By Donald True Van Deusen
Jazz would seem to be in the air in Philadelphia with two major festivals
(Bell Atlantic-May 11 and Mellon-June 13) upon us. Reading a recent column
by Tom Moon, Philadelphia Inquirer, one might well get the impression that
jazz was more "up in the air" than "in the air." Moon explored the question
of what a jazz festival should be and in the process demeaned the Philly jazz
scene as having "a palpable indifference" to its "rich jazz heritage." He
discussed how sponsors for both festivals were seeking ways to "reverse the
jazz apathy that exists in much of Philadelphia." Mr. Moon need look no
further than his own editorial pages and his own columns if he wants to
understand the "jazz apathy that exists in much of Philadelphia."
The Inquirer, which we have praised here at length in an earlier column,
treats jazz as something of a poor relation. There are two full time
Inquirer writers covering classical music and there is extended coverage on
rock and what passes for pop music today, but the only two people (Karl
Stark and Kevin Carter) even reporting occasionally (mostly on record
reviews) on jazz are writers assigned to other beats. Both classical and jazz
have only about 2.5 per cent of record sales, but classical music is clearly
considered something that deserves promotion by the Inquirer while jazz,
Americas most significant indigenous art form, gets a seat in the back of
the bus.
`Philadelphia jazz history, of course, goes back to the very beginnings
of this native American cultural treasure with two musicians "born and bred"
in South Philadelphia, Eddie Lang-guitar and Joe Venuti-violin. They were the
first internationally known jazz musicians on their respective instruments.
Phillys jazz history goes on through such greats as John Coltrane and Philly
Joe Jones to todays leading lights like Larry McKenna and Bootsie Barnes on
tenor sax; Tony Williams and Wendell Hobbs- alto; Jimmy Bruno and Jimmy
Odell-guitar; and Eddie Green on piano.
You wont read that much about these current stars (and damn little about the
earlier pioneers with the exception of the Commentary Page) in the Inquirer,
but a recent record review by Stark took note of a marvelous two-CD album
just produced by two local jazz guys who care passionately about the music
here. One hopes the pop arts editor and Mr. Moon took note of that review.
The double-CD album, "Live at Ortliebs Jazzhaus," features live performances
of many of the current jazz stars playing at the venerable Ortliebs
(Phillys oldest continuously running jazz joint) run by Pete and Margaret
Souders. This CD is not quite on a par with "Jazz at the Philharmonic," but
it is an exciting, excellent representation of various jazz styles from dixie
(very briefly) through mainstream and bop being played by the best in the
business in Philadelphia. The album was created (with engineer David Stoller)
by Roger Prieto-trumpet and flugelhorn and Mike Boone-bass. Both are fine
musicians richly deserving of praise just for their playing, but with the
creation of this album, they have produced a delightful, often exciting,
compelling page of Philadelphia jazz history.
Among the various artists working on this overflowing jazz dish are such
luminaries as the afforementioned McKenna and Barnes plus Jimmy Oliver and
Pete Souders-tenor sax; Shirley Scott, Farid Barron, Orin Evans, Sam
Dockery-piano; John Swana, Duane Eubanks, Prieto, Terrell
Stafford-trumpet;Mickey Roker drums; Craig Ebner, guitar and Evelyn Simms,
vocals.
The album includes the sounds of the club, laughter, applause and even a few
sound bites, one by the mellow-voiced Bob Perkins, who is one of the only
people keeping jazz alive on local radio at WRTI. The selections of music go
all the way from "Yours Is My Heart Alone" to a foot stomping "One OClock
Jump."
The great way to hear this jazz, of course, is in person. Thats what keeps
it alive and the musicians respond. There is a definite emotional feedback.
Ortliebs is clearly home for many of the local jazz greats, but there are
others such as, JJs Grotto, Chris Jazz Café and Zanzibar Blue (if you can
afford the tab) in Center City. Lakeys, Natalies and the Top Shelf, west
of Center City, are where much of the real jazz is always being served up and
well worth the trip. And, if you want to hear how exciting big band jazz can
still sound, get out to the Casino Deli in the northeast to hear Brian
Pastor. If dixie and swing are your thing, take a trip up 95 to hear Derf
Nolde at Ye Olde Temperance House.
The Inquirer editors covering pop arts ought to try it sometime even if it
means actually covering their beat, getting up off their duffs and going
somewhere besides Center City to do it.
