An Entrepreneur. . .

. . . was opening a 'music studio' in our very own east Baltimore neighborhood (speaking of accordions).   (I always thought the term 'music studio' sounded impressive.  Sophisticated, cultured and exclusive.)  This studio was to be called the Maryland Accordion Institute.  (Talk about impressive, sophisticated, cultured and exclusive!)  The phone call was telemarketing for prospective clientele, namely wee sprites who were interested in learning to play that prince of all reed instruments, king of the Bohemian beer hall, and butt of many, many jokes - the accordion.  But, this was not the perception held by myself at the time.  Nor was it the perception held by many in a similar position at the time.  It was, quite honestly (and truly, unashamedly) an interesting and desirable proposition.  I was, indeed, VERY interested in learning to play the accordion.  DAMNED interested.  Those Sunday afternoons listening to Dad play his accordion, combined with my natural love of music, possibly even my lack of ambition and talent on the guitar, all united in my seven year old brain forming a profound hunger to learn to play the accordion.  As odd as it sounds, I did not regret at the time, nor do I now regret not pursuing the 'cool' -er musical path of playing the guitar.  It just never occurred to me that that's what I should have done.  And I never looked back.

You haven't lived . . . until you've heard forty seven accordionists playing HALLELUJAH I'M A BUM on a cold, Monday evening in November.  Kinda warms the cockles of your heart.  We used to have 'band practice', not as in a conventional 'band' of various compatible instruments rehearsing together for a performance, but a 'band' meaning a group, and 'practice' meaning just that.  And many of us most certainly needed practice. Theoretically, the concept had musical merit.  Playing with other music students promoted an understanding of time, tempo and dynamics, following a 'conductor' (of sorts) and taught cooperation, support, sympathy, patience, harmony, rhythm and accompaniment.

The configuration was four rows of metal, folding chairs of about 8 - 10 facing the conductor (an accordion teacher, most often Mr. Edward (Taylor) Krawcyk, whose back was to a row of assorted couches and chairs where the parents of the students sat to 'enjoy' the music of their progeny.  The protocol had the 'new' or less senior (accordion-wise) students in the first row, with students 'promoted' to the following rows as they progressed in skill, or sometimes when they merely 'hung in there' for a period, with or without really improving technically at all.  And the coup de gras for seriously dedicated students of the squeezebox, during each band practice, was the opportunity to perform a solo.  Only two rows of students were allowed to perform a  'solo' each week, simply because of the one-hour time limit of the weekly gathering.  The first two rows would offer solos one week, with only the 3rd and 4th rows the following week.  And Oh Boy, did I look forward to my time to 'shine' with a solo every other week.  This performance opportunity was not taken lightly, by myself at least, and much time and toil was taken in the selection, preparation and eventual performance of my bimonthly accordion solo. Yeah, that taste of public attention, appreciation, the thrill, the communication, the connection between performer and audience cannot be underestimated.  It's not ego.  It is a need.  Like a drug.  The accordion band practice refined my experience and perception of the performer/audience relationship.

After several years of accordion band practice sessions, which were really low-calibre concerts, I'm not quite sure what inspired or motivated me since nothing clear remains in my memory of the motivation, I wrote my first original composition. "You couldn't play the music so you made up your own,"  was one good-natured comment I received from the father of another accordion student at the conclusion of accordion practice on the night I chose to perform an original composition as my solo.  In fact, it was my very first original composition. The piece was entitled THE NEW YORK STRANGERS.  It was essentially, half blues and half folk song. It was not verse-chorus-verse-chorus, or verse-chorus-bridge-verse-chorus in structure.  It was first-part-second-part (repeat).  It had lyrics.  Very simple lyrics which I, unfortunately (and embarrassingly) do remember so will not repeat here.  It was inspired by. . . nothing in particular but the need to write an original composition.  Well, isn't that ENOUGH? The best part of the entire experience, and the finest nuance of the memory, is the look of pride on my very own father's face as I received congratulations from several listeners that evening.

There were times when I felt that I had ALWAYS taken accordion lessons.  Then there were times when I felt that I would never STOP taking them.  But through the twenty-twenty vision of hindsight, they were ten years well spent on lessons which exposed me, I can now say unwittingly, to a wealth of music theory.


Henry
©1997 Raymond M. Jozwiak
from 'Songs from Our Circle 4'




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Impressive. . .

 (from http://ginadesimone.com/presskit/index.htm)
". . . Moaners Party Recipe
-Start with one woman, a bunch of guitars and a whole lot of blue smoke
-Add unstoppable energy and chilling harmony
-Set on a foundation on rock solid rhythm and quick wit
-Top with the best amaretto whipped cream frosting guitar and trumpet work you can imagine

Blend musicians to achieve and eccentric, eclectic mix of music from all era's. The Moaners diverse backgrounds come together to offer a night of music delivered with fun loving humor and entertainment.

The Moaners are a danceable, upbeat band that plays blues and swing with 3 part harmony being central to their sound. . ."

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Underappreciated. . .

 . . . undervalued . . .

(from Wikipedia.com)
John Gilmore (September 28 or October 29, 1931 in Summit, Mississippi – August 19 or August 20, 1995 in Philadelphia, Pennsylvania, United States) grew up in Chicago and played clarinet from the age of 14. He took up the tenor saxophone while serving in the United States Air Force from 1948–1952, then pursued a musical career, playing briefly with pianist Earl Hines before encountering Sun Ra in 1953.

For the next four decades, Gilmore recorded and performed almost exclusively with Sun Ra. This was puzzling to some, who noted Gilmore's talent, and thought he could be a major star like John Coltrane or Sonny Rollins. Coltrane, in fact, was impressed with Gilmore's playing, and took informal lessons from him in the late 1950s. Coltrane's epochal, proto-free jazz "Chasin' the Trane" was inspired partly by Gilmore's sound.

In 1957 he co-led with Clifford Jordan a Blue Note date that is regarded as a hard bop classic: Blowing In from Chicago. Horace Silver, Curly Russell, and Art Blakey provided the rhythm section. In the mid-1960s Gilmore toured with the Jazz Messengers and he participated in recording sessions with Paul Bley, Andrew Hill (Andrew! and Compulsion), Pete La Roca (Turkish Women at the Bath), McCoy Tyner (Today and Tomorrow) and a handful of others. In 1970 he co-led a recording with Jamaican trumpeter Dizzy Reece. His main focus throughout, however, remained with the Sun Ra Arkestra.

Gilmore's devotion to Sun Ra was due, in part, to the latter's use of harmony, which Gilmore considered both unique and a logical extension of bebop. Gilmore had stated that Sun Ra was "more stretched out than Monk" and that "I'm not gonna run across anybody who's moving as fast as Sun Ra ... So I just stay where I am."

Gilmore himself made a huge contribution to Sun Ra's recordings and was the Arkestra's leading sideman, being given solos on almost every track on which he appeared. In the Rough Guide to Jazz critic Brian Priestley says:

    Gilmore is known for two rather different styles of tenor playing. On performances of a straight ahead post-bop character (which include many of those with Sun Ra), he runs the changes with a fluency and tone halfway between Johnny Griffin and Wardell Gray, and with a rhythmic and motivic approach which he claims influenced Coltrane. On more abstract material, he is capable of long passages based exclusively on high-register squeals. Especially when heard live, Gilmore was one of the few musicians who carried sufficient conviction to encompass both approaches."

Many fans of jazz saxophone consider him to be among the greatest ever, his fame shrouded in the relative anonymity of being a member of Sun Ra's Arkestra. His "straight ahead post-bop" talents are exemplified in his solo on the Arkestra's rendition of "Blue Lou," as seen on Mystery, Mr. Ra.

After Sun Ra's 1993 death, Gilmore led Ra's "Arkestra" for a few years before his own death from emphysema. Marshall Allen then took over Arkestra leadership.

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Unusual . . .

 . . . to be stuck like this?

Maybe not.

Ever feel this way when you've been asked to do something that you really have no business doing, you know it may not be the best thing to do and you know that it will not promote peace and harmony, which you like best?  Furthermore, the person doing the asking, is one that you hold in high esteem and one whose relationship you value immensely.

Uncomfortable?  Unnecessary? Undesirable?  Maybe. But not unusual.

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Everybody digs. . .

William John Evans, known as Bill Evans (August 16, 1929–September 15, 1980)

His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists. He is considered by some to be the most influential post-World War II jazz pianist. Evans had a distinct playing style in which his neck would often be stooped very low, and his face parallel to the piano.

Evans's first professional job was with sax player Herbie Fields's band, based in Chicago. During the summer of 1950, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and at Washington D.C.'s Howard Theater. In addition to Fields and Evans, the band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon its return to Chicago, Evans and Aton worked as a duo in Chicago clubs, often backing singer Lurlean Hunter. Shortly thereafter, Evans received his draft notice and entered the U.S. Army. After his army service, Evans returned to New York and worked at nightclubs with jazz clarinetist Tony Scott and other leading players. Later, he took postgraduate studies in composition at the Mannes College of Music, where he also mentored younger music students.


Working in New York in the 1950s, Evans gained recognition as a sideman in traditional and so-called Third Stream jazz groups. During this period he had the opportunity to record in many different contexts with some of the best jazz musicians of the time. Seminal recordings made with composer/theoretician George Russell, including "Concerto for Billy the Kid" and "All About Rosie," are notable for Evans's solo work. Evans also appeared on notable albums by Charles Mingus, Oliver Nelson, Tony Scott, and Art Farmer. In 1956, he made his debut album, New Jazz Conceptions, featuring the original version of "Waltz for Debby," for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans by a demo tape guitarist Mundell Lowe played to him over the phone.

In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis's famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans's introspective approach to improvisation deeply influenced Davis's style.

At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to become one of the most acclaimed piano trios — and jazz bands in general — of all time. With this group, Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation, blurring the line between soloist and accompanist. The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings from the same recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were collected on the three-CD set The Complete Village Vanguard Recordings, 1961. There is also a lesser-known recording of this trio, Live at Birdland, taken from radio broadcasts in early 1960, though the sound quality is poor.

(from Wikipedia.com)

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