinterest

Yet Zawinul was the group’s dominant personality, so inevitably the taciturn, oracular Shorter found his own visionary ways, and soon, with 1974’s Native Dancer, the gloriously gorgeous collaboration with Brazilian singer-songwriter Milton Nascimento. This redefied the jazz-Brazilian connection — songs like “Ponta de Areia” and “Miracle of the Fishes” (an allusion to Jesus?) are uncannily heaven-on-earth in their lush yet humane expansiveness. Sung in Portuguese, both were written by Nascimento and suggest how, though celebrated justly and foremost as a composer, Shorter understood the value of others’ work, including various classical composers, interpreting over the years Villa-Lobos, Sibelius, Mendelssohn, Leroy Anderson, and others.

Another example that early fed his sense of jazz orchestration was playing on Gil Evans’ “Time of the Barracudas.” This restless piece flowed on the dazzling drumming of Elvin Jones in similar effect, if different style, of how Tony Williams fueled the great ‘60s Davis Quintet, and Jack DeJohnette in the first electric Miles band. Jones had played on most of Shorter’s masterful Blue Notes. Of course, Shorter first made his name in the early ‘60s as the precocious music director of Art Blakey’s Jazz Messengers.

Such great drummers informed Shorter’s brilliant rhythmic sense in the uniquely and beautifully elliptical way he thought and played. Another career highlight in another composer’s piece was Steely Dan’s deliciously hip “Aja,” perhaps the jazzy pop-rock group’s career musical peak, and there, atop its crest, unfurled a Shorter tenor solo that breathed and exhaled like a celestial god but with his feet on terra firma. The suite’s co-composer Walter Becker commented, “Wayne was very intent on forging a novel approach to the piece. He was influenced by the contour of sections other than the section that he actually played over,” which was basically a single modal-like chord vamp.

This solo and most all of his career reflect his composerly sense of form, even at fast tempos. His improvisational line is ever-shapely yet unpredictable. On a piece like “In Walked Wayne” with trombonist J.J. Johnson, you get a sense of ever replenishing melody and harmony as unfolding. That sculptor’s sense of shape reveal the depth and seeming boundlessness of his genius.

This album cover conveys some of Wayne Shorter’s oracular quality. Courtesy ebay

He played like a fire dragon on the Footprints Live! version of “Masquelero” with his intrepid late-career quartet, pianist Danilo Perez, bassist John Patitucci and dummer Brian Blade. How many musicians his age would still pushing the boundaries of music, flirting with a black hole and a quasar?

His sense of the beyond had come heart-breakingly face-to-face with tragedy when his wife Ana died in the in the 1996 crash of TWA Flight 800. He responded by turning to perhaps his closest musical friend, pianist Herbie Hancock. They produced 1+1, the duo album which elicited “Aung San Suu Kyi,” something focused yet transcendent, with a limpid Shorter soprano solo, a shortcut to wonder and possibility.  It was dedicated to and named for the exiled Burmese leader and Nobel Peace Prize winner. “Because we affect lives of those who are here,” Shorter said, “the best way to honor Ana’s life is to become the happiest man alive.” Mercer, writing in the liner notes to the Footprints anthology, comments, “Wayne’s courageous response to his grief was the product and culmination of his Buddhist practice.”

Cover of Shorter’s 3-album with graphic novel set “Emanon.” courtesy WFDD

Of course, later Emanon arose, breaking conceptual ceilings, Wayne Shorter, the star-gazer, at age 85. Wherever he is now travelling, ageless in mystery and in light, we can only hope to imagine and follow.

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Brad Mehldau: The Fifth Beatle? “Your Mother Should Know.”

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Who was the fifth Beatle? Discarded drummer Pete Best? Pianist Billy Preston? On this album, jazz pianist Brad Mehldau makes a case as the keyboardist they might’ve hired full-time. He plays Beatles songs as if he owns them, maybe even wrote them. That we experientially know he didn’t deeply enhances his accomplishment. After all, your mother should know.

As a topper, he closes with David Bowie’s “Life on Mars,” as tuneful and high-spirited as a vintage Beatles song. Doubters note: on, “I Saw Her Standing There” he lays serious rock‘n’roll chops out front. Otherwise, it’s jazzy investigations and re-imaginings, which the “late Beatles” would’ve dug. “Baby’s in Black” travels way around the bend, and “Golden Slumbers” goes further, an elaborate dream mustered with Keith Jarrett-ish gospel romping.

Brad Mehldau 

Tauter, but no less intriguing, are “For No One,” capturing the song’s stark poignance, and “She Said She Said,” the gorgeous Lennon tune that deserved such sophisticated ravishment.

The album opens with “I Am the Walrus” the surreal psychedelic trip that is as harmonically bent as most any Beatles song. Mehldau revels in its little musical perversities. Mehldau Plays further demonstrates the vast yet seemingly familiar Beatles world still spins out further possibilities of wonder.

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This review was first published in The Shepherd Express: Your Mother Should Know: Brad Mehldau Plays the Beatles (Nonesuch) by Brad Mehdau – Shepherd Express