Archives for October 2008

‘Tis now the very witching time of night, When churchyards yawn and hell itself breathes out Contagion to this world. — William Shakespeare

 

One need not be a chamber to be haunted;
One need not be a house;
The brain has corridors surpassing
Material place.   — Emily Dickinson

 

There are three things I have learned never to discuss with people: religion, politics and the Great Pumpkin. — Linus Van Pelt

Here’s a paragraph from the chapter titled “A Common Language” in my book Jazz Matters: Reflections on the Music and Some of its Makers:

Like every art form, jazz has a fund of devices unique to it and universally employed by those who play it. Among the resources of the jazz tradition available to the player creating an improvised performance are rhythmic patterns, harmonic structures, material quoted from a variety of sources, and “head arrangements” evolved over time without being written. Mutual access to this community body of knowledge makes possible successful and enjoyable collaborations among jazzmen of different generations and stylistic persuasions who have never before played together. It is not unusual at jazz festivals and jam sessions for musicians in their sixties and seventies to be teamed with others in their teens or twenties. In the best of such circumstances, the age barrier immediately falls.

There are no teenagers in a group called The Generations Band. On their CD Tough Guys, 

the age range is only from forty (tenor saxophonist Eric Alexander) to seventy-nine (drummer Jimmy Cobb), but the common language principle guides this sextet’s encounter. The tunes are jazz standards or, in the cases of pianist Ronnie Mathews’ “Jean Marie” and “Song for Leslie” and Cobb’s “W.K.,” originals based on familiar patterns. Trumpeter Marcus Belgrave, bassist Ray Drummond and alto saxophonist Andrew Speight are the other players.

From the opening track, Thelonious Monk’s “Rhythm-a-ning,” to the closer, Miles Davis’s “Freddie Freeloader,” they swing along in the mainstream with a balance of strength, relaxation and assurance. Alexander, Cobb and Drummond demonstrate why they are omnipresent on records. The veterans Mathews and Belgrave and the youngish Australian Speight show up less often on recordings. They more than justify their generous solo space here. Belgrave’s spacious fluegelhorn, first generally known on Ray Charles’s band, all but steals “So What.” Mathews, a reliable journeyman pianist since the early sixties, shines on the Miles Davis pieces without resorting to Wynton Kelly impressions. He sparkles on “Just One of Those Things,” reminding us of what we lost when he died before this recording was released. On Antonio Carlos Jobim’s “O Grande Amour,” Speight solos beautifully in a stylistic offshoot of the Cannonball Adderley branch of alto saxophoning.

Speight teaches at San Francisco State University’s International Center for the Arts, which produced this CD. The eccentric package, a four-way pasteboard foldout, has nine panels of photographs and useful information. Its odd dimensions and lack of titling on the spine present a filing challenge, but the satisfying music more than compensates.

Not all of the campaigning this month is political. It is not unusual at this time of year to receive from recording musicians suggestions that they be nominated for awards from the National Academy of Recording Arts and Sciences. As part of his quest to win a Grammy nomination, the British film composer, band leader and saxophonist John Altman sent the following message:

I’m really disappointed. My new CD, The Jazz Soul Of Paris Hilton, has not been nominated for a Grammy. The followup to my brilliant CD Britney Spears: The Jazz Years, it has garnered rave reviews in the jazz press and received NOT ONE vote in this year’s Grammy build-up. I worked closely with Paris herself, assembling an all-star aggregation of jazz talent to interpret the Abdullah Ibrahim/Boney James-inspired compositions of the reality TV star and all around credit to society. For the talented Ms. Hilton’s understanding of social issues, I’m especially proud of “I Come From Barack Obama with a Banjo On My Knee.”  It is reminiscent of Max Roach’s Freedom Suite. Accompanied by an all-star aggregation, Paris H, guest rappers Jay Z, Jazzy B and fiery jazz virtuoso sax man Kenny G deliver an astonishing piece of jazz social commentary.

The incredible handpicked lineup of jazz stars includes Herbie Hancock on clavinet, Woody Allen on clarinet and Wynton Marsalis on the internet. Possibly one of the best rhythm sections ever assembled in the history of jazz recording — George Segal on banjo, bass virtuoso Charlie Haden on banjo, Marcus Miller showing his versatility on banjo, and Diana Krall and Elvis Costello sharing drum duties — shows why jazz is still a living art form appreciated by millions all over the world.

Other guest appearances include Cuthbert Marsalis, the least known member of the jazz dynasty, probably because he is an English aristocrat who does not play any musical instruments and did not invent jazz in 1980; legendary godfather of smooth jazz and easy listening Cecil Taylor; Michael Bublé crooning the all-time favourite “I Never Heard of Mel Tormé;” and James Carter playing “Salt Peanuts.” Oops. That should read Jimmy Carter, reprising the famous White House duet with Dizzy Gillespie that defined his jazz credentials.

Some of the critical raves:

“I laughed till I cried” — Don Heckman, Los Angeles Times

“What a load of rubbish” — Nat Hentoff

“Is this man serious?”– Brick Wahl, LA Weekly

“Brilliant!!!” – Stanley Crouch New York Times

“My personal iPod favourite” — George W Bush

Please, everyone, vote for me in category 10,996 of this year’s Grammys — Best Jazz and Hip Hop Album By a Country Smooth-jazz Crossover Artist Not in the English Language. I promise not to write again until the Emmys are upon us. I will be soliciting votes for my two reality shows — Newsreading With The Stars, where professional ballroom dancers learn to play pro football and read the news, and America’s Idle, where no one has a job any more due to the bizarre global economic policies of the last 8 years.

A couple of years ago, Mr. Altman visited the west coast of the United States and performed without tongue in cheek at the helm of a big band. He is the curved soprano saxophone soloist out front in this video. The tune is “Love Is Here To Stay.” I think I glimpse Jerry Pinter and Lanny Morgan in the sax section and Andy Martin among the trombones. The others, including the man strolling through the background with a telephone to his ear, are unidentifed. How could he hear?

 

The new Picks in the center column concern three pianists, two alto saxophonists, one photographer and a rare Rifftides classical recommendation.

Before summer escaped completely, I spotted this creature on an arbor vitae, displaying its magnifcence. 

Although still in his late teens, James was already six-foot-one and weighed 150 pounds. He had a thin waist, no hips, and long skinny legs. To go along with his slinky frame, he had a large, oval-shaped head, a long nose and prominent ears, dark wavy hair, and a pencil-thin moustache. Perhaps his most provocative feature, however, was his deep-set baby-blue eyes–the bluest blue eyes this side of his future band vocalist, Frank Sinatra. He had a high-pitched voice that occasionally squeaked, and spoke with a pronounced Texan drawl. Some people noticed his resemblance to such 1930s film actors as Basil Rathbone (later to be his co-star in the film Bathing Beauty) and Warren Williams. Somehow, it all meshed, and women found him very attractive.

                       –Peter J. Levinson, Trumpet Blues: The Life of Harry James

This very thin guy with swept back hair…climbed on the stage. He’d sung only eight bars of “Night and Day” when I felt the hairs on the back of my neck rising.—on first hearing the unknown young singer Frank Sinatra

I was the only member in the band to be silly enough to put some of those drunken ideas into practice. Amazing what alcohol does for you eh?

The only problem with having a great year is it makes you wonder whether you can reasonably expect next year to be the same or whether it won’t be something of a letdown.

I wrote that I was looking forward to again hearing Tierney Sutton sing “What’ll I Do?” when her next CD comes out. Rifftides reader Ted Lowry, ever alert, points out that I don’t have to wait. The song is on her Dancing In The Dark album. I regret the error. Thanks, Ted.

Peter Levinson, the publicist with a parallel career as a biographer of music and show business figures, died yesterday in a fall in his house in Malibu, California. He was seventy-four. Levinson had been suffering from Lou Gehrig’s disease, which robbed him of his voice but did not leave him incommunicado. Through the use of a computer capable of converting his typing to speech, he was able to keep working. He had finished a biography of Fred Astaire, which is to be published next spring. He also wrote three other books, biographies of Harry James, Tommy Dorsey and Nelson Riddle. The James book is one of the finest about a jazz artist.

One of the most respected publicists in the jazz field, over the years Levinson represented Count Basie, Dave Brubeck, Erroll Garner and Stan Getz, as well as singers Peggy Lee, Mel Torme and Rosemary Clooney, actor Jack Lemmon and films including Fiddler on the Roof and Kramer vs. Kramer.

Peter was the publisher’s publicist for Take Five: The Public and Private Lives of Paul Desmond. He and I were friends since our mutual time in New York in the 1970s. I shall miss his earnest professionalism, advice, kindness and companionship. For more about Peter Levinson, see the Los Angeles Times obituary.

Wednesday, October 15: Having seen Ernestine Anderson falter and appear confused in a performance a few years ago, I was concerned about this festival appearance. She was now a couple of weeks short of her eightieth birthday. She had just been through a crisis in which she came close to being evicted from her house. Looking frail, she made her way slowly and uncertainly on stage, sat on a chair, took a while to get ready, and gave one of the great concerts of her life. By the end of the first song, “This Can’t Be Love,” thirty years had dropped away. She brought a Piaf-like intensity to “Skylark” and so much passion and note-bending to “Falling in Love with Love” that she made it a virtual blues. In a single chorus, she defined “Wonder Why.”

Time, intonation, concentration and control were perfect on every tune. Anderson was
sustaining notes with the lung power of an eighteen-year-old. “Yeah, I can’t figure that out either,” she said afterward. “I get winded walking up two steps.” She had the audience erupting in cheers, giving her a standing ovation not at the end of her program but during it. She repeatedly thanked her trio — and with good reason. Pianist John Hansen, bassist Jon Hamar and drummer Greg Williamson sustained the energy Anderson thrived on. Each of them soloed with creativity and vigor that matched hers. Boogieing in her chair toward the end of the concert, she delivered “Down Home Blues,” then “Never Make Your Move Too Soon,” enlisting the audience as a chorus riffing the first four bars of the melody of Neal Hefti’s “Lil’ Darlin’.” She left them happily agitated and demanding an encore. They didn’t get one, but people didn’t seem to mind. She had created euphoria in the room.

Ernestine Anderson: eighty going on thirty-five.

Thursday, October 16: Jovino Santos Neto preceded his quinteto’s concert with a demonstration-lecture tracing the development of Brazilian music. It amounted to a tour through significant parts of the history of Portugal and Brazil with samples of African and Caribbean influences on the music of his native land. If you have a chance to catch the
educational aspect of this dynamic man’s performance, I urge you not to miss it. That
advice also obtains to his band. The cutting-edge music Santos Neto has developed beyond the bossa nova grows in part out of his experience with Hermeto Pascoal and other advanced Brazilian musicians, but also out of his dynamic musical imagination. At the piano or playing flute — he did both simultaneously at one point — he was concentrated energy, enthusiasm and rhythm.

The quinteto includes bassist Chuck Deardorf, drummer Mark Ivester, percussionsist Jeff Busch and Bay Area saxophonist and clarinetist Harvey Wainapel (pronounced WINE-apple). Santos Neto set up each choro, baião, forró or xote with an explanation of the form and rhythm. His “Amoreira,” dedicated to percussion guru Airto Moreira, was a highlight. Wainapel, whom I had somehow managed to miss until this night, was a revelation, inventive on all of his instruments, immersed in the Brazilian tradition, fully a complement to Santos Neto’s conception of adventurous modern music.

Friday, October 17: Jerry Gonzalez and the Fort Apache Band threw the audience into momentary shock with the opening blasts of Thelonious Monk’s “Little Rootie Tootie.” Powered by the overamplified bass of young Luques Curtis and the drumming of Steve Berrios, who had no choice but to compensate, the band was too loud for the hall, by half. The Seasons’ exquisite natural acoustics were rendered meaningless by volume suitable for a stadium. Nonetheless, the music was so captivating that the audience stayed with it, except for a couple of defections, and seemed to adjust to the sound level. Fort Apache followed with a long treatment of Wayne Shorter’s “Footprints,” notable for an alto saxophone solo by Joe Ford that assulted the aural cavity but penetrated deeper, to the emotions.

Gonzalez shone on congas, trumpet and fluegelhorn. His impassioned fluegel solo on “In a
 
Sentimental Mood” was a memorable moment of this memorable festival. Curtis soloed with an acute sense of the harmonic possibilities in “Obsesión,” the Pedro Flores Puerto Rican classic. Pianist Fred Hoadley came next with a solo that was hypnotically, and effectively, repetitive. Hoadley rushed across the mountains from Seattle at the last minute to substitute for Larry Willis, who cancelled following the death of a relative. Gonzalez wrapped up the set with Monk’s “Evidence,” taken at a fast clip and — what else? — top volume. The evening ended with ears ringing and faces smiling.

Saturday, October 18: Every time I hear the Tierney Sutton Band, they have developed more bandness. After more than a decade, seven CDs and hundreds of gigs together, their musicality and shared goals have melded them into the antithesis of chick singer with rhythm section. It’s a thinking man’s, and woman’s, band that knows how to have, and show an audience, a good time. Sutton opened with Irving Berlin’s “What’ll I Do?” at a drastically slow tempo in keeping with the heart-breaking nature of the song. In the care of a less cohesive group, the time might have puddled. “It’s All Right With Me” was at the other end of the metronome and full of tricky time changes, which Sutton negotiated flawlessly.

Following a masterly solo by pianist Christian Jacob on “Between the Devil and the Deep Blue Sea,” Sutton said, “I think he took private lessons,” no doubt a stock line, delivered deadpan with perfect timing. Bassist Kevin Axt played the concert with two fingers of his right hand in a cast. He broke them in a motorcycle accident. Anyone listening blindfolded to his intricate solos would never have known that. Ray Brinker’s drumming went from thunderous on some pieces to barely perceptible on others. If there are awards for soft, quiet swinging with wire brushes, Brinker is a major competitor. He was particularly effective with brushes as Axt took a rest and Sutton, Jacob and Brinker gave Berlin’s “Cheek to Cheek” a ride that was enough to make you almost forget Fred Astaire.

Sutton sang sixteen songs from her repertoire of more than one hundred arrangements written jointly by her and the band. Toward the end, she called out the Toppenish High School chorus, which had opened the evening with a couple of songs. Together, the rhythm section and the kids did “Ja Da” while Sutton stood by smiling. The chorus ended up swinging a little, and Sutton smiled more broadly. As they filed out, she returned to the stage for a blistering “I Get a Kick Out of You” and a langorous encore, “You Are My Sunshine.” She announced that the band’s eighth CD will be out in the spring. It will include “What’ll I Do?” I’m looking forward to hearing that again.

It is a rare jazz festival that can run more than a week without a few flaws — a performance dud or two. Somehow, even the Fort Apache amplification sow’s ear turned into a silk purse. This festival worked from beginning to end, on stage and in the schools. That’s quite an achievement for an arts organization in a town of 90,000 in the hinterlands of apple and wine country.

The Seasons Fall Festival ended on Saturday night — nine days of concerts interspersed with music education for young people. Visiting world-class artists conducted clinics and workshops for more than 1,200 school children from grade school through college. Subtitled “Side-by-Side,” the festival brought together jazz, classical and Latin music in The Seasons Performance Hall and the Capitol Theatre in Yakima, Washington. Here are a few brief impressions.

Friday, October 10: Eric Alexander opened the festival with “Blues for David,” his tribute to fellow tenor saxophonist David “Fathead” Newman. Alexander’s regular pianist David Hazeltine and bassist John Webber were aboard. Seattle’s Matt Jorgensen subbed on drums for Joe Farnsworth, a duty he was also to perform in Bill Mays’ trio and in a chamber concert later in the festival. The highlight of the first set was the cadenza Alexander invented at the end of “Easy Living.” He told me in a post-intermission conversation it was a tune he had rarely played; “I just wanted to explore those harmonies and see what I could do with them.” What he did with them brought out the Coltrane in him. The cadenza was fascinating, and it lasted a good five minutes. Hazeltine and Alexander tied for the peak moment of the second half. The pianist was superb in Ahmad Jamal’s “Night Blues.” In the same piece, Alexander started simply and built complexity through several choruses to a near-crescendo before coming down to take the tune out.

Saturday, October 11: The Finisterra Piano Trio, The Seasons resident chamber group, was featured with the Yakima Symphony Orchestra under conductor Brooke Creswell in Daron Hagen’s triple concerto Orpheus and Eurydice. The New York composer’s four-part work had enough daring and astrigency to keep the YSO audience alert and was accessible enough to keep them comfortable, not an easy balance to achieve with today’s classical concert-goers. The concerto’s interior rhythms presented a rehearsal challenge to the orchestra, which met it in performance. Cresswell should be congratulated for programming demanding new work in an area with conservative audiences and — to judge by the reaction — pleasing them with it. The YSO also handled Mendelssohn and Bizet nicely and delivered a smashing Ravel Bolero.

As part of The Seasons Fall Festival education component, Hagen (pictured) spent a week in

Yakima working with seven young composers he selected from around the country. At rehearsal, the orchestra sight-read a four-minute piece by each of them, then the members of the orchestra and the invited audience voted on two for performance Saturday night. Eric Malmquist’s “Adventus” and Jesse D’aiello’s “Winter” received their premieres. The winning composers got the full guest celebrity treatment — trips to the stage, shakes of the conductor’s, concert master’s and composer’s hands, bows and waves. They were thrilled. Everyone in the elegant old Capitol Theatre seemed thrilled.

Sunday, October 12: Finisterra provided the instrumental accompaniment for Hagen’s new chamber opera Cradle, receiving its world premiere at The Seasons. It is a one-act piece for two singers and piano trio. The story is of a couple back in their apartment after a party, trying to get their baby to go to sleep. The mother was sung by Hagen’s wife Gilda Lyons (pictured), the father by Robert Frankenberry. The little opera is wry, touching and often funny. It is extremely hip and musical. Finisterra–pianist Tanya Stambuk, cellist Kevin Krentz and violinist Timothy Garland–were at the top of their game in Hagen’s tonal but adventurous score.

Monday, October 13: Three years earlier, to the minute, the Bill Mays Trio inaugurated The Seasons in its opening concert. Mays’ third Fall Festival anniversary coincided with another birthday, that of Matt Jorgensen, the adaptable drummer sitting in for Matt Wilson, who was on the road with Joe Lovano and John Scofield. Preceded by an hour-long celebration complete with cake and champagne, Mays, Jorgensen and bassist Martin Wind played a repertoire drawn from originals by Mays and Wind, and a cross-section of standards. Mays unveiled a version of the seldom-heard ballad “You Leave Me Breathless, crediting the arrangement and chord changes to the late pianist Jack Brownlow. He charmed his listeners as much with his personality as with his music, wrapping them into the experience.

Tuesday, October 14: Mays returned with trumpeter Marvin Stamm and cellist Alisa Horn, The Inventions Trio. This chamber group is at home in jazz and the classics. The concert included three new Mays pieces with the umbrella designation, “Saloon Songs.” He preceded

 them with an entertaining disquisition on the antecedents of the word “saloon” and dedicated the pieces to Yakima and the surrounding wine country. A high point: Alisa Horn’s ferocious cello solo based on several Miles Davis blues choruses. Stamm warned me some time ago that he and I would be playing a duet. I chose Freddie Hubbard’s “Up Jumped Spring.” Mays wrote a lovely arrangement for Inventions reinforced by an additional cello (Kevin Krentz), violin (Timothy Garland), bass (Martin Wind), drums (Matt Jorgensen), Marvin’s fluegelhorn and my trumpet. Marvin and I each improvised a chorus, traded eight-bar phrases, then fours, and
had a short stretch of simultaneous improvisation. In the picture by Judy Kirtley, I’m the one who looks like his shorts are too tight. Sitting next to Marvin Stamm, I should have been intimidated, but the pros made it relaxed and easy, and no one in the audience threw anything. Next, I read a passage that Mays selected from Poodie James. He orchestrated for the ensemble a beautiful background that swelled and flowed in all the right places. Then came the evening’s piece de resistance. Mays adapted Maurice Ravel’s Mother Goose Suite for the septet, opening up passages for improvisation. Switching between fluegelhorn and trumpet, Stamm was brilliant. They were all brilliant, even unto Jorgensen’s glockenspiel solo. This piece should be recorded in this format by this group.

On his blog, Daron Hagen has a comprehensive, colorfully written report about the festival and his stewardship of those seven young composers. Here’s a sample:

A healthy mix of styles and backgrounds were revealed during these sessions: one composer from New Jersey specializes in the film scores he writes for his own films, which he writes and directs; another is one of the busiest performers on Bourbon Street in New Orleans; one was a courageous young fellow from Manhattan making his way in the world with a day job and composing by night; three were students of Stacy Garrop’s at the Chicago Conservatory of Music; one was a Korean doctoral candidate studying with Stephen Dembski at the University of Wisconsin-Madison. All treated one another with great respect; all bonded as people.

To read the whole thing, click here.

Tomorrow: Ernestine Anderson’s great evening, Jovino Santos Neto, Jerry Gonzalez and the Fort Apache Band, and Tierney Sutton.

Brooke Creswell, conductor of the Yakima Symphony Orchestra, sent a link to a piece of video that deals with the basics of harmony. The subject line of his message was, “A Fifth More Perfect Than Single Malt.” To see this instructive film, click here.

Rifftides Washington, DC, correspondent John Birchard journeyed out of the district last weekend to hear pianist Cedar Walton and his trio. Here is John’s review.

Smack in the middle of the mainstream – that’s where you’ll find Cedar Walton, still creative at the age of 74. The pianist brought his current trio to the Montpelier Arts Center in suburban Laurel, Maryland, on Friday, October 18, for an evening of warmly-received performances. On his way up, Walton worked with a literal who’s who in modern jazz: J.J. Johnson, Kenny Dorham, the Farmer-Golson Jazztet, and his best-known affiliation, Art Blakey’s Jazz Messengers in the band that featured Wayne Shorter and Freddie Hubbard. And all along the way, his ability to write attractive tunes brought him further recognition.

Friday evening’s concert featured mostly Walton originals, leading off with “Cedar’s Blues”, an up, boppish line that served to warm up the band members, John Webber on bass and Joe Farnsworth on drums. Webber favors the lower register of his instrument, giving Walton a rich launching pad for his inventions. Farnsworth’s style is strong without being obtrusive, always listening to the other players and complementing their work. The trio was tight and well-rehearsed.

Cedar Walton is very much a two-handed pianist, as he showed on his “Clockwise”, a piece in ¾ time containing a recurring Latin vamp. When he strikes a note or chord, it’s clear and strong. He doesn’t pound the keyboard, but his sound is definitely declarative.

On “Dear Ruth”, a jaunty-sounding melody taken at an easy walking tempo, Walton introduced a few bars of Garneresque left hand to good effect. The tune, said Walton, was dedicated to his mother, his first piano teacher. He told of her taking her young son to New York from their home in Dallas, Texas for the first time. Walton said he wanted to see Jackie Robinson play baseball. His mother opted for the Apollo Theatre in Harlem to see Count Basie and Billie Holiday. He smiled as he said his mother made the right choice.

Walton has long had the knack of creating catchy lines with a Latin flavor. His “Bolivia” is a good example. On Friday evening, the trio played “Ojos de Rojo” (Eyes of Red) as a way-up- tempo samba. The tune showcased Walton’s sparkling single-note lines set off by rich chords. Farnsworth’s drumming was sizzling and he also soloed effectively.

Only two pop standards appeared in the program, “Time After Time” and “Body and Soul”, both taken at walking tempos. Among the pianist’s own compositions, “One Flight Down” and “The Holy Land” stood out as interesting tunes that prompted exciting performances.

Cedar Walton wears his senior citizen status well. He has a warm, engaging personality to go with an enormous talent. He’s been a steady contributor to the language of modern jazz for more than forty years. And he hasn’t lost a step when it comes to delivering a rewarding listening experience. The Montpelier Arts Center concert was an evening well spent.

                                                                                        –John Birchard

There seems to be a shortage of Cedar Walton videos on the internet. The Rifftides staff found one made on New Year’s Eve 1985 at a club in Baltimore, not far from where Birchard reported. Walton was playing with vibraharpist Milt Jackson, bassist Ray Brown and drummer Mickey Roker. The engagement is likely to have been Jackson’s. Walton is featured on the first of two Duke Ellington compositions. The picture quality suggests a subaquatic environment, but the sound is good, or at least good enough so that you can plainly hear everyone. This is one you may not wish to view full-screen.

 

In The New York Times, Barry Singer has an update to the story of the remarkable Baroness
Pannonica de Koenigswarter, friend and supporter of major musicians including Charlie Parker and Thelonious Monk. The Baroness is seen here with Monk in a well-known photograph. She died twenty years ago. Singer writes:

A Rothschild heiress, she offered her home to countless jazzmen as a place to work and even live, while quietly paying their bills when they couldn’t find work. She chauffeured them to gigs around New York, toured with them as a kind of racial chaperon, and was even known to confront anyone she felt was taking advantage of her friends because they were black.

“I always likened her to the great royal patrons of Mozart or Wagner’s day,” the saxophonist Sonny Rollins said in a telephone interview. “Yet she never put the spotlight on herself. I try not to talk publicly about people I knew in jazz. But I have to say something about the baroness. She really loved our music.”

To read the whole thing, click here. And for a 2006 Rifftides story about Nica and the role of her Bentley in the life of the New York jazz community, go here.